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Review

2006.06.01

Ted Fletcher, the original  Joemeek founder and  designer, now develops  products under his own  name. This new British-built  model comprises a 3U unit with  two channels, each featuring  microphone and instrument  preamplifiers, compressors and EQs.  The P10 processes signals from  microphones or instruments for  recording directly into a multitrack or  DAW, or insert processing when  mixing. Its price places it in the uppermidrange  of the market.

Behind the impressively crammed  front panel, the case is surprisingly  shallow and lightweight. The input  section of each channel includes  separate mic and line non-latching  XLR inputs, a line TRS jack and a  front-panel instrument jack. All these  feed a transformer input before the  amplifier circuit, with all inputs sharing  the same gain knob. Gain of up to  75dB is possible, with a few more dBs  available via the Output knob. This  huge gain increase is useful when  recording using low-output mics, but  the last 5dB of gain at the top  introduces a fairly audible hiss.

The input selector makes it  slightly too easy to select 48V  phantom power for our liking,  especially without visual indication of  its status, while the switchable 12dBper-  octave high-pass filter set at 75Hz  is useful for removing bumps and  thumps. Also located on each  channel’s input section is the ‘almost  unique’ Vari-Phase knob. This feature  is much like Little Labs’ dedicated IBP  boxes, but we haven’t previously  encountered it built-in to a recording  channel. Using full-frequency-range  filters (‘all-pass’), varying degrees of  phase shift are achievable, a very  valuable function that’s useful for  preventing frequency cancellation  when combining, say, a guitar’s DI’ed  signal with an mic’ed amp sound, as  the mic distance inevitably  results in phase shift. The knob goes  from off to 180º (this operates only  on frequencies above 250Hz).  Disappointingly, as soon as you start  to turn the knob slightly and engage  the circuit, there is a noticeable loss  of high frequencies (we measured  -8dB@10kHz); these mostly return  as you turn the knob further.

The associated 180º phase reverse  button also uses a filter circuit to reduce  noise when it’s switched in. Outputs are  XLR sockets and TRS jacks, which  enable simultaneous connection (record  from the XLR and monitor via the jack,  perhaps). Also on the rear are TRS jacks  for separate balanced insert sends and  returns which sit between the input  section and the compressor.

The two large VUs operate either  as compressor gain reduction  indicators, or display the level postprocessing,  but pre-output gain. They  are gently illuminated – this is the only  indication of power when the little  rocker switch is flicked to the on  position. Signal Present and Overload  LEDs add further visual feedback.

The compressor/limiter section  includes the usual ratio, threshold,  attack and release controls, plus a  four-position Model knob that  determines the style of compression.  Ratio goes from 1.5:1 (even lower  might have been useful) up to a brickwall  100:1. Make-up gain must be  applied using the main output gain  knob. The compressor is powerful, with  four markedly different Model  characters. However, compression  generally takes place with remarkably  little effect on the frequency response of the signal, with no obvious dulling or  booming and low distortion levels.  Although there are dedicated controls  for timing, the Model switch changes  its characteristics, with claims to be  more VCA-like in position 1, UA  1176-style in position 2, and LA-2A in  position 3, with position 4 sounding  similar to the original Joemeek models.

Model 2 exhibits an exciting, fast release; Model 4 is great for aggressive drum and bass buss compression. The attack and release times very much depend on the chosen model. Space precludes a detailed description of each model, but suffice to say that a broad range of compression is available, albeit with an optical signature to all models. The emulations aren’t strictly accurate, but it is undoubtedly useful to have these different flavours. Whichever mode you choose, this is a useful compressor for taming vocals and guitars.

Bandwidth

The EQ section is four-band with fixed Q and sweepable Frequency knob (except the high band, which is switchable between 8kHz and 12kHz). The other three bands overlap their frequency ranges slightly. With a fairly broad bandwidth (Q=1.5), small nudges of the Frequency knobs have very subtle results. Similarly, the cut/boost knobs are quite subtle until turned up quite a way – only then is their full power revealed. The bottom end is terrific, extending deeply without sounding over-hyped. The mids are powerful, but despite the broad Q, the high frequencies tend towards aggressive rather than sweet when boosted at either frequency.

A matter of taste

The mic preamp section sounds clear and natural, if a little less detailed and hyped than, say, a vintage Neve clone or a tube model. With relatively low impedance, the instrument input is considerably less zingy in the upper midrange than most rival units, and overloads more easily with highoutput guitars.

The compression section is excellent, offering plenty of variety; time spent familiarising yourself with the different models is time well spent. The powerful EQ is a matter of taste: if you like broad swathes it might appeal, but it’s less suitable for surgical corrections. Furthermore, the P10’s deep knobs make it difficult to see the legending when the unit is rackmounted, and we’re not completely convinced that the manual’s hyperbole regarding design principles translates into this being the ultimate studio weapon. But the P10 is undoubtedly worthy of consideration – a refreshingly characterful performer compared to blander rivals.