The multi-tasking PreSonus DigiMAX FS helps alleviate some of these issues. PreSonus calls it an eight-channel Class A mic preamplifier with 24-bit/96k ADAT I/O (and dual SMUX if you want 88.2/96kHz). They’re being a bit modest. With its direct balanced outputs and insertion points on every channel, this single rack space device could expand your project recording capabilities in a big way. Just hook it up via optical light pipe to a wide array of digital recording systems, and you can take advantage of Class A mic pres with phantom power, 24-bit resolution, sample rates from 44.1 to 96kHz, TC Electronic’s JetPLL jitter reduction technology, and word clock I/O with a 75 ohm termination switch.

SMALL BUT MIGHTY

PreSonus deserves kudos for a utilitarian design. The front panel function switches and controls are easy to grab and have a posh feel. The eight preamp controls are right biased, in two rows of four and offset, so you can grab a knob with speed and accuracy. The front panel has eight Neutrik combo connectors that serve as mic ins; channels 1 & 2 are mic/instrument, 3–8 are mic/line. Line level for the first two channels are on the back panel via return 1 & 2. Two phantom power switches handle channels 1–4 and channels 5–8; you cannot enable phantom power one input at a time.

Note that the eight mic ins have no rear panel redundancy. So, to avoid an annoying waterfall of mic input cables cascading over your other gear, you’ll need to place the DigiMAX FS in your rack with an adjacent open space either above or below so you can route cables through that space and maintain feng shui in your studio. Also, while the mic pres are basic and contain no extra features such as high pass filtering or phase inversion, the inserts allow you to patch your favorite hardware (compression, EQ, effects, etc.) before the output stage of each one of the eight preamps. Sweet, and thoughtful.

SO HOW DO THE PREAMPS SOUND?

We’ve been touting the expansive connective capabilities, but as every preamp has its own distinct sound, how do the DigiMAX FS preamps stack up? To find out, we compared the preamps against two other pres, one costing roughly 10 times as much per pre, the other a two-channel tube pre with a slightly higher cost per channel to serve as a “tube sound” reference.

We auditioned a male vocal with both a Shure SM58 and Soundelux Elux 251, a damped vintage 20" Slingerland kick with an Audio-Technica ATM25 placed inside the shell off axis about 5" from the beater, a Bob Weir model Alvarez Yairi acoustic guitar with a single Beyer Dynamic MC-740 placed about a foot from the 12th fret, a vintage Fender P-Bass patched direct, and an Alesis QS6 keyboard, also patched direct. We listened through powered Dynaudio BM15As, recorded into Sonar 6, and all digital traffic was directed through the lightpipe I/O of a MOTU 2408mk2 to our DAW.

We found the DigiMAX FS pres perform as advertised; they’re neutral, and have a lot of headroom. But they’re not “designer preamps” — don’t expect a PreSonus ADL600 for a fraction of the price. What more expensive pres get you is more of a “wow” factor, with what we perceived as a somewhat “smoother” sound.

CONCLUSIONS

In conjunction with light pipe audio interfaces, the user-friendly PreSonus Digimax FS offers a truly cost-effective way to rev up your ins and outs. The only real drawback is that if your primary concern is great-sounding pres and the DigiMAX FS pres don’t do it for you, you’ll need to open up your wallet wider. That said, the DigiMAX FS is a fine addition for project studio applications that need a quality work overflow box with solid preamps, direct outs, and serious digital connectivity.