Millennia HV-35

Randy Poole - Pro Audio Review "The HV-35 was consistently in my top two for all tests with the Radial Workhorse chassis. In comparison to transformer-based Class-A designs, it was more open on the top with less compression of transients and a more detailed sense of ambience and space. Compared to some of my favorite tube-based pres, the HV-35's low end was punchier and thicker. The HV-35's high end was accurate and pleasing, while in comparison the tube pre's additive harmonics and softening of transients felt quite flattering on acoustic guitar. Overall, the timbre of the HV-35 was more balanced than all of its tested counterparts, and its placement in the stereo field was more "three-dimensional."

Craig Anderton, Electronic Musician "The HV-35 is extremely well-built, sounds great (well actually, it's more like it has no sound at all), and the DI is well-implemented. It accomplishes its goal of transparency, but also has the depth that's the hallmark of a well-designed amplifier."

Paul Vnuk, Recording Magazine "I ran the new HV-35 right alongside my original HV-3D and after matching the input settings I can say, "I hear zero difference in sonic character or quality!" None! I have no idea how they crammed all of the HV-3D's electronics in there and how they scaled the power to work within the 500-Series voltage restrictions, but somehow they did it."

Jack Vad, award winning producer/engineer for the San Francisco Symphony "Since 1992 when I was Millennia's first customer, I've had the privilege of lending my ear and thoughts regarding new developments and products." "The San Francisco Symphony has always owned both Millennia preamps and convertors because they meet our criteria of transparency and resolution, and since I've been asking John and Joel to develop 500 series modules for years, I'm extremely pleased by the release of both the AD-596 and HV-35." "They both represent everything I expect from Millennia products which, in this case, are now offered in a new form factor utilizing proven designs and providing subsequently greater versatility."

Donal Hodgson, producer/engineer for Sting and many others "For me it was a no brainer when I heard that Millennia were releasing a 500 series mic amp." "I put 48 channels of HV-3D into Sting's tour rig and I wanted access to that super clean pure sound in my portable 500 series rack."

• Continuously variable gain control

• Front panel instrument input

• DC coupled ribbon mic with 10dB gain boost setting

• 80 Hz rolloff filter

• 48V phantom power

• 15 dB Pad

• Polarity flip

• API 500 series compatible format

MINIMUM GAIN:

14.5 dB, 1dB with Pad

MAXIMUM GAIN (CONTINUOUSLY VARIABLE):

60 dB (70 dB in Ribbon Mode)

FREQUENCY RESPONSE -3 DB:

< 10 Hz to > 200 kHz

typical -1.0 dB @ 10 Hz

typical -1.5 dB @ 200 kHz

NOISE (60 DB GAIN, 10 HZ - 30 KHZ, INPUTS COMMON):

-130 dB EIN

TOTAL HARMONIC DISTORTION + NOISE (35 DB GAIN, 10 HZ - 20 KHZ BANDWIDTH, +24 DBU OUT):

< .003%, Typical < .001%

INTERMODULATION DISTORTION:

(50 Hz & 7 kHz) 35 dB Gain

< .0006% +12 dBu Out

< .001% +20 dBu Out

PHASE RESPONSE (35 DB GAIN, 50 HZ - 20 KHZ BANDWIDTH, +27 DBU OUT):

< 2 degrees deviation

COMMON MODE REJECTION RATIO (35 DB GAIN, 10 HZ - 20 KHZ BANDWIDTH, 100 MV C.M.):

> 65 dB, Typ > 85 dB

SLEW RATE (35 DB GAIN, +24 DBU OUT):

> 25 Volts per microsecond

MAXIMUM INPUT LEVEL (20 HZ - 40 KHZ):

+12dBu @ 0.02% THD+N

+18dBu @ 0.02% THD+N with pad

MAXIMUM OUTPUT LEVEL:

1 kHz @ 35dB of gain, THD+N is:

< 0.001% at +26dBu output

< 0.05% @ +28 dBu output.

PHANTOM INPUT IMPEDANCE (1 KHZ):

2,210 ohms

OUTPUT IMPEDANCE:

24.3 Ohms (x2)

PHANTOM POWERING:

provided by 500 rack

DIMENSIONS/SHIPPING WEIGHT:

1.5" W x 5.25" H x 6" D, 2 lbs.