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Input Impedance

Microphone: Selectable, 150/300/900/1500ë©
Balanced Line: 2 kë©
Instrument: 100 Më©

Maximum Input Level

Microphone (1500ë©, +20 dB Pad out): +10 dBu
Microphone (1500ë©, +20 dB Pad in): +30 dBu
Balanced Line: +30 dBu
Instrument: +20 dBu

Gain Range

Microphone (1500ë©, +20 dB Pad out): +6 dB to +70 dB
Balanced Line: -20 dB to +40 dB
Instrument: -20 dB to +40 dB


Noise Floor (all inputs, minimum gain): -95 dBu (A-weighted)
Microphone Equivalent Input Noise (EIN): -123 dBu (A-weighted)
Frequency Response: 10 Hz to 45 kHz, å±1 dB
Maximum Output Level: +28 dBu (@ 0.5%THD+N)
Output Impedance: 50ë©
Tube Complement (per channel): (1) 12AT7A and (2) 6922


Type: 2nd-order shelving filter
Q: 0.55
Low Band (Low-pass or Bandpass): 20 Hz to 250 Hz, å±16 dB
Low-Mid Band: 160 Hz to 2 kHz, å±16 dB
High-Mid Band: 800 Hz to 8 kHz, å±16 dB
High Band (High-pass or Bandpass): 2 kHz to 20 kHz, å±16 dB


Threshold Range: -20 dBu to +30 dBu
Ratio: 1:1 to 4:1
Attack Time: Fast (0.5 ms) to Slow (10 ms)
Release Time: Fast (30 ms) to Slow (500 ms)
Curve Type: Soft knee


Internal supply, standard IEC connector: 115 or 230 VAC / 100W


Dimensions: 2U rackmount
Height: 3.5‰Û (88.9 mm)
Depth: 17" (431.8 mm)
Width: 19‰Û (482.6 mm)
Weight: 22.75 lb. (10.32 kg)

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PreSonus ADL 700 + Blue Kiwi Vocal Bundle

ADL 700 + Blue Kiwi
31.70 LBS
Usually ships within 24 hours
Calculated at checkout

Product Description

It takes 2 to Tango!

Blue Kiwi

Featuring Blue’s world renowned B6 capsule, the Kiwi delivers the detail of its sonic signature all at once with lots of top end (without being too in your face!), along with lots of mids and bottom end, without being too forward. Designed to set the standard for solid state microphones, the Kiwi yields lush vocals, stunning acoustic guitar and gorgeous piano sounds from nine different polar patterns (Omni, Cardioid, Figure of eight and everything in between). This is the Blue microphone.


  • Wood box
  • S3 Shock

Putting the AD in ADL 700

PreSonus started with a single-channel version of the ADL 600 preamplifier, which was co-designed by famed tube-circuit designer Anthony DeMaria. The preamp employs a distinctive Class A, discrete design that incorporates two 6922 and one 12AT7 vacuum tubes per channel, operating with ±300V power rails for maximum headroom and superb tone.

The dual-transformer design ensures low-noise operation, with maximum common-mode rejection. This resulted in an ultra-quiet tube preamp with a big, warm, smooth, clear, distinctive sound.

Maximum Flexibility

Beyond superb sound quality, the ADL 700’s preamp is special because of its ease of use and flexibility.

Among the hallmark features of ADL-series preamps are separate, balanced XLR mic, balanced XLR line, and ¼” TS instrument inputs and a single, balanced XLR output. An Input Source Select switch enables you to leave your signal sources connected at all times and choose among sources, patching the selected input through the signal chain and completely bypassing the other two inputs.

The preamp offers a choice of four mic-input impedances: 1500Ω, 900Ω, 300Ω, and 150Ω. Lowering or raising the ADL 700 mic-input impedance can create subtle coloring and filtering effects, enabling you to get a wider variety of tonalities without using the EQ.

In addition, the ADL 700 provides variable mic-input gain, employing an 8-position, military-grade, rotary switch that provides 35 dB of gain in stepped, 5 dB increments. A Trim potentiometer (±30 dB) allows you to make fine adjustments to the final preamp stage of the ADL 700 input.

The output stage is controlled by a fully variable attenuator that delivers ±10 dB of fine-tune trim adjustment, enabling you to dial in the perfect gain structure for any application.

A Tight Squeeze

The ADL 700’s FET (Field-Effect Transistor) compressor includes fully variable attack, release, threshold, ratio, makeup gain, and bypass controls. The compressors of two ADL 700s can be stereo linked allowing for more accurate stereo imaging. The ADL 700 compressor has a “soft knee” compression curve.

FET-based compressors such as the one in the ADL 700 use transistors to emulate a triode tube’s operation and sound. This type of compressor generally provides a faster attack time and better repeatability than the optical compressors that are more commonly found in channel strips in this price class.

Custom-Designed EQ

The ADL 700’s 4-band semi-parametric EQ was designed to match the preamp and compressor, with musicality in mind. It combines isolated filters and optimized, per-band Q to provide subtle signal-shaping without harsh artifacts. All bands have Gain (±16 dB) and Frequency controls, with overlapping frequency ranges and fixed Q (0.55). The low and high bands are switchable between shelving and peak.

Who’s on First?

Would you rather have the compressor before the EQ in the signal chain or put the EQ first? Placing the compressor before the EQ allows you to make dramatic changes to the EQ settings without needing to alter the compressor setting. However, if you place the EQ before the compressor, you can better control different frequencies, achieving a more natural response.

The ADL 700’s EQ>Comp switch provides the best of both worlds, allowing you the flexibility to chose which signal flow is right for your application at any given time.

You also can independently bypass the compressor and the EQ using front-panel switches.

The Trimmings

Of course, you get +48V phantom power, polarity inversion, and a 20 dB pad, controlled by big, sturdy, military-grade switches. You also get a -12 dB/octave high-pass filter, the frequency threshold of which can be set at 20 Hz, 40 Hz, 80 Hz, or 200 Hz—or it can be turned off completely. It’s great for controlling room rumble and low-frequency noise.

We didn’t skimp on metering either. Fast-acting, eight-segment LED meters accurately detect fast transients and peaks. Large, backlit, dual-mode analog VU metering enables monitoring of output and gain-reduction levels. A -6 dB switch offsets the meter for use with hot source signals. A master level control adjusts the overall output from -80 to +6 dB.