Hot on the heels of their wonderful 32Classic console, Harrison have delivered their first ever 500‑series modules...
Harrison’s history dates back to 1975 and the launch of their first recording console, the Harrison 32 series — an iconic console that, over the years, has been used on many classic albums by major artists. Some 47 years later, in 2023, Harrison launched the 32Classic, which harked back to the vintage designs. Reviewed by Matt Houghton in SOS December 2023, this ‘reimagined’ take on the 32C was the company’s first new analogue console in a decade, and perhaps unsurprisingly it has now been followed by Harrison’s first foray into the 500 series. This comprises a range of three modules: the 32Cpre+ transformer‑balanced microphone preamplifier, the MR3eq three‑band equaliser and a VCA‑based compressor called simply the Comp.
32Cpre+
In creating the 32Cpre+, Harrison have chosen not to slavishly recreate the vintage microphone input circuitry of the 32C, but have instead combined the mic preamp from the 32Classic with the 32C’s signature low‑pass and high‑pass filters. If you read Matt’s review of the 32Classic, you may recall him suggesting that they should place a high‑pass filter in the mixer’s mic preamp (the console’s filters are post‑EQ and post‑insert point), and it’s good to see them present in this preamp module.
As with the other modules in this review, the construction and circuit layout of the preamp is exemplary. Harrison describe the 32Cpre+ as being “built with modern, state‑of‑the‑art components, giving better performance and improved long‑term reliability” and, indeed, high‑quality components feature throughout. There are full‑size capacitors, resistors and transistors in the signal path, along with the Jensen JT‑MB‑CPCA 1:1 input balancing transformer, reflecting the DNA inherited from the 32 series.
The 32Cpre+ module’s front panel sports Harrison’s classic white‑on‑black aesthetic, with a column of six grey, latching buttons handling the switching functions. Top right, next to the filter in/out button, a slim, white‑topped knob sets the corner frequency of the 160Hz‑20kHz low‑pass filter, and an all‑black counterpart controls that of its 25Hz‑3.15kHz high‑pass companion.
The basic operating state of the preamp is set by three buttons that invert the signal polarity, activate 48V phantom power and switch in a ‑20dB post‑transformer pad, while the 20‑70 dB of post‑transformer gain is set using a larger, red‑topped knob. Beneath sits a combi TRS/XLR connector, the XLR section of which can be switched to replace the input on the rear of the host 500‑series chassis. Alternatively, the Hi‑Z button can switch the jack section into circuit as an unbalanced, post‑transformer, high‑impedance instrument input. A bi‑colour green/red LED next to the gain control indicates the (post‑transformer, pre‑pad) presence of signal or overload.
MR3eq
With its high‑ and low‑pass filters, the four‑band, proportional‑Q equaliser of the 32C console gets all the attention, but Harrison also developed variants of this EQ design, including the three‑band (plus high‑pass filter) version that graced the 24C (the 32C’s smaller cousin) and, as an option, one for the 1980s MR‑3 ‘music recording console’. It’s that MR‑3 variant that provides the inspiration for this third‑generation 500‑series reworking of the company’s classic EQ circuit.
Although the MR3eq covers the same frequency bands as the MR‑3’s EQ (40‑800 Hz, 400Hz‑8kHz and 800Hz‑15kHz), they’re configured somewhat differently and, actually, I think this makes this particular EQ more flexible and practical than the original. In the MR‑3, all three bands were semi‑parametric, proportional‑Q types, whereby the Q varies automatically with gain, becoming progressively narrower as you increase the amount of boost or cut. In the MR3eq, the high‑ and low‑frequency bands can instead be switched between shelving and proportional‑Q operation, while the mid band is fully parametric. So there’s more flexibility here, especially when paired with the preamp module’s filters.
The front‑panel controls reflect all this, of course, with the high and low bands each having two white‑topped knobs plus a ‘bell’ button to change their operating mode, while the mid band boasts three all‑black controls for frequency, gain and Q. In their default mode, the high and low bands deliver a gentle shelving response of 6dB/octave, with ±10dB of gain at the selected corner frequency. When the bell button is depressed, rather than seeking therapy it switches the bands over to a second‑order, 12dB/octave bell response (again, ±10dB). Finally, the MR3eq’s switchable high‑pass filter covers the same 20‑315 Hz range as that of the 32Cpre+. A bi‑colour LED, sitting between the EQ in/out button and the high‑pass filter control, indicates the post‑input/pre‑EQ presence of signal or overload.
Comp
Depending on which Harrison promo video you watch, the all‑analogue Comp may be based either on a compressor from a 1990s Harrison broadcast console, or on the leveller algorithm in the company’s Mixbus software — it would be interesting if it were the latter, since it’s rare to see software turned into hardware in this way! Either way, though, the Comp is a feed‑forward compressor, based around the renowned THAT Corporation 2180 Blackmer VCA chip. Less common than feedback compression, feed‑forward compression takes its control signal from before rather than after compression has taken place. Typically, this can sound a little faster and more aggressive than feedback compression, but it has, to my way of thinking, an advantage in that it puts you in direct control of the compression being applied — your control adjustments are being made in response to the amount and character of the compression that you’re listening to.
The Comp continues the front‑panel aesthetic of its companions, with the two white‑topped knobs delivering up to 10dB of make‑up gain and setting the threshold (‑10 to +20 dB). An all‑black pairing sets the ratio (continuously variable from 2:1 to 10:1) and the release time (Slow to Fast). The Comp’s automatic, programme‑dependent attack time removes the requirement for physical control of that function, leaving the compressor in/out (bypass) button as the final front‑panel control. In addition to the bi‑colour LED that monitors the post‑input/pre‑VCA signal level, the Comp has a five‑LED ladder meter, scaled from 2 to 10, that indicates the gain reduction level. In a homage to the past, compression ratios are expressed, for example, as 1:2, rather than the 2:1 way to which we’ve grown accustomed.
In Use
I have a definite personal bias towards the sound of high‑quality, transformer‑balanced mic preamps, and the 32Cpre+ doesn’t disappoint, delivering high levels of clarity and detail, and a smooth, natural‑sounding overall performance that has just a touch of warmth within it. Impressive though its sonic performance is, it’s the inclusion of Harrison’s vintage high‑pass and low‑pass filters that, to me, make the 32Cpre+ into something special. I routinely filter or band‑pass sources, whether for artistic reasons or to eliminate unwanted or unneeded frequencies, so this combination of intuitive high‑ and low‑pass filters and lovely‑sounding mic preamp is perfect for my workflow.
The MR3eq I liked immediately, as I’ve had a soft spot for proportional‑Q equalisers (or reciprocal‑Q equalisers as they were described in an early Harrison catalogue), ever since I first came across a Klark Teknik 11‑band stereo graphic EQ back in the day. The narrowing of the Q as cut or boost increases lends an intuitive feel to their operation that’s not easy to replicate in a fully‑parametric EQ such as the MR3eq’s mid band.
In use, the MR3eq always sounded clear and transparent, even at extreme settings. To me, this unit’s greatest strength is that it allows you to use the combination of shelving and bell responses in the high and low bands that best suits your needs. The separate high‑pass filter is a useful addition that will definitely help when dealing with low‑frequency issues, for example the emphasis in the bass from the proximity effect that can arise from the close‑up use of a directional microphone. Of course, if you’re using the M3eq after a 32Cpre+, this filter is a bit redundant, but I suspect that there’ll be plenty of engineers and musicians who, like me, possess no Harrison‑style equalisers but have plenty of mic preamps to be going on with.
The feed‑forward Comp is a compressor with a character and performance that I don’t own an equivalent to, and I could certainly be tempted to find a home for one.
The Comp turned out to be a versatile, transparent dynamics processor, whether set up with shorter release times and lower ratios as a leveller to unobtrusively control a source’s overall dynamics, or in a more aggressive configuration of longer release times and higher ratios, to alter transients, lengthen sustain and get a bit of pumping going. Despite what you might suspect of a feed‑forward design, it doesn’t take long to get a feel for how the Comp responds to its controls, although you might well find yourself over‑compressing until you get accustomed to the speed of its reaction to transients. The feed‑forward Comp is a compressor with a character and performance that I don’t own an equivalent to, and I could certainly be tempted to find a home for one (or two) in my studio.
Overall
This trio of 500‑series products is an impressive entry for Harrison into what’s now a very competitive market sector. In terms of their individual audio performances, the units each justify their individual price points with ease, and each has its own selling proposition.
The 32Cpre+ for example, features the iconic Harrison high‑pass and low‑pass filters. Taken together, this, the transformer‑balanced input and superb audio performance justify its purchase price. The 32Cpre+ perhaps has a less clear‑cut competitive advantage than its two stablemates, simply because of the stiff competition in the mid to low‑mid price bracket for 500‑series mic preamps, but if you’re looking for a very good mic preamp and you want the Harrison filters, I’d say it’s well worth its asking price.
If you’re in the market for a superb‑sounding and (I believe) more flexible version of the legendary Harrison four‑band EQ, the M3eq is the only game in town — and at this price, I think it’s an absolute steal for the performance it delivers. Similarly, if you’re attracted by the prospect of owning a mono 500‑series feed‑forward VCA compressor that really delivers, the Comp represents great value for money. It’s just a pity Harrison didn’t include a stereo link facility, as I’d probably have been first in the queue for a pair... but I can dream, can’t I?
Despite their hardware heritage, and the company’s DAW software and plug‑ins having been around for some time, Harrison have never really had a strong presence in the hardware side of the modern home and project studio recording market. The 32Cpre+, M3eq and Comp could change that — they’re impressive introductions to an iconic brand that prospective 500‑series purchasers should certainly have on their RADAR.
Alternatives
If you’re looking for the classic Harrison four‑band EQ plus filters combination and have the budget for a 32Cpre+ and a M3eq, but don’t need a mic preamp as part of the package, then the Great River Harrison EQ is worth checking out. Similarly, the Yannlu EQ 532 might be up your street, especially if you’re into a bit of DIY. Away from the 500‑series format, an option that you might want to consider is Icon’s Harrison 32Ci USB audio interface, which features two Harrison‑style preamps, each with high‑ and low‑pass filters, and currently comes bundled with a suite of Harrison DAW plug‑ins.
Pros
- Excellent audio performance all round.
- Transformer‑balanced Pre sounds great and includes Harrison’s famous filters.
- Compressor and EQ are keenly priced.
- Very versatile three‑band EQ.
- The feed‑forward Comp benefits from a programme‑dependent attack.
Cons
- The 32Cpre is good value, but perhaps less of a bargain than the other modules.
Summary
Harrison’s triumvirate of mic preamp, EQ and compressor is an impressive and very competitive 500‑series debut from this iconic brand.
Information
32Cpre+ £658.80. MR3eq and Comp £358.80 each. Prices include VAT.
Headline Audio +44 (0)1908 477142.
32Cpre+ $699.99. MR3eq and Comp $399.99 each.
SSL USA +1 (818) 643 7040.
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