HUM Audio Devices N-closure 2 Channel Strip

N‑closure2 is a 4U device housing a maximum of two N‑Trophy console channel strips mounted horizontally, and N‑closure6 is an 11U.

A beautiful and inspiring classic look is combined with an innovative approach to working on analog console. N‑Trophy is an exceptional console in so many aspects, like never before. It removes digital ’junk’, and brings life, vitality, air, space and depth back to your tracks. It brings back the pleasant feeling of communing with what is close to every human being by nature꞉ the beauty of analogue sound. Truly, the N‑closure channel strips give you a ’Back to The Nature of Sound’ experience.

We designed High‑End discrete class A mic preamps, custom audio transformers and discrete opamps, as well as unique six‑band passive EQ, THD Stage, and the Tube Optical Compressor / Limiter with innovative detection and compression circuits that work differently than ones found in other studio equipment. At the same time, we eliminated all points where classic analog consoles used to be weak or overcomplicated. The signal path is also as short as it can be, despite the plenty of N‑Trophy’s and N‑closure’s sound shaping tools.

To complete the N‑Trophy and N‑closure design, we have also taken special care to develop the classic linear power supply with a custom double‑shielded toroidal transformer and the best Linear Technology voltage regulators. The transformer here is acting as a power conditioner, ensuring large headroom and very low noise performance.

N‑closure channel strips are taken directly from our N‑Trophy All Discrete Analog Console. Sound quality and all features are identical, except those related to the N‑Trophy Centre Section꞉ Auxes, signal routing to Groups, Panning and MixB section.

They are based on legendary Jensen JE990 opamps. It’s a similar topology to the preamps found in our flagship RP‑2 preamp, and in practice one of the best sounds you can get from a mic preamp anywhere꞉ big, vital, pushed forward, full of life and with a lot of details. Perfectly balanced, bringing out the nuances of the sound beautifully, yet not exaggerated in any way. It is equally good for clean, beautiful‑sounding classic recordings, as well as providing a solid foundation for colouring and tweaking the sound with N‑closure tools when working with other musical genres.

• Top quality VU Meters with excellent ballistics.

• PREAMP GAIN (db): Gain switch for the selected signal input.
• +48 V: Phantom power switch for condenser mics.
• TAPE GAIN: 0/+6/+12dB switch for TAPE IN input signal.
• PRE SRC: Input source for the preamp꞉ Mic/Off/Line.
• PRE PH / TAPE PH: Phase reverse switches for Mic/Line/Instr inputs and TAPE IN (line level) signals.

• Preamp + Channel / Tape + Channel: Select channel’s physical input.
• X-FORMER: Switch for the interstage audio transformer located after the mic preamp.
• THD LVL / THD TYPE: Select type and level of saturation.
• DIR SRC: Select the audio output point for DIR OUT꞉
– Preamp ‑ after the preamp, before processing
– ChOut ‑ after all sound processing in the channel
• TRIM: Pot for additional trim level of DIR OUT (direct output) signal, with on/off switch.
• INSERT / BLEND: Insert switch and insert dry/wet blend pot with switch. When the BLEND switch is set to off, the channel insert point signal is 100% wet.
• ORDER: Select processig order꞉C (Compressor), E (EQ + filters), I (Insert).
• METER: Select the metering point for the VU Meter. G.R. ‑ Gain Reduction of the Compressor.

• S.C. MODE: Compressor sidechain mode꞉ Internal, L/R Link (stereo link), Key for external key inputs.
• KEY SRC: Select KEY1 of KEY2 for sidechain inputs
• S.C. FILTER: The cutoff frequency for detection circuit in Internal sidechain mode.
• Comp: Switch in OPTO COMPRESSOR. In Byp mode the compressor is bypassed, but the tube is still active.
• TYPE: Select compressor characteristics, from Comp (slow) to Lim (fast).
• THRESHOLD: Compression depth. Attack and release depends on the gain reduction depth.
• BLEND: dry/wet mix balance of compressed and uncompressed signal.
• MAKEUP (db): Gain Makeup ‑ signal level boost after compression. Tube circuit.
• LPF (Hz): Low pass filter, frequency selection with stepped rotary switch. 6dB/oct slope.
• HPF (Hz): High pass filter, frequency selection with stepped rotary switch. 6dB/oct slope.

• HF: High‑frequency passive EQ, independently selectable frequencies for BOOST and CUT. Equipped with stepped rotary switches. Gently overlapping (6dB/oct).
• BOOST (dB): Amount of boost (dB) for HF band.
• CUT (dB): Amount of cut (dB) for HF band.
• Shelf/Peak switches for BOOST an CUT.

• MF: Mid‑frequency passive EQ, independently selectable frequencies for BOOST and CUT.
• Equipped with stepped rotary switches. Gently overlapping (6dB/oct).
• Amount of boost (dB) for MF band.
• Amount of cut (dB) for MF band.

• LF: Low‑frequency passive EQ, independently selectable frequencies for BOOST and CUT.
• Equipped with stepped rotary switches. Gently overlapping (6dB/oct).
• Amount of boost (dB) for HF band.
• Amount of cut (dB) for HF band.
• Shelf/Peak switches for BOOST an CUT.

• EQ: On/Off switch for the channel EQ circuits.

• Audio voltage rail꞉ +/‑ 24V
• Self Noise A‑weighted꞉ ‑105 dBV
• THD+N꞉ 0.005% (1kHz / 1dBV)
• Frequency Response꞉ 20Hz ‑ 30kHz (+/‑ 0.16dB) | ‑0.3dB @ 50kHz | ‑1.2dB @ 100kHz | ‑3.8dB @ 200kHz| ‑0.07dB @ 10Hz | ‑0.3dB @ 5Hz |

• Phase L/R Matching꞉ max 0.8 deg (10Hz ‑ 30kHz)

• CMRR꞉ ‑65dB
• Max Input Level꞉ +22dBV
• Max Output Level꞉ +28dBV

• Input XLR (LINE, TAPE, INS SEND): balanced, impedance 10k Ohm
• Output XLR (DIR OUT, INS RET): balanced, impedance 75 Ohm
• Mic Input: balanced, impedance 3.5k Ohm

• AC Powering: internally switchable 240V/120V ‑ 50/60Hz
• Power Consumption꞉ max. 35 Watt (N‑closure2), max. 90 Watt (N‑closure6)