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1.Tube
1)GainStation 1
Models 2272/2273
Single channel microphone and instrument
preamplifier
The quality of your original tracks will largely define the end
result. Attacking this problem on the preamplification front, with the goal of
noticeably improving a signal and sending it along its path with a healthy
foundation, requires a great deal of thought and engineering effort ? like with
the GainStation 1. Modern audio production
relies increasingly on digital systems for recording and mixing processes
(DAW's, digital consoles etc.). But still digital systems do not offer the same
audio qualities and sound characteristics of high-end analog equipment.
Especially digital equalizers and other aspects of the mixing domain cannot
compete with the open, transparent sound of the best analog gear. So today more
than ever, your input signal has to sound as good as possible?the quality of
your original tracks will largely define the end result.
Attacking this
problem on the preamplification front, with the goal of noticeably improving a
signal and sending it along its path with a healthy foundation, requires a great
deal of thought and engineering effort ? like with the GainStation 1.
Its very compact
design allows for free placing also outside of a rack (e. g. close to the
microphone). Musicians can place the GainStation 1 easily on a rack or
amplifier. To accommodate portability, the optionally available SPL GainBag
ensures safe transport of the GainStation 1 and offers additional storage for
cables and an average-sized microphone. For more permanent installations, up to
four GainStation 1's can be rack-mounted in one optionally available 3-unit
mounting frame.
The SPL GainBag
to transport GainStation 1, a microphone and cable.
Most notable
features of the GainStation 1:
- Separated Solid
state and tube preamps. The tube preamp can be used additionally to the solid
state stage to add tube saturations, for clean recordings it can be switched
off.
- Peak/FET
Limiter
- Switchable Mic
Input Impedance (200 Ohms, 1,2 & 10 kOhms)
- Custom-designed
and built, fully discrete, class A op-amps (no off-the-shelf stuff here). The
GainStation's op-amps feature 60-Volt operating voltage?twice as high as most
common op-amps?for an incredible dynamic range.
- All switching
functions are handled by encapsulated relays with gold-plated contacts.
- A no-compromise
power supply with extensive additional shielding and seven separately wound
and regulated voltages
- Internal 24/96
AD converter, Lundahl input transforner, SPL GainBag and rack mounting frame
optionally available
In our humble
opinion, the time and energy invested in the development of the GainStation 1
was well worth it. The result is an extremely compact, unusually flexible
preamplifier that delivers audio quality usually found only in units costing
much more. We believe we just may have set a new record in the sound per cubic
centimeter category.
Technical
Specifications
Frequency response
(Clean Gain 30dB, Tube Gain off, output level 0dB, +/- 0.5dB):
?1Hz-125kHz
Frequency response (Clean Gain 30dB, Tube Gain off, output
level 0dB, +/- 3dB): ?1Hz-310kHz
Frequency response (Clean Gain 30dB,
Tube Gain 1dB, output level 0dB, +/- 0.5dB): ?1Hz-125kHz
THD+N (Clean
Gain 24dB, Tube Gain off, output level +6dB, 20-22kHz, +25dBu out):
0.0005%
THD+N (Clean Gain 23dB, Tube Gain 1dB, output level +6dB,
20-22kHz, +25dBu out): 0.032%
Noise (Clean Gain 10dB, Tube Gain off,
output level 0dB, 20-22kHz, A-weighted) -95.4dBu
Noise (Clean Gain 30dB,
Tube Gain off, output level 0dB, 20-22kHz, A-weighted) -91.8dBu
Noise
(Clean Gain 60dB, Tube Gain off, output level 0dB, 20-22kHz, A-weighted):
-67.2dBu
Noise (Clean Gain 20dB, Tube Gain 10dB, output level 0dB,
20-22kHz, A-weighted): -86.4dBu
EIN (Clean Gain 60dB, Tube Gain off,
output level 0dB, 20-22kHz, A-weighted, 40Ohm): 127.2dB
Dynamic response
(20-22kHz, A-weighted): ?130dB
Common Mode Rejection (Clean Gain 30dB,
Tube Gain off, 1kHz, Input -30dBu, output level 0, w/o transformer):
?80dB
Maximum Output Level: +34dBu
Max. Input Level (Mic Input,
Hi-Z Input): +17dBu
Input Impedance (Instrument input):
?1MOhm
Output impedance: ?75Ohm
Slew Rate (Clean Gain 30dB, Tube
Gain off, Output Level +6dB): ?40V/¥ìs
Phantom power: 48V
+/-2V
Power consumption (w/0 AD-Converter): 25W
2)Channel One Model 9945
The Channel One is a complete channel strip
with all the tools onboard for recording voices, instruments and digital or
analog audio sources with the highest sound quality: a transistor/tube
preamplifier, a de-esser, a compressor/limiter with noise gate, an EQ section
and a headphone monitor.
The Channel One is a complete channel strip
with all the tools onboard for recording voices, instruments and digital or
analog audio sources with the highest sound quality: a transistor/tube
preamplifier, a de-esser, a compressor/limiter with noise gate, an EQ section
and a headphone monitor. The concept of the Channel One is as the ideal
recording tool ? for hard disk tracking as well as for analog environments.
Intelligent automation ensures intuitive, fast operation and guarantees the
finest recording results.
Sound On Sound (UK), Paul
White: "Until you've tried something that works this
well, the words 'smooth' and 'detailed' won't have nearly as much meaning as
after playing with the Channel One. If you're wondering where that elusive
'produced' vocal sound is hiding, look no further ? it's in
here!"
3)Kultube Modell 2049
The Kultube is an extremely
versatile compressor with a broad range of control facilities that cover all
typical compressor applications. From improved stereo mixes in the ¡°MIDI Studio¡°
to surround mastering with several devices connected, all jobs can be undertaken
to the highest degree of sound quality.
Features
- Stereo
Compressor with discrete gain cells
(instead of VCAs)
- "Progressive
Time Control": user optimization of attack and release times that work in
conjunction with the unit's signal responsive circuitry to provide the best
attributes of manual and auto compressors at the same time
- Adjustable tube
saturation with automatic output level adjustment
- Selectable soft
or hard knee characteristics
- Unique
decompression mode
- Large VU meter
displays gain reduction or (mono summed) output level
- Switchable
side-chain inputs on the front panel
- Slave mode for
multi-channel operation
- Options: 24/96
AD/DA converter, Lundahl input and output transformersIdeally
for stereo and surround mix or
single channel processing
- to produce
massive attacks and to significantly increase loudness without destructive
side-effects
- for effortless
integration into digital environments with the optional 24/96-AD/DA
converter
- for ¡®softening¡®
too harsh sounds, for example, for making digital recordings more
"musical"
4)Tube Vitalizer Model 9530
The Tube Vitalizer¢ç is the
top-of-the-line in the Vitalizer Program EQ family from SPL ? the reference
technology for sound optimisation featuring highest sound quality and control
precision in recording and mastering. The Tube Vitalizer offers highly effective
analogue technologies for audio restorations.
The Tube
Vitalizer is the top-of-the-line in the Vitalizer family from SPL. To implement
the Vitalizer program EQ in a technically optimal way, a combination of tube,
coil, transistor and semiconductor technology was created which comprehensively
exploits the advantages of the individual sound features of these components and
which can be individually configured to best suit the task (RC or LC filter,
tubes or semiconductor output stage).
Compared
with traditional equalizer designs, the Vitalizer combines virtuosic
manipulations of the sound image with maximal efficiency. It meets the highest
standards in every way in the professional sound studio and in mastering ? both
in single channel and subgroup processing as well as in refining summing
signals. One of its most popular uses is in restoring old recordings ? the Tube
Vitalizer makes remastering a joy.
5)GoldMike
Model 9844
The GoldMike is a dual channel, Class A
tube type microphone preamplifier with outstanding tonal qualities, especially
suitable for recording voices and acoustic instruments. The enormous dynamic
range (111 dB) and absence of noise qualifies the GoldMike as an ideal partner
for high-resolution HD recording systems. Two separate Class A mono blocks
guarantee perfect channel separation and a high spatial definition for stereo
recordings.
SPL's new
dual-channel tube microphone preamplifier, the "GoldMike", employs very high
quality tube circuitry to deliver vibrant, transparent sound in all recording
applications. The amplification chain features matched ECC 83 vacuum tubes,
powered by a separate 250-volt supply - true high voltage tube operation is
essential if the tubes are to function correctly and deliver their
characteristically 'open' sonic character.
Class A tube
circuitry is used throughout the preamp signal chain with each channel designed
as an independent mono unit to provide absolute separation between channels. Not
only does this dramatically reduce crosstalk, it also improves imaging and depth
when the unit is used to make stereo recordings.
Though GoldMike's
forte is in handling critical microphone recordings, such as choirs, acoustic
instruments and vocals, it will produce superior results in most recording
situations. Its warm yet detailed sonic character combined with a very low noise
floor make it particularly well suited for digital recordings while its unique
FLAIR function is especially designed to add clarity and 'air' to vocals.
High-quality ALPS pots and "click-free" switches provide precise, quiet control.
The output level is constantly monitored by two backlit VU-meters and an
independent power supply provides the extremely clean 48-volt phantom power
source.
6)Stereo Vitalizer MK2-T
Model 9739
The Stereo Vitalizer¢ç MK2-T is an excellent and
versatile tube program EQ for shaping input signals and
optimizing mixes based on hearing-correct considerations
and established psychoacoustic principles. Tube operation
and coil filtering ensures classic tonal qualities.
The MK2-T (model
9739) represents the tube version of the best selling Vitalizer model, the
Stereo Vitalizer MK2 (model 9526). The MK2-T employs 12 AX 7 LPS-tubes for
the mid-hi processing and in the Stereo Expander circuitry, where the summed
signal is processed.Coil filtering stages complement ideally the vintage tube
sound characterisitcs. Great emphasis was laid on a harmonic tuning of the
control parameters for high precision processings. The MK2-T fits into the
range of Vitalizer products between the standard Stereo Vitalizer
MK2 and the high-end mastering version, the Tube
Vitalizer (Model 9530).
7)Qure Model
9738
The Qure is a 2-channel, parametric,
3-band EQ, ideally suited for demanding tonal shaping of individual instruments,
voices and complex musical signals. Mastering applications benefit from the
unique tonal potential and the sophisticated filtering design that perfectly
complements the fine details of the sound being processed.
The highly
sophisticated circuitry of the Qure forms the basis for its outstanding tonal
qualities: each filter is serially connected on separate boards with individual
op-amps, resulting in excellent noise and distortion values, with a hard bypass
available for each individual filter.
Features
? 2 x 3-band fully parametric EQ ? Proportional Q
operation ? Variable HF and LF cut filters ? Unique QURE control ?
Variable input gain (-12dB to +18dB) ? Variable output gain (-7dB to
+4dB) ? Hard-Bypass for each filter band and both cut filters ? Master
relay hard-bypass for entire unit ? Central Grounded Shield Layout ? SPL's
Super-Balancing Hybrids (CMRR > 80dB) ? Tube warm up circuitry for
prolonged tube-life ? Overrated internal toroidal power supply
?
OPTION: Lundahl I/O transformers
8)Charisma 8 Model 9527
The Charisma 8 is a tube processor whose sophisticated circuitry
enables extensive control over the tube sound characteristics.
In other words, it is a tube sound instrument that is
also capable of effects that resemble the tape saturation
of analog tape machines: the signals gain more impact
and punch, so that especially in the case of percussive
instruments it is no longer necessary to record to an
analog machine.
The CHARISMA is an
8-channel tube processor to improve the sound quality of digital 8-track
recording systems. It brings the warmth and smooth bottom end into digital
recording. The novel "Charisma" circuitry generates variable tube saturation
that can be compared to the saturation effects of analogue tape recorders.
CHARISMA processing improves the power, punch, dynamics as well as
subjective loudness. It also helps to optimise the exploitation of the headroom
in digital recording and helps to prevent overloading.
9)Charisma
2 Model
9733
Dual channel version of the Charisma tube
processor.
The Charisma 2 is a
dual channel tube processor designed to improve the power, punch, dynamics and
the subjective loudness of processed signals. Designed to introduce a subjective
tonal warmth and a smooth bottom end into digitally recorded material, Charisma
exceeds the mere simulation of tape saturation.
Charisma also helps to
prevent overload and clipping on digitally or analogue recorded tracks. Charisma
gives your signals more clarity, transparency and presence. Each part of the
mix, instrument or vocal can easier be distinguished and located. Using the
Charisma on single instruments alone lets those signals stick out of the mix. It
also helps you to place vocals in a densed playback and maintaining their
presence. The Charisma is equipped with XLR-connectors and TRS stereo jacks for
balanced operation.
2.Analog
1)SPL Surround Monitor
Controller Model
2380
The SPL Surround Monitor Controller (SMC)
is a one-point analog volume control and switching matrix
for system-independent 5.1 surround and stereo monitoring
for essentially any audio application.
- Surround and
stereo production
- DVD-V, DVD-A,
SACD and DTS authoring
- Film and video
postproduction
- Video and game
production
- A/V and
multimedia production
- Audiophile home
entertainment systems
The advantages of
the SMC become especially apparent in combination with modern audio and video
production tools such as ProTools¢â, Nuendo¢â, Cubase¢â, Logic¢â, Deck¢â
etc.
One of the SMC's
biggest advantages is the possibility to manage several input sources, i. e. for
comparing and monitoring SACD or DVD material
Technical
Specifications
Input impedance,
balanced (Sub-D): 50 kOhms Unbalanced (RCA): ?10 kOhms Output impedance,
balanced (1/4" TRS): ?600 Ohms
THD+N Input
level -10 dB: 0.04% Input level 0 dB: 0.01% Input level +10 dB:
0.006% Input level +18 dB: 0.002% Input level:+22 dB: 0.1%
Noise, A-weighted:
-98 dB Maximum input level: +22 dB Dynamic response: 120 dB
Common mode
rejection @100 Hz: ?70 dBu @1 kHz: ?70 dBu @10 kHz: ?60 dBu @100
kHz: ?50 dBu
Frequency response:
10 Hz-100 kHz (-3 dB)
Phase: -36¡Æ
(10-120kHz, -3 dB center frequency) Phase, linear 20 Hz-100 kHz
Dimensions H x W x
D: 91 x 272 x 220 mm (3 9/16" x 10 11/16" x 8 21/32")
Weight 2.3 Kg (5
lbs)
2)MMC 1
Model
2160
Multichannel Mastering Console
In cooperation with one of the leading mastering facilities,
Galaxy Studios in Belgium, SPL has developed the first multichannel console for
stereo and surround mastering applications introducing the 120 V High Gain
technology.
As the
first manufacturer worldwide, SPL has developed a stereo and multi-channel
mastering console. The goal of the development was a console which is superior
in audio quality to all known and foreseeable audio formats, whether analogue or
digital, allowing an unrestricted reproduction of the sonic quality of SACD and
DVD-Audio and to be a safe capital investment The MMC 1 operates in the
centre of a mastering environment fulfilling the tasks of speaker management,
source connectivity, audio metering, track assignment, master and monitor level
setting and automated insert routing of external processors.
Digital audio formats are subject to further development and
change. The degree of incompatibility enforced by the ¡°format war¡± between PCM
and DSD has persuaded us to decide for a technology that is superior in dynamic
range, headroom and sound quality ? and that is discrete analogue technology in
its most advanced implementation.
And there are further requirements speaking for the employment of
high-performance analogue technology:
- The number of
necessary AD/DA conversions should be reduced to a minimum. Digital sources
can be connected to a digital router (i.e. of Z-Systems), which outputs the
selected source through the preferred DA converter to the MMC 1. Thus it is
ensured that the sound quality remains comparable and is not affected by
converter differences.
- From a
sound-aesthetical view, high-quality analogue outboard processing is superior
to digital processing. The analogue concept allows for problem-free
integration of those processors.
- Monitors and
power amplifiers are mostly analogue designs. Why have another converter in
that chain?
New Technologies In the MMC 1 SPL¡¯s new SUPRA operation
amplifiers are used throughout. They operate at 120 V operating voltage. During
a four-year period, SPL has researched this discrete operation amplifier, until
the basis of a new generation of analogue audio technology was found. The SUPRA
operation amplifier obtains a signal-to-noise ratio of 116dB with an headroom of
34dB. The dynamic range amounts to 150dB with a frequency bandwidth ranging to
200kHz.
With
these basic specs, the MMC 1 is beyond the requirements of today's PCM digital
formats up to 24 bit and 192kHz sampling rate or DSD digital format with 1 bit
and 256 fs. It is not to be expected that digital technology will offer an
environment in foreseeable time, in which the MMC 1 could become a ¡°bottle
neck¡±.
The MMC 1 configuration in short
- In the Source
section the Inputs (4x stereo/ 4x 8-channel) and Returns (8x stereo/ 8x
8-channel) can be selected.
- The Input
section offers a passive router to re-assign the track configurations of the
various surround formats to match the SMPTE/ITU standard. Each input channel
is equipped with an On, Phase Reverse and a special Trim switch for precise
gaining in 0.5dB steps from -9,5dB to +6dB.
- The Insert
section is quite unique. It offers control functions for an automated
patchbay, called Insert Box. Up to eight 8-channel processors can be connected
to this outbreak 19¡± unit. The mastering engineer can store and compare up to
four sequences by a push of a button. An all-over bypass switches the Insert
Box in and out of processing.
- The Monitor
section features a central Monitor Level control and switches for Mute and Dim
levels. Two stereo loudspeaker sets and two surround loudspeaker sets of up to
eight speakers can be connected to the MMC 1.
The speaker management offers
an On and a Solo switch for each loudspeaker. The Solo function operates as
Solo-in-place. With the Solo-to-Center switch each speaker can be monitored
through the centre speaker for better comparison. There is provision to
monitor the LFE on the L/C/R. Three Mono functions (L/R; LS/RS; Lt/Rt) and two
mode switches for stereo or multi-channel operation round up the Channel
Selection section. The meter bridge houses a RTW Surround Monitor 10800x and
eight big VU meters with superb ballistics. The remote control for the RTW
Surround Monitor is already built into the console next to the calibration
switches for the VUs. The VUs can be switched to either show input or output.
The VUs can be calibrated to eight different values (0
dB/-2/-4/-6/-8/-10/-12/-14 dB).
- The Master
section is dominated by a second eight channel level control. With the Master
Level control, the overall output level of the desk to the recording sends is
governed. The range of adjustment is from -10dB to +10dB.
- The Output
section offers the same Trim switch for precise gaining as used in the Input
section. Level differences, which may have been introduced by outboard
processing, can be compensated for each channel in 0.5dB steps ranging from
-9.5dB to +6dB.
3)PQ
Modell
2050
Parametric Mastering Equalizer
Discussions on the qualities of current
audio technology are often confined to the supposed analogue/digital controversy
? whereby the capabilities of analogue technology, which have considerably
improved in recent years, are surprisingly often disregarded
...
Who needs another
equalizer? Check this:
- Pure analog,
discrete Class A equalization circuitry
- Constant Q and
proportional Q equalization (selectable per band)
- Digital
storability and total recall with motorized controls
- Channel link and
master/slave unit link modes (deactivatable per band)
- 120 Volt
internal operating voltage for clean, consistent audio
- Remote control
unit controls up to four PQ¡®s for surround processing*
- SPL¡®s discrete
SUPRA op-amps with 150 dB dynamic range
- Exactly the
equalizer you¡®ve been wishing someone would build ...
The PQ is a fully parametric, dual-channel 5-band
equalizer. As with all SPL High Gain units, the PQ has an operating voltage of
124 V and is constructed with the best analog components available.
Technical specifications
Input impedance (balanced): 10
kOhm (Welwyn precision resistors; transformerless) Output
impedance (balanced): 600 Ohm (CMR trimmers,
transformerless) Overload resistance: +34 dB Harmonic
distortion: @ -30 dBu: 0.2% @ -20 dBu: 0.05% @ 0 dBu: 0.01% @ +10 dBu:
0.002% @ +30 dBu: 0.0005% S/N ratio: A-rated: -108 dBu CCIR 468-3: -97
dBu Transmission bandwidth: 8 Hz-200 kHz Processed frequency range: 10
Hz-28 kHz Phase: +5.5¡Æ @ 10 Hz 0¡Æ @ 1 kHz -1.23¡Æ @ 10 kHz -8.8¡Æ @
100 kHz -11.25¡Æ @ 200 kHz Common mode rejection: ? 70 dB @ 100 Hz, 1 kHz,
10 kHz Dimensions: Standard EIA 19¡° rack chassis (4 units) Weight: 18,25
kg/40,15 lbs
4)Atmos 5.1 Surround Miking System, Model
9843
Surround miking is a major issue for all artists seeking to
produce 5.1 music that is both realistic and equal to the resolution of the best
stereo recordings. SPL of Germany is proud to introduce the first complete
5.1 microphone solution that addresses both ease of use and quality of audio.
The Atmos 5.1 system is a fully integrated surround microphone mixer package
using Brauner of Germany mic elements in the ASM 5 array and the custom
designed, hand built SPL ATMOS 5.1 mixer. The entire system can be set up in
minutes to reveal discrete 5.1 recordings of highest possible
fidelity.
With the Atmos 5.1 Surround
Miking System SPL has developed a compact location recording and
mixing/premastering console fulfilling the demands of today's 5.1 recordings.
Brauner's 5-channel Adjustable Surround Microphone ASM 5 is ideally
complementing the Atmos 5.1 controller.
Although any
existing microphone set-up may be used with the Atmos 5.1, the combination of
Atmos 5.1 and ASM 5 supports latest knowledge in surround recording and offers a
complete system that can be set-up in a fraction of the time needed to set-up
conventional systems.
The fully analogue
Atmos 5.1/ASM 5 Surround Miking System supports any multichannel media like DVD
and SACD and it is independent from the encoding process (PCM, DSD, AC3, DTS,
SDDS, ISO/MPEG2). Comprising a main unit and a separate power supply, the Atmos
5.1 occupies 5U of rack space with the PSU being just 1U.
To record a coherent
room sound for 5.1 has proven to be difficult. Today's recording methods involve
numerous microphones (some close-up plus additional room mics) and a desk
capable of handling dozens of channels. Nevertheless, due to the individual
phase responses of each microphone a "real" reproduction of the room sound is
hard to achieve. Other systems generate the L/R, SL/SR, centre and sub from
microphones with four capsules exhibiting certain shortcomings when reproducing
the recording in 5.1.
The combination of
Atmos 5.1 and ASM 5 has proven in various recording sessions of Live Jazz and
Big Band events as well as classical recording sessions to be very accurate in
reproducing the listener's position and creating an atmosphere of "being there".
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