SPL


시그날 프로세서제품들로 유명한 독일회사로 오랜 경험과 기술력으로 아직도 좋은 제품을 만들어 내는 회사입니다.

 

 
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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/μs

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® 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® 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™, Nuendo™, Cubase™, Logic™, Deck™ 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° (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
T
he 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° @ 10 Hz
0° @ 1 kHz
-1.23° @ 10 kHz
-8.8° @ 100 kHz
-11.25° @ 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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