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SPL Audio

The <b>SPL 2Control</b> combines speaker and headphone monitoring control with innovative features in an attractive high-quality package. The all-analog 2Control allows for connection and selection of two stereo input sources, two stereo speaker sets and two headphones. A third mono speaker output can feed a subwoofer. Speaker volume is controlled by the central, massive volume potentiometer. Each headphone output is fed by its own amplifier stage and can be controlled independently. Mono and DIM switches provide further necessary monitoring functions.
<br><br>
But the key function is undoubtedly the <span style="font-weight: bold;">crossfeed control</span>, a new innovation from SPL. It simulates frequency-dependent interaural level differences from both channels so that the super stereo effect on headphones can be adjusted to the stereo width of a given speaker set, which essentially means that the user is able to adjust the crossfeed with the headphones to match the stereo imaging of the speakers in the room. This is a new and unique feature which allows audio to be mixed on headphones.
<br><br>
The 2 Control addresses all DAW users in audio mixing and AV production with the need for monitoring control and is especially effective in avoiding acoustically problematic environments (desktop workspaces, recording mobiles etc.). The 2Control will be available from December 2008.

SPL 2Control
Speaker & Headphone Monitoring Controller

SPL Frontliner
Channel Strip and Processing Unit

SPL Vox Ranger RackPack Module
8-band passive graphic equalizer

SPL RackPack Frame w/PSU
19"/3U Main frame with external PSU. Includes front and back covers. Provides space for up to 8 modules. Unloaded.

SPL Bass Ranger RackPack Module
8-band passive graphic equalizer

SPL Full Ranger RackPack Module
8-band passive graphic equalizer

SPL Transient Designer RackPack Module
Envelope modeling device with stereo link, attack, sustain and output controls

SPL Twin Tube RackPack Module
Effects Processor

Part of the SPL RackPack modular system series, the <B>DynaMaxx</B> probably is the most consequent interpretation of a "set & forget" compressor concept. In keeping with the SPL design philosophy, it incorporates many features not found on standard compressors, and a unique control system makes is surprisingly easy to use. <BR><BR>The <B>SPL DynaMaxx</B> also offers a de-compression mode which may be used to counter the effects of overcompression in previously processed source material. <BR><BR><B>Why is DynaMaxx so different?</B> <BR>Though auto attack and release functions are nothing new, in the DynaMaxx design, the time constants are automated in a very musical way. DynaMaxx optimizes all time constants in real time during processing so that the compression characteristics are continually matched to the source material. <BR><BR>The DynaMaxx circuitry actually uses two of the excellent THAT 2181 VCAs in SPL’s Double VCA-Drive mode configuration, which doubles the operating range while increasing transparency and reducing distortion. Another benefit of the DynaMaxx circuitry is that high compression ratios do not affect high frequency detail – high amplitude, low-end bass can be controlled without introducing pumping or other negative side-effects. Similarly, complex stereo sources can be processed easily and very musically. <BR><BR>The DynaMaxx has numerous applications in recording and mixing, as well as for live applications, and because of the level of intelligent processing within the unit, there are only two controls to adjust per chan- nel, making operation very intuitive.

SPL DynaMaxx RackPack Module
Modular compressor

SPL Premium Mic Pre RackPack Module
High-end, discrete triple stage mic preamp, Lundahl input & output transformers, 80dB gain, 48V, PAD, HP, VU meter, active output split, balanced XLR I/Os

SPL Preference Mic Pre RackPack Module
Mic preamp, 72dB gain, 48V, PAD, HP, VU meter, active output split, balanced XLR I/Os

SPL Transient Designer TX
Compressor module for Tonelux rack series

<B>A world's first from SPL</B>
<P>The <B>Transient Designer</B> offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way!
<P>Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally. 
<P>The Transient Designer allows you to emphasise or smooth the attack and extend or shorten the sustain. For the first time it is possible to shape the dynamic path of a signal as you want, as if for example you were changing the microphone distance and position after the recording has been made.
<P>With no effort you can shorten or lengthen the attack of all kinds of percussive signals, such as the bass drum, snares, toms, congas etc. to give them more kick, or to flatten the signals. It s almost like being able to change the amount of drum damping after the recording. The same applies to virtually any other signal: Amplify or reduce the picking sound of an acoustic guitar, hold the sound of the strings longer, reduce the reverbtime of a choir, compress solo vocals, increase intelligibility, actuate the piano pedal electronically , turn down the slapbass a notch or give it even more attack, etc.</P>

SPL Transient Designer 2
Allows transients to be accelerated or slowed down and sustain prolonged or shortened - two-channel version

The <B>SPL Transient Designer</B> offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way! 
<P>Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally. 
<P>The Transient Designer allows you to emphasise or smooth the attack and extend or shorten the sustain. For the first time it is possible to shape the dynamic path of a signal as you want, as if for example you were changing the microphone distance and position after the recording has been made. 
<P>With no effort you can shorten or lengthen the attack of all kinds of percussive signals, such as the bass drum, snares, toms, congas etc. to give them more kick, or to flatten the signals. It s almost like being able to change the amount of drum damping after the recording. The same applies to virtually any other signal: Amplify or reduce the picking sound of an acoustic guitar, hold the sound of the strings longer, reduce the reverbtime of a choir, compress solo vocals, increase intelligibility, actuate the piano pedal electronically , turn down the slapbass a notch or give it even more attack, etc.<BR><BR><B>Input & Output</B> </P>
<UL>
<LI>Instrumentation amplifier, electronically balanced (differential), transformerless 
<LI>Nominal input level: +6dB 
<LI>Input impedance: = 22kOhms 
<LI>Output impedance: < 600Ohms 
<LI>Max. input level : +24dBu 
<LI>Max. output level: +22,4dBu 
<LI>Minimum load ohms: 600Ohms 
<LI>Relay Hard Bypass 
<LI>Power Fail Safety </LI></UL>

SPL Transient Designer 4
Allows transients to be accelerated or slowed down and sustain prolonged or shortened - four-channel version

The <b>SPL Mix Dream</b> design plan provides for the integration of analog equipment in digital production environments and stereo mixdown at the analog level. 
<p></p>
<p>This concept offers high-grade analog summing without panorama and fader controls, in turn allowing an engineer to retain the entire scope of his computer automation. One MixDream can sum up to 16 audio tracks to a stereo signal, and should the need arise for more than 16 tracks, several MixDreams may be linked together. </p>
<p>The MixDream discrete class A technology is based on a 60-volt rail (+/- 30V). Newly developed circuitry, based on the most modern analog components, guarantees an extremely high slew rate, a low noise level of -97dBu (A-weighted, all channels active) and a dynamic level of over 125dB. Thus the MixDream easily realizes the technical level of the best analog consoles. </p>
<p><b>Analog vs. Digital Summing</b><br>Nowadays, many are asking whether analog summing is better than digital summing. But perhaps the real question is whether digital summing better than analog summing? We at SPL don‘t know of anyone who says so. We do know that summing with the MixDream creates an amazing signal depth, precise localization and a wonderful stereo imaging. Moreover, the addition of individual instruments results in soft and pleasant transitions. These are analog summing differences that we hear—and that you can expect. </p>
<p>However, in contrast to simple summing devices the MixDream‘s insert and processing capabilities clearly spotlight a factor that is most important in a quality mix: while quality summing is the basis of a good mix, quality processing in the mixing process has the biggest influence on sound. When engineers discuss the qualities of highly-acclaimed analog consoles, it is very often the superior analog processing potential of such consoles that is an integral part of such “shop talk”. </p>
<p>The MixDream now allows DAW users to exploit this potential with maximum comfort and uncompromising quality, ensuring that nothing can stand in the way of the engineer‘s having the best of both analog and digital worlds. </p>
<p><b>Reduction of A/D conversions</b><br>Calculated with 16 units for all MixDream inserts, 14 A/D conversions can be spared in the summing process: DAW insertion of 16 analog units through A/D-D/A converters requires 32 conversions, while with the MixDream only the summed signal needs to be converted (18 conversions). Especially the critical A/D conversions are reduced to a minimum and the analog effects are summed before any (in principle not loss-free) A/D conversion has to be made at all. </p>
<p><b>The MixDream in Mastering</b><br>Multi-channel sessions can be mixed and processed in analog, something that may also be of special importance when an engineer wishes to upsample to SACD or DVD-A. </p>
<p><b>Controls for stereo summing<br></b></p><div style="margin-left: 40px;">• Adjustable insert level<br>• Stereo expansion control with infinite gradation<br>• Adjustable analog peak limiter<br>• Adjustable outputs with added in/out switching of Lundahl transformers </div>
<p><span style="font-weight: bold;">Processing, but you choose the mix</span><br>Each input channel is equipped with a signal-present LED and a switchable insert-loop. A three stage toggle switch per channel allows the choice of whether or not a channel should be added to the mix buss.<br><br>With the No-Mix switch control, a channel may be removed from the mix while remaining available for re-recording through its Direct Output. The No-Mix function can be particularly useful, for example, when the engineer wishes to add track compression. The compressed signal can be re-recorded to the DAW for level automation. This is also known as “bounce back” capability, and without it, compressed signals could n</p>

SPL MixDream Includes Slate Digital Virtual Console Collection - Free!
Analog summing unit with 16 inserts
Offer valid from 4/23/12 through 6/30/12

The <span style="font-weight: bold;">SPL MixDreamXP</span> design plan 
provides for stereo mixdown at the analog level. This concept offers 
high-grade analog summing without panorama and fader controls, in turn 
allowing an engineer to retain the entire scope of his computer 
automation. In use, the MixDreamXP requires almost no departures from an
 engineer‘s usual working mode, so that all his trusted DAW features and
 familiar working routines remain available while the MixDreamXP 
seamlessly expands his aural mixing palette.<br>
<ul><li>Active analog summing on just 1U rack space—no analog mixing console necessary</li><li>Sophisticated, active Class A/6oV stages for analog summing in the quality of the best consoles</li><li>All analog tracks can be summed before A/D conversion.</li><li>Channel adjustments and automation (level, panorama etc.) remain controlled from the DAW - no digital efficiency is lost</li><li>Lower DAW processor utilization rates</li><li>Latency free monitoring</li><li>Surround capable (from up to 3 MixDreamXP units)</li><li>Channel capacity expandable through linked units</li><li>Proprietary differential amplifiers for each input</li></ul>
One MixDreamXP can sum up to 16 audio tracks to a stereo signal, and 
should the need arise for more than 16 tracks, several MixDreamXP may be
 linked together. Owners of a MixDream, model 2384, can expand this unit
 with the cost effective MixDreamXP at an identical quality level and by
 the way, that‘s where the suffix „XP“ comes from (=Expansion).<br>
<br>
The MixDreamXP discrete class A technology is based on the same 60-volt 
rails (+/- 30V) of the MixDream model 2384. Newly developed circuitry, 
based on the most modern analog components, guarantees an extremely high
 slew rate, a very low noise level of -97dBu and a dynamic range of 
125dB. Thus the MixDreamXP easily reaches the technical level of the 
best analog consoles.<br>
<br>
<span style="font-weight: bold;">Analog vs. Digital Summing</span><br>
Nowadays, many are asking whether analog summing is better than digital 
summing. But perhaps the real question is whether digital summing better
 than analog summing? We at SPL don‘t know of anyone who says so. We do 
know that summing with the MixDreamXP creates an amazing signal depth, 
precise localization and a wonderful stereo imaging. Moreover, the 
addition of individual instruments results in soft and pleasant 
transitions.<br>
<br>
These are analog summing results that we appreciate from past decades of
 the best analog technology. The MixDreamXP now allows DAW users to 
exploit this potential with maximum comfort and uncompromising quality, 
ensuring that nothing can stand in the way of the engineer‘s having the 
best of both analog and digital worlds.<br>
<br>
<span style="font-weight: bold;">Connection of Sampler, Keyboards etc.</span><br>
Along with DAW audio tracks and effects machines or processors in the 
insert loops, samplers, keyboards and expanders may also be connected 
directly to the MixDreamXP. Then the Midi tracks need only be added in 
the DAW project, the outputs (for example, from a keyboard) are then 
routed directly to the MixDreamXP.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">Mono Controls</span><br>
To save converter channels, all channels may be switched to Mono so that two signals can be converted by a paired D/A.<br>
<br>
In this case such signals are characteristically chosen which would 
receive a more central placement in the stereo mix (e.g. kick, snare, 
lead vocal, bass). All channel pairs must otherwise be panned hard 
left/right in the mix.<br>
<br>
<span style="font-weight: bold;">Summing</span><br>
Tracks destined for analog summing are routed from the DAW to the 
MixDreamXP via A/D converters. Identical converters are ideal to exclude
 level and sound differences.<br>
<br>
Although you may often wish to sum more than 16 tracks, a general 
recommendation to reduce track numbers is to route those tracks to a 
common output bus of the sequencing program which are not played back 
simultaneously in your arrangement. This way you avoid digital summing 
and your production benefits from the full potential of 100% analog 
summing.<br>
<br>
With mono signals one should switch these to mono mode to confine them 
to single D/A converter, thereby avoiding the waste of having to use a 
D/A pair for one mono track. In the DAW such signals must be panned hard
 left or right.<br>
<br>
<span style="font-weight: bold;">Summing of Subgroups</span><br>
To reduce track numbers, there are two other options besides the above mentioned "Summing" tip:<br>
Well, you could buy additional MixDreamXP or sum your grouped 
tracks with the MixDreamXP itself.<br>
<br>
For example, if you've done a chorus backup in 16 solo tracks, you can 
adjust your panning in the DAW and the MixDreamXP sums a stereo mix 
which is recorded again—the sound benefits of analog summing are larger 
than the disadvantage of a further A/D-D/A conversion.<br>
<br>
<span style="font-weight: bold;">MixDreamXP in Mastering Applications</span><br>
The MixDreamXP is predestined for mastering applications, as SPL planned its superior sound quality for just such occasions.<br>
<br>
Two applications are especially interesting: discrete Mastering, and 
up-sampling to SACD/DVD-A formats. Normally a studio mastering engineer 
requires that a stereo file be made available for his or her work. But 
in such a mixdown, any problems (for example, significant variations in 
volume among instrumental subgroups) will mean equally significant 
limitations to your final mastering options. Instead, however, if one 
masters from a discrete mix with single tracks or subgroups, each of 
these can be adjusted just as easily and quickly in the mastering 
process - to the extent that even individual groups can be tweaked with 
different processing. Your final result is clearly better and the time 
needed, minimal - especially since it is less likely that a new mix will 
be called for.<br>
<br>
Multichannel sessions can be summed in the infinite resolution of analog
 signal processing equipment, something that may also be of special 
importance when an engineer wishes to up-sample to SACD or DVD-A.<br>
<br>
<span style="font-weight: bold;">Linking Several MixDream XP</span><br>
An expansion connector provides for a second MixDream XP input should 16
 channels not suffice. The Main Outputs of the second MixDream XP must 
be connected to the Expansion Inputs of the first unit; do not connect 
both Expansion Inputs.<br>
<br>
If more than three MixDream XP are to be summed, SPL recommends to 
employ a further MixDream XP as master - otherwise the signals from the 
first MixDream XP (to cite a "worst case scenario“) would unnecessarily 
be summed in each following unit.<br>
<br>
In such a chain One MixDream XP is connected to the Expansion Inputs 
while all other units are connected to the usual (DB25) Input Channels.

SPL Mix Dream XP
Analog summing device

The <B>SPL</B> <B>Channel One</B> 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 (12AX7-LPS tube type), a de-esser, a compressor/limiter with noise gate, an EQ section and a headphone monitor. <BR><BR>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. <BR><BR>The preamp stage provides three (four with converter option) optimised inputs: The microphone input features 48V phantom power, phase reverse function and a subsonic filter. The low-impedance Line input has a precise balancing stage for connecting studio equipment. The low-noise, high-impedance instrument input is easily accessible on the front panel. Digital insert is possible using the optional AD/DA converter. <BR><BR>The de-esser subtly yet effectively removes offending sibilants by processing only the “S” frequencies. The Auto-Threshold mode ensures constant processing even when the microphone distance varies. All the user need do is set the desired S-reduction. Insert (Send/Return) allows external effects devices to be looped in or the unprocessed pre-stage signal to be sent out. <BR><BR>The Compressor/Limiter section is based on SPL’s Double-VCA-Drive® circuitry with its outstanding noise and distortion characteristics. The compressor is extremely easy to use via a single knob; its strength lies in the inconspicuous, musical way in which it works. <BR><BR>The Noise Gate operates flawlessly; reverbs are recognized and not cut off. For the Channel One an EQ section was designed especially for processing voices as well as acoustic or electronic instruments. In addition to Low, Mid-Hi and Air-Band filters, a field-effect distortion stage is used to subtly distort the signals in a way that lends character. <BR><BR>The headphone monitor allows the singer or speaker to get an individual mix directly and without latency problems in hard disk recording systems. <BR><BR>The options include a 24/96 AD/DA converter as well as a sound enhancing Lundahl in- and output transformer.

SPL Channel One
A complete SPL channel strip for high-definition recording with a host of features

SPL Charisma 2
Tube Limiter, Tube Sound Variation, 2 Channels

The aim in the development of 120V mastering equipment was the creation of a technology that would be superior in audio quality to all known and foreseeable audio formats, whether analog or digital. Such a console would provide both for an unaltered reproduction of the sonic quality of SACD and DVD-Audio and in the process, remain a safe capital investment for many years. <BR><BR>Digital audio formats have undergone continuous development and change and will continue to do so. The degree of incompatibility created by the “format war” between PCM and DSD is a main argument for a technology that is superior in dynamic range, headroom and sound quality to either or any other such format – and that is discrete analogue technology in its most advanced implementation. <BR><BR>Moreover additional aspects speak for the employment of high-performance analog technology: <BR><BR>The number of necessary AD/DA conversions should be reduced to a minimum. With the DMC, digital sources can be connected to a digital router, which outputs the selected source through the preferred DA converter. This ensures that the sound quality remains comparable and is not affected by converter differences. <BR><BR>From a purely aesthetic standpoint, high quality analog outboard processing consistently proves itself superior to digital processing. The analog concept allows for problem-free integration of such analog processors. <BR><BR>Monitors and power amplifiers are almost exclusively analog in design. Yet another converter at this point in the chain only degrades monitoring signal paths. Furthermore, DSD signals cannot be monitored on a digital monitoring that operates in PCM. <BR><BR><B>New Analog Technology</B><BR>SPL’s SUPRA operation amplifiers are used throughout. They perform at an industry benchmark of 120 volt. The SUPRA op amp achieves a signal-to-noise ratio of 116dB with a headroom of 34dB. The dynamic range amounts to 150dB with a frequency bandwidth of 200kHz. With such specifications, the DMC rides comfortably beyond the requirements of either the current maximum 24Bit/192kHz PCM format or 1Bit/256 fs DSD format.

SPL DMC
The stereo version of SPL's 120 volt mastering consoles.

SPL DynaMaxx
Two-channel compressor/limiter/noise gate & de-compressor

Results 1-20 of 54

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