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Mastering Consoles

For years the top mastering engineers at the hottest facilities have been using custom-designed gear that was not available to the rest of us…until now.  The Dangerous Master represents the latest generation of the legendary Sterling Sound/Chris Muth mastering transfer consoles.  Working side-by side over several decades with many of the best mastering engineers in the business, Chris and the equipment designed in this unique collaborative environment have set the standard for the form, function and sonic performance of the modern mastering setup.  Highlights <ul><li>Unparalleled fidelity, detail and imaging</li><li>Pristine, uncolored signal path</li>
<li>100% Analog sum-and-difference processing</li><li>Stepped controls throughout</li><li>Integrates seamlessly with the Dangerous Monitor</li></ul>The Dangerous Master is the no-compromise heart of the mastering studio.  Its transparent circuitry seamlessly integrates the power of analog signal processing by allowing easy insertion of equalizers, compressor/limiters and de-essers.  100% stepped switching provides accurate and repeatable level control as well as easy pre-post monitoring with level matching through the Input Monitor Offset feature.  The S&M mid-side processing loop allows unprecedented control of the stereo image. The integrated Input Monitor Offset allows you to focus on the sound of your master without being fooled by the pre- and post-process level differences. The S&M matrix is an analog sum and difference processor affording unprecedented control of stereo signals. Mastering engineers will enjoy the fact that S&M allows them to save seemingly unsalvageable tracks by altering vocal levels without touching the mix, by fixing overly wide or narrow stereo fields, or by de-essing aggressive cymbal hits while leaving the center lead untouched. Dangerous Master, combined with the Dangerous Monitor and your favorite processing gear, will provide you with what you need to turn any mix into a professional master. As with all Dangerous Music equipment, the Dangerous Master is designed by engineers, for engineers, and built by hand using the highest quality components.
 
Specifications
<ul>
<li>All connections are Balanced XLR, +4dBu nominal operating level
</li><li>2 stereo inputs
</li><li>3 stereo outputs (one for monitoring)
</li><li>3 insert loops
</li><li>2nd insert capable of MS matrix operation
</li><li>Input and Output controls: + - 5dB in 0.5dB steps
</li><li>Input Monitor Offset: -2 to +8dB in 0.5dB steps
</li><li>Width control: -4 to +6dB in 0.5dB steps
</li><li>Attenuator accuracy: 0.02dB (0.01dB typical)
</li><li>THD+Noise in audio band: 0.003%
</li><li>IMD 60Hz + 4kHz 4:1: 0.004%
</li><li>Crosstalk rejection: Better than 95dB @ 1kHz
</li><li>Headroom: > +27dBu, +23dBu in the matrix under worst case conditions
</li><li>Frequency response: Better than 0.2dB down @ 1Hz and 100kHz
</li><li>Noise floor: < -89dBu total energy in the audio band
</li><li>Warranty: 2 years parts and labor, subject to inspection. Does not include damage incurred through abusive operation or modifications/attempted repair by unauthorized technicians. </li></ul>

Dangerous Music Master
The Analog Backbone for Discerning Mastering Engineers

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The Manley Laboratories Backbone Mastering Insert Switcher is built with a unique electronic topology that maintains a fully balanced signal path through 95% of the console. All other designs require the balanced signals to be converted to unbalanced before sections that, for example, allow you to boost or cut level, then inversely need to be converted back to balanced to feed the outside world. In other words, this new topology not only does it in one stage rather than 3 or 4, but also does it as cleanly and quietly as any single stage that we know of, including fully discrete approaches. This topology also provides better common mode rejection and power supply rejection than conventional approaches. This is significant especially in the “Sum-Difference” functions. Each of the 10 gain blocks and all of the switches are on connectors, which means, if the need ever arises for service, it can likely be done quickly without the need for a technician or soldering iron – just a medium-small Philips screwdriver. No expense was spared in the quality of the parts, so one should expect many years of continuous professional use. Please note that this is not a “Monitor Control Box.” It is simply a device that helps route various analog processors with maximum fidelity or allows you to maintain the shortest possible signal path while providing some flexible central control functions. This unit is not supposed to color your sound in the least; it just exists to let you use your favorite outboard gear in more creative ways. Manley Backbone Features: 
<UL>
<LI>3 x Inputs 
<LI>8 x Inserts 
<LI>Balanced signal path all the way 
<LI>Left - Right Reverse 
<LI>Absolute Polarity Reverse 
<LI>Bypass GAINS makes passive signal path 
<LI>Over 90 nice relays 
<LI>Lotsa pretty EAO switch buttons that you can easily custom label 
<LI>4 x 24 position Grayhill switch attenuators for INPUT and OUTPUT GAINS 
<LI>MID - SIDE (MS Matrix) for Inserts 2 & 3 
<LI>SWAP order button for Inserts 4 & 5 
<LI>MIX - FADE injection between 7 & 8 
<LI>Expensive Penny & Giles rotary fader/mixer 
<LI>Available with ELCO or DB25 I/O connection system 
<LI>Bulletproof MANLEY build quality. But of course! </LI></UL>Specifications subject to change because they just might.

Manley Backbone DB25 I/O Version
Mastering insert switcher with DB25 connectors

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Manley Backbone Elco I/O Version
Mastering insert switcher with Elco connectors

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The Maselec MTC-1 is the perfect tool for mastering studios as well as for high quality home recordings. With exceptional sonic properties, new functionalities and usual rock solid Maselec quality, the MTC-1 is an ideal alternative to the MTC-2 mastering console. The MTC-1 measures 3 U height with a depth ‘behind panel’ of 260mm and 8kg weight. The front control surface has 42 push-button controls with LED lights and 11 high quality rotary switches. Gold XLRs are used for all audio connections, assisting the use of highest quality cables. Connecting and rearranging external equipment is very easy. The Input section: <ul><li>Input source selection</li><li>Phase invert for left and right</li><li>Separate Left and Right gain controls</li><li>5dB additional gain selectable for low level sources</li><li>Low-cut and High-cut filters</li><li>Independent Cut controls for left and right</li></ul>The Output section: <ul><li>Separate Left and Right gain controls</li><li>Elliptical filter with 20 frequencies</li><li>Stereo Width control</li><li>Output Cut control</li><li>The stereo image circuits are identical to the famous controls of the MTC-2</li></ul>The Insert section has six insert points and offers additional powerful functions: <ul><li>M-S with gain control for the ‘difference’ signal</li><li>Inserts 1 & 2 equipment swap (FLIP)</li><li>Insert 4 or Inserts 2-4 cross-fade or additive mix with</li><li>the use of a rotary switch. This function could be</li><li>used for ‘parallel’ compression or adding reverb</li><li>Inserts 4 & 5 equipment swap (FLIP)</li><li>Insert 6 can be moved to Post Output. This is the preferred position for a brick-wall limiter.</li></ul>The Monitor section: <ul><li>Four external Monitor Sources</li><li>Monitor of the Input and Output sections</li><li>Two speaker feeds</li><li>Monitor of the Stereo-, Left-, Right-, Mono- or</li><li>Difference- signal</li><li>Individual Cut controls for Left and Right speakers</li><li>Progressive Dim function</li><li>Meter output, which follows the monitor source</li><li>–6dB, -8dB and –10dB Meter Offsets</li></ul>

Maselec MTC-1
Stereo mastering transfer console

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Maselec MTC-6 Surround
Surround extension for the MTC-2

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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. 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. Moreover additional aspects speak for the employment of high-performance analog technology: 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. 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. 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. New Analog Technology 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.

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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. Fade In ... 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: 
<UL>
<LI>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. 
<LI>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. 
<LI>Monitors and power amplifiers are mostly analogue designs. Why have another converter in that chain? </LI></UL>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

SPL MMC 1
Eight-channel, multichannel-ready mastering console.

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Our 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. 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. Moreover additional aspects speak for the employment of high-performance analog technology: The number of necessary AD/DA conversions should be reduced to a minimum. With the MMC2, 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. 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. 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. New Analog Technology 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 MMC2 rides comfortably beyond the requirements of either the current maximum 24Bit/192kHz PCM format or 1Bit/256 fs DSD format. MMC2 Configuration Source The Source section is divided into two parts: Stereo and Multi-Channel Inputs and Stereo and Multi-Channel Returns. The inputs are fed to the mastering path. The MMC2 accepts two stereo inputs and two 8-channel inputs here. The Return On switch allows for selection of two stereo and four multi-channel returns in total to offer selection options for returns from recorders, DAW, SACD and DVD-Players, AC3/DTS encoder/decoder, and so on. Input Signals selected in the Source section are routed to the Input section. The signal passes a passive Phase Reverse switch, followed by the detended Trim control. The trimming range covers –10dB to +10dB in 0.5dB detentions. The trimming stages can be switched out of the signal path entirely. Insert The signal is now routed to the Insert send/return connector. The MMC2 offers a switchable Insert point to include external processors into the signal path.

SPL MMC 2
The MMC2 is the compact 19" rack format version of the fully-featured MMC1 multichannel mastering console

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