SPL Track One Mk3 Mono Channel Strip

In broadcast and voice recording, the compact channel strip has already made a big name for itself. Whether singer-songwriter, live event or podcast – The SPL Track One always delivers a great sound. It enriches the microphone, line or instrument signal. De-esser, compressor/limiter and equalizer ensure professional results. The high-quality recording and mixing channel strip has been improved again with the latest Mk3 version in some technical details and optimized with the needs of modern recording studios in ind. The new design of the SPL Studio Series provides this third generation Track One with a more intuitive and at the same time classy design.

PREAMPLIFIERS

The Track One is equipped with two preamps: a microphone preamp with 48V phantom power and a separate instrument preamp. Both are tuned to a sound-neutral, open and transparent characteristic.

The gain control can be used to adjust the preamplification. For microphone signals, a preamplification of up to 63 dB can be realized – so even really demanding microphones can show their qualities. The control range for line signals ranges between -12 dB and +22 dB. The control range for instrument signals ranges between 0 dB and +35 dB.

DE-ESSER

Unobtrusively and effectively, the Auto-Dynamic De-Esser removes distracting S‑sounds, in a mix or on vocal tracks, by detecting only the S‑frequencies, mixing them back into the main signal phase-inverted, and thus simply deleting sibilants in the original signal. The Auto-Threshold control maintains constant processing even as the singer’s distance from the microphone varies. The result is tonally neutral, unobtrusive and extremely effective. Even at high S‑reduction values, the de‑essing has no significant effect on the character and timbre of the voice.

COMPRESSOR/LIMITER

The compressor is also extremely easy to operate via a controller; its strength lies in its unobtrusive, musical operation. The compressor/limiter section has excellent specifications in terms of noise and distortion.

The Compression control can be used to set a threshold between 0 dB and -20 dB. The lower the threshold, the more the compressor works.

The Gain Reduction display indicates the processing that is being performed with the compressor. The level reductions due to compression are displayed in 1.5 dB steps. The Make-Up Gain control can be used to make up for the overall level reduction caused by compression. A value between 0 dB and 20 dB can be set by which the level is increased again after compression.

With the help of the Gain Reduction display on the panel, the adjustment is very simple: if the maximum reduction value caused by the loudest part is e.g. -9 dB, the Make-Up Gain control should be set to values around +9 dB.

The Limiter switch puts the compressor into limiter mode. The threshold is still set by the compression knob. The limiter is designed as an unobtrusive working soft limiter.

EQUALIZER

The center frequency of the half-parametric bass filter is set with the LMF control (low/mid frequencies). The adjustable frequency range is between 30 Hz and 700 Hz so that this filter covers a range of about 4.5 octaves, allowing it to be used from the deepest bass to the lower mid range.

The center frequency of the semi-parametric mid/high frequency filter is set with the MHF control. (MHF: mid/high frequencies). The frequency range can be set between 680 Hz and 15 kHz so that this filter covers a range of 4.5 octaves and can be equally employed in the lower mid as well as the high range.

The high frequency filter in the equalizer module is described as Air. A coil-capacitor filter with so called bell characteristics and a center frequency of 19 kHz comes into operation here. At this frequency the maximum possible accentuation is +10 dB, the maximum possible damping is -10 dB. The soft and natural tonal property, characteristic of the coil-capacitor filter, lends itself extremely well to provide clarity and air to vocals in the upper frequency range thereby improving their presence. On the other hand harsh sounds can be lent a more pleasant sound characteristic through damping.

FEATURES:

• Two preamps for microphones and instruments
• Transparent microphone preamp provides up 65 dB gain
• Big-iron input and output transformers
• De-Esser erases sibilants from recording
• Compressor/limiter for dialing in dynamic range
• 3-band EQ provides extensive tone-shaping options