SPL Track One MK3 2240 | Channelstrip

1.0491.199

Brand: 
SPL

Modification: Without Modification: Lieferung in 3-5 Werktagen

Modification: Lundahl Transformer: Lieferung in 1-2 Werktagen

  • Preamplifier with channel strip
  • 3-band EQ with Air Band
  • Compressor & De-Esser
  • Optional with Lundahl Transformer


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Produkt vergleichenGTIN: 4260149320360 SKU: N/A Categories: , ,

This compact channel strip has already made a name for itself in broadcast and voice studios over the last 20 years. Whether singer-songwriter, live event or podcast – the Track One always delivers great sound. It enhances microphone, line or instrument signals and ensures professional results with the integrated de-esser, compressor/limiter and equalizer.

In the latest Mk3 version, the high-quality recording and mixing channel strip has been improved in a number of technical details and optimized to meet the needs of modern studios. The new design of the SPL Studio series gives the third generation Track One an even clearer and at the same time more elegant look.

 

  • Channel strip for microphone, line and instrument signals
  • Mic preamp with 63dB gain
  • De-Esser
  • 3-band EQ with AIR Band
  • Compressor / Limiter
  • Output-Trim
  • Frequency response: 10Hz – 195 kHz
  • Basic smoke input: -126.8 dBu
  • Noise Mic In: -94.5 dBu at +30 dB gain

Luhndahl Premium

Transformers are transformers that are used as an alternative to electronic balancing stages in inputs and outputs. They are often used in sound engineering as they round off the fundamental range and add a little more pressure. Trebles sound more present and silky. However, in order to achieve maximum precision in signal transmission, electronic stages should be used. Therefore, taste and application are decisive here. If the Luhndahl transformers are used in the microphone input, they provide an additional amplification of 14dB and thus relieve the preamplifier. There is also no additional noise, as the ratio passively raises the level in the transformer. This is why the input transformer is more important for preamplifiers. However, the sonic development is only complete with both transformers together.

Preamp

The preamplification can be adjusted via the gain control. A pre-amplification of up to 68 dB can be realized for microphone signals – so even really demanding microphones can show their qualities.
The control range for line signals is between -12 dB and +22 dB. The control range for instrument signals is between 0 dB and +35 dB.

In addition, 48V phantom power and a low-cut filter with 6 dB/octave at 80Hz are available.

Equalizer & Air Band

The LMF control is used to set the centre frequency of the semi-parametric bass/mid filter (LMF: Low/Mid Frequencies). The adjustable frequency range is between 30 and 700 Hz, so that this filter covers a range of around 4.5 octaves from the lowest bass range to the lower mid-range.

The semi-parametric MHF filter (MHF: Mid/High Frequencies) operates from 680 Hz to 15 kHz and also covers 4.5 octaves.

The gain of both filters regulates the signal by a maximum of +/- 12 dB. Both filters work according to the proportional-Q principle. This means that the bandwidth depends on the selected amplification or attenuation. This filter behaviour enables musically more meaningful processing of the frequency spectrum than with constant-Q filters: the more intensive the settings are selected, the more precisely the frequency range to be processed is determined in order to minimize influences on neighbouring ranges.

The filter labeled AIR in the EQ module is used to process the highest frequency range. A coil-capacitor filter with a bell characteristic is used here, with a centre frequency of 19 kHz. At this frequency, the maximum gain is +/- 10 dB. The soft and natural sound behaviour of the coil-capacitor filter is ideal for brightening up voices or instruments in the upper frequency range and thus improving their presence or giving them more “air”; conversely, sharp sounds can be given a more pleasant characteristic by attenuating them.

Compressor

In the Track One Mk3’s compressor, the parameters for the time constants (including attack and release) are set automatically and therefore adapt better to the changing conditions of the input signal than would be possible with manual control.

The attack time of a compressor should respond quickly with explosive P or T sounds and act more slowly with softly starting sounds, otherwise sound colouration will occur. The compressor in the Track One Mk3 therefore adjusts more quickly for large level jumps than for small ones; long sustained tones are automatically processed with a long attack time.

The regulation of the release time is also dependent on the input signal. Fast and large level jumps are therefore processed with shorter time constants than small level jumps. Similar to the attack time control, the system adjusts with large time constants in the event of small level jumps in order to keep the distortion of the audio signal as low as possible. This technique represents the golden mean between fast, unobtrusive control behavior and minimal distortion, resulting in a natural and transparent sound. Another special circuitry feature contributes to the high sound quality of the compressor in the Track One Mk3: the double VCA circuit. Two VCAs are used, one receives an in-phase signal, the other a phase-rotated signal. The two signals then pass through a differential amplifier. The effect of this circuit is to eliminate distortion products and offset jumps, as the interference can be eliminated by forming the difference between the two signals.

In addition, the individual VCAs share the workload and are therefore not even close to being overdriven – the risk of “offset” noises, audible as clicking or popping, is practically eliminated. However, the double VCA circuit also has considerably improved distortion and distortion values overall, so that a much clearer and more transparent sound is achieved than with conventional circuits. Voices and instruments sound much more natural and dynamic.

De-Esser

SPL De-Essers use a unique technique to reduce S-sounds in a mix or on vocal tracks. In contrast to conventional De-Essers, which use compressor techniques to influence the entire level, the SPL De-Esser works with filters that only process the sibilant frequencies to be reduced, but do not influence the rest of the spectrum. The sibilants in the unpleasant range are automatically recognized and mixed back into the original signal with phase inversion. In this way, an extinction is caused and the sibilant sound is reduced.
This method has considerable advantages, as it sounds very unobtrusive and largely preserves the original sound. Typical compressor side effects such as lisping or nasal sound do not occur.

The reduction is carried out by comparing the overall level with that of the individual S-sounds: the De-Esser is only activated when the sibilant levels are above the average level of the entire frequency spectrum. Therefore, for example, voiced S sounds with a normal sibilant component are not processed, but only the overly loud, voiceless S sounds are reduced – the character of the voice remains unchanged.

Another special feature is the automatic setting of the threshold value (auto-threshold function), which makes processing independent of the input level. If the speaker or singer does not maintain a constant distance from the microphone, the processing is still kept evenly at the set S-Reduction value. Conventional methods are dependent on the input level and work more intensively the shorter the distance to the microphone.

The SPL De-Esser therefore does not require permanent monitoring and readjustment. In addition, the De-Esser can therefore always be used before the compressor, as a reverse order would bring no advantage – for this reason SPL were able to dispense with offering a circuit to swap the order.

All at a glance

The S-Detection LED “S-DET.” lights up as soon as an S sound is detected. It is only active when the De-Esser is switched on, but works independently of the set reduction value. In other words, it always indicates that the circuit recognises sibilants.

The clip LED “CLIP” lights up as soon as an overload is detected in the device. The display picks up at all relevant points of the signal flow: behind the preamp, behind the compressor, behind the equalizer and behind the output control. The LED should light up as rarely as possible to avoid negative sound artifacts.

The “SIG.” signal LED lights up as soon as an input signal with a level higher than -30 dB is present.

The PPM output display shows the output level in peak values. This display is also used to check the preamplifier level.

The gain reduction display shows the level reduction of the compressor.

Weight 4,5 kg
Dimensions 54 × 38 × 12 cm
Tube

No

Side-Chain

No

Channels

Mono

Port

sym. Jack, unsym. Jack, XLR

Format

19inch

Einheiten (HE)

1

Color

Black

Modification

Lundahl Transformer, Without Modification

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