SPL Track One 2058 User manual

Model 2058
Manual
Channel Strip
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Version 1.0 – 4/2001
R & D: Ru en Tilgner
The information in this document has een carefully verified and is assumed
to e correct. However Sound Performance La (SPL) reserves the right to
modify the product descri ed in this manual at any time. Changes without
notice. This document is the property of SPL and may not e copied or repro-
duced in any manner, in part or full without the authorization of SPL.
Limitations of Lia ility:
In no event will SPL e lia le for any damages, including loss of data, lost
profits, cost of cover or other special, incidental, consequential or indirect
damages arising from the use of the unit, however caused and on any theory
of lia ility. This limitation will apply even if SPL or an authorized dealer has
een adviced of the possi ility of such damage.
Sound Performance La
SPL electronics Gm H
P.O. Box 12 27
D- 41368 Niederkruechten, Germany
Phone +49 - 21 63 / 98 34-0
Fax +49 - 21 63 / 98 34-20
eMail: info@soundperformancela .com
www.soundperformancela .com
© 2001 SPL electronics Gm H. All Rights Reserved.
Manual Track One Model 2058
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Introduction ............................................................................................... 4
Principles ................................................................................................... 4
Hookup/Security advices ........................................................................... 5
Connections
Rear panel/wiring ...................................................................................... 6
General advices, connectors & switches .................................................... 7
Control Elements
• Preamplifer stage
Microphone Gain, Line/Instrument, 48 Volt phantom power ...................... 9
Highpass, on levelling ................................................................................ 10
• De-Esser
On, S-Reduction ........................................................................................ 10
Technical information regarding the De-Esser ............................................ 11
• Compressor/Limiter
On, Limiter ................................................................................................. 11
Compression, Make-Up, technical information regarding the compressor .. 12
• Equalizer
On, Low Band, Cut/Boost (Low) ................................................................ 13
Mid-Hi Band, Cut/Boost (Mid-Hi), Air Band, Recommendations ................. 14
• Output/Display
Output ....................................................................................................... 15
Display: S-Det., Clip, Sig. ............................................................................ 15
Display: PPM-Output, Gain Reduction ....................................................... 16
Power supply .............................................................................................. 16
Specifications ............................................................................................ 17
Measurements ........................................................................................... 18
Warranty .................................................................................................... 20
Content
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SPL is mainly known for the development of highly specialized audio-tools.
Our philosophy, ”one product for one task”, is aimed at fast and simple opera-
tion in conjunction with high processing quality to ensure an excellent musical
performance.
With Track One SPL have produced a complete channel strip which for the
greater part is ased on the processing concepts already successfully realized
in other products. The very complex task of a channel strip profits particu-
larly from the innovative techniques that have always allowed the operation
of SPL equipment to e efficient and o jective. The ususal recording day is
to a high degree determined y a series of opposing time limits – the ”highly
paid” singer/speaker desires a quick recording; however, if technical prepa-
ration takes a long time ecause of unsuita le equipment, time will e lost,
increasing the costs and souring the working environment. The Track One
in all cases however allows fast production without any loss of professional
precision and diligence.
The Track One consists of pre-amplifiers optimized for all kinds of micro-
phones and instruments, SPL‘s acclaimed De-Esser, a compressor/limiter that
can e linked with the compressor of a second unit for stereo operation, an
equalizer (EQ) section for sound corrections or creations and an output stage
for perfectly feeding following units. A central display shows metering for
output level and gain reduction and all other status LEDs.
The Track One is a channel strip that excels primarily in two aspects: it is disar-
mingly easy to use and offers outstanding sound qualities.
This concept is ideally suited for alle kinds of vocal and instrument recor-
dings in studio, roadcast or live applications as well as for „one man show“
entertainment.
The controls are reduced to the necessary asics to ensure highest user-
friendliness. Therefore, working with the Track One can e dramatically time-
saving which is most important especially in live situations.
Due to its excellent sound quality the Track One is a highly recommended
alternative to uilt-in console pre-amps and processing tools. All the modules
are immediately at hand for fast interactions. Recording a voice and providing
clarity, detail and intelligi ility is a question of seconds.
Optionally the Track One can e equipped with a 24 it/96 kHz Ad converter
for direct digital recording. An additional connector allows to insert a second
signal - if for example two Track Ones are used to process stereo material,
only one converter is needed.
The second option is a Lundahl transformer input stage. These transformers
already amplify the microphone signals y factor 5 – the preamps are relieved
y this factor, which improves noise values and linearity of the amplification
in the high frequency spectrum.
Introduction
Principles
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A special feature of the printed circuitry layout is the central star ground
wiring scheme: Distur ing influences that could affect the ground paths are
minimized in that the audio-ground is separated from the ground of the
remaining equipment. This leads, in the truest sense of the word ”clean”, to
considera ly improved tonal quality. The scatter free toroidal transformer,
manufactured to SPL tolerances, supplies the equipment with the necessary
voltages and forms the asis for a clean electrical supply to all parts of the
circuitry.
Carefully select a place for setting up the Track One. The unit should e
situated away from heat sources and direct sunlight. Avoid installation in envi-
ronments exposed to vi rations, dust, heat, cold or moisture. Keep the unit
away from transformers or motors or any other unit that could generate large
variations in power supply or cause electrical interferences. Do not install the
unit in proximity to power amplifiers or digital processors. You may consider
placing it in a rack containing other analog gear. Such placement can prevent
interference from Word Clock, Smpte, MIDI, etc.
• Do not open the case. You may risk electric shock and may damage your
equipment.
• Leave repairs and maintenance to a qualified service technician. Should
foreign o jects fall inside the case, contact your authorized dealer or support
person.
• To avoid electric shock or fire hazards do not expose your unit to rain or
dampness.
• In case of lightning unplug the unit. Please unplug the ca le y pulling on
the plug only; never pull on the ca le.
• Never force a switch or kno .
• To clean the case use a lint-free cloth. Avoid cleaning agents as they may
damage the chassis. Manufactured in standard 19“ EIA format, it utilises
two rack units.
• Please support the ack of the unit whenever it is eing mounted into a
19 inch rack (especially important when touring).
Principles
Hookup & Security dvices
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Connections Rear Panel/Wiring
(HD) recorder or console
Compressor-Link with 2nd Track One
21
3
pin wiring input XLR
1=GND 2=hot (+) 3=cold (-)
12
3
pin wiring XLR output
1 = GND 2 = hot (+) 3 = cold (-)
pin wiring stereo j ck plug
Tip = hot (+), ring = cold (-), sleeve = GND
SLAVE
MASTER COMP. LINK
(use stereo j ck)
GND
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION OPTIONAL AD-CONVERTER SLOT
AD INPUT 2
(with converter only)
SOUND PERFORMANCE LABORATORY MADE IN GERMANY
ANALOG INPUTS
MIC
LINE/INSTR.
LINE
INSTR.
SERIAL NO.
XLR WIRING: Pin 1 = GND Pin 2 = Hot (+) Pin 3 = Cold (-) JACK WIRING: Sleeve = GND Tip = Hot (+) Ring = Cold (-)
ANALOG OUTPUTS
B l nced oper tion:
use TRS j ck
Unb l. oper tion:
use mono j ck
Unb l. only:
use mono j ck
VOLTAGE
SELECTOR
Fuse: 315mA - 15 w tts
Microphone
2nd signal input for optional D converter
Instruments, line signals
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Again, while Channel One’s housing is EMV-proof and protects against
HF-interference, placement of the unit is very important since it amplifies
microphone signals as well as other unwanted signals. Before connecting the
Channel One or any other equipment turn off all power. Adjust the voltage
setting on the ack so that it corresponds with the power conditions.
The following graph shows the correct wiring for connecting un alanced
signals to the alanced XLR connectors:
The Line/Instr. connector accepts un alanced signals only. The output jack
connector accepts oth alanced and un alanced signals (use a mono jack
plug for connecting un elanced signals). Please also refer to „Analog Outputs“
on page 8.
Mic connector
The Mic connector is used to plug in microphones of any type (dynamic,
condenser or tu e microphones etc.). If 48 V phantom power is required for
some mics, switch on the 48 V utton. For further information please read
“48V phantom power“ on page XXX.
Line/Instr. connector & switch
This connector is used to connect line and instruments signals. A switch
ensures to set the appropriate level and impedance values.
Usually, the switch can e set to INSTR. also for line signals, except they are
delivering very high levels - in this case, the switch should e set to LINE.
An log outputs
The Analog Outputs deliver alanced output signals. Since oth connectors
are working in parallel, un alancing one connector also un alances the other
one. If for example a mono jack plug is connected to the jack connector, the
XLR connector is switched to un alanced operation as well.
General dvices Connections
Connectors & Switches Connections
ANALOG INPUTS
MIC
LINE/INSTR.
LINE
INSTR.
Unb l. only:
use mono j ck
Input Output
b l nced unb l nced b l nced unb l nced
1=GND
2=hot (+)
3=cold (-)
1
2
3
1
2
3
12
3
12
3
ANALOG OUTPUTS
B l nced oper tion:
use TRS j ck
Unb l. oper tion:
use mono j ck
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A/D Input 2
This connector serves to feed a further signal to the optional AD converter.
Two different signals can e converted at the same time. The maximum input
level should not exceed +12dBu to avoid clipping of the converter (+12dBu
represents the digital full scale level, 0 dBfs).
GND Lift
The GND Lift switch separates internal ground from chassis ground. The
switch should e activated to eliminate ground loop humming which may
occur if the Channel One is connected to units with another ground potential.
Comp. Link
The Comp. Link function allows to drive two Track One compressor stages
from one master control unit, e. g. for coherent stereo processing.
The units are to e connected via a stereo wiring with jack connectors.
The switch serves to determine which of the units is the master to control
the COMPRESSION, MAKE UP and LIMIT controls from. The respective controls
on the slave unit are deactivated in link mode. All other controls and switches
(including the ON switch) must e taken care off on oth units. The GAIN
REDUCTION metering of the master unit now is the master display for oth
units.
If the two units are to e used separately again, the wiring must e discon-
nected and the SLAVE unit must e set to MASTER.
IMPORTANT: If two units re connected for m ster/sl ve oper tion, NEVER
EVER switch both units to MASTER! Both units would try to control e ch
other - in worst c ses, d m ging the units c n not be excluded.
Connections Connectors & Switches
AD INPUT 2
(with converter only)
GND
SLAVE
MASTER COMP. LINK
(use stereo j ck)
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Preamplifi er Stage Control Elements
Microphone G in
The Microphone Gain control determines the preamplification of the micro-
phone signal. The preamplification values extend up to + 65 dB. If Lundahl
input transformers are fitted the scale values are to e increased y + 14 dB.
Please refer to „A out levelling“ on page 10 for further information.
If the LINE/INSTR. switch is activated, the MICROPHONE GAIN control deter-
mines the preamplification of the respective signal. Please note that the
control‘s scale is only valid for microphone signals.
Instrument/Line On – Mic Off
This utton allows selection of the input source. The microphone signal is
availa le for processing when the utton is not pressed; pressing this utton
activates the Instrument/Line signal which is to e connected on th rear
panel.
48 Volt ph ntom power
The 48 Volt phantom power in the Channel One serves to supply condenser
microphones which are equipped with in- uilt preamplifiers. A precise
construction and distur ance free electrical supply are the main requirements
for their trou le free operation. In the Channel One the voltage is maintained
at a precise 48 V and delivers a maximum current of 14 mA. This is sufficient
for all types of microphones.
WARNING: All microphones with alanced, ground free output (including
tu e microphones) can e operated with phantom power switched on. The
following procedure is to e adhered to: Firstly connect the microphone to the
Channel One, then switch on the phantom power – you can now commence
work. When recording has een completed firstly switch off the phantom
power then wait 30 seconds efore disconnecting the microphone from the
Channel One. This allows residual voltages to e discharged.
Ph ntom powering is only used with condenser microphones. With ny
other type of microphone it is to be switched off ! An unb l nced microphone
is not to be used with ph ntom power switched on!
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Highp ss
The Highpass filter is used to eliminate distur ing low frequencies.
These distur ances could impair the following processing or AD conversion.
The cut-off frequency at 50 Hz avoids influences to vocals. The roll-off is
12 dB/octave. The highpass filter is placed ehind the preamplifier to ena le
its use also for line or instrument signals.
About levelling
For perfect levelling of the preamplifier firstly switch off all other modules
(De-esser, Compressor/Limiter, EQ) and set the Output control to 0 dB. The
signal can now e levelled with the assistance of the PPM output display.
To achieve a good working level the values should range etween 0 and
+6 dB. At these levels an optimal drive level and enough headroom for further
processing (e. g. adding level in the EQ stage) is guaranteed. The Clip LED will
warn you of potential peaks; if during recording the Clip LED illuminates, the
preamplifying value is to e reduced accordingly.
On
The first module ehind the pre-amplifier stage is the De-Esser, which imme-
diately removes distur ing S-sounds when required. The De-Esser module is
activated when the utton is on. The S-Detect. LED in the display will show that
S-sounds are eing detected regardless of the selected S-Reduction value, in
other words even when the utton is switched off detection is still shown in
the display.
S-Reduction
With the S-Reduction control you can determine the intensity of S-sound
reduction. Because processing is undertaken from comparison with the level
of the entire frequency spectrum ( see next section ”Technical information ...”)
the processing is more intensive with extreme S-sound levels than with those
of lower levels. After processing the output signal has a consistent S-sound
level.
Control Elements Preamplifer Stage
Control Elements De-Esser
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Technic l inform tion reg rding the De-Esser
In contrast to common de-essers that influence a frequency and of a out
2 octaves with compressor techniques the Auto-Dynamic De-Esser utilizes
filters that process only the reduci le ”S-frequencies” ut do not interfere
with the remainder of the spectrum. The S-frequencies that lie in the unple-
asant range are automatically recognized, the phase is inverted and mixed
with the original signal. In this manner the distur ing frequency is quenched
and the hissing noise reduced. This method of operation has distinct advan-
tages ecause it is uno trusive and helps retain the original tonal quality.
Compressor-typical side effects such as lisping or nasal tones do not occur.
Finally its operation is as simple as pulling on the hand rake.
The reduction is accomplished y comparing the entire level with the indivi-
dual S-sounds: the De-Esser functions only when the S-noise level exceeds the
average level of the entire frequency spectrum. This means for example that
original S-sounds with a determinate S-portion are not processed whereas
those that are too loud, or do not effectively contri ute to the sound, are
reduced – the character of the voice remains unchanged.
A further specialty is the integrated auto-threshold-function which makes
processing independent of the input level. Even when the speaker or singer
does not maintain a constant distance to the microphone, processing is reta-
ined at the pre-set S-reduction value. Conventional systems are dependent on
the input level and work more intensively as the distance to the microphone is
reduced.
On
The On utton activates the Compressor/Limiter module. At the same time
the Gain Reduction display shows the processing intensity (see section ”Gain
Reduction” on page 16).
Limiter
The Limit utton switches the Compressor to limiter mode. The Compression
control serves the purpose of controlling the threshold. The Limiter does not
function as a peak limiter, in other words there is no guarantee that all peaks
are intercepted. It is therefore advisa le when modulating a su sequent unit
that a headroom of 2 to 4 dB remains. Peak limiters have a system- ased
disadvantage in that audi le distortions are heard considera ly sooner, which
De-Esser Control Elements
Compressor/Limiter Control Elements
i
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is particularly undesira le for live recording – a „destroyed“ signal must e
recorded again, ut a clean signal can still e processed, if for example further
compression/limiting is needed.
Compression
The Compression control sets the intensity of compression. Turning the
control clockwise increases compression. The working area spans etween +
20 dB (counter clockwise limit) and -50 dB (clockwise limit).
The compressor applies the so-called ”soft-knee” characteristic, which
means that quiet passages are processed at a lower compression ratio than
louder passages. At maximal compression it operates with a ratio of 1:3 –
very effective dynamic limits are achieva le when inconspicuous characteri-
stics are to e processed. The exact development of the compressor curve is
portrayed in the diagram 1 on page 18. When setting the compression rate the
Gain Reduction display in the display field is of great assistance. The effect on
the selected compression rate is scaled in 1.5 dB steps. Depending on signal
source and dynamic structure the reduction values should lie etween 4 and
8 dB to restrict higher peaks and to optimize the operation of the su sequent
recording system.
IMPORTANT: M ke sure th t the Comp. Link switch on the re r p nel is set
to MASTER, otherwise the compressor will not work. Only if two devices re
oper ted in m ster/sl ve mode, this switch m y be set to SLAVE on one unit.
Please also refer to „Connections“ on page 8.
M ke Up
With the Make Up control the level reduction caused y compression or limi-
ting can e restored. With assistance of the Gain Reduction display in the
display field setting the Make Up control is very easy: If the maximal reduction
value caused y the loudest tone amounts to -9 dB, for instance, the Make Up
control is also to e set to the value +9 dB. If the Compressor/Limiter is now
switched off the achieved gain in loudness will e audi le.
Technic l Inform tion reg rding the Compressor/Limiter
In the Compressor/Limiter section of the Channel One the parameters for the
time constants (Attack and Release) are set automatically and adapt them-
selves to the changing conditions of the input signal, far etter than can ever
e achieved y manual adjustments. The transient and final oscillation eha-
vior of voices and instruments are constantly changing and at times are so
erratic that a manual control will only achieve good average values, which at
critical moments can produce disadvantageous effects (distortion and artif-
acts).
If for example the compressor has to react very quickly to harsh P or T noises
it must also e capa le of reacting slowly to softer tones – otherwise distor-
tion occurs. Accordingly the Channel One Compressor/Limiter regulates the
level of large fluctuations faster than smaller ones; tones of longer duration
are automatically processed with a longer attack time to prevent distortions.
Control Elements Compressor/Limiter
i
info
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Even the control of the release time is dependent on the input signal. Fast
and large level fluctuations are correspondingly processed with shorter time
constants than minor fluctuations in order to limit the distortion of the audio
signal as far as possi le. Overall this technique provides the optimal solution
etween fast, uno trusive control response and the least distortion of the
audio signal. The result is a natural and transparent sound impression.
The Compressor/Limiter characteristics are portrayed on page 18.
On
The On utton inserts the Equalizer module into the signal path.
Low B nd
The center frequency of the half-parametric ass filter is set with the Low
Band control. The adjusta le frequency range lies etween 30 Hz and 720 Hz
so that this filter covers a range of a out 4.5 octaves, allowing it to e used
from the deepest ass to the lower mid range. This together with the Mid-Hi
filter ensures that the entire frequency spectrum is covered.
Cut/Boost (Low)
The Cut/Boost control determines the oost or cut of the Low Band filter;
the maximum values lie etween +/- 14 dB. The Low Band filter also operates
to the proportional-Q-principle, in other words the andwidth is dependent
on the selected oost or cut. With the Low Band filter the factor with which
the relationship of the oost or cut values, in relation to the andwidth, is
determined lies somewhat higher than with the Mid-Hi filter. The andwidth is
therefore marginally narrower at maximum oost than with the Mid-Hi filter.
The exact curve of the Low Band filter is shown in diagram 2 on page 18.
The Low Band filter can e applied in many ways. Examples are; to accen-
tuate the fundamental sound of a voice, to cut ” oom frequencies” and for
placement of ass emphasized instruments such as ass guitar, ass drums-
or synthesizers during recording or su sequently when mixing etc.
Control Elements
Compressor/Limiter
Control Elements
Equalizer
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Mid-Hi B nd
The center frequency of the semi-parametric mid high frequency filter is set
with the Mid-Hi Band control. The frequency range can e set etween 650 Hz
and 13.7 kHz so that this filter covers a range of 4.5 octaves and can e equally
employed in the lower mid as well as the high range.
Cut/Boost (Mid-Hi)
The Cut/Boost control determines the oost, or cut of the Mid-Hi filter; the
maximum values lie etween +/- 12 dB. The Mid-Hi filter utilizes the propor-
tional-Q-principle. In other words the andwidth is dependent on the selected
oost or cut. The higher the oost or cut values are set, so the andwidth
ecomes narrower; y low oost or cut values the andwidth increases (the
exact curve of the Mid-Hi filter can e seen in diagram 3 on page 19). This filter
characteristic permits a musically more sensi le processing of the frequency
spectrum than with constant-Q filters: if a more thorough setting has een
chosen this will lead to far preciser definition of the frequency range to e
processed. This in turn minimizes influences from adjacent ranges.
This filter construction permits the complete scope, from selective removal
of accentuated frequencies through to character giving accentuations of an
instrument, to e effectively and quickly covered.
Air B nd
The high frequency filter in the equalizer module is descri ed as the ”Air
Band” and serves the processing of the frequency range of 2 and 20 kHz. A
coil-capacitor-filter with so called ell characteristics and a center frequency
of 17.5 kHz comes into operation here. At this frequency the maximum possi le
accentuation is +10 dB, the maximum possi le damping is -10 dB. The charac-
teristics of the Air Band filter are shown in diagram 4 on page 19.
The ”soft” and natural tonal property, characteristic of the coil-capacitor
filter, lends itself extremely well to provide clarity to vocals in the upper
frequency range there y improving their presence. On the other hand harsh
sounds can e lent a more pleasant sound characteristic through damping.
Recommend tion on frequency settings
To find the frequency which is to e processed as quickly and accurately
as possi le the Cut/Boost control should firstly e adjusted to the maximum
position. Su sequently the relevant frequency should e sought. Following
this the required oost or cut can e set with the Cut/Boost control. Because
the filter at maximum setting works with the smallest andwidth the frequen-
cies can e heard most distinctly at this setting, making them easier to locate.
Control Elements Equalizer
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Output
The outgoing signal can either e dampened to –20 dB or further amplified
y +6 dB with the Output control to provide optimal drive to the su sequent
units or the optional AD converter. The individually selected output level is
shown on the PPM-Output display in the display field. Before a recording
commences the Output control should e set to zero: The uninfluenced values
from the Output control are then legi le and availa le for adjustment of the
pre-amplifiers levels.
Displ y: S-Det.
The S-Det. LED shows when S-sounds have een detected. It is only active
when the De-Esser is switched on and is independent from the selected
S-Reduction setting.
Displ y: Clip
The Clip LED shows overload in the unit. The clipping level of the LED lies
approximately 2 dB elow the internal full scale (conforms to + 19 dBu). The
Clip LED should flash as seldom as possi le.
At all relevant points of the signal flow the display gets read off: ehind the
Pre-amplifier, ehind the Compressor/Limiter, ehind the EQ and ehind the
Output control. All possi le causes for overload can e directly checked (over-
driven Microphone/Instrument/Line Gain, an excessive Make Up value in the
Compressor/Limiter, too much oost in the EQs or too high output level).
Possi le causes of overload can e quickly detected y simply switching
off the modules individually. If overloads occur during recording the quickest
remedy is to gradually reduce the Gain control in the Pre-amplifier.
Displ y: Sig.
The Sig. (signal) LED illuminates when a signal is eing received at the
preamplifier. This provides a quick method of checking that a signal source is
correctly connected. All levels a ove -50 dB are covered.
Output/Display Control Elements
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Displ y: PPM Output
The PPM Output display shows the peak reading of the output level (cali-
rated to 0 dB) and is present at the analog outputs on the rear of the unit. This
display also serves to the pre-amplifying Gain. The value ”+12 dBu” marked on
the right side represents the maximum level of the optional AD/DA converter
which should not e exceeded. (Further information is given in the directions
to the AD/DA converter).
Although the values of the PPM Output display only cover up to + 12 dB
sufficient headroom remains internally (approximately 6 dB) so that the output
value can exceed this limit without causing clipping. The range of optimal
noise performance lies etween 0 and + 9 dB.
Displ y: G in Reduction
The Gain Reduction display provides information a out the processing eing
undertaken with the Compressor/Limiter or the Noise Gate. The level change,
perhaps caused y compression, are scaled in 1.5 dB steps. The display is acti-
vated when the Compressor/Limiter module is switched on.
Built around a torroidal transformer, the power supply allows for a minimal
electromagnetic field with no hum or mechanical noise. The power supply‘s
output side is filtered y an RC circuit to extract noise and hums caused y
your power service. 6000 µf capacitors smooth out the positive and negative
half waves.
The phantom power is derived with a precise current regulator to provide a
clean phantom power of 48 volts. Our high quality 0.1 % / 6,81 kOhm resistors
ensure the pristine quality of the phantom power supply.
The supply voltage can e set to 230 V/50 Hz or 115 V/60 Hz. Check your
country‘s power requirements for the appropriate setting. An AC power cord
is included to feed the IEC-spec, 3-prong connector. Transformer, AC cord and
IEC-receptacle are VDE, UL and CSA approved. The main fuse is rated at 315 mA
for 230 v and 630 mA for 115 v.
Chassis ground and AC ground can e physically disconnected y the
“Ground Lift” switch (Gnd Lift). This helps to eliminate hums.
Control Elements Output/Display
Power Supply
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Microphone Input
Frequency response: 10 Hz-200 kHz
(200 kHz = -3 dB)
Common mode rejection: 1 kHz: -80 dB / 10 kHz: -68 dB
(at -20 dBu)
THD & N
Amplifi cation: A-weighted:
20 dB -97,5 dBu
40 dB -91,0 dBu
65 dB -69,6 dBu
Dynamic response: 115dB
Instrument Input
Frequency response: 10 Hz-180 kHz
(180 kHz = -3 dB)
THD & N
Amplifi cation: A-weighted:
7 dB -98,4 dBu
20 dB -95,8 dBu
42 dB -77,2 dBu
Input impedance Line: 12kOhm / Instr.: 1 MOhm
Max. input level Line: +25 dBu / Instr.: +13 dBu
Dynamic response: 115 dB
Outputs
Max. output level XLR/jack: +20 dBu
Output impedance: ‹ 50 Ohm
Power supply
Toroidal transformer: 15 VA
Fuses: 315 mA (230 V/50 Hz)
630 mA (115 V/60 Hz)
Dimensions
Stand.-EIA-19 inch/1 U housing: 482 x 44 x 210 mm
Weight: 3.1 kg
Specifi c tions
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18
Me surements Compressor/Limiter, Low Band
Di gr m 1 portr ys the
ch r cteristics of the
compressor nd limiter
Line A displays the relation
etween input and output
Line B shows the curve
characteristics of the com-
pressor
Line C protrays the limiter‘s
curve characteristics
A
C
B
Di gr m 2 shows the curves
of the Low B nd filter
Various settings around
200 Hz
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19
Mid-Hi Band, ir Band Me surements
Di gr m 4 portr ys v rious
cut nd boost settings of
the Air B nd filter
Di gr m 3 displ ys v rious
cut nd boost settings of
the Mid-Hi filter t round
1,8 kHz
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20
W rr nty
SPL electronics Gm H (hereafter called SPL) products are warranted only in
the country where purchased, through the authorized SPL distri utor in that
country, against defects in material or workmanship. The specific period of
this limited warranty shall e that which is descri ed to the original retail
purchaser y the authorized SPL dealer or distri utor at the time of purchase.
SPL does not, however, warrant its products against any and all defects:
1) arising out of materials or workmanship not provided or furnished y SPL,
or
2) resulting from a normal use of the product or use in violation of instruc-
tions, or
3) in products repaired or serviced y other than authorized SPL repair
facilities, or
4) in products with removed or defaced serial num ers, or 5) in components
or parts or products expressly warranted y another manufacturer.
SPL agrees, through the applica le authorized distri utor, to repair or
replace defects covered y this limited warranty with parts or products of
original or improved design, at its option in each respect, if the defective
product is shipped prior to the end of the warranty period to the designated
authorized SPL warranty repair facility in the country where purchased, or
to the SPL factory in Germany, in the original packaging or a replacement
supplied y SPL, with all transportation costs and full insurance paid each
way y the purchaser or owner.
All remedies and the measure of damages are limited to the a ove services.
It is possi le that economic loss or injury to person or property may result
from the failure of the product; however, even if SPL has een advised of this
possi ility, this limited warranty does not cover any such consequential or
incidental damages. Some states or countries do not allow the limitations or
exclusion of incidental or consequential damages, so the a ove limitation may
not apply to you.
Any and all warranties, express or implied, arising y law, course of dealing,
course of performance, usage of trade, or otherwise, including ut not limited
to implied warranties of merchanta ility and fitness for particular, are limited
to a period of 1 (one) year from either the date of manufacture. Some states or
countries do not allow limitations on how long an implied warranty lasts, so
the a ove limitations may not apply to you.
This limited warranty gives you specific legal rights, and you may also have
other rights which vary from state to state, country to country.
SPL electronics Gm H
41372 Niederkruechten, Germany
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