spl Premium Preamp & Dual-Band De-Esser AES AD Modell 12390001
Channel Strip
EUR 1920.45
Incl. VAT, free shipping in Germany
Product # | 158170 |
Brand | spl |
Category | Channel Strips | Brand Category | spl - Channel Strips |
Series | spl AES (Analog Elemental Series) |
Release date | January 2013 |
Availability | Will be ordered for you as quick as possible |
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Description
The combination of a premium or preference preamplifier with the dual-band de-esser preserves the sound character and timbre of the voice even during more intensive interventions to remove sibilance - an unbeatable combination, not just for all live applications.
The cost-effective alternative to the premium/dual-band de-esser equipment, model 1239, is the preference/dual-band de-esser combo, model 1229.
Key Features Premium
Preamplification up to +72dB with minimal noise and high common mode rejection, input clipping resistance +10?dBu
Lundahl transformer in microphone input and output
VU meter shows average level and peak level
Stable 48V phantom power
Phase reversal switch, high pass filter
Key Features Dual-Band De-Esser
Extended area of application thanks to two bands that can be used individually or together.
Increased effect without any sound disadvantages, very targeted interventions
Automatic input signal control keeps processing constant even when the microphone distance fluctuates
Male/Female modes adjust low-band processing to suit male or female voices
The premium module
When recording acoustic instruments or voices, miking is essential. The output signal of a microphone is very low in level and must be brought to the studio or line level of 0 dB by a preamplifier. This may require signal amplification by a factor of 2000 or more. The preamplifier is very important for the signal quality that can be achieved. A good, overload-proof microphone preamplifier is therefore the defined requirement for recording voices or acoustic instruments with sufficient dynamic range and without sound distortions.
The following sections show how the Premium?Mic?Pre, which can be used in all microphone applications, achieves this requirement at a very high level and also delivers excellent results even in critical installation situations. This section will also make it clear to those who are less technically interested how much effort goes into development, circuit technology, component selection and production of the Premium?Mic?Pre. From this we derive an outstanding price/performance ratio - with an emphasis on performance, so that the sound quality of the Premium?Mic?Pre does not have to shy away from comparison.
Three-stage preamplifier
The preamplifier circuit in the Premium?Mic?Pre is constructed in three stages: a transformer, a discrete transistor differential amplifier stage and an instrumentation amplifier all contribute (to different proportions) to the overall amplification. The three-stage structure initially ensures distortion-reducing load distribution. In addition, each stage can be optimally constructed in terms of sound using selected components and sophisticated circuit technology. This results in advantages over pure IC circuits, in which the overall amplification runs through just one stage.
In addition, the potentiometer (as a control element of the differential amplifier stage) only has to cover a range of approx. 68 dB, while the maximum gain is approx. 80 dB. In practice, this means that even very high gain values are still outside the critical extreme positions for every potentiometer.
Stage 1 - the input transformer
An integral part of the Premium?Mic?Pre design are input and output transformers from Lundahl's high-performance series. These transformers are transformers that are elaborately handcrafted at Lundahl. They replace conventional input and output balancing stages. Transformers have pleasant sound properties, in particular the low and fundamental range sounds rounder and fuller, while the high frequency range benefits from a slightly silkier or softer atmosphere, without any increase or emphasis. In a microphone preamplifier, an input transformer can be integrated as part of the amplification circuit, so that it not only functions as an input stage, but also with a passive, fixed pre-amplification of, in this case, 6 dB to the overall gain contributes. Passive amplification has the advantage over active amplification of not adding any noise components. Another advantage of integrating this passive amplification is that signal processing in the subsequent stages is generally lower in noise and distortion, since the remaining electronics are subjected to 6 dB less load for each gain setting.
Transformers also ensure galvanic isolation so that no interference or damaging voltages can be transmitted in either direction. Electromagnetic, high-frequency or digital interference has no influence. Humming problems, for example in live operation, which can occur due to potential differences between the stage and FOH, are safely equalized. Even voltage that has been connected to ground lines by mistake or due to a defect cannot be transferred - transformers therefore eliminate even the most unlikely to unbelievable installation errors or problems. For the phantom power of microphones, capacitors in the preamplifier input can also be dispensed with, which in turn improves the sound quality.
For sound reasons, we can definitely recommend transformers in our opinion. The increased operational reliability is an advantage that can hardly be overestimated, especially in critical and/or complex studio, broadcast and live applications.
Stage 2 - the differential amplifier
From the input transformer, the signal is routed to a differential amplifier made up of four selected transistors connected in parallel. This parallel connection reduces the background noise through load distribution.
The differential amplifier is, in a sense, the central amplification stage; Here the gain setting is determined via a current-controlled source. Compared to voltage control, current control has the advantage that possible negative properties of the potentiometer cannot affect the audio signal.
The differential amplifier stage provides a maximum gain of up to approx. 68 dB. Possible DC voltage components in the output signal of the differential stage are actively regulated by a servo drive circuit. A servo drive circuit minimizes DC voltage components more effectively than the traditional capacitor solution by setting DC offsets to approximately 0mV. In addition, the active servo drive solution has sonic advantages over the passive capacitor circuit due to its lower tendency to distortion.
Stage 3 - the instrumentation amplifier
The differential amplifier is followed by an instrumentation amplifier, which generates the voltage signal for the output. Functionally a summing amplifier, it eliminates possible interference voltages and contributes a further +6 dB to the overall amplification.
Film and Styroflex capacitors
The best MKP film and Styroflex capacitors are used in the various circuit parts. In contrast to conventional ceramic capacitor types, the film and Styroflex capacitors sound more open, more dynamic and therefore convey more joy of playing.
Output stages
The output stage can easily drive long cable routes (up to several hundred meters, depending on the cable capacities and input stages of the receiving devices). The output level is a maximum of +22 dBu, so you can fully control all A/D converters.
The dual-band de-esser module
Back in the 1990s, we developed an alternative method for sibilant removal based on the principle of phase cancellation. This innovation compared to conventional compression processes combines extremely inconspicuous processing with reduction to one control parameter. The SPL De-Esser has quickly established itself in the studio and live areas as well as at broadcasters and installations.
The usual technique for sibilant removal is based on compression. In addition to determining the use levels, the center frequency of the processing must also be determined. The range of editing can be up to two octaves in order to be able to effectively address all possible problem areas. This is one of the decisive disadvantages: the wide range of processed frequencies quickly leads to undesirable sound effects such as nasal or lisping.
SPL's De-Esser is based on the principle of phase cancellation to remove unwanted sound components. In addition, there is the automatic recognition of hissing sounds, which allows the processing to be precisely narrowed down exclusively to the S-sound range. The result is a sound-neutral, inconspicuous, but extremely effective way of working that never requires any adjustments in terms of level or frequency settings. De-essing has the smallest possible influence on the timbre of the voice; side effects such as nasal or lisping no longer occur. In addition, operation is limited to determining the processing intensity with a single controller - the SPL-De-Esser solves any problem with hissing sounds precisely and safely, instead of combining sound compromises with time-consuming, permanent need for control.
The cost-effective alternative to the premium/dual-band de-esser equipment, model 1239, is the preference/dual-band de-esser combo, model 1229.
Key Features Premium
Preamplification up to +72dB with minimal noise and high common mode rejection, input clipping resistance +10?dBu
Lundahl transformer in microphone input and output
VU meter shows average level and peak level
Stable 48V phantom power
Phase reversal switch, high pass filter
Key Features Dual-Band De-Esser
Extended area of application thanks to two bands that can be used individually or together.
Increased effect without any sound disadvantages, very targeted interventions
Automatic input signal control keeps processing constant even when the microphone distance fluctuates
Male/Female modes adjust low-band processing to suit male or female voices
The premium module
When recording acoustic instruments or voices, miking is essential. The output signal of a microphone is very low in level and must be brought to the studio or line level of 0 dB by a preamplifier. This may require signal amplification by a factor of 2000 or more. The preamplifier is very important for the signal quality that can be achieved. A good, overload-proof microphone preamplifier is therefore the defined requirement for recording voices or acoustic instruments with sufficient dynamic range and without sound distortions.
The following sections show how the Premium?Mic?Pre, which can be used in all microphone applications, achieves this requirement at a very high level and also delivers excellent results even in critical installation situations. This section will also make it clear to those who are less technically interested how much effort goes into development, circuit technology, component selection and production of the Premium?Mic?Pre. From this we derive an outstanding price/performance ratio - with an emphasis on performance, so that the sound quality of the Premium?Mic?Pre does not have to shy away from comparison.
Three-stage preamplifier
The preamplifier circuit in the Premium?Mic?Pre is constructed in three stages: a transformer, a discrete transistor differential amplifier stage and an instrumentation amplifier all contribute (to different proportions) to the overall amplification. The three-stage structure initially ensures distortion-reducing load distribution. In addition, each stage can be optimally constructed in terms of sound using selected components and sophisticated circuit technology. This results in advantages over pure IC circuits, in which the overall amplification runs through just one stage.
In addition, the potentiometer (as a control element of the differential amplifier stage) only has to cover a range of approx. 68 dB, while the maximum gain is approx. 80 dB. In practice, this means that even very high gain values are still outside the critical extreme positions for every potentiometer.
Stage 1 - the input transformer
An integral part of the Premium?Mic?Pre design are input and output transformers from Lundahl's high-performance series. These transformers are transformers that are elaborately handcrafted at Lundahl. They replace conventional input and output balancing stages. Transformers have pleasant sound properties, in particular the low and fundamental range sounds rounder and fuller, while the high frequency range benefits from a slightly silkier or softer atmosphere, without any increase or emphasis. In a microphone preamplifier, an input transformer can be integrated as part of the amplification circuit, so that it not only functions as an input stage, but also with a passive, fixed pre-amplification of, in this case, 6 dB to the overall gain contributes. Passive amplification has the advantage over active amplification of not adding any noise components. Another advantage of integrating this passive amplification is that signal processing in the subsequent stages is generally lower in noise and distortion, since the remaining electronics are subjected to 6 dB less load for each gain setting.
Transformers also ensure galvanic isolation so that no interference or damaging voltages can be transmitted in either direction. Electromagnetic, high-frequency or digital interference has no influence. Humming problems, for example in live operation, which can occur due to potential differences between the stage and FOH, are safely equalized. Even voltage that has been connected to ground lines by mistake or due to a defect cannot be transferred - transformers therefore eliminate even the most unlikely to unbelievable installation errors or problems. For the phantom power of microphones, capacitors in the preamplifier input can also be dispensed with, which in turn improves the sound quality.
For sound reasons, we can definitely recommend transformers in our opinion. The increased operational reliability is an advantage that can hardly be overestimated, especially in critical and/or complex studio, broadcast and live applications.
Stage 2 - the differential amplifier
From the input transformer, the signal is routed to a differential amplifier made up of four selected transistors connected in parallel. This parallel connection reduces the background noise through load distribution.
The differential amplifier is, in a sense, the central amplification stage; Here the gain setting is determined via a current-controlled source. Compared to voltage control, current control has the advantage that possible negative properties of the potentiometer cannot affect the audio signal.
The differential amplifier stage provides a maximum gain of up to approx. 68 dB. Possible DC voltage components in the output signal of the differential stage are actively regulated by a servo drive circuit. A servo drive circuit minimizes DC voltage components more effectively than the traditional capacitor solution by setting DC offsets to approximately 0mV. In addition, the active servo drive solution has sonic advantages over the passive capacitor circuit due to its lower tendency to distortion.
Stage 3 - the instrumentation amplifier
The differential amplifier is followed by an instrumentation amplifier, which generates the voltage signal for the output. Functionally a summing amplifier, it eliminates possible interference voltages and contributes a further +6 dB to the overall amplification.
Film and Styroflex capacitors
The best MKP film and Styroflex capacitors are used in the various circuit parts. In contrast to conventional ceramic capacitor types, the film and Styroflex capacitors sound more open, more dynamic and therefore convey more joy of playing.
Output stages
The output stage can easily drive long cable routes (up to several hundred meters, depending on the cable capacities and input stages of the receiving devices). The output level is a maximum of +22 dBu, so you can fully control all A/D converters.
The dual-band de-esser module
Back in the 1990s, we developed an alternative method for sibilant removal based on the principle of phase cancellation. This innovation compared to conventional compression processes combines extremely inconspicuous processing with reduction to one control parameter. The SPL De-Esser has quickly established itself in the studio and live areas as well as at broadcasters and installations.
The usual technique for sibilant removal is based on compression. In addition to determining the use levels, the center frequency of the processing must also be determined. The range of editing can be up to two octaves in order to be able to effectively address all possible problem areas. This is one of the decisive disadvantages: the wide range of processed frequencies quickly leads to undesirable sound effects such as nasal or lisping.
SPL's De-Esser is based on the principle of phase cancellation to remove unwanted sound components. In addition, there is the automatic recognition of hissing sounds, which allows the processing to be precisely narrowed down exclusively to the S-sound range. The result is a sound-neutral, inconspicuous, but extremely effective way of working that never requires any adjustments in terms of level or frequency settings. De-essing has the smallest possible influence on the timbre of the voice; side effects such as nasal or lisping no longer occur. In addition, operation is limited to determining the processing intensity with a single controller - the SPL-De-Esser solves any problem with hissing sounds precisely and safely, instead of combining sound compromises with time-consuming, permanent need for control.
Attributes
Product Details
|
Properties
General technical data Analog Elemental Series
Power supply: toroidal transformer
Fuses:
230V AC, 50Hz: 315mA
120V AC 60Hz: 630mA
Voltage selector switch 115V/230V
Power consumption
at 230?V: 9.1?W/10.8?VA?
at 115?V: 5.6?W/7.1?VA
Measurements and weight
Housing (W x H x D): 482 x 88 x 320 mm (depth with controls and sockets)
Weight: approx. 4.6 kg
Weight with premium module(s): approx. 4.9 kg
Weight with TwinTube module(s): approx. 4.8 kg
Technical data premium module
Frequency response: 10?Hz - 68?kHz (-3?dB)
Common mode rejection: -87 dBu
(at 1kHz with -30?dBu input level and 30?dB gain)
THD: 0.0071%
(at 1kHz with -30?dBu input level and 30?dB gain)
Signal-to-noise ratio: -89.0?dBu
(A-weighted, 30 dB gain)
A. (Equivalent Input Noise): -128.3 dBu
Dynamic range: 111.0?dB
Entrance
XLR connection, transformer balanced
Impedance unbalanced: approx. 2.0 kOhm
Impedance symmetrical: approx. 4.0 kOhm
Max. input level: +10?dBu, +30?dBu with activated pad
Exit
XLR connection, transformer balanced
Impedance unbalanced: approx. 60 ohms
Impedance symmetrical: approx. 120 ohms
Max. output level: +22?dBu
0?dBu = 0.775?V. Subject to technical changes.
Technical data dual-band de-esser module
Frequency response: 10?Hz-80?kHz
Common mode rejection: >60?dBu
(at 1?kHz, 0?dBu input level, gain factor 1)
Signal-to-noise ratio: -106?dBu (A-weighted)
Dynamic range: 128 dB
THD: 0.01%
(at 1?kHz, 0?dBu input level, gain factor 1)
Entrance
XLR connection, electronically balanced, optionally transformer balanced
Impedance: approx. 20 kOhm
Maximum input level: +22?dBu
Nominal input level: +4?dBu
Exit
XLR connection, electronically balanced, optionally transformer balanced
Output impedance: 75?Ohm/>600 Ohm with transformer
Max. output level: +22?dBu
Controls
Signal LED: -20 dBu
Overload LED: +19 dBu (hold time 1.5 seconds)
0?dBu = 0.775?V. Subject to technical changes.
Power supply: toroidal transformer
Fuses:
230V AC, 50Hz: 315mA
120V AC 60Hz: 630mA
Voltage selector switch 115V/230V
Power consumption
at 230?V: 9.1?W/10.8?VA?
at 115?V: 5.6?W/7.1?VA
Measurements and weight
Housing (W x H x D): 482 x 88 x 320 mm (depth with controls and sockets)
Weight: approx. 4.6 kg
Weight with premium module(s): approx. 4.9 kg
Weight with TwinTube module(s): approx. 4.8 kg
Technical data premium module
Frequency response: 10?Hz - 68?kHz (-3?dB)
Common mode rejection: -87 dBu
(at 1kHz with -30?dBu input level and 30?dB gain)
THD: 0.0071%
(at 1kHz with -30?dBu input level and 30?dB gain)
Signal-to-noise ratio: -89.0?dBu
(A-weighted, 30 dB gain)
A. (Equivalent Input Noise): -128.3 dBu
Dynamic range: 111.0?dB
Entrance
XLR connection, transformer balanced
Impedance unbalanced: approx. 2.0 kOhm
Impedance symmetrical: approx. 4.0 kOhm
Max. input level: +10?dBu, +30?dBu with activated pad
Exit
XLR connection, transformer balanced
Impedance unbalanced: approx. 60 ohms
Impedance symmetrical: approx. 120 ohms
Max. output level: +22?dBu
0?dBu = 0.775?V. Subject to technical changes.
Technical data dual-band de-esser module
Frequency response: 10?Hz-80?kHz
Common mode rejection: >60?dBu
(at 1?kHz, 0?dBu input level, gain factor 1)
Signal-to-noise ratio: -106?dBu (A-weighted)
Dynamic range: 128 dB
THD: 0.01%
(at 1?kHz, 0?dBu input level, gain factor 1)
Entrance
XLR connection, electronically balanced, optionally transformer balanced
Impedance: approx. 20 kOhm
Maximum input level: +22?dBu
Nominal input level: +4?dBu
Exit
XLR connection, electronically balanced, optionally transformer balanced
Output impedance: 75?Ohm/>600 Ohm with transformer
Max. output level: +22?dBu
Controls
Signal LED: -20 dBu
Overload LED: +19 dBu (hold time 1.5 seconds)
0?dBu = 0.775?V. Subject to technical changes.
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