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spl Premium Preamp & TwinTube AES AD Modell 12340001

Channel Strip
  • spl Premium Preamp & TwinTube AES AD Modell 12340001
  • spl Premium Preamp & TwinTube AES AD Modell 12340001
  • spl Premium Preamp & TwinTube AES AD Modell 12340001
  • spl Premium Preamp & TwinTube AES AD Modell 12340001
EUR 1967.90
Incl. VAT, free shipping in Germany
Premium preamplifier & Tube processor including AD converter

The combination of a preamplifier with the TwinTube tube effects processor allows fascinating design possibilities.
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Description

The two completely separately applicable tube effects - Saturation and Harmonics - can make voices sound more sonorous and earthy as well as emphasize their presence and emphasize the overtone spectrums. Assertiveness, presence, authority, elegance... get everything out of the character of a voice.

The cost-effective alternative to the Premium/TwinTube equipment, model 1234, is the Preference/TwinTube combo, model 1224.

Key Features Premium Mic Pre

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

Special features TwinTube

Saturation effects are sonically comparable to the effects of high-level magnetic tapes
SATURATION for more warmth, higher loudness, subtle to noticeable harmonic distortion
HARMONICS (overtone processing) for more presence and clarity without a significant increase in level like with EQ; brings signals forward in the mix
Very versatile, applicable to all kinds of signals, excellent for voices, acoustic guitars, drums, brass, strings ...

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 TwinTube module

For the first time, the TwinTube module combines the two essential tube sound effects in one processor: saturation effects through the SATURATION control and overtone processing through the HARMONICS control. Both stages work separately from each other and are based on their own tube circuit - so two tubes work in one module. The effects can therefore be applied in any way: individually and therefore separately, but also together.

The saturation effects are caused by the tube being brought to the limit of its operating voltage and beyond with increasing intensity. Unlike semiconductors "tips" The tube does not enter the distortion range at a certain level; rather, it gradually approaches its load limit with steadily increasing distortion. It produces the typical tonal effects that can often have a beneficial effect in audio signal processing: on the one hand, depending on the dosage, subtle to severe harmonic distortions, but on the other hand, it also creates a compression of the sound, i.e. limiting effects with a pleasantly rounded or soft tone Sound. Acoustically and also in terms of its applicability, this can be compared very well with tape saturation effects. Harmonic distortion and limiting are the classic, well-known tube effects that are still indispensable components of sound design today. Less well known are the effects that tube circuits can have to improve impressions of presence and spatiality by processing overtone structures.

For overtone processing by the harmonics stage, a special circuit is used that combines a coil-capacitor combination with the tube. The circuit reacts dynamically to the audio signal and changes both overtone and phase structures. The processing of the phase structures (times of sensation) is in the microsecond range and has nothing to do with cancellations such as those that occur with shifts of 180 degrees. The equalization of the volume ratios of the overtone spectra is crucial for the sound quality. Mind you, the overtone enrichment is not based on the generator principle of exciters, in which overdrive products are mixed into the original signal. The TwinTube's HARMONICS control results in a more balanced overtone structure, which effectively brings sounds to the foreground without causing extreme level changes. A voice e.g. B. immediately detaches itself from a mixture and asserts itself to the front in a clearly defined manner.

Applications

Here we highlight two significant examples that can in principle be transferred to many other instruments.

singing
Optimizing vocal tracks is a flagship discipline of the TwinTube. EQ processing can often be dispensed with entirely in order to separate a voice from a mix and bring it forward with clearly defined assertiveness. A recommendation for female voices would be the following settings: HARMONICS switch to 6, HARMONICS control to around 2 p.m., SATURATION to around 12 o'clock. The effect described should now become clear, you can then optimize from here. For women's voices you can vary the HARMONICS switch positions 6 and 10, for men's voices you can use positions 2, 3 and 6.

Acoustic guitars
While the processing success of electric guitars depends significantly on the extent to which they have already been processed using tube amplifiers and other effects , there is often great optimization and design potential in the processing of acoustic guitars. This way you can significantly intensify the attack sounds of plucked guitars. The assertiveness in the mix by improving presence can increase significantly without significant level increases. Dosed harmonic distortion gives the sound a little more roughness or earthiness and thickens it through the elegant compression effects, so that the signal can gain significantly in loudness.

Attributes

Product Details
Product Number 158174
Brand spl
Series AES (Analog Elemental Series)
Category Channel Strip
Brand Category spl - Channel Strips
Relevancy rank 8 of 22
Date January 2013

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 TwinTube module

Harmonics stage
Frequency response: 10?Hz-80?kHz
Total harmonic distortion: 0.1?%
(At 1?kHz, 0dBu input level, gain 1)
Signal-to-noise ratio: -87?dBu
(A-rated)
Dynamic range: 103?dB
Max. input level: +18?dBu

Harmonics filter
Filter 1
Center frequency: 9.8 kHz
Bandwidth: 9.6?kHz
Maximum boost: +15?dB
Filter 2
Center frequency: 6.6 kHz
Bandwidth: 5?kHz
Maximum boost: +15?dB
Filter 3
Center frequency: 2.8 kHz
Bandwidth: 9?kHz
Maximum boost: +15?dB
Filter 4
Center frequency: 1.9 kHz
Bandwidth: 4.7?kHz
Maximum boost: +15?dB

Saturation level
Frequency response: 10?Hz-77?kHz
THD: 0.02?%
(At 1?kHz, 0dBu input level, gain 1)
approx. 15?% at 0dBu input level and maximum saturation
Noise, A-weighted: -96?dBu
Dynamic range: 114 dB
Max. input level: +21?dBu

Total audio (harmonics and saturation levels)
Frequency response: 10?Hz-77?kHz
Common mode rejection: -74 dBu
(At 1?kHz, 0dBu input level, gain 1)
Noise, A-weighted: -87?dBu
Dynamic range: 105 dB
Max. input level: +20?dBu

Entrance
XLR connection, electronically balanced, optionally transformer balanced
Impedance: approx. 20 kOhm

Exit
XLR connection, electronically balanced, optionally transformer balanced
Impedance: approx. 150 ohms
Max. output level: +21?dBu

Controls
Signal LED: -20 dBu
Overload LED: +18 dBu (hold time 1.5 seconds)

0?dBu = 0.775?V. Subject to technical changes.
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