SPCOMK3

2130

SPL

Celebrated for 20 years as a synonym for high-quality, extremely musical recording, the Channel One Mk3  from SPL delivers on its legacy with new improvements for the modern day recordist. Sporting an improved Transistor Tube Preamplifier, an integrated Transient Designer for efficient compression, a magical-sounding Tube Saturation stage, and a highly useful Mic A/B comparison option as well as much more, the Channel One Mk3 can make any mic, line, or instrument signal sound like a professionally recorded track.Like the older Channel One, the Mk3 still sports the essential channel strip features needed by any serious engineer or artists. You still get a dynamic and versatile dual-band de-esser, a simple yet powerful compressor with up to -20 dB of gain reduction, and a 3-band semi-parametric EQ with a wide range of 30 Hz to 19 kHz. Separate mic and line XLR inputs are provided as well as a 1/4" instrument input, and you get multiple line outputs with a special direct Preamp output for parallel tracking on your DAW. And with an enhanced 18V internal operating voltage, the Mk3 delivers a more detailed sound.The Pre-Amp Stage Provides three inputs:The microphone input features 48V phantom power, phase reverse function and a subsonic filterThe low-impedance Line input has a balancing stage for connecting studio equipmentThe low-noise, high-impedance instrument input is accessible on the front panelMagical Tube Sound With this control, the amount of tube saturation can be determined, and the output level is accommodated automatically; in extreme settings, the level increases by only 6 dB. Therefore modest to expressive harmonic distortions can be easily dialed in by turning just one knob.Saturation effects are generated through the tube being pushed to and beyond its normal operating limits. In contrast to semiconductors, a tube thus pushed to such levels does not clip from a certain level, approaching more gradually its level limits and thereby producing its typical tonal result, which in audio signal processing can have such often profitable aural effects on one hand (and depending on the amount applied), from subtle to extensive harmonic distortion and on the other hand, a compaction of the sonic event, that is, a limiting effect that exhibits a pleasant, rounded, or soft sound.De-Esser Subtly removes offending sibilants by eliminating only the "S" sounding frequencies with phase-cancelling processing technology. The unit's auto-threshold assists in constant processing, even with varying microphone distances.S-Reduction control adjusts the intensity of the S-sound reductionThe Low switch activates the low de-esser band with a center frequency of 6.4 kHz and a bandwidth of 4.4 kHzThe High switch activates the high de-esser band with a center frequency of 11.2 kHz and a bandwidth of 5.5 kHzBoth switches can be used together for full bandwidth de-essingSPL Transient Designer With the Transient Designer, it is possible to manipulate the envelopes of audio signals level independently (no threshold). Accelerate or slow down transients, lengthen or shorten sustain times with just two controls: attack and sustain. All time constants are automated in a musical way and optimize themselves adaptively, according to the characteristics of the input signal.Insert (Send / Return) Allows for insertion of external processors or can be used to record the pure preamplifier signal.Compressor / Limiter Use SPL's Double-VCA-Drive circuitry for improved noise and distortion characteristics with control via a single knob and signal-dependent automation and musical results in just about any situation.Three Band EQ Provides an EQ design optimized to process vocals, acoustic, and electronic instruments.LMF controls low and mid frequencies from 30 to 700 Hz, covering a range of about 4.5 octavesMHF governs the mid and high frequencies from 680 Hz to 15 kHz, also covering a 4.5 octave rangeBoth filters allow for a boost or cut of up to 12 dBAir is a h