The Model 2950 Channel One from SPL is a single channel strip which includes a number of powerful onboard tools for corrective and creative sound design when recording voices, instruments, and other or analog or digital sources (with optional A/D module). The unit e is built in the tradition of earlier SPL channel strips: the Frontliner, the original Channel One, and the Track One with an updated faceplate design. The device accepts three separate inputs: a balanced XLR-3F microphone input with selectable +48V phantom power, 180&Deg; phase reverse, and 50 Hz subsonic filtering; a 1/4" TRS low impedance line input with a precise balancing stage for connecting to studio grade equipment; and a low-noise high-impedance instrument input that can be easily accessed from the front panel.
The preamplifier stage of the processor features a transistor/12AX7-LPS tube design with a range from +8 dB to +68 dB of mic gain. The line signal gain range reaches from -12 dB to +22 dB, and instrument signals can be amplified between +48 dB and +39 dB.
The first processing module in the signal chain is a De-Esser which allows you to use a single knob for subtle and effective reduction of sibilants in the outgoing signal. The processor uses phase cancellation with the original signal which employ filters that only reduce s-frequencies without interfering with the remainder of the audio spectrum. An integrated auto threshold function allows the processing to occur independently of the input level, even at varying distances from the microphone.
A switchable insert send and return loop button allows for the use of external equipment for effects such as delay or reverb. The presence of the insert loop expands the flexibility of the device to an even wider range of recording applications.
The next processor in the signal chain is a compressor/limiter/noise gate module with a dedicated limit switch, a soft knee compression control knob with a maximum ratio of 1:2.5, a make up gain knob from 0 to +22 dB, and a noise gate that can operate over the signal's complete dynamic range.
The compressor module is followed by a three band EQ and FET distortion module that can be switched to operate before or after the compressor. A low mid frequency control covers a range form 30 to 700 H, a LMF-/+ knob determines the amount of boost or cut at the selected frequency between ±14 dB. Similarly, a mid/high frequency filter can be set between 680 and 15,000 Hz with a controllable gain or boost at this Q frequency within ±12 dB. An AIR Band module uses a coil-capacitor-filter with a center frequency of 17,500 Hz and a maximum possible accentuation of +10 dB or a maximum dampening of -10 dB. The FET distortion allows you to add distortion from 0% up to distinctly perceptible harmonics.
The next module provides an output gain control from -20 dB to +5.5 dB. A mute switch allows you to mute the output signal.
The final two controls include a playback control that regulates the volume of the playback signal that is passed to a musician who is monitoring with the included front panel 1/4" TRS stereo phono jack as well as a volume control for setting the volume of the microphone, instrument, or line signal.
For visual feedback the unit includes LED metering for s-detect, clip, signal presence, tube warm up, gain reduction, and PPM output. The unit can be modified with the installation of Lundahl I/O transformers.
The Pre-Amp Stage
The microphone input features 48V phantom power, phase reverse function and a subsonic filter
The low-impedance Line input has a balancing stage for connecting studio equipment
The low-noise, high-impedance instrument input is accessible on the front panel
Insert (Send / Return)
Compressor / Limiter
Three Band EQ
Low, Mid Hi, and Air-Bands allow for both corrective adjustments and/or effective sound designing processing