SPL Transducer - Analog Speaker Simulator

SPL Transducer - Analog Speaker Simulator

SPL Transducer - Analog Speaker Simulator

B&H # SPLTRAN MFR # SPLTRAN
SPL Transducer - Analog Speaker Simulator

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  • 1Description

The Model 2601 Transducer Analog Speaker Simulator from SPL is many a guitarist's dream come true: you can play loud without being loud. The 2601 Transducer is a D. I. solution for guitar amps and is an alternative to cabinet miking.

Via headphones, a musician can play inaudible to the outside world while the Transducer delivers authentic sounds, even the nuances of your guitar amp. Its high-quality component analog design produces the same texture of load like a cabinet, and offers direct response with latency-free processing.

On stage, many problems with loud cabs and complex mikings arise. These can be avoided by using the Transducer. Artists can play with in-ear monitoring at moderate levels with the sound quality they desire while the affected signal can be provided for the live mix.

In the studio and onstage the Transducer replaces the guitar speaker cabinet and microphone(s) so that the time and resource-intensive microphone processing of this loud sonic source is no longer necessary. In addition, the Transducer offers more sonic flexibility and variety than a single mike and cabinet setup because it allows for varied speaker and mic simulations while allowing the retention of accustomed sonic features of individual setups (such as the ability to vary level-dependent loudspeaker characteristics and microphone distances).

The Transducer supplants at least four loudspeaker cabinets, two high quality microphones, and their preamp. At any time the amplification may be cranked up. Also, only one engineer (or musician ) is required to get tweaked sound settings in contrast to the crew required for typical setups.

The entire Transducer usage is intuitive and requires no miking expertise. It offers the ability for the guitarist to hear a true playback during production and adjust his playback.

The Transducer is fully analog in its construction, strives to be authentic in its sonic quality and playability, and offers a latency-free response. Critical parts are carefully selected, such as the OP amps utilized, for preferred sonic characteristics. This choice process also applies to its flight foil condensers and the individually built High-Z transformers from Lehle.

Another reality about the Transducer is that processing is independent from absolute volume levels, which means that no recording room is necessary and ear-saving work is possible everywhere and at any time, with the minimum amount of gear and effort.

CONTROLS and LEDS
Speaker Action
This simulates speaker cone characteristics at different levels. With a moderately driven guitar box (Speaker Action from 0%-35%), speakers ideally reproduce the signal clearly without too many side effects. As levels increase, overtones are added by the overdriven speaker, producing its characteristic "rasping" distortion effect. Speaker Action allows for the simulation of this effect.
Speaker Actions is, as with Miking Level and Output Gain, a level control. Turning it to the left allows only low levels to pass, just as with a cabinet driven at low levels. If a small Speaker Action is wanted, it must be compensated for with a comparable increase in Miking Level - in principle the same as you would need to do in working with a cabinet.
Signal LED
The signal LED indicates the presence of a signal at the Transducer's input. It is activated at a -20 dBu level.
Speaker Cabinet
This switch toggles between an open and closed guitar cabinet characteristic. "Open" sounds definitely more open, brilliant and direct, as the signal contains more transients and produces less punch as with the "Closed" setting, wherein the sound has more punch and with its added compression more closely creates the impression of the compressed air in a closed box, though with less brilliance and detail.
Speaker Voicing
This offers the choice of sound and attack characteristics from either alnico speakers (Sparky) or the British ceramic construction (Mellow). The "Sparky" setting produces a lively, more responsive sound with additional overtones, while the "Mellow" setting sounds warmer and softer.
Miking Level
A microphone produces a different sound at lower sound levels than at higher ones. With the Transducer's Miking Level one can simulate these differences. Increasing the Miking Level effect produces a stronger compression level and a denser sound canvas. This builds an effect of increasing loudness.
A lower miking level produces a more refined and at the same time, marked high frequency production with reduced mids.
Microphone Selection
This provides for selecting either condenser or dynamic microphone characteristics. Depending upon the cabinet these microphone choices will affect the sound right from the start, and clearly this will continue to contribute to the overall available guitar sound.
A condenser microphone normally sounds more open and transparent, though less punchy than a dynamic. It is also unforgiving, and, for example, can quickly single out weaknesses in loudspeaker microphoning. A dynamic microphone has more punch, though it sounds less clear than a condenser. It can be more forgiving and withstands higher sound pressure levels.
Microphone Distance
The sound dispersion characteristics of guitar speakers varies with microphone distance, with slightly distanced microphoning adding more ambience. With the Microphone Distance settings it is possible to simulate these different sonic characteristics.
The Close setting provides a more direct sound and tends to sit in the front of the mix. With sharply defined corners and angles, full detailing and overtone rich, this sound is suited for soloists. In contrast, the Ambient setting is best for a "wall of sound" - and is sonically less direct, softer, but with more push and punch.
Output Gain
This controls the Line Output 1 and 2 output levels; the Mic Level Output is not influenced by this control.
This LED illuminates 3 dB before the internal microphone preamplifier stage is overloaded. In this case, be sure to lower the Output Gain until the OVL LED goes out. The Mic Level Output is independent from the Output Gain control.
Overload LED
Line Output 1 and Line Output 2 only. This LED illuminates 3 dB before the internal microphone preamplifier stage is overloaded. In this case, be sure to lower the Output Gain until the OVL LED goes out.
In the Box
SPL Transducer - Analog Speaker Simulator
  • Limited 2-Year Warranty
  • Table of Contents
    • 1Description
    Outputs Speaker Thru: 1/4" Jack connection
    Pre Simulation Out: 1/4" Jack connection
    Impedance ca.: 1 kΩ
    Mic Level Output XLR, electronically balanced
    Impedance, unbalanced: ca. 600 Ω
    Impedance, balanced: ca. 1.2 kΩ
    Max. Output Level: +6 dBu
    Signal to Noise Ratio: -100 dBu (A weighted)
    Line Output Line Output 1:
    XLR, electronically balanced
    Impedance: unbalanced ca. 600 Ω
    Impedance: balanced ca. 1.2 kΩ
    Max. Output Level: +21,5 dBu
    Signal to Noise Ratio: -94 dBu (A weighted)

    Line Output 2:
    XLR and 1/4" TRS connection, electronically balanced
    Impedance unbalanced: ca. 600 Ω
    Impedance balanced: ca. 1.2 kΩ
    Max. Output Level: +21.5 dBu
    Signal to Noise Ratio: -94 dBu (A weighted)
    Power Supply Selectable Line Voltages:
    115 VAC, 60 Hz/ 230 VAC, 50 Hz
    Power Consumption: 5,2 VAC
    Fuses:
    110 - 120 VAC: 400 mA slow blow
    220 - 240 VAC: 200 mA slow blow
    Power Connector: Standard 3-prong IEC connector
    Dimensions (H x W x D) 3.4 x 19.0 x 10.6" (88.2  x 482.6  x 270.0  mm)
    Weight 10.58 lb (4.8 kg)

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