SPL Channel One Mk3 Channel Strip
Description
For over 20 years, Channel One has been a synonym for a high-quality and extremely musical recording and mixing channel strip. With the SPL Channel One Mk3 version, this classic has been thoroughly revised and, in addition to a higher internal audio voltage (now ±18 V) for even better, more detailed sound, a further improved preamplifier section, an integrated Transient Designer, a Tube Saturation stage and a Mic A/B comparison option for two microphones and other great features that raise the modern recording and mixing studio to a new level of quality. With de-esser, compressor and equalizer, all the important tools of a real channel strip are still on board. Whether it's a microphone, line, or instrument signal, the Channel One Mk3 makes any source sound like a professionally recorded signal. This design of the SPL Studio Series perfectly highlights the sonic qualities of this 3rd generation Channel One.
DISCRETE PREAMPLIFIER
Channel One Mk3 is equipped with one discrete preamplifier. The gain control can be used to adjust the preamplification. For microphone signals, a preamplification of up to 68 dB can be realized – so even really demanding microphones can show their qualities. The control range for line signals ranges between -20 dB and +16 dB. The control range for instrument signals ranges between -6 dB and +30 dB.
The Preamp Out picks up the signal directly after the microphone amplifier. This signal can also be recorded on a separate track in the DAW, for example, to be on the safe side. If it is noticed after a recording session that the singer was a little louder in the perfect take and therefore hits the compressor too hard, this incorrect setting can still be changed afterwards. The signal recorded for safety can later be played back into the Channel One Mk3 via the Line In and be processed there with Tube Saturation, Compressor or other tools.
TUBE SATURATION – MAGICAL TUBE SOUND
With this control the amount of tube saturation can be determined. The output level is accommodated automatically, in extreme settings the level increases by only 6 dB. Therefore decent 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. Acoustically and also in its range of applications this can be compared very well with tape saturation effects.
KEY FEATURES:
- Discrete preamp section perfect for vocals or instruments
- Two microphone inputs and one line input on rear panel, and DI instrument input on front panel
- SPL's Transient Designer for manipulating the envelopes of audio signals level-independently
- Big-iron input and output transformers
- 3-band equalizer section for comprehensive tone shaping
- Tube saturation for expressive harmonic distortion at the trun of a knob
- Compressor/limiter controls provide unobtrusive, musical operation
- De-esser erases sibilants
- Headphone monitor stage
- Insert (send/return) for patching external effects