SPL Track One Mk3 Premium
UPC/EAN #4260149320636
MPN #22401
Channel strip with mic/instrument preamp, de-esser, compressor/limiter, 3-band EQ, output metering, and input and output transformers by Lundahl
Compact and competent
In broadcast and voice recording, the compact channel strip has already made a big name for tself. Whether singer-songwriter, live event or podcast - Track One always delivers a great sound. t enriches the microphone, line or instrument signal. De-esser, compressor/limiter and qualizer ensure professional results.
The high-quality recording and mixing channel strip has been improved again with the latest Mk3 ersion in some technical details and optimized with the needs of modern recording studios in ind. The new design of the SPL Studio Series provides this third generation Track One with a more intuitive and at the same time classy design.
Preamplifiers
The Track One is equipped with two preamps: a microphone preamp with 48V phantom power and a separate instrument preamp.
Both are tuned to a sound-neutral, open and transparent characteristic.
Gain
The gain control can be used to adjust the preamplification. For microphone signals, a preamplification of up to 63 dB can be realized - so even really demanding microphones can show their qualities.
The control range for line signals ranges between -12 dB and +22 dB. The control range for instrument signals ranges between 0 dB and +35 dB.
Analog plugin
Track One Mk3 offers the possibility to process line signals. This means that sources with line level, such as an analog signal from an audio interface, can be processed with de-esser, compressor, limiter and equalizer and then be recorded again. In this way, Track One Mk3 becomes an "analog plugin" within an insert of a DAW.
48V
The 48V switch activates the required phantom power of 48 volts for the use of condenser microphones.
Highpass filter
A highpass filter with 6 dB per octave reduces impact noise below 80 Hz.
De-Esser
Unobtrusively and effectively, the Auto-Dynamic De-Esser removes distracting S-sounds, in a mix or on vocal tracks. "S-frequencies" get detected and mixed back phase-inverted into the main signal, thus simply deleting sibilants in the original signal. The Auto-Threshold control maintains constant processing even as the singer's distance from the microphone varies. The result is tonally neutral, unobtrusive and extremely effective. Even at high S-reduction values, the de-essing has no significant effect on the character and timbre of the voice.
Operation is limited to setting the desired sibilance reduction via the S-Reduction control. The On switch activates the De-Esser.
Compressor / Limiter
The compressor is also extremely easy to operate via a controller; its strength lies in its unobtrusive, musical operation. The compressor/limiter section has excellent specifications in terms of noise and distortion.
Compression
The Compression control can be used to set a threshold between 0 dB and -20 dB. The lower the threshold, the more the compressor works.
Gain Reduction
The Gain Reduction display indicates the processing that is being performed with the compressor. The level reductions due to compression are displayed in 1.5 dB steps.
Make-Up Gain
The Make-Up Gain control can be used to make up for the overall level reduction caused by compression. A value between 0 dB and 20 dB can be set by which the level is increased again after compression.
With the help of the Gain Reduction display on the panel, the adjustment is very simple: if the maximum reduction value caused by the loudest part is e.g. -9 dB, the Make-Up Gain control should be set to values around +9 dB.
The On switch activates the compressor section, consisting of the compression control and the Make-Up Gain.
Limiter
The Limiter switch puts the compressor into limiter mode. The threshold is still set by the compression knob.
The limiter is designed as an unobtrusive working soft limiter.
About the technology of the compressor
In the Track One Mk3 compressor, the parameters for the time constants (including attack and release) are set automatically and thus adapt to the changing conditions of the input signal better than it would ever be possible with a manual control.
The attack time of a compressor should respond quickly to explosive P or T sounds and act more slowly on soft onset sounds, otherwise sound coloration may occur. The compressor in the Track One Mk3 therefore adjusts faster to large level increases than to small ones; long held notes are automatically processed with a long attack time.
The control of the release time also depends on the input signal. Fast and large increases in level are accordingly processed with shorter time constants than small increases in level. Comparable to the attack time control, small increases in level are adjusted with large time constants in order to keep the distortion of the audio signal as low as possible. This technique represents the perfect balance between fast, unobtrusive control behavior and the lowest possible distortion, resulting in a natural and transparent sound image.
Lundahl Transformers
The Sonic Aspects
Transformers are used as an alternative to electronic balancing stages in the inputs and outputs. Transformers can be found in many classics of audio engineering. They make the bass and fundamental tines rounder and give it a little more punch. The high and overtone range sounds a bit silkier and more present.
We find transformers to be advantageous, especially for voices. For highest precision and speed in signal transmission (transient processing), however, electronic stages are better suited. The bottom line is that it is a question of taste and application.
In the Mic Preamplifier
In the case of preamplifiers or channel strips, the 2161 input transformer, which is specially designed for microphone inputs, provides an additional gain of up to 14 dB (depending on the microphone), which must then be added to the scaling.
This relieves the microphone preamplifier. Since the transformer ratio passively increases the level, No noise is added. Therefore, the input transformer is more important than the output transformer in preamplifiers.
Specifications
Analog inputs & output; XLR & TRS Jack (all balanced, except INSTR./LINE IN: unbalanced)
Maximum input gain
(Mic, +8 dB " +63 dB) 10.6 dBu (bei +8 dB GAIN)(Line, -12 dB " +22 dB) 33.5 dBu (bei +8 dB GAIN)(Instrument, 0 dB " +35 dB) 21.5 dBu (bei +8 dB GAIN)Input impedance
(Microphone) 10 k?(Line) 47 k?(Instrument) 1.1 M?Frequency range (Mic) 10 Hz " 195 kHz
Noise
(A-weighted, Mic Preamp, 150 ?, 30 dB Gain)-94.5 dBu(A-weighted, Mic Preamp, 150 ?, 50 dB Gain)-79 dBu(A-weighted, Mic Preamp, 150 ?, 64 dB Gain)-65 dBu(A-weighted, Line/Instr Preamp, 0 dB Gain)-97 dBu(A-weighted, Line/Instr Preamp, 10 dB Gain)-90.5 dBu(A-weighted, Line/Instr Preamp, 22 dB Gain)-79 dBuEquivalent Input Noise (EIN)-126.8 dBu
Common mode rejection (1 kHz) < 80 dB
THD+N Ratio (1 kHz)
Mic 30 dB Gain 0.004 %Mic 50 dB Gain 0.014 %Mic 64 dB Gain (Max.) 0.029 %Line 0 dB Gain 0.0021 %Line 10 dB Gain 0.0016 %Line 22 dB Gain 0.0045 %Instrument 0 dB Gain 0.0061 % (100 k? source impedance)
Internal Linear Power Supply with Shielded Toroidal Transformer
Operating voltage for analog audio +/- 15 V
Phantom power 48 V
Mains Power Supply
Mains voltage (selectable) 230 V AC / 50; 115 V AC / 60 Hz
Fuse for 230 V T 312 mA
Fuse for 115 V T 630 mA
Power consumption max. 7.6 VA
Dimensions & Weight
W x H x D (width x height x depth)
482 x 44 x 210 mm19 x 1,73 x 8,27 inchUnit weight
3,4 kg7.49 lbsShipping weight (incl. packaging)
4,5 kg9.92 lbs
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