SPL Channel One Mk3

Name: SPL Channel One Mk3
Brand: SPL
SKU: 2130
Price: 2299.0 USD
Availability: InStock

$ 2,299.00

$ 2,554.00

Save $ 255.00

SKU: 2130

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Channel One Mk3

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SPL SPL Channel One Mk3

$ 2,299.00

$ 2,554.00

SPL Channel One Mk3

Model

SPL Channel One Mk3

The perfect front-end for the modern producer.

For over 20 years, Channel One has been a synonym for a high-quality and extremely musical recording and mixing channel strip.

In the newest 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.

The new 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 a discrete preamplifier.

Gain

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.

Preamp Out – the direct way to reach your goal

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.

Analog plugin

Channel 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, Channel One Mk3 becomes an “analog plugin” within an insert of a DAW.

Instrument input

The low-noise instrument input is located easily accessible on the front.

PAD

The PAD switch attenuates the signal of the microphone input by 20 dB, so that even very high levels can be processed with the Channel One Mk3. This is the case, for example, with loud percussion or brass recordings.

ø

The phase reverse function reverses the polarity of the signal. After pressing the switch, the phase is reversed by 180°.

Tip:
We recommend checking the correct polarity before recording and correcting it if necessary. The phase inversion function can be used, for example, to correct a headphone monitor signal that may be out of phase. A voiceover artist, for example, hears himself through the headphones and simultaneously through the bones in his head. Phase inversion will cause an unnatural sound, and even minimal variations in distance to the microphone will cause drastic variations in the sound. Phase inversion can be applied to the microphone, line and instrument inputs. In general, you can always just try out whether a phase reverse has a positive effect on certain signals in the mix.

Highpass filter

A highpass filter with 6 dB per octave reduces impact noise below 80 Hz. This filter can be used for both preamplifiers.

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.