The model 2950 brought a facelift to one of our best-selling products. Now the SPL design represents the common origin of our channel strips Frontliner, Channel One and Track One.
However, technically we did not change anything to continue the success of the Channel One with tried and tested quality.
The Channel One comes with all tools onboard for recording voices, instruments and digital or analog audio sources with the highest sound quality.
Each stage contributes to the concept as the ideal recording front-end for world-class sounds the easy way: intelligent automation ensures both intuitive and fast as well as musical operation for the finest recording results.
The microphone input features 48V phantom power, phase reverse function and a subsonic filter.The low-impedance Line input has a precise balancing stage for connecting studio equipment.The low-noise, high-impedance instrument input is easily accessible on the front panel.
The renowned SPL De-Esser subtly yet effectively removes offending sibilants by reliably eliminating only the "S" frequencies with its unique phase-cancelling processing technology. Auto-Threshold ensures constant processing even with varying microphone distances. All you need do is to turn the knob until the sibilants are gone.
The Insert (Send/Return) allows for insertion of external processors or can be used to record the pure preamplifier signal.
This section is based on SPL's Double-VCA-Drive® circuitry for outstanding noise and distortion characteristics. The compressor is extremely easy to use via a single knob. But the signal-dependent automation not only allows for set and forget operation, it also grants very muscial results in any situation. Actually it is much more difficult to destroy a recording with wrong compression settings.
The noise gate operates flawlessly - reverbs are recognized and not cut off.
The Channel One provides a new EQ design especially optimized to process vocals, acoustic and electronic imstruments. Low, Mid Hi, and Air-Bands allow for both corrective adjustments and/or effective sound designing processing. Gadget: a distortion control might be useful sometimes to apply for decent distortions to signals that deserve it.
Provides an individual mix for the singer/speaker - latency problems from digital systems are avoided.
Hybrid Transistor/tube preamplifierDe-EsserCompressor/limiterNoise gate3-band EQHeadphone monitorOptions: AD converter, I/O transformersMade in Germany
Mic Preamp: 10 Hz-100 kHz (100 kHz = -3 dB)Line/Instrument preamp: 10 Hz-180 kHz (100 kHz = -3 dB)
Common mode rejection (@ -20 dBu):
1 kHz: -80 dB10 kHz: -78 dB
THD & N (mic preamp): A-weighted:
20 dB -97.1 dBu40 dB -91.1 dBu65 dB -69.4 dBu
THD & N (line/instru preamp): A-weighted:
5 dB -99.4 dBu20 dB -97.2 dBu42 dB -79 dBu
Line: 20 kOhmInstr.: 1 MOhm
Max. input level:
Line: +22 dBuInstr.: +14 dBu
Max. output level XLR/jack:
Headphone Amplifier Gain (mic input and 0dBu output level)
-20dBu at 25%-10dBu at 40%-5dBu at 55%0dBu at 70%+5dBu at 75%+10dBu at 90%+14dBu at 100%
Toroidal transformer: 20 VAFuses: 315 mA (230 V / 50 Hz)Fuses: 630 mA (115 V / 60 Hz)Voltage Selector: 230V / 115VGround Lift switch
Dimensions & Weight
WxHxD: 482x88x210 mm; 19"x3.46"x8.27"Weight 4.15kg;9.15lbs