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.