Sound Performance Lab 2383 User Manual

Page 1
User’s Guide
1
2 3 4 5 6 7 8
lass A
Gain Station
Discrete High-Gain Preamplifier
Ultra fast wideband Input Amplifiers
G
N
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16 15 14 13
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dB
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SOURCE
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Hi Z Mic
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Clip
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38
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Off
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41
Hz
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46
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9
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PHASE
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Nor. Rev.
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IMPED.
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1.2k
dB
10k
200
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PHANTOM
P
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-9
Off48V
-10
-8
-12
-6
-14
-5
-2.5
-16
0
-18
LIMITER
-20
2
Off
Fet Peak
3.5
-22
5
-24
5.5
-25
-26 6
dB
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SOURCE
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Hi Z Mic
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41 46
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23
24.5
25.5
-5
-2.5
5.5
26
18
16
35
15
Clip
HI PASS
38
14
50
Off
13
Hz
18
12
11
10
63
9
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PHASE
E
A
B
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18
Nor. Rev.
20
16
0
12
21
9
7.5
-30
24
6
IMPED.
4
1.2k
dB
10k
200
2.5
25
1
T
25.8
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F
b
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26
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+
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f
PHANTOM
P
T
U
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O
-9
Off48V
-10
-8
-12
-6
-14
-16
0
-18
LIMITER
2
-20
Off
Fet Peak
3.5
-22
5
-24
-25
-26 6
dB
G
N
SOURCE
A
A
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E
N
L
22
C
Hi Z Mic
21
24
19
26
18
29
16
32
35
15
Clip
HI PASS
14
38
50
Off
13
41
Hz
18
46
12
11
54
10
63
9
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PHASE
E
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B
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18
Nor. Rev.
20
16
0
12
21
9
22
7.5
23
-30
6
24
IMPED.
24.5
4
1.2k
dB
10k
200
2.5
25
25.5
1
T
25.8
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b
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26
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+
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f
PHANTOM
P
T
U
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O
-9
Off48V
-10
-8
-12
-6
-14
-5
-2.5
-16
0
-18
LIMITER
-20
2
Off
Fet Peak
3.5
-22
5
-24
5.5
-25
-26 6
dB
G
N
SOURCE
A
A
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E
N
L
22
C
Hi Z Mic
21
24
19
26
18
29
16
32
35
15
Clip
14
38
50
Off
13
41
Hz
18
46
12
11
54
10
63
9
G
E
PHASE
A
B
I
N
U
T
18
Nor. Rev.
20
16
0
12
21
9
22
7.5
23
-30
6
24
IMPED.
24.5
4
1.2k
dB
10k
200
2.5
25
25.5
1
T
25.8
u
F
b
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e
26
t
+
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f
f
PHANTOM
P
T
U
U
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O
-9
Off48V
-10
-8
-12
-6
-14
-5
-2.5
-16
-18
0
LIMITER
-20
2
Off
Fet Peak
3.5
-22
5
-24
5.5
-25
-26 6
dB
G
N
SOURCE
N
Hi Z Mic
29
32
35
Clip
38
Off
41
18
46
54
9
PHASE
Nor. Rev.
0
22
23
-30
24
IMPED.
24.5
1.2k
dB
200
25
25.5
PHANTOM
-5
-2.5
0
LIMITER
2
Off
Fet Peak
3.5
5
5.5
SOURCE
A
A
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E
N
L
22
C
Hi Z Mic
21
24
19
26
18
29
32
16
35
15
Clip
HI PASS
14
38
50
Off
41
13
Hz
18
46
12
54
11
10
63
9
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PHASE
E
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18
Nor. Rev.
20
16
0
12
21
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7.5
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-30
24
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IMPED.
24.5
4
1.2k
dB
200
10k
2.5
25
25.5
1
T
25.8
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F
b
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26
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+
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PHANTOM
P
T
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O
-9
Off48V
-10
-8
-12
-6
-5
-14
-2.5
-16
0
-18
LIMITER
-20 2
Off
Fet Peak
3.5
-22
5
-24
5.5
-25
-26 6
dB
GainStation 8
Eight channel microphone and instrument preamplifier
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16 15 14
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13
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10k
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-9
Off48V
-10
-8
-12
-6
-14
-16
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-20
-22
-24
-25
-26 6
dB
G
N
SOURCE
N
Hi Z Mic
29
32
35
Clip
HI PASS
38
Off
41
18
46
54
9
PHASE
Nor. Rev.
0
22
23
-30
24
IMPED.
24.5
1.2k
dB
200
25
25.5
PHANTOM
-5
-2.5
0
LIMITER
2
Off
Fet Peak
3.5
5
5.5
SOURCE
Made in Germany
A
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C
Hi Z Mic
21
24
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26
18
29
32
16
35
15
Clip
HI PASS
14
38
50
Hz
10k
Off48V
50
Off
41
13
Hz
18
Class A Class A
46
12
54
11
10
63
60-Volt Amplifiers
9
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PHASE
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Nor. Rev.
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IMPED.
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1.2k
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10k
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25.5
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-10
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-12
-14
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-20
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-24
-25
-26
dB
POWER
26
PHANTOM
T
Off48V
-6
-5
-2.5
0
LIMITER
2
Off
Fet Peak
3.5
5
5.5
6
Model 2388
Model 2383
Page 2
User’s Guide GainStation 8
Version 1.0 – 6/2003
Designer: Ruben Tilgner
This user's guide contains a description of the product. It in no way represents a guarantee of particular characteristics or results of use. The information in this document has been carefully compiled and verified and, unless otherwise stated or agreed upon, correctly describes the product at the time of packaging with this document.
Sound Performance Lab (SPL) continuously strives to improve its products and reserves the right to modify the product described in this manual at any time without prior notice. This document is the property of SPL and may not be copied or repro­duced in any manner, in par t or fully, without prior authorization by SPL.
Model 2383
SPL electronics GmbH
Sohlweg 55
41372 Niederkruechten
Germany
Tel. +49 ( 0)2163 983 40
Fax +49 (0)2163 983 420
Email: info@soundperformancelab.com
www.soundperformancelab.com
© 2003 SPL electronics GmbH. All rights reser ved. Names of other companies and their products are trademarks of their respective owners.
2
GainStation 8
Page 3
Introduction .................................................................. 4
Before you begin .......................................................... 7
Rear panel/connections ................................................ 8
Wiring ....................................................................... 8
General advices ......................................................... 9
Connectors and switches ........................................... 10
Control elements .......................................................... 11
Clean Gain, Tube Gain, Output Level .......................... 11
Source, Hi Pass, Phase .............................................. 12
Imped. Ω, Phantom .................................................... 13
Limiter ....................................................................... 14
Power LED, LED Level Display ...................................... 15
Operation ..................................................................... 16
Setting levels on the GainStation 8 ............................. 16
Limiter ....................................................................... 18
Application examples ................................................... 19
Vocals/speech ......................................................... 20
Acoustic instruments/orchestra ................................ 20
Acoustic guitar with pickup ....................................... 20
Guitar amps ............................................................. 20
Electric Bass ............................................................ 21
Keyboards/samplers/drum machines ........................ 21
Tube distortions with GainStation 8 ........................... 21
Drums/Snare-Drum .................................................. 22
Kick-Drum ................................................................ 22
Toms ........................................................................ 22
Overhead ................................................................. 22
Contents
Technology ................................................................... 23
External power supply ................................................... 26
Technical Specifications ................................................ 27
Dimensions/weight ....................................................... 28
Options/Information on Lundahl input transformers ........ 28
Warranty ...................................................................... 29
GainStation 8
3
Page 4
Introduction
Input makes all the difference.
Modern audio production relies increasingly on digital systems for recording and mixing processes (DAW‘s, digital consoles etc.). The advantages of digital audio are manifold and include affordable storage, comfortable editing, recall capabilities and automation. On the downside, digital systems still do not offer the same audio qualities and sound characteristics of high-end analog equipment. Especially digital equalizers and other aspects of the mixing domain cannot compete with the open, transparent sound of the best analog gear. So today more than ever, your input signal has to sound as good as possible—the quality of your original tracks will largely define the end result. Lifeless or dynamically lacking signals are of ten over-processed with EQ, compression and other effects in an attempt to compensate—often an extremely tedious process in the digital domain that doesn‘t always produce the desired results.
Attacking this problem on the preamplification front, with the goal of noticeably improving a signal and sending it along its path with a healthy foundation, requires a great deal of thought and engineering effort. To this end, the GainStation 8 employs technolog ies that not only satisfy test equipment, but also—and most impor tantly—the user. Components and circuits were care­fully chosen and designed on the basis of extensive measure­ments and listening tests. In shor t, developing the GainStation 8 was a major undertaking that required immense amounts of time and experience.
4
GainStation 8
Page 5
Main technical features of the GainStation 8
• Custom- designed and buil t, fully discr ete, class A op -amps (no off-the-shelf stuff here). The GainStation‘s op-amps feature 60-Volt operating voltage—twice as high as most common op-amps—for an incredible dynamic range.
• An extremely high amplifier slew rate of 200 V/microsecond, ensuring clean transmission of high-f requency signal portions and rapid transients with virtually no cut-off.
• An almost entirely DC-coupled signal path, making signal­degenerating condensers unnecessary.
• An optimized layout guarantees the shortest possible signal paths, while generously proportioned grounding surfaces ensure low impedance and maximum shielding.
• All switching functions are handled by encapsulated relays with gold-plated contacts.
• All resistors are within 0.1% tolerance and were selected af ter extensive listening tests.
• A no-compromise power supply with extensive additional shielding and seven separately wound and regulated volt­ages. The power supply is of primary importance to audio quality; its importance should not be underestimated.
Introduction
• A tube stage utilizing premium MKP foil condensers and a select 12 AX7 LPS tube for clear, dynamic audio.
GainStation 8
5
Page 6
Introduction
This cutting-edge technology ensures that signals recorded with the GainStation 8 have more presence and substance and will easily cut through a mix even at lower levels. Extremely low-frequency signals are tight and transparent with clear into­nation. Percussive transients are interpreted more precisely, which leads to a clearer rhythmic content and in turn a more solid rhythmic performance and perception.
If the GainStation 8 is used as a preamp, musicians will imme­diately notice that they hear and feel what they are playing much better, which leads to improved playing and a better recording. The track will have more punch and dynamics , greatly improved presence and almost palpable detail. In short, the instrument sounds incredibly authentic and alive. Beta-tests with the GainStation 8 showed that all instrumentalists enjoyed playing more and in many cases were truly amazed at what their trusty instrument was capable of.
Given this improvement in the input signal, one is much less inclined to equalize and compress—in many cases you will prob­ably find that you can do without additional processing, which not only saves an enormous amount of time and processor power, but also has an extremely positive effect on the final result.
The GainStation 8 itself offers effective sound-shaping capabil­ities at recording, most notably via the tube stage, which can be completely bypassed or continuously added to the preamp circuit, allowing everything from extremely subtle “warmth“ to a very noticeable tube saturation effect. The integrated limiter can be used to protect an internal or external AD converter from clipping, or for example to add punch to drum tracks, which in turn reduces or in many cases even eliminates the need for subsequent compression. Put simply, the more tracks are recorded with the GainStation 8, the more solid and trans­parent—and easier to mix—the entire recording will be.
6
GainStation 8
Page 7
Before you begin
It makes good sense to think about where you place your GainStation 8 before connecting it. It should be positioned so that you can easily reach it, but there are other considerations. Try not to place it near heat sources or in direct sunlight, and avoid exposure to excessive vibrations, dust, heat, cold or moisture. It should also be kept away from transformers, motors, power amplifiers and digital processors.
IMPORTANT NOTE: When installing the GainStation 8 in a rack, please be sure to leave about a unit (1.5 to 2 inches) of space above it to ensure sufficient circulation. If possible, install the unit in a rack with other analog units to avoid interference from digital units, such as clock frequencies. We recommend covering the empty rack space above the GainStation 8 with a blind panel to reduce the amount of dust and debris sucked into the unit by its fan. The fan side of the housing must always be kept free.
IMPORTANT NOTE: Never disconnect the GainStation 8 from its external power supply while the unit is switched on. Always tur n it off first and wait at least one minute, so that all current can dissipate, before disconnecting the multipin connector. Failure to do so can cause severe damage to components.
In addition, please:
• Do not open the case. You may risk electric shock and damage to your equipment.
• Leave repairs and maintenance to a qualified service techni­cian. Should foreign objects fall inside the case, contact your authorized dealer or support person.
• To avoid electric shock or fire hazards, do not expose your unit to rain or moisture.
• In case of lightning, unplug the unit.
• Always unplug the cable by pulling on the plug only; never pull on the cable.
• Never force a switch or knob.
• Use a soft, lint-free cloth to clean the case. Avoid cleaning agents as they may damage the unit.
GainStation 8
7
Page 8
Rear panel/connections
1
MIC
INPUT
OUT 1
(BAL. )
INSTR. IN
Wiring
(UNBAL.)
(alternatively also balanced line level signals)
Microphone
JACK Wiring (Unbalanced): Tip = High (+)/ Sleeve = GNDJACK Wiring (Balanced): Tip = High (+)/Ring = Low (–)/ Sleeve = GND
XLR Wiring: Pin 1 = GND/ Pin 2 = High (+)/ Pin 3 = Low (–)
PUSH
2
MIC
INPUT
OUT 1
(BAL. )
PUSH
OUT 2
INSTR. IN
OUT 2
(BAL. )
(UNBAL.)
(BAL. )
Instruments,
(unbalanced)
line level signals
Pin wiring TRS connectors
3
MIC
4
MIC
5
MIC
6
MIC
7
MIC
8
MIC
INPUT
INPUT
INPUT
INPUT
INPUT
INPUT
OUT 1
(BAL. )
(UNBAL.)
INSTR. IN
PUSH
OUT 1
(BAL. )
PUSH
OUT 1
(BAL. )
PUSH
OUT 1
(BAL. )
PUSH
OUT 1
(BAL. )
PUSH
OUT 1
(BAL. )
PUSH
OUT 2
INSTR. IN
OUT 2
INSTR. IN
OUT 2
INSTR. IN
OUT 2
INSTR. IN
OUT 2
INSTR. IN
OUT 2
(BAL. )
(UNBAL.)
(BAL. )
(UNBAL.)
(BAL. )
(UNBAL.)
(BAL. )
(UNBAL.)
(BAL. )
(UNBAL.)
(BAL. )
for GainStation 8
Power Supply Unit
DC OUTPUT
Model 2383-PSU
Germany
Niederkrüchten
Sound Performance Lab
CAUTION
RISK OF ELECTRIC SHOCK
Converters, recorders,
MADE IN GERMANY
DO NOT OPEN
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
mixing console (balanced)
SERIAL NUMBER
2383-PSU
3830123-P
GND LIFTWARNING
THIS EQUIPMENT MUST BE EARTHED.
NO USER SERVICEABLE PARTS INSIDE.
NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE.
DISCONNECT MAINS BEFORE REMOVING COVER.
TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK DO
Tip=hot(+) Ring=cold(-) Sleeve=GND
Pin wiring
XLR Output
1=GND 2=hot(+) 3=cold(-)
3
1
2
Pin wiring
XLR-Mic Input
1=GND 2=hot (+) 3=cold (-)
1.6 A slow blow
3.2 A slow blow
110 V – 120 V/ 60 Hz:
DC INPUT
POWER SUPPLY
1230321
Gain Station 8
Made in Germany
AC MAINS INPUT
220 V – 240 V/ 50 Hz:
VOLTAGE/FUSE FUSE RATING
110 V – 120 V/ 60 Hz
220 V – 240 V/ 50 Hz
8
3
1
2
PUSH
GainStation 8
Page 9
General advices
Again, while the GainStation 8‘s housing is EMV-proof and protects against HF-interference, placement of the unit is very important since it amplifies microphone signals as well as other unwanted signals. Thus, it is extremely important that the external power supply not be positioned near the GainStation 8.
IMPORTANT: Adjust the voltage setting on the back of the external power supply so that it corresponds with the power conditions. Before connecting the GainStation 8 or any other equipment turn off all power.
The following graph shows the correct wiring for connecting unbalanced signals to the balanced XLR connectors:
Rear panel/connections
Output
VOLTAGE/FUSE FUSE RATING
220 V – 240 V/ 50 Hz
110 V – 120 V/ 60 Hz
220 V – 240 V/ 50 Hz:
1.6 A slow blow
110 V – 120 V/ 60 Hz:
3.2 A slow blow
balanced
1
2
3
unbalanced
1
2
3
1=GND 2=hot (+) 3=cold (-)
The Line Input connector is designed for unbalanced signals only.
The TRS output connector (see „Analog Outputs“, page 10) can be operated both with balanced and unbalanced wiring. Simply use a mono 1/4" plug for unbalanced operation.
GainStation 8
9
Page 10
Rear panel/connections
MIC INPUT
PUSH
MIC
INPUT
Dynamic, condenser or tube microphones can be connected to the Mic Input. The 48 V switch provides the phantom power necessary for some microphones (see also „Control elements/ Phantom“ on page 13).
The MIc Input can also be used as a balanced connection for professional audio equipment with a maximum output level of +20 dBu. The Clean Gain already delivers 10 dB of minimum preamplification, this leaves you with 4 dB of headroom.
IMPORTANT NOTE: Always switch the phantom power (48 V) off before connecting anything other than phantom-powered condenser microphones.
INSTR. IN
(UNBAL.)
OUT 2 (BAL. )
OUT 1
(BAL. )
INSTRUMENT/LINE INPUT
The Instr. In is for electric g uitars and basses or other high-impe­dance, line-level signals such as keyboards, samplers, drum machines etc. with unbalanced outputs. If a balanced connector (TRS) is inserted, the ring of the plug is automatically connected to the ground to ensure proper unbalanced operation.
ANALOG OUTPUTS 1/2
The preamplified output signal is fed to the balanced Analog Outputs. Since the XLR and 1/4" TRS connectors are wired in parallel, an unbalanced connection at one connector will cause the other connector to operate unbalanced, e.g. if a mono 1/4" plug is inserted in to t he 1 /4" jack, the corresponding XLR socket will also operate unbalanced.
IMPORTANT NOTE: The output connectors can deliver an output level of up to +34 dBu. Please ensure that all other equipment can handle these levels to prevent possible damage.
10
GainStation 8
Page 11
Control elements
CLEAN GAIN
This potentiometer controls the amount of preamplification provided by the class A solid-state stage. A range of up to + 63 dB is provided. For more information, please see “Setting levels on the GainStation 8“ on page 16.
IMPORTANT NOTE: If a Lundahl input transformer is installed, add 7 dB to the printed values.
TUBE GAIN
This potentiometer controls the amount of preamplification provided by the tube stage. This stage follows the clean (solid­state) stage, so that the gain values of the two stages are addi­tive. Setting Clean Gain at 20 dB and Tube Gain at 15 dB results in 35 dB of total preamplification.
Tur ning the Tube Gain control fully counter-clockwise causes the tube stage to be deactivated and bypassed via a relay.
TIP: For optimal signal-noise ratios at high preamplification values, the majority of preamplification should be achieved via the solid-state stage, adding just enough of the tube stage for the desired sound. Due to the nature of tubes and tube circuitry, the tube stage is somewhat noisier than the solid-state stage.
16
15
14
13
12
9
7.5
6
4
2.5
1
T
u
F
b
e
t
O
A
E
L
21
C
19
18
11
10
Mic: +7dB
w/transformer
E
B
U
T
16
12
e
+
f
dB
f
G
N
A
I
N
22
24
26
29
32
35 38 41
46
54
63
dB
G
A
I
N
18
20
21
22
23
24
24.5
25
25.5
25.8
26
OUTPUT LEVEL
This potentiometer adapts the output level to devices following in the chain or to the converter. At 0 dB the output level is equal to the internal level indicated by the LED display. The OUTPUT LEVEL control allows an additional 6 dB of amplification or 26 dB of reduction. The output level control is post-limiter to allow maximum levels to an external converter.
IMPORTANT NOTE: If the internal level is noticeably above +18 dB (the orange +18 dB LED is brightly illuminated) and the output level is set to +6 dB, the output level at the analog outputs can be up to +34 dBu. Please ensure that all other equipment can handle these levels to prevent possible damage.
GainStation 8
11
T
L
U
E
P
V
T
U
-12
O
-14
-16
-18
-20
-22
-24
-25
-26
E
-9
-10
-8
L
-6
-5
-2.5
0
2
3.5
5
5.5
6
dB
Page 12
Control elements
SOURCE
Hi Z Mic
HI PASS
Off
PHASE
Nor. Rev.
SOURCE
This switch allows you to select between the Mic and Instrument inputs. Both inputs can remain connected at all times, regard­less of which input is selected.
When first thrown after powering up the unit, this switch can cause a noticeable pop due to the discharge of residual current. This is normal and no cause for concern.
50
Hz
HI PASS
This switch activates the integrated high-pass filter, whic h oper­ates at a 50-Hz center frequency and 12 dB/octave (often called a “rumble filter“). The filter is entirely passive, avoiding addi­tional active circuitry that could potentially degrade the signal, and cuts 6 dB pre- and 6 dB post-solid-state preamplification to prevent the amplification of unwanted low-frequency signal portions.
PHASE
The phase reverse function reverses the polarity of the micro­phone signal, “turning“ the phase by 180° to correct phase­inverted signals caused by multiple signal sources.
12
A voice-over artist, for example, hears himself during recording 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 is also commonly encountered when using multiple microphones on a single sound source.
The GainStation 8‘s phase reverse switching is achieved passively via a relay, pre-preamplification, to avoid additional active circuitry.
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Control elements
IMPED. Ω
This 3-way switch allows you to select between three input impedances for the Mic Input. In general, higher impedances increase levels and emphasize high frequencies, while mids and bass frequenices are dampened. Conversely, a lower impedance causes lower levels and emphasizes bass and mid frequencies.
The Imped. Ω-Wert does not have to be equivalent to the output impedance of the microphone. We recommend the highest impedance setting as starting position (10.000 Ohm). Now it must be evaluated acoustically, if lower settings are delivering better results.
PHANTOM
The GainStation 8 provides 48 Volt phantom power for micro­phones requiring external current (generally condenser micro­phones). Such microphones are dependent upon a clean, consis­tent and noise-free power supply for optimal operation and audio quality. The GainStation 8 continuously delivers precisely 48 V and a maximum of 14 mA, which will power all micro­phones.
IMPORTANT NOTE: All microphones with balanced, ground-free outputs, including tube microphones, can be used with the phantom power activated. First connect the microphone to the GainStation 8, then activate the phantom power. When finished, first deactivate the phantom power and wait at least 30 seconds before disconnecting the microphone to allow residual current to discharge.
IMPED.
1.2k
200
PHANTOM
10k
Off48V
Phantom power should only be activated when using micro­phones that require it. Please be sure to deactivate phantom power with all other microphones. Unbalanced microphones may only be used with phantom power deactivated.
The 48V LED illuminates to indicate activated phantom power. When deactivating phantom power, it can take several seconds for the LED to go out, since the 48 V current dissipates rather slowly. When changing microphones, you should wait until the LED is completely dark before re-patching.
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Control elements
LIMITER
Off
Fet Peak
LIMITER
The GainStation 8 offers two types of output level limiting: Peak and FET. The limiter is pre-output level control, so that the limited signal can be optimally adapted to an external converter.
The peak limiter operate s with special diodes t hat convert sign al peaks into a type of saturation. Depending on the signal, this allows levels to be effectively and subtly limited. This type of limiting works very quickly, reliably limiting even microsecond­long transients, and is very effective for drums and percussion. The peak limiter also enables maximum loudness. Operation is displayed via the Limit LED.
The FET limiter is additionally available when the tube stage is activated. The FET circuit operates with a Field Effect Transistor (FET), which is connected to the tube and enables—always in conjunction with the peak limiter—a r eduction of signal ampli­tude. Thus this limiter works in a sim ilar fashion to a compr essor, which makes it very effective for signals that undergo unfore­seeable level changes (i.e. vocals, speech, guitar, bass, piano etc.) and where minimum loss in signal quality is desired. The peak limiter is always active post-FET limiter to ensure reliable protection. The Limit LED also displays the operation of the FET limiter (always somewhat more calmly than with peak limiting).
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IMPORTANT NOTE: If the tube stage is deactivated while FET
limiting is active, the LED will continue to display in FET limiting mode.
For more information on using the limiters please see page 18, ”Limiter”.
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Control elements
POWER
Switches the unit on or off. The switch illuminates with delay, because it is fed by the 250 V anode power – don’t panic.
If the tube stage is active when the unit is switched on, it can take several seconds before a signal can be heard—this time is necessary for the tube to reach operating temperature.
IMPORTANT NOTE: Never disconnect the GainStation 8 from its external power supply while the unit is switched on. Always turn it off first and wait at least one minute, so that all current can dissipate, before disconnecting the multipin connector. Failure to do so can cause severe damage to components.
LED LEVEL DISPLAY
The level display shows the peak level before output level control. A special circuit allows the LED‘s to vary in brightness to display in-between values. The -30 LED illuminates weakly at
-30 dB and reaches full brightness at 0 dB. The 0 dB LED illumi-
nates weakly at 0 dB and reaches full brightness at +9 dB and so on.
The CLIP LED operates post-CLEAN GAIN stage and displays clipping at this point in the signal path. It will not react to tube saturation in the tube stage, since this can be a desired effect.
POWER
Clip
18
9
0
-30
dB
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Operation
In spite of its quality and flexibility, the GainStation 8‘s trans­parent user interface allows quick, intuitive operation. The unit is suited for a wide variety of applications. The following sections will provide an overview of the most important opera­tional concepts and several application examples.
Setting levels on the GainStation 8
Start with the limiter switched off. With a representative signal present at either the MIC or HI-Z input, set the desired combi­nation of Clean and Tube Gain so that the 9 dB LED illuminates brightly. When this LED illuminates weakly, you have 9 dB of gain. When brightly lit, you have 15-17 dB, which still leaves you with a good 9 dB of headroom (in the range displayed by the orange 18 dB LED) before clipping. The orange LED illumi­nates dimly at 18 dB and brightly at around 26 dB. The red Clip LED should never illuminate—this indicates clipping in the clean stage, which generally should be avoided, as it will lead to distortion of the solid-state circuitry. (You may find this desir­able in some rare cases—we had lots of fun creating heavily distorted guitar sounds…)
The Clip LED does not display high amplification levels in the tube stage that could lead to distortion. The GainSt ation 8 inten­tionally allows tube saturation, since tube distortion—contrary to transistor distortion—is often a desirable effect.
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Once you have adjusted the gain levels as described above, use the Output Level control to set the optimal output level for subsequent devices in the chain.
IMPORTANT NOTE: The Output Level control should not be set above 0 dB when working with high internal levels of more than 18 dBu. Otherwise, extremely high output voltages of up to 34 dBu (approximately 38 Veff) can occur, which can damage other equipment. Please refer to the documentation of your other equipment regarding maximum input levels.
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Combining different amounts of clean and tube gain will create various effects. The GainStation 8 operates virtually distortion­free with the tube stage bypa ssed. The sound is clean and trans­parent with extreme detail and very low noise. The clean stage is ideal for most acoustic instruments, as well as jazz or clas­sical recordings. If you activate the tube stage and increase the gain setting slowly, you will notice that once you reach a certain level, harmonic distortion enters the signal. The sound becomes punchier and “fatter“, and attains more loudness. At this setting the tube stage is still relatively noise-free, and ideal for adding a bit of presence and liveliness to signals that may otherwise sound dull or lifeless. This setting works very well with stringed instruments like acoustic guitars, electric and acoustic basses and violins, since it highlights the harmonics of the strings.
Naturally, these effects become more pronounced a s the amount of Tube Gain is increased. The tube can be driven to full satu­ration to produce pronounced distortion, which can be very effective with synthesizers, samplers and drum machines that lack punch. Signals recorded in this fashion will generally cut through a mix with no trouble at all.
Operation
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Operation
Limiter
To achieve the desired results with the integrated limiter, it is important to understand its operation. The threshold value is fixed at 20 dBu. The clean and/or tube gain settings determine the amount of limiting, so that these settings more or less work like a threshold control. When the limiter is activated, it levels everything above 20 dBu. The orange 18 dB LED, which displays this level range, varies in brightness depending on limiting. The actual amount of limiting is displayed by the Limit LED, which becomes brighter as more level reduction is applied.
The peak limiter sounds different with the tube stage activated, since leveling occurs somewhat asymmetrically with the tube in the signal path, so that the negative half-wave is leveled with a much flatter curve.
To determin e the ideal limiter setting for the internal converter, activate the peak limiting mode and adjust the Clean and/or Tube Gain to a setting well above your working level, so that the Limit LED illuminates brightly. Then reduce the Output Level until the AD OVL LED goes out. Now your gain levels can be returned to their normal set tings and the limiter can be switched into FET mode if desired. The s ame met hod s houl d be use d with an external conver ter, except that in this case the external unit‘s clip LED is used for calibration. If you are only using the FET limiter and your program material contains few fast transients, the output level can be set somewhat higher.
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Application examples
The advent of digital recording and the fact that more and more material remains in the digital domain from start to finish have raised demands on preamplifiers. The GainStation 8 is predes­tined to act as a premium recording front end, ensuring that signals of all kinds are preamplified with the highest quality, whether as an alternative to existing console preamps or as a stand-alone solution between source and A/D converter.
The quality of your recordings has a major influence on the subsequent mixing process – good recordings require less processing in later stages. Improved transparence and intelligi­bility can be achieved with less equalization and compression if the signals are recorded optimally, often allowing individual signals to be mixed at lower levels without compromising their presence.
The GainStation 8 can also effectively improve live recordings and mixes. Particularly in live situations, microphone signals must often travel extremely long distances to reach the FOH or mobile console, resulting in high cable capacities, which can degrade and color the sound. In this application, we recommend placing the GainStation 8 on stage. This allows for short cable runs to the preamps, whereas the GainStation‘s gain structure and fast output stages can easily drive the longer runs that ensue.
The following section, while not attempting to represent a complete guide or answer all questions, provides several oper­ational tips for various instruments.
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Application examples
Vocals/speech
The tube stage is well suited for adding presence to vocals. Exercise caution when setting levels, particularly with the clean stage, since vocals can be extremely dynamic. The FET limiter can be very helpful here to level peaks in a subtle, musical fashion and ensure safe levels for AD conversion. Once the limiter is properly set (see ”Limiter”, page 20), tube gain can be added as required.
Acoustic instruments/orchestra
The tube stage should be used very sparingly, if at all, when miking/recording orchestras or acoustic instruments, to ensure the highest possible S/N ratio. Levels should be set with the utmost care, since distortion and clipping are easily heard and absolutely undesirable in classical and most acoustic record­ings. In general, the limiter should only be used to protect the A/D converter or digital recorder.
Acoustic guitar with pickup
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A combination of clean and tube stages will deliver good results here. Lower tube gain settings between 1 and 9 dB will result in a very acceptable S/N ratio. Moderate use of the peak limiter will provide the best protection against clipping.
Guitar amps
As with acoustic guitars, combining the clean and tube stages is especially effective when miking guitar amps. Higher Tube Gain settings result in more punch and loudness. The more distorted the guitar sound, the less limiting is required, since the distor­tion process levels dynamics.
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Application examples
Electric Bass
If an electric bass is directly connected to the instrument input, a combination of clean and tube stages is usually best. In the case of extreme dynamics, the FET limiter will deliver excellent results and a tight, punchy bass sound that usually needs no additional compression.
Keyboards/samplers/drum machines
Electronic sound sources allow you to fully utilize the GainStation 8‘s potential. The clean stage is excellent for clear, glassy sounds and pads, and a combination of clean and tube stages for most other sounds. The more dynamic the material, the more effectively you can utilize the limiter.
Tube distor tions with GainStation 8
The GainStation can be a great creative tool for creating distor­tion effects for suitable instruments and loops. Try using ver y high tube gain settings, so that the 18 dB LED is constantly illu­minated. Increasing the clean gain will feed more level to the tube stage, intensifying the tube saturation effect.
Activating the peak limiter will add a different type of distortion with more overtones. The FET limiter will not add distortion, but will create “hard limited” sounds with an extreme loudness effect.
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Application examples
Drums/snare drum
Exercise caution when setting levels to avoid clipping. Drums are notorious for fast, powerful transients that can easily add 10 dB to the average level. In addition, few drummers (or any musicians, for that matter) are so disciplined that they don‘t play louder during a take or concert than they do during sound check. Experiment to see whether or not you like the sound of the tube stage and in what proportion. It‘s de fin itel y a g oo d i de a to use peak limiting to protect converters and/or other equip­ment and prevent unwanted distortion (see “Limiter”, page 20). In FET mode, the limiter may be more audible than you‘d like it to be when used on drums.
Bass drum
Here pretty much the same applies as for snare drum. The peak limiter may tend to accentuate the attack or “click” of the bass drum, which can lead to undesirable sound variations with less disciplined drummers.
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Tom s
Level setting is not quite as critical with toms. Moderate use of the FET limiter will provide pleasant yet effective leveling.
Overheads
Using the tube stage on overheads can give the entire drum set extra punch and presence—don‘t worry if the 18 dB LED illumi­nates brightly in this case. Higher tube gain levels will increase the punch and loudness effect. The FET limiter is an additional creative tool on overheads.
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Inside the GainStation 8
The most time-consuming part of the development of the GainStation 8 was searching for, selecting and matching compo­nents, PCB‘s and IC‘s. One decisive factor in achieving impec­cable audio quality is the refusal to accept any weak spots in the chain—the insistence upon each link being as good as the next. It makes no sense to use a world-class op-amp with an improperly engineered power supply or lower-quality passive components such as standard resistors and condensers.
The GainStation 8 is based on fully discrete op-amps that operate in class A mode. C lass A operat ion dictates tha t both end transistors are constantly conducting current to prevent distor­tion. In conventional class B amplifiers, each transistor carries a half-wave, and distortion occurs every time current moves from one transistor to the next. Class A operation requires much higher closed-circuit current—approximately 6 mA with this op-amps or roughly three times the total current consumption of a conventional amplifier—which in turn leads to increased heat generation.
Technology
Several months went into the development of the GainStation 8 op-amp. First, we tested several different circuit config urations, using test equipment as well as listening tests with a wide variety of program material. It became more and more apparent that less complicated circuits provided better audio results.
The GainStation 8‘s input differential amplifier utilizes an extre­mely low-tolerance, thermal-coupled matched transistor pair in a single casing. This prevents deviances between the transi­stors to ensure minimal THD (total harmonic distortion) even at various temperatures. The resistors in the initial differential amplifier are connected to a secondary differential amplifier— also based on a matched transistor pair—that handles current conversion.
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Technology
An output stage, which also operates in class A mode with over 6 mA of closed-circuit current, functions as a current amplifier.
The transistors and resistors utilized also had an enormous effect on the audio quality. To facilitate selection, we assem­bled several models and subjected them to extensive listening tests. All this trouble more than paid off: the final GainStation 8 op-amp has a slew rate of over 100V/µs—several times faster than industrial op-amps. This is an absolute prerequisite for clean, transparent and dynamic audio. Transients are depicted with unparalleled accuracy, resulting in an open, airy and reali­stic sound.
The clean stage is based on a fully discrete, balanced instru­ment amplifier and also operates in class A mode. The special circuit configuration ensures consistent frequency response at virtually every gain set ting. With its slew r ate of over 200 V/µs, it is able to amplify fast transients and extremely high frequencies with almost no distortion. An op-amp subsequently converts the instrument amplifier‘s output signal into an unbalanced signal, which is fed to the tube.
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The tube type—a Sovtek® 12 AX7 LPS—was also selected af ter extensive measurements and listening tests. This tube type delivers an open, transparent sound, excellent noise values and is especially reliable. A generously proportioned 2.2 µF WIMA-MKP decoupling capacitor is utilized to ensure clean, punchy low frequency response. An impedance conver ter adapts the tube‘s high-impedance signal to the output stage, which also utilizes fully discrete op-amps and can easily drive extreme cable lengths. Coupling condensers were used as sparingly as possible to avoid their inherent disadvantages such as diffuse sound, slurring and loss of dynamics. Instead, servo circuits were utilized to eliminate DC artifacts.
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The Instrument Input is a fully discrete impedance converter that also operates in class A mode. It is based on a low-noise field effect transistor that is especially well suited to this task due to its extremely high input impedance. The signal then passes to the clean gain stage.
In order to ensure the shortest possible signal paths, all swit­ching functions are handled by optimally positioned, encapsu­lated, gas-filled relays with gold-plated contacts—the switches themselves only trigger the relays. Since resistors also greatly affect audio quality, the entire audio signal path utilizes pain­stakingly selected resistors with 0.1 % tolerance.
The op-amp circuits use premium FKP foil condensers, which sound much more open than ceramic types and provide more natural dynamic response.
All circuit boards have oversized grounding surfaces for optimal shielding.
Te chnology
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External power supply
In the case of the power supply, no expense was spared. After all, the power supply is one of the primary factors in the audio quality and overall sound of any device. Just like the best coffee beans in the world will not produce a good cup of cof fee with poor water, the best circuits can‘t produce a great sound with unreliable, inconsistent current.
In order to provide optimal current, the GainStation 8 was outfitted with an external power supply. Properly installed, transformer hum and interference should never be an issue and the unit should deliver clean, clear audio.
The 185 VA transformer is generously proportioned to ensure plenty of power in any situation and proper current for the various circuits. Further interference rejection is provided by a power-on relay, which requires only minimal current. The power supply design keeps the GainStation‘s internal circuitry free from AC power, which could negatively influence the sensitive preamps.
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Entirely new circuit designs were developed to process the various direct currents. The +/- 30 V current, f or example, ut ilizes a discrete voltage regulator with barely measurable noise. High­speed rectifier diodes and total capacities of 53,600 mF ensure sufficient current to process even the most powerful impulses. In addition, most currents are stabilized using 400 V/100 nF MKP foil condensers to ensure plenty of current for fast transients.
48 V phantom power is also processed using discrete, low-noise voltage regulators and fed directly to the microphone conduc­tors through two resistors.
Last but not least, the +250 V anode current is regulated by a voltage regulator to compensate for AC influences.
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Technical specifi cations
Frequency response (Clean Gain 30 dB, Tube Gain off, output level 0 dB, +/- 0.5 dB): ‹1 Hz-125 kHz
Frequency response (Clean Gain 30 dB, Tube Gain off, output level 0 dB, +/- 3 dB): ‹1 Hz-310 kHz
Frequency response (Clean Gain 30 dB, Tube Gain 1 dB, output level 0 dB, +/- 0.5 dB): ‹1Hz-125 kHz
THD+N (Clean Gain 24 dB, Tube Gain off, output level +6 dB, 20-22 kHz, +25 dBu out): 0.00038 %
THD+N (Clean Gain 23 dB, Tube Gain 1 dB, output level +6 dB, 20-22 kHz , +25 dBu out): 0.032 %
Noise (Clean Gain 10 dB, Tube Gain off, output level 0 dB, 20-22 kHz , A-weighted): -99.6 dBu
Noise (Clean Gain 30 dB, Tube Gain off, output level 0 dB, 20-22 kHz , A-weighted): -94.6 dBu
Noise (Clean Gain 60 dB, Tube Gain off, output level 0 dB, 20-22 kHz , A-weighted): -68.4 dBu
Noise (Clean Gain 20 dB, Tube Gain 10 dB, output level 0 dB, 20-22kHz, A-weighted): -86.5 dBu
EIN ( C l e a n G a i n 6 0 d B , T u b e Ga i n o f f , o u t pu t l e v e l 0 d B , 2 0 - 2 2 k H z , A-weighted, 40 Ω): 128.4 dB
Dynamic response (20-22kHz, A-weighted): ›130 dB
Common Mode Rejection (Clean Gain 30 dB, Tube Gain off, 1 kHz , Input -30 dBu, output level 0, w/o transformer): ›80 dB
Maximum Output Level: +34 dBu
Max. Input Level (Mic Input, Hi-Z Input): +17 dBu
Input Impedance (Instrument input): ›1 MΩ
Output impedance: ›75 Ω
Slew Rate (Clean Gain 30 dB, Tube Gain off, Output Level +6 dB): ›40 V/µs
Phantom power: 48 V +/-2 V
Power consumption (w/0 AD-Converter): 140 W
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Dimensions/weight
Dimensions (W x H x D): 482 x 88 x 237 mm
Weight (w/o Lundahl transformer): 6,3 kg
External power supply – dimensions: 219 x 85 x 257 mm
Weight: 6,8 kg
Options
The following accessory is optionally available:
• Lundahl input transformer (upgrades after sale by authorized service personnel or SPL only)
Information on Lundahl input transformers
Transformers have the char ac teristics usually associated with other analog components like tubes or coils–they sound “warmer”, fatter, punchier, more direct, improved presence without boosting the top end.
One main reason for this is that transformers cancel out a large amount of odd harmonics (those portions of an audio signal that sound harsh to human ears).
The GainStation 8's input transformer delivers 7 dB of additional passive gain, which must be added to the printed values.
Technical speci fications are subject to change without notice.
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GainStation 8
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Warranty
SPL products are manufac tured using carefully selected compo­nents and materials and state-of-the-art production techno­logy. Every SPL product is thorough inspected and tested before leaving the factory, including acoustic and electronic testing.
SPL warrantees the SPL 24/96 AD Converter Model 2376 to be free of defects in materials or workmanship for a period of 24 months after the date of purchase. Should any trouble caused by defects in materials or workmanship develop during this period, SPL will repair or, at our option, replace the product at no charge. Should SPL choose to replace the product, we reserve the right to replace it with a newer model.
In order to validate your warranty, you must either return the enclosed warranty registration card, completely filled out, to SPL, or register your product online within 14 days of purchase. You may register your product online at www.soundperformancelab.com or, in the USA or Canada at www.spl-usa.com.
The warranty period begins on the date of purchase. The warranty is non-transferable. Repairs or replacements do not extend the warranty period.
This warranty does not apply if:
• the product was not purchased from an authorized SPL dealer
• repairs are required due to normal wear and tear
• the product has been abused, misused or improperly maintained, or if repairs or alterations have been made or attempted by any other than authorized SPL service personnel
• the serial number has been removed or defaced
In no event shall SPL be liable for any indirect, incidental or consequential damages from the sale or use of this product, either during or after the warranty period.
SPL disclaims liability for any implied warranties, including implied warranties of merchantability and/or fitness for a specific purpose, after the warranty period.
This warranty gives you specific legal rights. You may have other rights, which vary from country to country and state to state. Some of the above limitations may not apply to you.
GainStation 8
SPL electronics GmbH, 41372 Niederkruechten, Germany
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