Sound Performance Lab MMC2 User Manual
Multichannel Mastering Console MMC 2
Sources Monitors
Stereo
Input A
Stereo
Return A
M-CH.
Input A
M-CH.
Return A
M-CH.
Return C
Stereo
Input B
Stereo
Return B
M-CH.
Input B
M-CH.
Return B
M-CH.
Return D
Solo to
LCRLSRSLFE
Center
Solo Solo Solo Solo Solo Solo Solo Solo
Mono
L/R
Speaker Management
Stereo
Operation
Mono
LS/RS
MMC 2
M-CH.
Operation
L
t/oRt/o
Mono
L
t/o/Rt/o
LFE to
L/C/R
Multichannel Mastering Console
1
0
1
-1
2
-2
-3
-4
-5
-6
-7
-8
-9
-10
10
dB
Trim
On
L
3
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
C
5
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
LS
7
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
L
t/o
2
0
1
-1
2
-2
ø Rev
3
4
5
6
7
8
9
R
4
ø Rev
4
5
6
7
8
LFE
6
ø Rev
4
5
6
7
8
RS
8
ø Rev
4
5
6
7
8
R
t/o
ø Rev
3
-3
4
-4
5
-5
6
-6
7
-7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
-5
6
-6
7
-7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
-5
6
-6
7
-7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
-5
6
-6
7
-7
8
-8
9
-9
-10
10
dB
Trim
On
Input Output
Master Fader
Monitor Level
Model 2486
1
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
L
3
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
C
5
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
LS
7
-1
-2
-3
-4
-5
-6
-7
-8
-9
-10
L
t/o
0
1
2
Fader
3
On
4
5
6
7
8
9
10
dB
Trim
On
0
1
2
Fader
3
On
4
5
6
7
8
9
10
dB
Trim
On
0
1
2
Fader
3
On
4
5
6
7
8
9
10
dB
Trim
On
0
1
2
Fader
3
On
4
5
6
7
8
9
10
dB
Trim
On
Dim
Stereo
Dim 1
A
-10 dB
Stereo
Dim 2
B
-20 dB
M-CH.
Dim 3
A
-30 dB
M-CH.
Mute
B
Return
Insert
On
On
Insert Return
2
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
R
4
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
LFE
RS
R
On
6
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
8
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
t/o
Fader
On
4
5
6
7
8
Fader
On
4
5
6
7
8
Fader
On
4
5
6
7
8
Fader
On
4
5
6
7
8
Manual
Multichannel Mastering Console MMC 2, Model 2486 Manual
Manual Version 1, 10/2005
R & D: Wolfgang Neumann
The information in this document has been carefully verifi ed and is assumed to be
correct. However Sound Performance Lab (SPL) reserves the right to modify the
product described in this manual at any time. Changes without notice. This document
is the property of SPL and may not be copied or reproduced in any manner, in part or
full without the authorization of SPL.
Limitations of Liability:
In no event will SPL be liable for any damages, including loss of data, lost profi ts,
cost of cover or other special, incidental, consequential or indirect damages arising
from the use of the unit, however caused and on any theory of liability. This limitation will apply even if SPL or an authorized dealer has been adviced of the possibility
of such damage.
Sound Performance Lab
SPL electronics GmbH
P.O. B ox 12 27, D- 41368 Niederkruechten, Germany
Phone +49 2163 983 40, Fax +49 2163 983 420
Email: info@soundperformancelab.com, Internet: www.soundperformancelab.com
© 2005 SPL electronics GmbH
All rights reserved. Technical specifi cations and appearance are subject to change
without notice.
2
Contents
Fade In ................................................................................................ 4
Signal Flow .......................................................................................... 5
Front Panel .......................................................................................... 6
Control Elements ................................................................................ 7
Sources, Input Trims ........................................................................... 7
Insert/Return, Speaker Management, Monitors .................................. 8
Before you operate the unit, fi rst check carefully whether the local voltage
setting corresponds to the setting on the external transformer!
Before switching on external transformer and MMC 2, the MMC 2 must be
connected to the external transformer with the supplied multicore lead. Pay
attention to a secure connection.
The MMC 2 and the external transformer should be situated away from heat
sources and direct sunlight. MMc 2 and transformer need suffi cient air circulation. Avoid installation in environments exposed to vibrations, dust, heat,
cold, moisture or electrical and magnetic fi elds.
Do not install the unit in proximity to power amplifi ers or digital processors.
You may consider placing it near other analog gear. Such placement can
prevent interference from Word Clock, MIDI, etc.
Monitor Level ...................................................................................... 9
Option: MasterBay ............................................................................. 10
Rear Panel, XLR Wiring, Metering Out .................................................. 11
Measurements .................................................................................... 12-18
Specifi cations, Power Supply .............................................................. 19
Warranty ............................................................................................. 20
Installation/Security Advices
• Do not open the case. You may risk severe electric shock and may damage
your equipment.
• Leave repairs and maintenance to a qualifi ed service technician. Should any
objects fall inside the case, unplug the power supply and contact a qualifi ed technician.
• To avoid electric shock or fi re hazards do not expose the unit to rain or
dampness.
• In case of lightning unplug the power supply.
• Never force a switch or knob.
• Use a lint-free cloth for cleaning. Avoid any cleaning agents as they may
damage the fi nish, use an acid-free cleaning oil instead.
• Support the back of the unit when it is being mounted.
3
Fade In
Master Fader
The MMC 2 multichannel mastering console completes the range of SPL 120 V
mastering consoles. Housed in a 19”/11U rack mount chassis the MMC 2
features the same unique 120 volts rails like the MMC 1 and DMC dual-channel
mastering console to achieve the optimum audio performance.
Moreover additional prerequisites speak for the employment of high-performance analog technology:
The number of necessary AD/DA conversions should be re duced to a minimum.
With the MMC 2, digital sources can be connected to a digital router, which
outputs the selected source through the preferred DA converter. This ensures
that the sound quality remains comparable and is not affected by converter
differences.
High quality analog outboard processing consistently proves itself superior
to digital processing. The analog concept allows for problem-free integration
of such analog processors.
Monitors and power amplifi ers are almost exclusively analog in design. Yet
another converter at this point in the chain only degrades monitoring signal
paths. Furthermore, DSD signals cannot be monitored on a digital monitoring
that operates in PCM.
The purpose of the development was the creation of mastering consoles
that would be superior in audio quality to all known and foreseeable audio
formats, whether analog or digital. Such consoles would provide both for
an unaltered reproduction of the sonic quality of high resolution playback
formats like SACD and in the process, remain a safe capital investment for
many years.
The MMC 2 is conceived as the center of a mastering environment to provide
speaker management, sources and returns connectivity, input and output
trimming, pure analog multichannel master fader and monitor level setting.
As an option, the MMC 2 can be supplemented with the SPL MasterBay to
provide an automated 8 x 8 channel insert routing of external processors.
Digital audio formats have undergone continuous development and change
and will continue to do so. With the degree of incompatibility created by the
“format war” between PCM and DSD, the need for a technology that is superior in dynamic range, headroom and sound quality to either or any other such
format is obvious – and the only solution is discrete analog technology in its
most advanced implementation.
4
Tec hnolog y
SPL’s new SUPRA operation amplifi ers are used throughout the MMC 2’s
design. They perform at an industry benchmark of 120 volts and their development alone took four years. The SPL SUPRA op amp achieves a signal-tonoise ratio of 116 dB with a headroom of 34 dB. The dynamic range amounts
to 150 dB with a frequency bandwidth of 200 kHz.
With such specifi cations, the MMC 2 rides comfortably beyond the requirements of either the current maximum 24 bit/192kHz PCM or 1 bit/256 fs
DSD formats, while a digital technology in which the MMC 2 could become a
“bottle neck” is not foreseeable.
Signal Flow
8 channel bus
2x
STEREO
INPUTS
(balanced)
2x
M-CH.
INPUTS
(balanced)
2x
STEREO
RETURNS
(bal. receiver)
4x
M-CH.
RETURNS
(bal. receiver)
PHASE
REVERSE
switch
(passive)
Balanced
input
receivers
TRIM ON
switch/
TRIM control
+/- 10 dB
L/C/R TO LFE, STEREO-/M-CH. OPERATION
insert send/
return
(bal. drivers
and receivers)
INSERT
BYPASS
switch
(relay)
Monitoring/Speaker Management
ON, SOLO, MONO, SOLO TO CENTER,
MONITOR SELECTION, DIM, MUTE
TRIM ON
switch/
TRIM control
+/- 10 dB
MASTER
FADER ON/
MASTER
FADER
4x STEREO
RECORDING
OUTPUTS
(bal. drivers)
2x M-CH.
RECORDING
OUTPUTS
(bal. drivers)
2x STEREO
MONITOR
OUTPUTS
(bal. drivers)
2x M-CH.
MONITOR
OUTPUTS
(bal. drivers)
5
Front Panel
Sources Monitors
Stereo
Input A
Stereo
Return A
M-CH.
Input A
M-CH.
Return A
M-CH.
Return C
Stereo
Input B
Stereo
Return B
M-CH.
Input B
M-CH.
Return B
M-CH.
Return D
Solo to
Center
LCRLSRSLFE
Solo Solo Solo Solo Solo Solo Solo Solo
Mono
L/R
Speaker Management
Stereo
Operation
Mono
LS/RS
MMC 2
M-CH.
Operation
L
Mono
L
t/o/Rt/o
LFE to
R
t/o
t/o
L/C/R
Multichannel Mastering Console
2
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
LFE
RS
R
-5
-6
-7
R
4
-5
-6
-7
6
-5
-6
-7
8
-5
-6
-7
t/o
Input Output
Master Fader
Monitor Level
Model 2486
LS
L
1
0
1
-1
2
-2
Fader
3
-3
-4
-5
-6
-7
-8
-9
L
3
-3
-4
-5
-6
-7
-8
-9
C
5
-3
-4
-5
-6
-7
-8
-9
7
-3
-4
-5
-6
-7
-8
-9
t/o
On
4
5
6
7
8
9
-10
10
dB
Trim
On
0
1
-1
2
-2
Fader
3
On
4
5
6
7
8
9
-10
10
dB
Trim
On
0
1
-1
2
-2
Fader
3
On
4
5
6
7
8
9
-10
10
dB
Trim
On
0
1
-1
2
-2
Fader
3
On
4
5
6
7
8
9
-10
10
dB
Trim
On
LS
L
1
0
1
-1
2
-2
ø Rev
3
-3
4
-4
-5
-6
-7
L
3
-5
-6
-7
C
5
-5
-6
-7
7
-5
-6
-7
t/o
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
ø Rev
3
-3
4
-4
5
6
7
8
-8
9
-9
-10
10
dB
Trim
On
Stereo
Stereo
M-CH.
M-CH.
Insert
Dim
Dim 1
A
-10 dB
Dim 2
B
-20 dB
Dim 3
A
-30 dB
Mute
B
Return
On
On
Insert Return
2
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
0
1
-1
2
-2
3
-3
-4
-5
-6
-7
-8
9
-9
-10
10
dB
Trim
On
LFE
RS
R
R
4
6
8
t/o
Fader
On
4
5
6
7
8
Fader
On
4
5
6
7
8
Fader
On
4
5
6
7
8
Fader
On
4
5
6
7
8
6
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