SPL 1224, 1223, 1229, 1234, 1233 User Manual

Manual

Twin Module Series featuring the modules

Premium Mic Pre, Preference Mic Pre, Dual-Band De-Esser, DynaMaxx, Transient Designer und TwinTube

Analog Elemental Series

Models 1211, 1212, 1214, 1219, 1223, 1224, 1229, 1233, 1234, 1239, 1254, 1293, 1294

2

Analog Elemental Series

Content

Manual Analog Elemental Series 6

CE Conformity 6
Notes on Environmental Protection 6
Contact 6

Symbols and Notes 6

Important Security Advices 7

Scope of Delivery and Packaging 8

Hook Up 8

Placement 8

Introduction 8

The Analog Elements 8
Die Signalprozessoren der zweiten Generation 9

Concept and Categories of the Analog Elemental Series 9

Dual-Channel Preamplifiers 9
Channel Strips 9
Processing Units 10
Optional Features 11
Information on Transformers 11
Common Technical Specifications 11
Dimensions and Weight 11

Rear Panel | Wiring Diagram 12

Rear Panel | Versions 13

Rear Panel 1 13
Rear Panel 2 13
Rear Panel 3 13
Optional Converter: Wiring Diagram 13

Rear Panel | Connections and Switches 14

Signal Connections 14
Input and Output Electronics 14
XLR sockets 14
Balanced connections 14
Unbalanced connections 14
Power connection and fuse 15
Voltage Selector 15
Power switch 15
GND Lift 15
Channel Strip Switch (Ch. 1 OUT = Ch.2 IN) 15

3

Analog Elemental Series

Content

The Modules 16

Premium Mic Pre | Introduction 16

Features 16

Premium Mic Pre | Control Elements 16

Mic Gain 16
About Leveling 17
VU Meter 17
PPM 17

-10 17
48 V Phantom Power Supply 18
Pad 18
Phase Reverse 18
High-Pass Filter 18

Premium Mic Pre | Technology 19

Triple Stage Preamp 19
Stage 1 – The Input Transformer 19
Stage 2 – The Discrete Differential Amplif ier 19
Stage 3 – The Instrumentation Amplifier 20
Foil and Styroflex Capacitors 20
Output Stages 20

Premium Mic Pre | Technical Specifications 20

Audio 20
Input 20
Output 20
Control Elements 20
Premium Mic Pre | Block Diagram 21

Preference Mic Pre | Introduction 22

Main Features 22

Preference Mic Pre | Control Elements 22

Mic Gain 22
About Leveling 22
VU Meter 23
PPM 23

-10 dB 23
48-V-Phantom Power Supply 23
Phase Reverse 24
High-Pass Filter 24

Preference Mic Pre | Technology 25

SSM 2019 25
Servo Drive Design 25
Foil And Styroflex Capacitors 25
Output 25

Preference Mic Pre | Technical Specifications 26

Audio 26
Input 26
Output 26
Control Elements 26
Preference Mic Pre | Block Diagram 27

4

Analog Elemental Series

Content

Dual-Band De-Esser | Introduction 28

The Dual-Band De-Esser 28

Dual-Band De-Esser | Control Elements 28

HI-Band On, Low-Band On 28
Low S-Reduction 29
High S-Reduction 29
Male/Female 29
Signal-LED (SIG.) 29

Dual-Band De-Esser | Technical Specifications 30

Audio 30
Output 30
Control Elements 30
Dual-Band De-Esser | Block Diagram 31

DynaMaxx | Introduction 32

DynaMaxx | Control Elements 32

Compression 32
Make-Up Gain 33
Gain Reduction LEDs 33
DE-COM. (De-Compression) 33
FX Com. (Effect Compression) 34
Lim. (Limiter) 34
On 34
Link 35
Signal-LED (SIG.) 35

DynaMaxx | Technology 35

Why are conventional compressors unsatisfactory? 35
Full-Band versus Multi-Band 36
Attack Time Automation 36
Release Time Automation 37
Threshold And Ratio 37

DynaMaxx | Technical Specifications 38

Audio 38
Input 38
Output 38
DynaMaxx | Block Diagramm 39

5

Analog Elemental Series

Content

Transient Designer | Introduction 40

Transient Designer | Control Elements 40

On 40
Attack 40
Sustain 41
Output Gain 41
Link Mode 41
Signal LED 41

Transient Designer | Applications 42

Drums & Percussions 42
Guitars 43
Bass: Staccato vs. Legato 43
Ambience 43
Keyboards & Sampler 43
Post Production 43
Mastering 43

Transient Designer | Technical Specifications 44

Audio 44
Input 44
Outputs 44
Transient Designer | Block Diagram 45

TwinTube | Introduction 46

TwinTube | Control Elements 46

HAR. ON/SAT. ON 46
HARMONICS Control 46
HARMONICS Switch 47
SATUR ATION Control 47
Signal LED 47

TwinTube | Applications 47

Vocals 47
Acoustic Guitars 47

TwinTube | Measurements 48

TwinTube | Technical Specifications 50

AUDIO 50
AUDIO – CUMUL ATIVE (Harmonics and Saturation Stage) 50
TwinTube | Block Diagram 51

6

Analog Elemental Series

Symbols and Notes

Version 1.0 – 6/2012

Developers: Wolfgang Neumann, Enzo Triolo, Jens Gronwald

This manual 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.

© 2012 SPL electronics GmbH. All rights reserved. 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. Names of other companies and their products are trademarks of their respective owners.

CE Conformity

The construction of the Analog Elemental Series is in compliance with the
standards and regulations of the European Community.

Notes on Environmental Protection

At the end of its operating life, this product must not be disposed of with regular
household waste but must be returned to a collection point for the recycling of
electrical and electronic equipment. The wheelie bin symbol on the product,
user‘s manual and packaging indicates that. The materials can be re-used in
accordance with their markings. Through re-use, recycling of raw materials, or other forms
of recycling of old products, you are making an important contribution to the protection of
our environment. Your local administrative of fice can advise you of the responsible waste
disposal point. WEEE Registration: 973 349 88.

Contact

SPL electronics GmbH
Sohlweg 80, 41372 Niederkruechten, Germany
Phone [phone], Fax [phone]
E-Mail: [e-mail], Website: spl.info

© 2012 SPL electronics GmbH. All rights, technical changes, mistakes and misprints reserved.

The SPL logo, Analog Code®,

Vitalizer

®

and Atmos® are tr ademark s of SPL elect ronics Gmb H.

All oth er logos and b rand name s are registe red trade marks

of thei r respecti ve owners .

IN THIS MANUAL A LIGHTNING SYMBOL WITHIN A TRIANGLE WARNS YOU ABOUT THE
POTENTIAL FOR DANGEROUS ELECTRICAL SHOCKS – WHICH CAN ALSO OCCUR EVEN AFTER
THE MACHINE HAS BEEN DISCONNECTED FROM A POWER SOURCE.

AN EXCLAMATION MARK (!) WITHIN A TRIANGLE IS INTENDED TO MAKE YOU AWARE OF
IMPORTANT OPERATIONAL ADVICE AND/OR WARNINGS THAT MUST BE FOLLOWED. BE
ESPECIALLY ATTENTIVE TO THESE AND ALWAYS FOLLOW THE ADVICE THEY GIVE.

The symbol of a lamp directs your attention to explanations of important functions or applica­tions.

Attention: Do not attempt any alterations to this machine without the approval or supervision
of SPL electronics GmbH. Doing so could nullif y completely any and all of your warranty/guar­antee rights and claims to user support.

Manual Analog Elemental Series

7

Analog Elemental Series

Please note and retain this manual. Carefully read and follow all of the safety and operating
instructions before you use the machine. Be doubly careful to follow all warnings and special
safety instructions noted in this manual and on the unit.

Connections: Only use the connections as described. Other connections can lead to health
risks and equipment damage.

Water and humidity: Do not use this machine anywhere near water (for example near a wash
basin or bath, in a damp cellar, near swimming pools, or the like). In such cases there is an
extremely high risk of fatal electrical shocks!

Insertion of foreign objects or fluids: Never allow a foreign object through any of the
machine‘s chassis openings. You can easily come into contact with dangerous voltage or
cause a damaging shor t circuit. Never allow any fluids to be spilled or sprayed on the machine.
Such actions can lead to dangerous electrical shocks or fire!

Opening the unit: Do not open the machine housing, as there is great risk you will damage the
machine, or – even after being disconnected – you may receive a dangerous electrical shock!

Electrical power: Run this machine only from power sources which can provide proper power
in the range from 100 to 250 volts. When in doubt about a source, contact your dealer or a
professional electrician. To be sure you have isolated the machine, do so by disconnecting all
power and signal connections. Be sure that the power supply plug is always accessible. When
not using the machine for a longer period, make sure to unplug it from your wall power socket
and from the guitar amp.

Cord protection: Make sure that your power and guitar amplifier signal cords are arranged
to avoid being stepped on or any kind of crimping and damage related to such event. Do not
allow any equipment or furniture to crimp the cords.

Power connection overloads: Avoid any kind of overload in connections to wall sockets,
extension or splitter power cords, or to signal inputs. Always keep manufacturer warnings
and instructions in mind. Overloads create fire hazards and risk of dangerous shocks!

Lightning: Before thunderstorms or other severe weather, disconnect the machine from wall
power (but to avoid life threatening lightning strikes, not during a storm). Similarly, before
any severe weather, disconnect all the power connections of other machines and antenna and
phone/network cables which may be interconnected so that no lightning damage or overload
results from such secondary connections.

Air circulation: Chassis openings offer ventilation and ser ve to protect the machine from over­heating. Never cover or otherwise close of f these openings. Never place the machine on a soft
surface (carpet, sofa, etc.). Make sure to provide for a mounting space of 4-5 cm/2 inches to
the sides and top of the unit when mounting the unit in racks or on cabinets.

Controls and switches: Operate the controls and switches only as described in the manual.
Incorrect adjustments outside safe parameters can lead to damage and unnecessary repair
costs. Never use the switches or level controls to ef fect excessive or extreme changes.

Repairs: Unplug the unit from all power and signal connections and immediately contact a
qualified technician when you think repairs are needed – or when moisture or foreign objects
may accidentally have gotten in to the housing, or in cases when the machine may have fallen
and shows any sign of having been damaged. This also applies to any situation in which the
unit has not been subjected to any of these unusual circumstances but still is not functioning
normally or its performance is substantially altered. In cases of damage to the power supply
and cord, first consider turning off the main circuit breaker before unplugging the power cord.

Replacement/substitute parts: Be sure that any service technician uses original replacement
parts or those with identical specifications as the originals. Incorrectly substituted parts can
lead to fire, electrical shock, or other dangers, including further equipment damage.

Safety inspection: Be sure always to ask a ser vice technician to conduct a thorough safety
check and ensure that the state of the repaired machine is in all respects up to factory stan­dards.

Cleaning: In cleaning, do not use any solvents, as these can damage the chassis finish. Use
a clean, dry cloth (if necessary, with an acid-free cleaning oil). Disconnect the machine from
your power source before cleaning.

Important Security Advices

8

Analog Elemental Series

Scope of Delivery and Packaging

Hook Up

Introduction

The scope of delivery comprises the Analog Elemental Series unit, the power cord, the guar­antee card and this manual.

Please keep the original packaging. In case of a ser vice procedure the original packaging
ensures a safe transport. It also serves as a safe packaging for your own transports if you do
not use special transportation cases.

Be very careful to check that the rear chassis power selection switch is set to the correct
local line voltage position before using the unit (230 V position: 220-240 V/50 Hz, 115 V posi­tion: 110-120 V/60 Hz)! When in doubt about a source, contact your dealer or a professional

electrician.

Before connecting any equipment make sure that any machine to be connected is turned off.
Follow all safety instructions on page 5 and read further information on connections on page
10 onwards.

Placement

Place the unit on a level and stable surface. The unit’s enclosure is EMC-safe and effectively
shielded against HF interference. Nonetheless, you should carefully consider where you place
the unit to avoid electrical disturbances. 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 direc t sunlight,
and avoid exposure to vibrations, dust, heat, cold or moisture. It should also be kept away
from transformers, motors, power amplifiers and digital processors. Always ensure sufficient
air circulation by keeping a distance of 4-5 cm/2 inches to the sides and top of the unit.

The Analog Elements

Our research and development efforts are always ruled by two maxims: innovation and ease
of use. In many occasions both approaches get interleaved so that a good product idea is, at
the same time, very easy to use, when implemented as a musically sound solution. Hence, it
is no surprise that our „one knob“ devices, like the SPL De-Esser and DynaMax x compressor,
have been successful for so many years and are considered classics among our products.

Even though originally conceived in 1U 19-inch format, the possibility of applying the modular
concept to our preamps and processors, in order to satisfy the wishes of customers with ver y
specific needs, has always been lingering in our minds. The introduction of the RackPack
Series f inally allowed for a modular system that can accommodate six different modules in
three frame options:

• Premium Mic Pre — High-end microphone preamplifier with transformer

• Preference Mic Pre — Reliable preamplif ier ideal for multi-channel applications

• Dual-Band De-Esser — Second generation of our unique De-Esser with phase cancellation

technolog y

• DynaMaxx — Second generation of the best set & forget compressor with signal-depen­dent automation

• Transient Designer — Second generation processor by the original inventor of the tran­sient tool

• TwinTube — Tube processor for saturation and presence effects

Key to the selec tion of modules was the idea of offering an elemental collection of combinable
analog components for music production. Some modules were developed from scratch with
this in mind (Premium and Preference preamps, TwinTube), while some others were enhanced
and adapted to the modular concept (which resulted in the second generation of our beloved
DynaMaxx, Dual-Band De-Esser and Transient Designer processors). In order to put to use
all the work invested in developing our analog elements and translate it into single units, we
created the Analog Elemental Series.

9

Analog Elemental Series

The Next Generation Signal Processors

The development of the processors brought with itself the following advances:

• On all three processors that were revised the operating voltage was increased from +/-15
to +/-18 volts. This allows us to enhance the performance of a circuit, considering that the
basis of every circuit is the voltage/performance ratio. Thus, dynamic range, signal-to­noise ratio and THD can be improved.

• Dual-Band-De-Esser: two bands for more precise and flexible processing.

• DynaMaxx: modifications to allow for the optional fitting of a transformer.

• Transient Designer: additional output level control — an important enhancement to the

device‘s operation which allows for an immediate control of level dif ferences.

Concept and Categories of the Analog Elemental Series

Every Analog Elemental unit combines two modules. Depending on the application, the 13
resulting units can be sorted into three product categories:

• Preamplifiers consisting of two Premium or Preference modules — the outstanding
RackPack Preamps in 1U 19-inch units.

• Channel Strips consisting of preamp and processing modules — perfect front ends with
optimally matched processing for vocals or instruments.

• Processing Units to complement analog outboard equipment.

The Analog Elemental concept makes it possible to build any imaginable conf iguration with
SPL‘s elemental processing tools. Every module combination results in an exceptional and
unique unit. We have summarized here the most impor tant aspects of the different conf igura­tions.

Dual-Channel Preamplifiers

Premium Preamplifiers

It is not easy to make high-quality recordings. An exceptional sonic foundation to work upon
is a must. This can be achieved with microphones and preamps whose impulse response and
transduction capabilities are not limited — just like the SPL Premium Preamps. Created by
SPL founder Wolfgang Neumann, these classic solid-state masterpieces featuring an inte­grated transformer seduce anybody that lends an ear to them. The two-channel unit resulting
from the combination of two Premium Preamp Modules could withstand comparison to any
product, regardless of their price. Model Number: 1212.

Preference Preamplifiers
Our goal when developing the Preference Preamps was to match professional sound quality
to the highest reliability possible. Our decade-long experience designing and manufacturing
microphone and instrument preamps guarantees the best price-performance ratio. The
results can be heard in all sorts of situations — regardless of whether it is live or in the studio,
the SPL Preference Preamps provide a rock-solid foundation for any production. And they are
also perfectly suited to replace the integrated preamps of audio interfaces and mixers. Model
Number: 1211.

Channel Strips

Premium or Preference Preamp & DynaMaxx

Do you play or have to record instruments often? There are lots of ways to do it, but then
again, it all comes down to the end result. Our way to achieving outstanding results is argu­ably the shortest one, considering that it consists of only two knobs: „Gain“ (preamplifica­tion) and „Compression.“ This applies to vocal recordings as well. The high-end alternative to
the Preference/DynaMaxx Combo, Model 1223, is the Premium/DynaMaxx unit, Model 1233.

>

Introduction

10

Analog Elemental Series

Premium or Preference Preamp & Dual Band De-Esser

The combination of a Premium or Preference Preamp with the Dual-Band De-Esser preserves
the sound character and timbre of voices, even with extreme settings. An unbeatable combi­nation for live applications. The high-end alternative to the Preference/Dual-Band De-Esser
Combo, Model 1229, is the Premium/Dual-Band De-Esser unit, Model 1239.

Premium or Preference Preamp & TwinTube

The combination of a preamp w ith the TwinTube effec ts processor allow s for fascinating sound
shaping possibilities. Two totally independent tube effects — Saturation and Harmonics —
make vocals sound more sonorous and rootsy, while highlighting their presence and empha­sizing the harmonics. Presence, authority, cutting edge, glaze... take full advantage of the
character of the vocals. The high-end alternative to the Preference/TwinTube Combo, Model
1224, is the Premium/TwinTube unit, Model 1234.

Processing Units

Dual-Band De-Essers

Those who need two Dual-Band De-Esser units will find in this combination the perfect 1U 19“
solution. In case more units are needed, a RackPack frame is the best way to go ( 3U 19“ rack
frames that can host four or eight Analog Elemental Series modules).

Dual Band De-Esser & TwinTube

This combination effectively expands any sound engineer‘s processing needs: De-Essing and
TwinTube processors are ideal for vocal tracks and are the perfect complement to any respect­able preamp. Model Number: 1294.

Dual-Band De-Esser & DynaMax x

A very nice processing combination for vocals. Being able to have the two most straightfor­ward one-knob SPL processors under the same hood is not only exciting but also comforting
— it is very easy to abandon oneself to their magic and prowess. Model Number: 1293.

TwinTube Processors

Considered one of the world‘s finest tube effects processors, the TwinTube provides the two
single most important artifacts generated by tubes: Saturation and Harmonics. The warmth,
presence and suppleness analog tube and coil filtering provide can enrich any production,
regardless of the music genre. Model Number: 1214.

Transient Designer & TwinTube

The second generation Transient Designer (with output level control) and the exceptional
TwinTube together in one processing unit — a combination that can certainly fill the gaps of
many studios when it comes to analog processing arsenal. This is a perfect example of some­thing that is much more than the sum of its parts: the Transient Designer allows to clearly
emphasize sound parts that can then be processed with the TwinTube. Very effective on all
sorts of percussive signals, the tube sound complements perfectly the Transient Designer
and opens up an unprecedented amount of sound shaping possibilities. Model Number: 1254.

Introduction

11

Analog Elemental Series

Optional Features

• Optional for all processing modules: Lundhal transformers at the input and output stages.
Premium preamplifier modules integrate input and output transformers. Preference
preamplifier modules cannot be fitted with transformers. Transformers are not visible
from the outside and are only available as a factor y option during purchase. Retrofitting is
not contemplated. More information on transformers below.

• Optional for every Analog Elemental unit: additional digital output via a converter module.
For more information on the Converter Module refer to page 9.

• Additional functions for Channel Strip modules: channel strip switcher on the rear. When
engaged, this switch internally forwards the output signal of the first module directly into
the input of the second module, making external cabling unnecessary.

Information on Transformers

All processing modules can be equipped with input and output transformers. Exceptions:
Preference Mic Pre is not available with transformers, Premium Mic Pre always comes with
inout and output transformers.

We think a good part of the „warmth“ that is commonly associated with vintage gear comes
from transformers. With transformers the low end and lower mids sound rounder, full-bodied
with more punch. The top end gets a silky touch and benef its from improved presence without
sounding boosted. Reasons are reduced odd harmonics (which produce harsh top end
impressions) and a slower characteristic compared to electronic stages which causes a more
voluminous sound.

We recommend transformers especially for vocals while electronic stages can be better for
highest precision in signal transmission (transients), but in the end it‘s a question of personal
taste, applications or for example which mics are in use.

Transformers transmit the signal by induction. This means there is no static connection (like
a wire) to transmit the signal. This protects the unit from damage caused by power failures in
the input/output connections. In addition, hum problems are effectively avoided if balanced
connections are used throughout. That‘s why transformers can be very interesting for live
units or in units used for facilities that need highest operational safety (broadcast, sound
reinforcement). Another notable advantage for many live and recording applications is that
very long cable leng ths are possible with no loss in signal quality. At the end of the day, it
depends on personal taste, main applications or for example on the microphone and other
equipment if transformers are required or not.

Common Technical Specifications

Power Supply Toroidal transformer
Fuses 230 V AC, 50 Hz: 315 mA
120 V AC, 60 Hz: 630 mA
Voltage Selector 115V/230V
Power Consumption @ 2 30 V: 9,1 W/10,8 VA
@ 115 V: 5 ,6 W/7,1 VA

Dimensions and Weight

Housing (W x H x D) 482 x 88 x 320 mm (depth includes knobs and sockets)
Weight ca. 4,6 kg
Weight with Premium Module(s): ca. 4,9 kg
Weight with TwinTube Module(s): ca. 4,8 kg

Introduction

12

Analog Elemental Series

Rear Panel | Wiring Diagram

Ch. 1 OUT = Ch. 2 IN

Ch. 1 OUT = Ch. 2 IN

ON

OFF

Make sure that the voltage switch setting

reflects the correct local power line voltage.

Console, Patchbay,

DAW/Interface

Console, Patchbay,

DAW/Interface

Console, Patchbay,

DAW/Interface

Pin wiring XLR input sockets:

1=GND, 2=hot (+), 3=cold (-)

Pin wiring XLR output sockets:

1=GND, 2=hot (+), 3=cold (-)

PUSH

2

1

3

21

3

Console, Patchbay,

DAW/Interface

Microphone Microphone

Line SignalLine Signal

Wiring Diagram for Microphone Preamplifier Modules

Wiring Diagram for Processing Modules

13

Analog Elemental Series

Rear Panel | Versions

OUT INCh. 1

IN OUTCh. 1

OUT INCh. 2

IN OUTCh. 2

MADE IN GERMANY spl.info

AVIS: RISQUE DE CHOC ÉLECTRIQUE – NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

Pin 1 = GND

Pin 2 = (+) hot

Pin 3 = (–) cold

For unbalanced

operation connect

Pin 3 to GND (Pin 1)

SERIAL No.

VOLTAGE | FUSE

GND LIFT

GND LIFT

GND

TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE

THIS UNIT TO RAIN OR MOISTURE. DISCONNECT MAINS

BEFORE REMOVING COVER.THIS EQUIPMENT MUST BE EARTHED.

WARNING

0

I

230V ~50Hz
800mA slow

115V ~60Hz

1.6 A slow

OUT INCh. 1

IN OUTCh. 1

OUT INCh. 2

IN OUTCh. 2

MADE IN GERMANY spl.info

AVIS: RISQUE DE CHOC ÉLECTRIQUE – NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

Pin 1 = GND

Pin 2 = (+) hot

Pin 3 = (–) cold

For unbalanced

operation connect

Pin 3 to GND (Pin 1)

SERIAL No.

VOLTAGE | FUSE

GND LIFT

GND LIFT

GND

TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE

THIS UNIT TO RAIN OR MOISTURE. DISCONNECT MAINS

BEFORE REMOVING COVER.THIS EQUIPMENT MUST BE EARTHED.

WARNING

0

I

Ch. 1 OUT = Ch. 2 IN

Ch. 1 OUT = Ch. 2 IN

ON

OFF

230V ~50Hz
800mA slow

115V ~60Hz

1.6 A slow

OUT INCh. 1

IN OUTCh. 1

OUT INCh. 2

IN OUTCh. 2

MADE IN GERMANY spl.info

AVIS: RISQUE DE CHOC ÉLECTRIQUE – NE PAS OUVRIR

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

Pin 1 = GND

Pin 2 = (+) hot

Pin 3 = (–) cold

For unbalanced

operation connect

Pin 3 to GND (Pin 1)

SERIAL No.

VOLTAGE | FUSE

GND LIFT

GND LIFT

GND

TO REDUCE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE

THIS UNIT TO RAIN OR MOISTURE. DISCONNECT MAINS

BEFORE REMOVING COVER.THIS EQUIPMENT MUST BE EARTHED.

WARNING

OPTICAL

SPDIF

SPDIF

AD 24/192
Converter

DIGITAL OUTPUTSSYNC INPUT

SAMPLE RATE

OUTPUT OUTPUT

SYNC
LOCK

Model

1090

Made in
Germany

x2

192 kHz when clocked via Syn c Input

48

44.1

0

I

Ch. 1 OUT = Ch. 2 IN

Ch. 1 OUT = Ch. 2 IN

ON

OFF

230V ~50Hz
800mA slow

115V ~60Hz

1.6 A slow

Depending on their configuration and additional features, the Analog Elemental Series
modules can have three different rear panels. The additional elements are the optional AD
converter (digital output) and the channel strip switch, which internally forwards the output
signal of the f irst module to the input of the second module, ruling out the need for external
cabling.

Rear Panel 1

Without converter or channel strip switch (configuration example: two preamp module).

Rear Panel 2

Without converter, with channel strip switch (configuration example: channel strip consisting
of preamp and processing module).

Rear Panel 3

With converter and channel strip switch (configuration example: channel strip consisting of
preamp and processing module, including digital output).

Optional Converter: Wiring Diagram

The optional AD conver ter provides an additional digital output. The diagram shows how to
connect it to an interface. For more detailed information refer to the converter module user‘s
manual.

DAW/Interface

(Output)

DAW/Interface

(Input)

14

Analog Elemental Series

Rear Panel | Connections and Switches

Signal Connections

Turn off the unit before connecting or disconnecting any cable or equipment to it. Otherwise
you risk the possibility of damaging your ears or equipment.

Input and Output Electronics

The input and output electronics are based upon bridge circuits that keep the signal flow
constant, regardless of malfunctioning equipment and power outages (power fail safety
by relay hard bypasses). The bridge and insert circuits rely on high-quality relays. Contact
surfaces are gold-plated to provide better conductivity and encapsulated to avoid external
influences due to climate or atmospheric conditions.

XLR sockets

All signal connections are made via balanced XLR connectors. Inputs are always female and
accept male connectors; outputs are always male. All in all, a very comprehensible principle.

Balanced connections

It is impossible to exclude interferences when a single audio signal is transmitted. Shielding is
effective against electric, but not against electromagnetic influences. Motors, transformers,
and alternating current can always induce interferences. But even if the transmission would
succeed, dif ferences in ground potentials between driver and receiver would produce distur­bances.

In balanced connections a reference signal with reversed polarity is transmitted additionally
to the audio signal through a second wire. The ground signal is routed separately through
a third wire. Input and output stages are drivers and receivers, and the receiving stage can
suppress interferences by subtracting the difference between audio and reference signal.

Unbalanced connections

Unbalanced connections from and to RCA or 1/4“ TS sockets can be made without adaptors to
the balanced XLR sockets. The correct wiring is important. The diagram shows the pin config­uration of the XLR sockets and how to correctly connect them for unbalanced connections:

Connections to RCA sockets are always unbalanced, a wiring to jack connectors can be both
balanced (1/4“ TRS/stereo jack) or unbalanced (1/4“ TS/mono jack). We recommend to use
individually configured cables from XLR to RC A or jack sockets instead of adaptors. You can
get cables in any needed configuration from audio dealers. With the diagram above, the
dealer can ensure to provide the appropriate cable for your application.

Input

Output

balanced

unbalanced

balanced

unbalanced

1=GND
2= hot (+)
3= cold (-)

1

2

3

1

2

3

1

2

3

1

2

3

15

Analog Elemental Series

Rear Panel | Connections and Switches

Power connection and fuse

Connect the power cord to the rear MAINS INPUT socket. Transformer, power cord and case
connection conform to VDE, UL and CSA requirements.

The fuse is accessible from outside and placed right behind the flap right from the socket.
Fuse ratings are 315 mA slow blow (

230

volts) or 630 mA slow blow (

115

volts).

Voltage Selector

The rear pan el VOLTAGE selector sets the lo cal line voltage (115 V position: 110 -120 volts/6o Hz,
230 V position: 220-240 volts/50 Hz). The diagram shows the correct switch position for 230 V
power supply.

BEFORE you connect electrical power make sure that the VOLTAGE selector setting reflects
the correct local power line voltage.

Power switch

Use the POWER switch on the rear panel to turn the unit on or off. The VU-meters on the front
panel will light on as soon as you turn the unit on, regardless of the position of the ACTIVE
push button. Thus, they fulfill a second function as power indicators.

GND Lift

The rear panel GND LIFT switch eliminates hum by separating the internal ground from the
unit’s housing ground. Hum can, for example, result when this unit’s housing has a common
ground connection with other devices that might have a diff erent ground potential . The switch
is usually deactivated to retain the shielding of the housing.

Channel Strip Switch (Ch. 1 OUT = Ch.2 IN)

The channel strip switch connects two modules internally with each other, as long as the
signal flow allows for it. For instance, with an Analog Elemental unit consisting of a preamp
and a processing module (Channel Strip configuration). When the switch is set to „ON“, the
output signal of the preamp feeds the input of the processing module directly. This simpli­fies the signal f low and makes it unnecessary to connect the output and input of the modules
externally via cables.

Ch. 1 OUT = Ch. 2 IN

Ch. 1 OUT = Ch. 2 IN

ON

OFF

16

Analog Elemental Series

The Modules

Premium Mic Pre | Introduction

Premium Mic Pre | Control Elements

Each of the Analog Elemental Series units combines two of the following modules. For more
information on the design of the devices, refer to the Introduction on page 8. Here you will
find a detailed description of the single modules.

When recording acoustic instruments or vocals, using a microphone is inevi-

table. The actual output level of a microphone is very low and therefore has to

be boosted to studio or line level (0 dB) with a preamplif ier. Sometimes signals
have to be boosted by a factor of 2000 or more. As a consequence, the resulting

sound quality provided by the preamp is of paramount impor tance, so a good

microphone preamp that does not overdrive is the definitive requirement in order to
record acoustic instruments or vocals with sufficient dynamics and untainted sound.
The section “technology“ from page 19 explains how the Premium Mic Pre complies with
these requirements on the highest level and how it delivers premium results even in difficult
and critical set-ups.
Even the less technically interested users get an impression of the great efforts it takes in
development, circuitry design, selection of parts and assembly to create a product on the
Premium Mic Pre’s quality level. From there we deduce a superior price/performance ratio
– emphasizing on the performance which lends the Premium Mic Pre a world-class sound
quality.

Features

• The Premium Mic Pre offers preamplification values of up to +72 dB with lowest noise

operation and a high common mode rejection.

• Input stage and output are equipped with Lundahl transformers (High Performance

Series).

• A VU meter with two modes for average levels (VU) and peak levels (PPM) displays the

output levels.

• A very stable phantom power supply (48 V) is provided to power condenser microphones.

• The polarity of the microphone can be switched with the phase reverse switch.

• A high-pass filter protects against low frequency interferences.

• The signal LED indicates that an input signal is present

Mic Gain

With the Mic Gain control you can regulate the preamplification of the microphone signal.
It ranges from +18 dB to +72 dB. The input stage can handle input levels of up to 10 dB. The
value set with the Mic Gain control defines the output level.

When you set the Mic Gain you have to consider the type of microphone that you are using
(dynamic or condenser microphone) as well as its sensitivity. The sensitivity of a dynamic
microphone is at around 2 mV/Pa whereas the sensitivity of a condenser microphone can be
up to 20 mV/Pa. The result is a difference in output of 20 dB.

You should also consider the sound pressure level of the sound source, the distance of the
microphone to it and the acoustics of the room when you set the preamplification.