SPL Crimson 3, 1700, 1702 User manual

Manual

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Crimson 3

Audio Interface with Analog Monitoring

Crimson 3

Audio Interface with Analog Monitoring

Note:

Click on a section or page number to immediately jump to that location.

Content

Content 2

Version 3.2 – 04/2018 4

Scope of Delivery 5

Measurement & Weight 5

Introduction 6

Welcome 6

With and without DAW 6

Specifications 7

General 7

Firmware and Driver 7

AD/DA Conversion 8

AD-Conversion 8

DA-Conversion 8

Connections 9

USB 11

Power Connection 12

Power Supply 13

Inputs 14

Mic Inputs 15

Line Inputs 16

Instrument Inputs 17

Phones 1 and Phones 2 18

Important Recommendations 19

Speakers A 20

Speakers B 21

Sources 22

Source 1: Jack 23

Source 2: RCA 24

Source 3: Mini-J 25

Level Increase for Source Inputs 2 and 3 26

SPDIF In/Out 27

MIDI In/Out 28

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Content

Control Elements 29

Mic Gain 30

48 V 31

High-Pass Filter (

Instrument Gain (Instr Gain) 32

LED Indicators 33

Analog Inputs 34

DAW Returns 34

Sources 35

Digital In 36

Speakers: A to B 37

Speakers: Dim 37

Artist Mode 38

Talkback Mic (Artist Mode) 39

) 31

Calibration of the Monitoring System 45

Symbols 47

Security Advices 48

Placement 48

Declaration of CE Conformity 54

Notes on Environmental Protection 55

Contact 56

Monitor Mix 40

Phones 41

Phonitor Matrix 42

Volume 43

DIP switch on the bottom of the unit 44

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Crimson 3

Audio Interface with Analog Monitoring

Version 3.2 – 04/2018

Developer: Jens Gronwald

This manual contains a description of the product SPL Crimson 3. In no way it 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. 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 part or fully, without prior authorization by SPL.

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Crimson 3

Audio Interface with Analog Monitoring

Scope of Delivery

Crimson 3 (Black: Model 1700, White: Model 1702)

External power supply

USB cable

Quickstart/Product Overview

Measurement & Weight

Housing (H x W x D): 0.17" x 12.99" x 8.35" (67 x 330 x 212 mm)

Weight: 6.17 lbs (2.8 kg) (without external power supply)

Please keep the original packaging. In case of a service 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.

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Crimson 3

Audio Interface with Analog Monitoring

Welcome

and thank you for purchasing the Crimson 3. It combines a high-performance USB audio
interface with high-quality preamps and a separate, fully-featured analog monitor con­troller. You can play and play back, record and convert, control and listen with one
single device. So all you essentially need for a truly professional recording setup is the
Crimson 3 and a DAW.

The SPL Phonitor Matrix – which is now part of the Crimson 3 – delivers a speaker-like
listening experience on headphones. And with the built-in Talkback Mic the producer/

Introduction

engineer can communicate with the artist in Artist Mode without fiddling with an extra
mic, cable or preamplifier.

With and without DAW

Crimson 3 is designed to operate with your Digital Audio Workstation. But you can also
do a lot with it as a stand-alone device: plug in an instrument and play. Connect a micro­phone and sing along. Mix your own monitor signal with playback or guide tracks from
any source. You like what you hear? Connect the DAW and record it.

You can also use the Crimson 3 as a stand-alone DA-converter by using the SPDIF input
as a digital in.

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General

USB 2-Audio-System (can also be connected to USB 3 port)
High-performance, 32 bit microcontroller, 24 bit audio processing
6 input and 6 output channels
Sample rates (kHz): 44.1 | 48 | 88.2 | 96 | 176.4 | 192
Fixed master clock for lowest jitter
True 1:1 audio, no sample rate conversion or clock recovery

Specifications

SPDIF and MIDI I/O s

Firmware and Driver

Low-latency driver
Driver feedback synchronization to hardware clock
USB Audio Class 2.0 compliance (asynchronous mode)
Firmware updates via USB
Windows XP/7/8/10 (32 & 64 Bit)

• ASIO control panel for Windows

• simultaneous ASIO and/or WDM playback
Mac OS X 10.6 or higher, iOS 6 or higher

• For iPad and iPhone use an Apple camera adapter

Info:

Download the latest drivers and firmware from:
www.crimson3.spl.info.

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Crimson 3

Audio Interface with Analog Monitoring

AD-Conversion

AD/DA Conversion

Dynamic Range:

44.1 | 48 kHz: 113 dB

88.2 | 96 kHz: 110 dB

Signal to Noise Ratio (SNR):

44.1 | 48 kHz: -113 dB

88.2 | 96 kHz: -110 dB

DA-Conversion

Dynamic Range:

44.1 | 48 kHz: 109 dB

Total Harmonic Distortion and Noise (THD+N) at 1 kHz
(-1 dBF S):

44.1 | 48 kHz: 0.002%

88.2 | 96 kHz: 0.0025%

0 dBFS = +15 dBu

Sample Rates (kHz): 44.1 | 48 | 88.2 | 96 | 176.4 | 192

88.2 | 96 kHz: 107 dB

Signal to Noise Ratio (SNR):

44.1 | 48 kHz: -109 dB

88.2 | 96 kHz: -107 dB

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Audio Interface with Analog Monitoring

Connections

Instrument 1 Headphones 1

Instrument 2

Headphones 2

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DAW/Computer

Power Supply

e.g. Sampler, CD-Recorder

or MP3-Recorder

Connections

Microphone

Speaker Set A

e.g. MIDI-Keyboard

e.g. CD-Player (digital) e.g. Sampler

e.g. CD-Player (analog)

PlayStation

e.g. Keyboard, Synthesizer,

Preamplifier/Channel Strip

Speaker Set B /

ext. headphone amp. in

Artist Mode

e.g. Smartphone

Balanced CD-Player

or DA converter

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Audio Interface with Analog Monitoring

USB

Connect your computer here. Alternatively you can connect an iPad or iPhone with the
original Apple camera adapter. The USB port complies with the Hi-Speed USB 2.0 spec­ification with a data transfer rate of 480 MBit/s, and is Apple Class 2 compliant as well.

USB 3 is backward compatible with USB 2, which means that the Crimson 3 can also be
connected to any USB 3 port.

The package includes an appropriate USB cable.

Connections

In case you use a different cable, make sure it complies to the Hi-Speed USB 2 specifi­cation.

Recommended is a maximum length of five meters. Keep the cables as short as possi­ble, remember: the shorter, the better. For cable runs extending over five meters, you
could use a hub or a line extender, in which case you should get the advice of an expert.

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Audio Interface with Analog Monitoring

Power Connection

Connect the DC connector of the external power supply to the rear PWR socket of the
Crimson 3. Plug the power supply into a wall power socket.

We recommend to connect the Crimson 3 and all other audio devices in the same elec­tric circuit by using a high-quality and appropriately rated multi-outlet power strip. This
allows you to switch power on and off for all audio devices simultaneously.

In any case, the connection of the audio equipment to one power outlet is the general

Connections

recommendation, in order to avoid ground loops and other similar noises that could
arise due to connection points having different potentials.

Note:

Before powering Crimson 3, lower the volume of the monitor speakers and remove head­phones from your ears.

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Power Supply

The PSU comes with an appropriate mains adapter for the country where the Crimson 3
is bought. See also “Security Advices” on page 48 cont.

External Power Supply: Mean Well GE-18

Input 100–240 V AC/50–60 Hz; Output 12 V DC/1.5 A

Connections

Internal Power Supplies

Audio: +/- 17.0 V, Digital + 5 V and + 3.3 V, Phantom Power + 48 V

Power consumption: 16.8 Watt

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Inputs

Microphone, Instrument and Line Inputs

Taking into account both microphone inputs, the two instrument and four line inputs,
you have eight analog inputs at your disposal. Four of the eight analog input signals

Connections

IMPORTANT:

To record microphone signals, nothing should
be connected to the Line Inputs 1 or 2. If you
cannot hear a microphone signal, check
whether a jack plug is inserted into Line 1 or 2.

can be simultaneously recorded.

The selection is defined by the assignment of the corresponding inputs. This has the
advantage that the channel configuration can be directly and intuitively made by the
assignment of the connections, plus there is almost no need for switching.

The input selection follows this provision:

Line Inputs 1/2 have preference over Mic Inputs 1/2.

Instrument inputs 3/4 have preference over Line Inputs 3/4.

To record Line Inputs 3 and 4 or to listen to
a stereo signal through Line 3 and 4, noth­ing should be connected to the instrument
inputs. If you cannot hear a line signal, check
whether a jack plug is inserted into an instru­ment input.

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Mic Inputs

You can connect dynamic, condenser, tube, and ribbon microphones to the mic inputs.

Connections

Use the 48 V switch to provide phantom power to the microphones that require it. For
more information, read the section “48 V” on page 31.

Specifications:

XLR balanced (Pin 1=Ground, Pin 2=hot, Pin 3=cold)

Input impedance: 10 kohms

Maximum input level: +14.5 dBu (Mic Gain control hard left).

Frequency Response: 10 Hz - ›200 kHz

Noise: -90 dBu (unweighted, 30 dB gain, input termination 150 ohms)

Equivalent Input Noise: -123 dBu

Common Mode Rejection Ratio: > -70 dBu (at 1 kHz with -30 dBu input level/30 dB gain)

THD+N Ratio: 0.003 % (at 1 kHz, 30 dB gain, input termination 150 ohms)

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Audio Interface with Analog Monitoring

Line Inputs

You can connect and record four line signals. E.g. keyboards, synths, preamps or chan-

Connections

nel strips. All four balanced line inputs are routed 1:1 (unity-gain) to the converter and
monitoring section. Level adjustment is not provided.

Specifications:

1/4" stereo jacks (TRS)

Balanced input impedance: 20 kohm

Maximum input level: +22.5 dBu

Frequency Response: 10 Hz - >200 kHz

Noise: -95 dBu (unweighted, unity gain, input termination 600 ohms)

Common Mode Rejection ratio: > -60 dBu (at 1 kHz with 0 dBu input level/unity gain)

THD+N Ratio: 0.002 % (at 1 kHz unity gain, input termination 600 ohms)

Ring

Tip Sleeve

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Instrument Inputs

Connections

Both Instrument inputs are on the front for easy access. They support high levels to
allow the connection of active or passive instruments, and they have a corresponding
high impedance. Active instruments already feature a preamp circuit, passive do not
(pickups only). Connection examples: electric guitars and basses, acoustic guitars with
pickups, double bass, etc.

Specifications:

1/4" mono jack, unbalanced (Sleeve=Ground, Tip=hot/Signal)

Input impedance: 1.1 Mohms

Maximum input level: +24.0 dBu

Frequency Response: 10 Hz - > 200 kHz

Noise: -89 dBu (unweighted, unity gain, input termination 100 kohms)

THD+N Ratio: 0.003% (at 1 kHz unity gain, input termination 100 kohms)

Note:

Low impedance line signals (DA converter,
sampler, synthesizer, etc.) ought to be con­nected to the line inputs on the rear panel.

Tip

Sleeve

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Connections

Phones 1 and Phones 2

Use the Phones 1 and Phones 2 jacks on the front panel to connect your headphones.
You can connect all types of headphones with impedances from 20 to 600 ohm. This wide
range entails big volume differences between low and high impedance headphones. In
order to keep low impedance headphones under good control, we use a comparatively
high impedance of 33 ohms at the output.

Specifications:

1/4" stereo jacks (TRS)

(Sleeve=Ground, Tip=left channel, Ring=right channel)

Output impedance: 33 ohms

IMPORTANT:

When connecting headphones, make sure that
the plug is fully inserted.

Power at 0 dBu:
47 ohms load: 13 mW
300 ohms load: 1.7 mW
600 ohms load: 1.0 mW

Max. Power:
47 ohms load: 670 mW
300 ohms load: 265 mW
600 ohms load: 150 mW

THD+N Ratio (at 1 kHz, Power at 0 dBu):
47 ohms : 0.0026%
300 & 600 ohms : 0.002%

Frequency Response: 10Hz - > 200 kHz

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Important Recommendations

Always reduce the volume before you connect or disconnect your headphones especially

Connections

when changing headphones. This way you will avoid loud crackling noises reaching your
ears. Plus, it will also protect you from unexpected surprises whenever the new head­phones you connect have a lower impedance or a higher efficiency, which will make
them sound louder at the same volume setting.

Never connect mono plugs to the stereo jacks on the front panel. Otherwise you can
cause a short circuit that will damage the amplifier! Headphone cables always have
stereo plugs.

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Connections

Speakers A

Connect your active monitors or a power amplifier here.

Specifications:

XLR balanced

(Pin 1=Ground, Pin 2= hot, Pin 3=cold)

Output impedance: 75 ohms unbalanced, 150 ohms balanced

Maximum output level: +22.5 dBu

IMPORTANT:

In Artist Mode, Speakers A only play back DAW’s
1|2. The artist mix is provided on Speakers B and
Phones 2.

Note:

DIP switch 5 (on the bottom of the unit) gener­ally enables or disables the Artist Mode. See
page 38.

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Connections

Speakers B

The Speakers B output is meant for alternative monitoring through a second set of active
speakers. You can trim the Speakers B output in order to level them to Speakers A: two
ten-step trimmers allow a fine adjustment of + 6/- 5 dB.

Specifications:

1/4" jack, balanced

(Sleeve=Ground, Tip=hot, Ring=cold)

Output impedance: 75 ohms unbalanced, 150 ohms balanced

Maximum output level: +22.5 dBu

Note:

In Artist Mode, you can also connect an exter­nal headphone amplifier to the Speakers B to
provide a specific headphone mix. Other alter­natives include the connection of an AD con­verter or an external processor (AD/DA insert:
send from Speakers B, return to Line 3/4). See
page 38.

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Connections

Sources

You have three stereo source inputs with different connectors at your disposal: Source
input 1 via two stereo jacks, Source input 2 via two RCA connectors, Source input 3 via
mini stereo jack.

This means you can connect up to three audio devices as playback sources, like a CD
or MP3 player, a tape machine, an external DA converter or even a smartphone.

Typical applications include the use of reference tracks to do A/B comparisons or playing
an instrument along with a song.

IMPORTANT:

The Source inputs are monitoring-only. They can­not be recorded in the DAW.

Note:

The levels of both unbalanced sources are auto­matically converted to professional levels in
order for them to be directly comparable accord­ing to the Crimson 3’s standard level. You can
also deactivate this preamplification (refer to
“Level Increase for Source Inputs 2 and 3” on
page 26).

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Source 1: Jack

Connect a DA converter or CD-Player here. If you have a mono source to be monitored,

Connections

connect it to the left input to place it in the center of the stereo image.

Specifications:

1/4" jack, balanced (Sleeve=Ground, Tip=hot, Ring=cold)

Input impedance: 20 kohms balanced

Maximum input level: +22.5 dBu.

Frequency Response: 10 Hz - ›200 kHz

Noise: -95 dBu (unweighted, unity gain, input termination 600 ohms)

Common Mode Rejection ratio: > -60 dBu (at 1 kHz with 0 dBu input level/unity gain)

THD+N Ratio: 0.002% (at 1 kHz, unity gain, input termination 600 ohms)

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Connections

Source 2: RCA

RCA connectors are ideal for any type of consumer devices with unbalanced connections,
for example CD/DVD/BluRay player, AV receiver, Sat receiver, cable receiver, etc. The
signal gets preamplified from consumer level (-10 dBV) to professional level (0 dBu).

Specifications:

RCA connector, unbalanced

Input impedance: 10 kohms

Maximum input level: +22.5 dBu

Frequency Response: 10 Hz - ›200 kHz

Noise: -90 dBu (unweighted, unity gain, input termination 600 ohms)

Noise: -85 dBu (unweighted, -10 dBV, input termination 600 ohms)

Note:

The level of the RCA source is automatically
boosted to professional level to be directly com­parable with the other sources and inputs. You
can also deactivate this preamplification (refer
to “Level Increase for Source Inputs 2 and 3” on
page 26).

THD+N Ratio: 0.003% (at 1 kHz unity gain, input termination 600 ohms)

THD+N Ratio: 0.003% (at 1 kHz, -10 dBV, input termination 600 ohms)

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Connections

Source 3: Mini-J

The mini stereo jack input is the natural input for all MP3 players, tablets, smartphones
and laptops. The signal gets preamplified by 15 dB.

Specifications:

3,5 mm stereo jack, unbalanced

Input impedance: 10 kohms

Maximum input level: +22.5 dBu.

Frequency Response: 10 Hz -› 200 kHz

Noise: -88 dBu (unweighted, unity gain, input termination 600 ohms)

Noise: -76 dBu (unweighted, +15 dB, input termination 600 ohms)

THD+N Ratio: 0.003% (at 1 kHz unity gain, input termination 600 ohms)

Note:

The level of the Mini-J source is automatically
boosted to professional level to be directly com­parable with the other sources and inputs. You
can also deactivate this preamplification (refer
to “Level Increase for Source Inputs 2 and 3” on
page 26).

THD+N Ratio: 0.005% (at 1 kHz, +15 dB, input termination 600 ohms)

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Connections

Level Increase for Source Inputs 2 and 3

The Crimson 3 includes preamps for RCA and Mini-J inputs. Consumer level of equipment
connected to the RCAs is boosted from -10 dBV to the professional level of 0 dBu. Mini-J
signals are boosted by 15 dB to reach professional level. The preamps are activated by
default so that consumer signals are directly comparable with professional signals. If you
want to deactivate the preamps in case the signals are too loud, use the DIP switches:

On the bottom of the unit, you will find six DIP switches. The first four switches are
assigned to the inputs as stereo pairs:

1. DIP switches 1 and 2 for the RCA connectors

2. DIP switches 3 and 4 for the Mini-J

(The switches are set towards the numbers 1-4, when amplification is activated)

Note:

If you want to deactivate the RCA boost:

DIP switches 1 and 2 to ON

ON

1 2

If you want to deactivate the Mini-J boost:

DIP switches 3 and 4 to ON

ON

1 2

3 4 5 6

3 4 5 6

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SPDIF In/Out

The digital SPDIF input allows you to connect a CD player for monitoring. But you can

Connections

also connect any other source with an SPDIF output (profiling guitar amp, synthesizer,
drum machine, etc.). The SPDIF output can be connected to a sampler or a DAT/CD/MP3
recorder for instance.

Additionally with the SPDIF input you can record two more tracks.

The SPDIF input and output are AES3 compatible, often called “SPDIF Professional”.

Do note that there are electric differences between the SPDIF and AES specifications.
Generally speaking, any AES device ought to be able to receive SPDIF Professional from
the Crimson 3 without problems. In very rare occasions, it might happen that the AES
signals are not correctly received by the SPDIF input of the Crimson 3.

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MIDI In/Out

The Crimson 3 is equipped with two 5-pin DIN connectors to send and receive MIDI. To

Connections

communicate with a computer via MIDI, the Crimson 3 features a MIDI interface that
translates the voltage level and provides galvanic isolation.

Use the MIDI input to connect a master keyboard, for example. Such a keyboard gen­erates note information in MIDI format and, thus, can control a software synthesizer,
for instance, or can also be used to record key movements when inputing data into the
sequencer. In such cases, the MIDI output of the master keyboard is connected to the
MIDI input of the Crimson 3. The MIDI output of the Crimson 3 can also be used to play
back pre-recorded MIDI tracks, in order to use the sound generator of an external syn­thesizer, sampler, drum machine, etc. You can then record the audio outputs of the latter
via the Crimson 3 Line Inputs 1-4, when analog, or via the SPDIF input, when digital.

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Audio Interface with Analog Monitoring

Control Elements

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Mic Gain

The Crimson 3 features two identical microphone preamps. The preamps are ‘discrete’,
which means they use single transistors instead of ICs, usually found in high-end pre­amps. This allows the preamp to be perfectly optimized for its task.

Use the Mic Gain control to adjust the microphone preamp level. The adjustable gain
range spans from +7 to +60 dB. To achieve the best recording level, the -6 dB LED should
flash from time to time: you have enough headroom left. If the LED permanently remains
on, it means that the level is at the brink of overloading — in such cases, you should

Control Elements

reduce the Mic Gain value.

The OVL LED indicates that the Crimson 3’s AD-converter is overloading, which should
be strictly avoided.

IMPORTANT:

Line Input 1|2 has preference over Mic Input 1|2. If you cannot hear a microphone signal,
check whether a jack plug is inserted into Line 1 or 2.

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48 V

Use the 48 V switch above the Mic Gain knob to activate phantom power. Condenser
microphones need phantom power to drive their integrated preamp. We recommend to
disengage the phantom power for all other types of microphones.

• First connect the microphone to the Crimson 3 and then engage the 48 V switch.

• Before you remove the microphone disengage the 48 V switch and then wait at least
ten seconds.

Control Elements

A microphone with an unbalanced output should only be used without phantom power!

High-Pass Filter ( )

The high-pass filter filters out impact noise, rumble and other unwanted noises below
75 Hz. This first order filter has a 6 dB slope per octave.

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Instrument Gain (Instr Gain)

The Crimson 3 also includes two identical instrument preamps. Use the Instr Gain control
to adjust the instrument preamp level.

The adjustable volume range spans from -6 to +31 dB. The possibility to reduce the gain
to -6 dB allows the connection of active electric bass guitars. To achieve the best record­ing level, the -6 dB LED should flash from time to time: you have enough headroom left.
If the LED permanently remains on, it means that the level is at the brink of overloading
— in such cases, you should reduce the Instr Gain value. The OVL LED indicates that the

Control Elements

Crimson 3’s AD-converter is overloading, which should be strictly avoided.

IMPORTANT:

Instrument inputs 3|4 have preference over Line Inputs 3|4.

IMPORTANT:

To record Line Inputs 3 and 4 or to listen to
a stereo signal through Line 3 and 4, noth­ing should be connected to the instrument
inputs. If you cannot hear a line signal, check
whether a jack plug is inserted into an instru­ment input.

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LED Indicators

The LED display panel provides information about the operating status and also helps
you adjust microphone and instrument levels.

Level Adjustment with four LED sets

Four ‘traffic-light’ LED sets indicate the level of the recording channels 1-4. Every set of
LEDs is numbered: set 1 and 2 correspond to mic and line inputs 1 and 2, while set 3
and 4 correspond to instrument and line inputs 3 and 4.

Control Elements

• The OVL LEDs light red to indicate that the Crimson 3’s AD-converter is being over­loaded. As a safety measure, the OVL LEDs have a peak hold for one second.

• The -6 (dB FS) LEDs light yellow. An optimally adjusted level makes it go on and off
from time to time. The -6 (dB FS) LEDs have a peak hold for about one second.

• The SIG LEDs light green and indicate the presence of a signal.

Status-LEDs

• The PWR LED indicates the power supply of the unit.

• The Host LED indicates that a host computer or iPhone/iPad has been detected at
the USB port and the connection has been correctly established.

• The Midi In LED indicates data flow on the Midi input.

OVL > +15 dBu

-6 > +9 dBu

SIG > -20 dBu

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Analog Inputs

The Crimson 3 allows the simultaneous recording of up to four analog inputs. To determine
which signal you want to monitor use the switches underneath the Inputs as follows:

Switch 1|2 engaged: you hear Mic or Line inputs 1 and 2.

Switch 3|4 engaged: you hear Instrument or Line inputs 3 and 4.

When recording a mono vocal track it makes sense to hear it in the center of the stereo
image (rather than hard left or hard right), so you should engage the Mono switch as well.

Control Elements

DAW Returns

The Crimson 3 has four DA converters that allow to monitor two stereo signals (four
channels) from the DAW.

Switch 1|2 engaged: you hear the Mix from DAW outputs 1/2.

Switch 3|4 engaged: you hear, for example, an AUX mix from DAW outputs 3/4.

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Sources

As a true monitor controller Crimson 3 offers further monitoring-only inputs. They cannot
be recorded and are therefore called Sources. Use the three switches to manage the
three stereo sources, which are named after their connector format.

For more information on the connectors refer to “Sources” on page 22.

Jack= balanced 1/4" input (for a professional CD player or a DA converter, for example)

RCA= unbalanced RCA input (CD player, AV receiver or similar)

Control Elements

Mini-J = unbalanced Mini-J input (MP3 player, tablets, smartphones, etc.)

Note:

The levels of both unbalanced sources are automatically converted to professional lev­els in order for them to be directly comparable with other signals or inputs. You can
also deactivate this preamplification, see “Level Increase for Source Inputs 2 and 3”
on page 26.

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Digital In

It is good practice to compare your own mixes with reference CDs to gain perspective.
The Crimson 3 makes such comparisons easy and meaningful, since it uses the exact
same high-quality converters for the SPDIF and DAW 1|2 in order to avoid any sound
differences. Use the SPDIF switch to toggle between your Mix and the reference.

Control Elements

You can also use the digital SPDIF input to record two more tracks. SPL channel strips
are an excellent choice, since they can be fitted with an optional AD converter.

The SPDIF input can also be used as an insert, however, only when the external unit
is clockmaster. Usually, there is a possibility to select this on the device. If there is no
possibility to make the external unit clockmaster, the insert doesn’t work, because the
Crimson 3 tries to clock the device onto SPDIF of the unit, whereas the external device
tries to clock itself to the Crimson 3.

Tip: When there is no signal plugged into SPDIF Input, the output of the DAW 1/2 can also

be used for “Digital Loopback”. The output signal of the DAW output 1/2 can simply be
recorded again on the DAW input 5/6. The transfer remains entirely in the digital domain.

IMPORTANT:

When activated, the SPDIF switch lights up.
If the DAW 1|2 has been active before, the
DAW 1|2 switch now flashes. This indicates
that the activated SPDIF input has precedence
over the DAW 1|2 return.

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Speakers: A to B

You can connect two stereo speaker sets. Use the A to B switch to select the speaker
set you want to listen to. If the switch is not engaged, you hear Speakers A. If A to B is
engaged you hear Speakers B (the other set being automatically deactivated).

Speakers: Dim

The Dim switch reduces the monitoring level by -20 dB.

Control Elements

Note:

Both speaker outputs are muted if no input is selected.

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Artist Mode

When you record other artists, you can give them their own headphone mix with Artist
Mode and use the Talkback function by pressing the Talk button to communicate with them.

The monitoring options for artists include:

1. Mic, Line and Instrument inputs in real time

Control Elements

2. DAW 1|2, to hear the current mix

3. DAW 3|4, for an alternative mix, with effects (a reverb, for example).

4. Any source as playback or play along

As sound engineer or producer your job is to concentrate on the mix. That’s why DAW 1|2
is routed to Phones 1 and Speakers A, to spare you any other switching.

If you want to check the artist’s headphone mix, deactivate Artist Mode. If you want to
let the artist hear the current mix, push the A to B switch anytime. This means no moni­toring setting needs to be changed. Speakers A and Headphones 1 remains active.

Tip: If the artist is not in the control room, connect a headphone amplifier to Speakers B.

If you are recording several artists at the same time, connect a multi-channel headphone
amplifier to Speakers B.

IMPORTANT:

In factory setting, the Artist Mode is deacti­vated via a DIP-Switch. This prevents from
unintentionally switching it on. If the Artist
Mode switch flashes when engaged, this indi­cates that the Artist Mode is deactivated.

To activate the Artist Mode, set the DIP switch
5 into the ON position.

ON

1 2

3 4 5 6

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Talkback Mic (Artist Mode)

The Crimson 3 includes a built-in Talkback Mic so you don’t have to fiddle with an extra
mic, cable or preamplifier.

Press the Talk button and speak into the Talkback Mic – leave about 15" to 20" distance.
The artist will hear you on Phones 2 and Speakers B. Speakers A will be dimmed auto­matically to avoid feedback.

You control the amplification of the Talkback Mic signal with the TB Gain potentio meter

Control Elements

at the front.

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Monitor Mix

With the Monitor Mix control you create a monitor mix fast and easily. No need to fiddle
with gain controls or faders, just blend between the Inputs (mic, line, instrument) and
the DAW/Sources/Digital Input.

The analog monitoring of all analog inputs and sources is absolutely latency-free, it is
as real-time as it gets.

In the center position (1:1), the volume of the analog inputs (mic, line, instrument) and

Control Elements

DAW returns and sources is balanced. When set hard left, you only hear the analog
inputs (mic, line, instrument). Hard right you only hear the DAW returns, sources and
the Digital In through your monitoring system.

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Phones

The Crimson 3 has two independant high-quality headphone amplifiers. Use volume
controls Phones 1 and Phones 2 to adjust the level of the headphones signal. Thanks
to the separate headphone amplifiers there is no risk of any interferences when con­necting two headphones. The outputs and gain ranges are designed for headphones
with impedances from 20-600 ohms.

For more details regarding the connection of headphones, refer to “Phones 1 and
Phones 2” on page 18.

Control Elements

Optimal Potentiometer Control Range

The control range of the headphone amplifiers is very wide: it allows you to listen to very
high level signals with 30 ohms headphones, as well as to detect the faintest details
in quiet passages with 600 ohms headphones. To achieve such a wide range, and due
to component characteristics, a constant taper during the beginning of the travel of the
potentiometer cannot be guaranteed. A reduction of the overall volume would also lower
the tolerance in this initial range, but at the price of wasting power margin. Thus, we
recommend you to adjust the level above the “1” mark to achieve best results.

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Phonitor Matrix

When listening to music with a traditional headphone amplifier, the right ear only per­ceives the right signal (red line) and the left ear only perceives the left signal (green line).

In contrast to listening to speakers the delayed and quieter signal of the respective
opposite side is missing. As a result to this super-stereo-effect reverb and delay effects
as well as EQ and panorama adjustments are perceived more intense on headphones.

The Phonitor Matrix calculates the interaural time difference (Speaker Angle) and inter-

Control Elements

aural level difference (Crossfeed) with their specific frequency responses to deliver a
speaker-like listening experience on headphones.

The super-stereo-effect is eliminated and reverb and delay effects as well as EQ and
panorama adjustments are perceived correctly on headphones. The headphone mix
therefore translates well to speakers.

With the Phonitor Matrix switch you activate and deactivate the Phonitor Matrix. You
can control the intensity of the Crossfeed with the Crossfeed potentiometer at the front.

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Volume

Use the Volume potentiometer to adjust the volume of both channels of Speakers A
or B. The high-grade potentiometer regulates the audio signal directly to avoid any col­oration/distortion typical of VCAs and DCAs, which either require higher inter-channel
tolerances or have a tendency towards higher distortion.

The Volume control uses a relative dB scale referenced to the input level. When set fully
clockwise the input level is unity gain. The signal can be attenuated up to -78 dB.

Control Elements

If the signal can still be heard when hard left, do not worry: the potentiometer is not a
switch. Both speaker outputs are muted if no input or sources switch is engaged.

Recommendation: Calibrate the whole monitoring system (read the following section) so
that the control range in use is always between ten and two o’clock of the travel. This is
the range where the potentiometer works best, which guarantees a good and noiseless
level matching for the monitoring system.

If the output level still is too high, when the input sensitivity of the speakers are already
calibrated, the output level of the Crimson 3 can also be reduced by 10 dB with the DIP
switch 6 on the bottom of the unit. This requires the DIP switch 6 in position “On”.

IMPORTANT:

In Artist Mode the Volume potentiometer
adjusts the volume of Speakers A only.

ON

1 2

3 4 5 6

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Control Elements

DIP switch on the bottom of the unit

Six DIP switches are located on the bottom of the unit.

You wish to switch off the amplification for the RCA input (Source 2):

DIP switch 1 and 2 upwards (direction ON)

You wish to switch off the amplification for the Mini-J (Source 3):

DIP switch 3 and 4 upwards (direction ON)

You wish to activate the Artist-Mode:

ON

1 2

ON

1 2

ON

1 2

ON

3 4 5 6

3 4 5 6

3 4 5 6

DIP switch 5 upwards (direction ON)

You wish to reduce the output level by 10 dB:

DIP switch 6 upwards (direction ON)

1 2

ON

1 2

3 4 5 6

3 4 5 6

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Calibration of the Monitoring System

Calibration of the Monitoring System

The input signal level of the Crimson 3 and the input sensitivity of the power amps or
active speakers should be matched to ensure a proper overall gain. An inappropriate
level matching results, for example, in a high monitoring level with a fairly low volume
setting (at 9 o’clock). Likewise, settings above two o’clock should sound really loud,
otherwise it is indicative of a matching problem.

For calibration we recommend using a SPL Meter (where SPL stands for “Sound Pressure
Level”). Place the measuring microphone at the listening position and playback pink
noise from a generator calibrated to 0 dBu. Each measurement should be done with one
channel (and loudspeaker) at a time. 83 dB SPL at the listening position is a good and
very common reference value.

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Calibration of the Monitoring System

Adjust the Volume control until the SPL meter reaches 83 dB with pink noise.

Ideally, 83 dB SPL should be reached when the Volume control is near the 12 o’clock mark.

You may mark position for 83 dB SPL. If it only reaches 83 dB SPL above two o’clock,
increase the power amps’ or active loudspeakers’ input sensitivity (higher dB value).

Conversely, you should decrease the power amps’ or active loudspeakers’ input sensi­tivity (lower dB value) when it indicates 83 dB SPL before reaching the 12 o’clock mark.

If the input sensitivity is already reduced to the maximum but the output level is still
too high, the output level of the Crimson 3 can be reduced by 10dB by using the DIP
switch 6 on the bottom of the unit.

ON

1 2

3 4 5 6

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Exclamation mark within a triangle

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.

Lightning symbol within a triangle

Symbols

In this Manual a lightning symbol within a triangle warns you about the potential for
dangerous electrical shocks – wich can also occur even after the device has been dis­connected from a power source.

Symbol of a lamp

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

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Placement

Place the unit on a leveled 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, read the meters and status LED’s well, but there are other
considerations as well. Try not to place it near heat sources or in direct sunlight, and
avoid exposure to vibrations, dust, heat, cold or moisture.

Security Advices

Connections

Only use the connections as described.

Other connections can lead to health risks and damage the equipment.

Water and humidity

Do not use this device anywhere near water (for example in a bathroom, a damp cellar,
near swimming pools, or similar environments). Otherwise your are dealing with an
extremely high risk of fatal electrical shocks!

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Insertion of objects or uids

Be careful to not insert any object into any of the chassis openings. You can otherwise
easily come into contact with dangerous voltage or cause a damaging short circuit.
Never allow any fluids to be spilled or sprayed on the device. Such actions can lead to
dangerous electrical shocks or fire!

Air ventilation

Security Advices

Chassis openings offer ventilation and serve to protect the device from overheating.
Never cover or otherwise close off these openings. Never place the device on a soft
surface (carpet, sofa, etc.).

Opening the unit

Simply put: DON’T, if you are not a certified SPL technician or engineer. Really: Do not
open the device housing, as there is great risk you will damage the device, or – even
after being disconnected – you may receive a dangerous electrical shock.

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Electrical power

Operate the device only from power sources that can provide proper power. When in
doubt about a source, contact your dealer or a professional electrician. To be certain
you have isolated the device, disconnect all power and signal connections. Make sure
that the power supply plug is always accessible. When not using the device for a longer
period, make sure to unplug it from your wall power socket.

Security Advices

Power connection overloads

Avoid any kind of overload in connections to wall sockets, extension or splitter power
cords, or signal inputs. Always keep manufacturer warnings and instructions in mind.

Overloads create fire hazards and risk of dangerous shocks.

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Lightning

Before thunderstorms or other severe weather, disconnect the device from wall power;
do not do this during a storm in order to avoid life threatening lightning strikes.

Similarly, before any severe weather, disconnect all the power connections of other
devices and antenna and phone/network cables which may be interconnected so that
no lightning damage or overload results from such secondary connections.

Security Advices

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 effect excessive or extreme changes.

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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 reached inside the housing, or in cases when the device 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

Security Advices

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.

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Safety inspection

Be sure always to ask a service technician to conduct a thorough safety check and ensure
that the state of the repaired device is in all respects up to factory standards.

Cleaning

Do not use any solvents, as these can damage the chassis finish.

Security Advices

Use a clean, dry cloth (if necessary, with an acid-free cleaning oil).

Disconnect the device from your power source before cleaning.

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Declaration of CE Conformity

The construction of this unit is in compliance with the standards and regulations of the
European Community.

Disclaimer

Windows® is a registered trademark of Microsoft® Corporation in the United States
and other countries.

Crimson 3

Apple, Mac and Macintosh are trademarks of Apple Inc., registered in the U.S. and other
countries.

ASIO is a registered trademark of Steinberg Media Technologies GmbH.

The company names and product names in this manual are the trademarks or registered
trademarks of their respective companies.

SPL and the SPL Logo are registered trademarks of SPL electronics GmbH.

SPL cannot be held responsible for damage caused by improper use or modification of
the device or data that is lost or destroyed.

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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 reused in accordance with their markings.

Through reuse, recycling of raw materials, or other forms of recycling of old products,

Crimson 3

you are making an important contribution to the protection of our environment.

Your local administrative office can advise you of the responsible waste disposal point.

WEEE Registration: 973 349 88

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Contact

SPL electronics GmbH

Sohlweg 80

41372 Niederkrüchten

Germany

Phone [phone]

Fax [phone]

E-Mail: [e-mail]

Contact

Or follow us on our Blog, Facebook, Twitter and YouTube:

Website & Blog: spl.info

Videos: youtube.spl.info

Twitter: twitter.spl.info

Facebook: facebook.spl.info

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