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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Crimson 3
Audio Interface with Analog Monitoring
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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Crimson 3
Audio Interface with Analog Monitoring
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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Crimson 3
Audio Interface with Analog Monitoring
Connections
Instrument 1 Headphones 1
Instrument 2
Headphones 2
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Crimson 3
Audio Interface with Analog Monitoring
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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Crimson 3
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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Crimson 3
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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Crimson 3
Audio Interface with Analog Monitoring
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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Crimson 3
Audio Interface with Analog Monitoring
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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Crimson 3
Audio Interface with Analog Monitoring
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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Crimson 3
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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Crimson 3
Audio Interface with Analog Monitoring
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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