SPL 2272, 2273 User's Guide
User’s Guide
Gain
Station
Power Limit
-30 0 dB 9
SOURCE
HI PASS
Mic
50
Hz
Hi Z
Off
G
N
A
A
I
E
N
L
22
21
24
C
19
26
18
16
15
14
13
12
11
10
dB
Mic: +7dB
w/transformer
29
32
46
54
63
Clip
18
PHASE
IMPED. Ω
Rev. On
10k
1.2k
Nor.
200
G
E
A
B
U
18
T
20
16
12
21
9
7.5
35
6
4
38
2.5
41
1
T
u
F
b
e
e
26
t
+
O
f
dB
f
AD OVL
I
N
22
23
24.5
25.5
25.8
24
25
48V
PHANTOM
Off
P
T
-10
U
-12
O
-14
-16
-18
-20
-22
-24
-25
-26
U
-9
dB
LIMITER
Peak
Off
+Fet
T
L
E
-8
V
E
L
-6
-5
-2.5
0
2
3.5
5
5.5
6
Class A Class A
60-Volt Amplifiers
Discrete High-Gain Preamplifier / Model 2272
GainStation 1
Models 2272, 2273
Single channel microphone and instrument preamplifier
User’s Guide GainStation 1
Version 1.0 – 6/2003
Designer: Ruben Tilgner
This user's guide contains a description of the product. It in
no way represents a guarantee of particular characteristics
or results of use. The information in this document has been
carefully compiled and verified and, unless otherwise stated
or agreed upon, correctly describes the product at the time of
packaging with this document.
Sound Performance Lab (SPL) continuously strives to improve
its products and reserves the right to modify the product
described in this manual at any time without prior notice. This
document is the property of SPL and may not be copied or reproduced in any manner, in par t or fully, without prior authorization
by SPL.
Models 2272, 2273
SPL electronics GmbH
Sohlweg 55
41372 Niederkruechten
Germany
Tel. +49 ( 0)2163 983 40
Fax +49 (0)2163 983 420
Email: info@soundperformancelab.com
www.soundperformancelab.com
© 2003 SPL electronics GmbH . All righ ts reser ved. Names of other companies
and their products are trademarks of their respective owners.
2
GainStation 1
Introduction .................................................................. 4
Before you begin .......................................................... 7
Rear panel/connections ................................................ 8
Wiring ....................................................................... 8
General advices ......................................................... 9
Connectors and switches ........................................... 10
Optional AD Converter ............................................... 11
Converter-related connectors .................................... 12
Control elements .......................................................... 14
Clean Gain, Tube Gain, Output Level .......................... 14
Source, Hi Pass, Phase .............................................. 15
Imped. Ω, Phantom .................................................... 16
Limiter ....................................................................... 17
POWER-LED, LED Level Display, AD OVL ..................... 18
Operation ..................................................................... 19
Setting levels on the GainStation 1 ............................. 19
Limiter ....................................................................... 20
Application examples ................................................... 22
Vocals/speech ......................................................... 23
Acoustic instruments/orchestra ................................ 23
Acoustic guitar with pickup ....................................... 23
Guitar amps ............................................................. 23
Electric Bass ............................................................ 24
Keyboards/samplers/drum machines ........................ 24
Tube distortions with GainStation 1 ........................... 24
Drums/Snare-Drum .................................................. 25
Kick-Drum ................................................................ 25
Toms ........................................................................ 25
Overhead ................................................................. 25
Contents
Technology ................................................................... 26
Technical Specifications ................................................ 30
Dimensions/weight ....................................................... 31
Optionen/Information on Lundahl input transformers ...... 31
Warranty ...................................................................... 32
Notes ........................................................................... 33
GainStation 1
3
Introduction
Input makes all the difference.
Modern audio production relies increasingly on digital systems
for recording and mixing processes (DAW‘s, digital consoles
etc.). The advantages of digital audio are manifold and include
affordable storage, comfortable editing, recall capabilities and
automation. On the downside, digital systems still do not
offer the same audio qualities and sound characteristics of
high-end analog equipment. Especially digital equalizers and
other aspects of the mixing domain cannot compete with the
open, transparent sound of the best analog gear. So today
more than ever, your input signal has to sound as good as
possible—the quality of your original tracks will largely define
the end result. Lifeless or dynamically lacking signals are of ten
over-processed with EQ, compression and other effects in an
attempt to compensate—often an extremely tedious process
in the digital domain that doesn‘t always produce the desired
results.
Attacking this problem on the preamplification front, with the
goal of noticeably improving a signal and sending it along its
path with a healthy foundation, requires a great deal of thought
and engineering effort. To this end, the GainStation 1 employs
technolog ies that not only satisfy test equipment, but also—and
most importantly—the user. Components and circuits were care fully chosen and designed on the basis of extensive measurements and listening tests. In shor t, developing the GainStation 1
was a major undertaking that required immense amounts of
time and experience.
Another important goal in designing the GainStation 1 was that
the case itself should optimally adapt itself to modern production environments. It was to be as compact as possible, allowing easy transport and ergonomic placement in virtually any
situation. A free-standing case which does not need to be rackmounted has several advantages: not only are the inputs and
outputs always easily accessible, but the unit can also easily be
placed on top of an amp, ou t bo ar d r a ck or ev en so m e key bo a rd s,
on your desk next to your laptop, or in direct proximity to
a microphone to allow for maximum operational comfort and
minimum cable lengths.
4
GainStation 1
To accommodate portability, the optionally available SPL
GainBag ensures safe transport of the GainStation 1 and offers
additional storage for cables and an average-sized microphone.
For more permanent installations, up to four GainStation 1‘s can
be rack-mounted in one optionally available 3-unit rack space
mounting frame.
Main technical features of the GainStation 1
• Custom-desig ned and built, f ully discrete, c lass A op-amps ( no
off-the-shelf stuff here). The GainStation‘s op-amps feature
60-Volt operating voltage—twice as high as most common
op-amps—for an incredible dynamic range.
• An extremely high amplifier slew rate of 200 V/microsecond,
ensuring clean transmission of high-f requency signal portions
and rapid transients with virtually no cut-off.
• An almost entirely DC-coupled signal path, making signaldegenerating condensers unnecessary.
• An optimized layout guarantees the shortest possible signal
paths, while generously proportioned grounding surfaces
ensure low impedance and maximum shielding.
Introduction
• All switching functions are handled by encapsulated relays
with gold-plated contacts.
• All resistors are within 0.1% tolerance and were selected af ter
extensive listening tests.
• A no-compromise power supply with extensive additional
shielding and seven s eparately wound and reg ulated voltages.
The power supply is of primary importance to audio quality;
its importance should not be underestimated.
• A tube stage utilizing premium MKP foil condensers and a
select 12 AX7 LPS tube for clear, dynamic audio.
GainStation 1
5
Introduction
This cutting-edge technology ensures that signals recorded
with the GainStation 1 have more presence and substance and
will easily cut through a mix even at lower levels. Extremely
low-frequency signals are tight and transparent with clear intonation. Percussive transients are interpreted more precisely,
which leads to a clearer rhythmic content and in turn a more
solid rhythmic performance and perception.
A bassist using the GainStation 1 as a preamp will immediately
notice that he hears and feels what he is playing much better,
which leads to improved playing and a better recording. The
track will have more punch and dynamics, greatly improved
presence and almost palpable detail. In short, the instrument
sounds incredibly authentic and alive. Beta-tests with the
GainStation 1 showed that all instrumentalists enjoyed playing
more and in many cases were truly amazed at what their trusty
instrument was capable of.
Given this improvement in the input signal, one is much less
inclined to equalize and compress—in many cases you will
probably find that you can do without additional processing,
which not only saves an enormous amount of time and proces sor
power, but also has an extremely positive effect on the final
result.
The GainStation 1 itself offers effective sound-shaping capabilities at recording, most notably via the tube stage, which can
be completely bypassed or continuously added to the preamp
circuit, allowing everything from extremely subtle „warmth“ to
a very noticeable tube saturation effect. The integrated limiter
can be used to protect an internal or external AD converter
from clipping, or for example to add punch to drum tracks,
which in turn reduces or in many cases even eliminates the need
for subsequent compression. Put simply, the more tracks are
recorded with the GainStation 1, the more solid and transparent—and easier to mix—the entire recording will be.
6
GainStation 1
Before you begin
It makes good sense to think about where you place your
GainStation 1 before connecting it. It should be positioned so
that you can easily reach it, but there are other considerations.
Try not to place it near heat sources or in direct sunlight,
and avoid exposure to excessive vibrations, dust, heat, cold
or moisture. It should also be kept away from transformers,
motors, power amplifiers and digital processors. In addition,
please:
• Do not open the case. You may risk electric shock and damage
to your equipment.
• Leave repairs and maintenance to a qualified service technician. Should foreign objects fall inside the case, contact your
authorized dealer or support person.
• To avoid electric shock or fire hazards, do not expose your
unit to rain or moisture.
• In case of lightning, unplug the unit.
• Always unplug the cable by pulling on the plug only; never
pull on the cable.
• Never force a switch or knob.
• Use a soft, lint-free cloth to clean the case. Avoid cleaning
agents as they may damage the unit.
GainStation 1
7
Rear panel/connections
Wiring
S/P-DIF signal to DAW,
HD recorder etc.
2nd signal input
of the optional
A/D converter
POWER VOLTAGE/FUSE
230 V – 50 Hz/315 mA
ON
115 V – 60 Hz/630 mA
OFF
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
AVIS: RISQUE DE CHOC ÉLECTRIQUE - NE PAS OUVRIR
24/96 AD
AD IN 2
AD
IN 1
MUTE
ANA.
OUT 2
HI-Z/
LINE
INPUT
DIG. OUT SYNC INPUT SAMPLE RATE
OPTICAL
MAINS INPUT
WARNING: TO REDUCE RISK OF FIRE OR ELECTRIC
SHOCK DO NOT EXPOSE THIS UNIT TO RAIN OR MOISTURE
LOCK x2 4844.1
SPDIF SPDIF
ANA. OUT 1 MIC INPUT
Made in Germany
PUSH
S/P-DIF signal for external
synchronization
XLR Wiring: 1 = GND/ 2 = (+)/ 3 = (–)
Jack: Tip = (+)/Ring = (–)/ Sle. = GND
Microphone
Instruments,
Line signals
PUSH
1
2
3
Pin wiring of the
XLR microphone input
8
Converter, (HD) recorder
or mixing console
Pin wiring of TRS connectors
Tip = hot (+), Ring = cold (-), Sleeve = GND
2
1
3
1 = GND, 2 = hot (+), 3 = cold (-)1 = GND, 2 = hot (+), 3 = cold (-)
Pin wiring of the
XLR analog output
GainStation 1
General advices
Again, while the GainStation 1‘s housing is EMV-proof and
protects against HF-interference, placement of the unit is very
important since it amplif ies microphone signals as well as other
unwanted signals. Before connecting the GainStation 1 or any
other equipment turn off all power.
Rear panel/connections
IMPORTANT: Adjust the voltage setting on the back so that it
corresponds with the power conditions.
The following graph shows the correct wiring for connecting
unbalanced signals to the balanced XLR connectors:
Output
balanced
1
2
3
1=GND
2=hot (+)
3=cold (-)
unbalanced
1
2
3
VOLTAGE/FUSE
230 V – 50 Hz/315 mA
115 V – 60 Hz/630 mA
The HI-Z/Line Input connector is designed for unbalanced
signals only.
The TRS output connector (see „Analog Outputs“, page 10) can
be operated both with balanced and unbalanced wiring. Simply
use a mono 1/4" plug for unbalanced operation.
GainStation 1
9
Rear panel/connections
MIC INPUT
Dynamic, condenser or tube microphones can be connected to
the MIC input. The 48 V switch provides the phantom power
necessary for some microphones (see also „Control elements/
Phantom“ on page 16).
The MIC input can also be used as a balanced connection for
professional audio equipment with a maximum output level of
+20 dBu.
IMPORTANT NOTE: Always switch the phantom power (48 V)
off before connecting anything other than phantom-powered
condenser microphones.
HI-Z/LINE INPUT
The instrument input HI-Z/Line Input is for electric guitars
and basses or other high-impedance, line-level signals such
as keyboards, samplers, drum machines etc. with unbalanced
outputs. If a balanced connector (TRS) is inserted, the ring of
the plug is automatically connected to the ground to ensure
proper unbalanced operation.
10
ANALOG OUTPUTS 1/2
The preamplified output signal is fed to the balanced Analog
Outputs. Since the XLR and 1/4" TRS connectors are wired in
parallel, an unbalanced connection at one connector will cause
the other connector to operate unbalanced, e.g. if a mono 1/4"
plug is inserted in to t he 1 /4" jack, the corresponding XLR socket
will also operate unbalanced.
IMPORTANT NOTE: The output connectors can deliver an output
level of up to +34 dBu. Please ensure that all other equipment
can handle these levels to prevent possible damage.
GainStation 1
Rear panel/connections
POWER
The POWER switch turns the GainStation 1 on (indicated by the
blue POWER LED on the front panel) or off.
24/96 AD Converter (optional)
24/96 AD
The optional 24/96 Converter module (model 2376) provides a
digital output for the GS1 in the form of an S/P-DIF output with
RCA and optical connectors (in parallel). The converter transmits 24-bit signals.
The module is based on a 24-bit converter by AKM® with a
variable sample rate of up to 96 kHz. All common sample rates
can be selected (see below). Highly accurate quartz oscillators
ensure a clean, low-jitter master clock.
DIG. OUT SYNC INPUT SAMPLE RATE
OPTICAL
SPDIF SPDIFLOCK
x2 4844.1
SAMPLE RATE
The 24/96 AD converter module allows you to select between
the four most common sample rates: 44.1, 48, 88.2 and 96 kHz.
POWER
ON
OFF
Using the 44.1/48 button, select one of the two basic sample
rates (out: 44.1 kHz; in: 48 kHz). The x2 button doubles these
sample rates to select 88.2 or 96 kHz respectively.
GainStation 1
11
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