SPL M/S Master, 1020 User manual
Manual
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M/S Master
-10dB
PPM M/S
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Made in Germany
Model
1020
M/S Master
Model 1020
Analog Processor for M/S Mastering
Manual M/S Master, Model 1020
Version 1.2 – 1/2012
Developer: Wolfgang Neumann
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. 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.
SPL electronics GmbH
Sohlweg 80, 41372 Niederkruechten, Germany
Phone +49 (0)2163 983 40
Fax +49 (0)2163 983 420
E-Mail: info@spl.info
Internet: spl.info
The construction of the MS Master, Model 1020, 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 office can advise you of the responsible waste
disposal point.
WEEE Registration: 973 349 88
© 2012 SPL electronics GmbH. All rights reserved. Names of other companies and their
products are trademarks of their respective owners.
2
M/S Master
Symbols and Notes 4
Scope of Delivery 4
Important Security Information 4
Hook Up 5
Introduction 6
M/S Stereophony 6
M/S Mastering, M/S Master, Application examples 7
Rear Panel 8
Signal Connections, Input and Output Electronics, MID INSERT, SIDE INSERT 9
XLR sockets, Balanced connections, Unbalanced connections, Power connection and fuse 10
Voltage Selector, Power switch, GND Lift 11
Operation 11
Overview, ACTIVE 11
Content
Control Elements 12
Input settings, BAL ANCE 12
MID: INSERT, MID: MUTE, LEVEL 13
-/+ FILTER, LOW RANGE, FILTER OFF, FLOAT OFF 14
SIDE: INSERT, SIDE: MUTE, STEREO WIDTH 15
OUTPUT, VU meters, PPM, M/S 16
-10 dB, ACTIVE 17
Working with External Processors 18
Compressor, Equalizer 19
Specifications 20
Copy Master Recall Settings 21
M/S Master
3
Symbols and Notes
Scope of Delivery
N 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 THE SE 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 nullify completely any and all of your warranty/
guarantee rights and claims to user support.
The scope of delivery comprises the Frontliner, the external power supply, the guarantee card
and this manual.
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.
Important Security Information
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 shock s!
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 short 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 af ter 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 shock s! >
4
M/S Master
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 serve to protect the machine from overheating. Never cover or otherwise close off 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 effect 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.
Important Security Information
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 service 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.
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 pages 4 and 5 and read further information on connections
on pages 7-10.
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 direct 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.
Hook Up
M/S Master
5
Introduction
M/S Stereophony
Our ability to identify the direction and distance of a sound source is the essence of spatial
hearing. The human ear can identify level and time differences from ear to ear very precisely
and use that information to localize sound. At frequencies up to 1500 Hz the ear analyzes basically time differences to localize sound, while above this frequency it uses level differences.
Our hearing provides excellent conditions to apply room information even to artificially generated sounds. Regardless of the deficiencies and differences that loudspeakers and headphones might present during playback, the human ear needs only the signals to be codified
in, at least, two channels, in order to be able to identify time and level variations, which result
in spatial hearing.
This sort of recording and playback that includes spatial information is known as stereophony
(from Greek stereos = solid or three-dimensional). The resulting stereo image is called panorama. Besides the two-channel stereophony there are several other formats of stereophony.
The common conception of „stereo“ as a two-channel recording is thus incorrect.
Equally incorrect is the concept that the encoding of a stereo signal is always done in a right
and a left channel. This idea is based on the fact that we have a right and a left ear and that
all two-channel recording and playback systems use the same right/left format. It is also not
true that all recordings are made with a microphone for the lef t channel and a microphone for
the right channel.
The differences between the most important microphone techniques have much more to do
with level and time differences. Due to the advantages and disadvantages that each technique provides, more often than not they are combined during production to achieve L/R playback.
While there are several stere o te chnique s that can be applied during mi king, for sign al proces sing during production there is only one technique that is actually useful: M/S. „M“ stands for
Middle (or Mid) and „S“ for Side, which means that signals are separated from the middle
to the sides, instead of from left to right. M/S can be actually applied during recording: two
microphones with different polar patterns record direct and spatial information.
– Besides the microphone technique, M/S can also be used as an alternative stereo encoding
for signal processing, which means that signals do not necessarily need to be recorded with
the M/S microphone technique to be able to apply M/S encoding afterwards (at the mastering
stage, for example).
In fact, M/S encoding can be generated from L/R encoding by summing and subtracting
signals:
M = L + R, S = L – R
The sum of the left and right signals in the Mid signal corresponds to the mono signal of the
L/R encoding. The Side signal is also created from the L/R signal by inverting the polarity of
the rig ht channel. The sum of phase-inverted signals results in the cancellation of mono information in the signals summed; thus, the Side signal is made up of the differences between L
and R. The detailed formula may be clearer: M = L + R, S = L + (-R). The minus sign stands for
the phase inversion.
It is also possible to create a L/R signal encoding from an M/S encoding by summing and
subtracting the sig nals, what is usually called M/S decoding:
L = M + S, R = M - S
Mathematically, the sum and subtraction of signals guarantees a lossless conversion from
L/R to M/S and back to L/R, which is a very important aspect for using M/S encoding for signal
processing.
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M/S Master
M/S encoding is also used for VHF radio transmission. In this case, the Mid signal is sent with
much higher energy. If the reception is not very good, a stereo receiver can switch to mono to
retain the most important information. A mono receiver will always receive a mono compatible signal.
Equally beneficial is M/S encoding when using „Joint Stereo“ compression with MP3. As long
as there is almost no information in the side signal, the compression rate can be higher as
with L/R encoding.
Thus, in audio production M/S encoding is the best way to ensure full mono compatibility.
M/S encoded signals provide an adequate way to control and ensure mono compatibility: the
reduction of the Side signal results in the increase of the mono signal.
M/S Mastering
The use of a mid (M) and a side (S) signal instead of the usual L/R signal results in a much
wiser musical processing.
High-energy Mid signals (vocals, snare, bass guitars, etc.) can be easily separated from Side
signals (guitars, keyboards, cymbals, etc.). When mastering sum signals, M/S encoding is
often the best option to be able to target single elements within a mix.
The M/S Master allows you to directly correct the balance in the mid frequency range and
improve the depth and transparency of stringed instruments. Thanks to the inserts you can
also use filters and effects (compressors, EQs, De-essers) more precisely. Thus, elements
like vocals can be processed without affecting the overall ambience — removing vocal sibilance doesn‘t affect cymbals, for example. On the other hand, the stereo image can also be
enlarged without affecting the mono information. Not to mention the fantastic possibilities to
process ambience that M/S encoding provides.
Introduction
M/S Master
• Analog tool for M/S encoding
• Active control of M/S mix ratio
• Seamless integration of external processors
• One-button insertion of outboard gear in the M/S or L/R path
• Dif ferent VU-meter modes
• Low cut filter for the Side signal
• FLOAT function for better mono compatibilit y
Application examples
• Stereo image enhancement after mixdown or during mastering
• Reverb and ambience reduction without losing brilliance
• Independent processing of rhythmic elements, pads and other sounds placed off the
center of the stereo image without af fecting central elements, and viceversa.
• Precise EQ processing of elements that sound too dull
• Specif ic dynamic correction of lively par ts
• Dynamic reduction in Side elements without af fecting drum transients
M/S Master
7
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