SPL

The SPL IRON Tube Mastering Compressor comes in a new revision with features improving operation and sound. This updated hardware revision can be recognized by the “IRON v2” labeling on the serial number sticker. IRON v2 now has Side Chain Inserts with XLR sockets instead of Side Chain Inputs with TS sockets only. See picture below.SPL IRON combines not only the sonic virtues of legendary vintage tube compressors with the advantages of the High Dynamic 120V operating voltage in a single unit. It is also perfect for the needs of modern mastering studios and sets a new benchmark in terms of tube compressor technology, with the innovative implementation of a parallel dual-tube circuit.Thanks to the especially conceived Mu-Metal iron transformers, the signal of each channel is split across two different twin-triode tubes. The combination of the different response curves of both tubes results in a transparent and musically pleasant compression. Additionally, peak signals of the control voltage are limited by a feed-forward resistive vactrol-opto-isolator. Thus, the output signal remains lively even with a high gain reduction. The compression is only noticeable with extreme settings.Mastering is not the only domain where the IRON sets new standards. It can also be used to process individual instruments, like vocals, bass, guitar, strings, etc. The IRON is also an excellent option for subgroups.Balanced Side Chain Inserts are now standard using send and return XLR sockets instead of Side Chain Inputs with TS sockets only. That makes it easy to add an equalizer of choice into the control voltage path to create individual filter curves to focus the response of the compression to certain frequency ranges.IRON v2 is now equipped with Wathen CryoTone 12AX7-WCM Long Plate tubes. These are the perfect match to the parallel connected 12AU7 tubes in its circuit, which results in an improved sound and longevity.COMPRESSORThe basic operating principles of a compressor/limiter can be easily explained. The level of an audio signal is reduced according to the specified attack time and ratio whenever it exceeds a given threshold. This reduction ceases when the release time elapses, while the compressed signal is amplified with the make-up gain.Compressors basically differ from each other in the technology used. This technology - tubes, opto, FET, or VCA - is what gives a compressor its particular character. Some units sound soft and silky, some sound pounding, while some others make sound fatter, and there are those that make sound clearer, harder or more percussive. The trick resides in how the unit is technically designed, in the signature of the maker. Different compressors with the exact same settings might work and sound completely different. They provide different sounds for different applications and music styles.Nowadays, the compressor has become a key element when it comes to provide dynamics and punch to any production. The number of compressors available is huge and it‘s easy to succumb to the promises made by software emulations and analog recreations of vintage gear as the perfect solution. Unfortunately, many of these emulations and recreations differ quite a bit from their original counterparts. You must simply accept that the components used today, like the transformers, tubes and all other passive elements, are different to the ones originally used and that they can‘t be digitally emulated. No software (DSP-emulated compressors) or hardware replica will ever be able to sound like the original. An authentic sound can only be achieved with the original unit.VARIABLE BIASThe IRON mastering compressor was conceived as a variable-bias limiter/compressor right from the start. However, the implementation of new technologies results in many improvements. Its basic operating principle as a variable-bias tube compressor was loosely inspired by the sonic and technical operation of Fairchild, Collins and Gates compressors, which used remote cut-off of tube biasing to achieve a well-balanced, well-compensated and musical compression.However, the IRON compressor features a second sharp cut-off tube, a medium-variable bias triode, in its circuit design. This tube is connected in parallel to the remote cut-off tube and it has a considerably steeper characteristic curve. The tube used to process the signal depends on the amplitude of the latter. This results in a more well-balanced sound and more controllable settings of the parameters. The pair of parallel connected tubes has been specially matched for the IRON. In order to guarantee that tube selection and pairing is perfect, we use the Weigl Roe Test for PC. The optimal selection of the tubes guarantees that all IRONs have the same sonic characteristics.TUBE BIASThe Tube Bias has three different settings. Together with the Input Gain of up to ±12 dB and the Threshold control, it allows the compression behavior of the tubes to be perfectly adapted to any material. The Attack and Release parameters have six different settings ranging from Slow to Fast. The times are not constant, they vary according to the Rectifier circuit selected: There are six different Rectifier settings available with different diodes (germanium, silicon, LED, mixed).MU-METAL TRANSFORMERMoreover, we use Lundahl custom-made balanced high-level dual-coil mu-metal iron transformers in the signal flow of the variable-bias tubes, which add to the overall sound.VACTROL PEAK LIMITERThe second new technology implemented is the independent feed-forward resistive opto-isolator in the control path of the variable-bias tube circuit. Its function is to limit signal peaks and, thus, get a smaller THD (Total Harmonic Distortion) within the variable-bias tube section. The result is a silkier, more homogeneous sound in the higher frequencies of the music signal. This circuit has its own rectifier in the signal path. The optical control element does not work in the sense of an audio limiter, like in a conventional opto-compressor. It is built-in in the control path of the parallel connected variable-bias tube, not in the audio path itself. Time control parameters, like attack and release time, are adaptedand fixed to the variable-bias tube circuit.The IRON compressor works as a feedback compressor when set to the variable-bias tube circuit and as a feed-forward compressor when set to the opto-control circuit.RECTIFIERSThirdly, the complex rectifier circuit is also worth mentioning, since it is the basis for tube control. You can use the six-position switch to choose either of the six different control characteristic curves of the diodes within the rectifier. Given the specific characteristic curve of its elements, the combination of germanium, silicon and LED diodes produces different behaviors and characteristics for the Attack and Release times.STEREO LINKThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.In stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.AIR BASS AND TAPE ROLL-OFFThe fourth exceptional feature is the comprehensive logical relay circuit that perfectly links both channels together, making the right channel the Master regarding Release, Attack, Threshold, Rectifier, Tube-Bias and Side-Chain EQ settings.In stereo Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit. In contrast to the Dual-Mono mode, in stereo Link mode the compressor works with a sum signal. Thus, the stereo image is wider when working with the Dual-Mono mode on stereo material.EASY RECALLAll functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometer, making it easy to replicate exact settings.SIDECHAIN EQThe Sidechain EQ is yet another option to adjust the Iron to the signal being processed in an optimal way. It allows you to choose between an external EQ or one of the four internal EQ presets. The EQ presets have a complex frequency response and have been conceived with different program material in mind. Only the control signal is affected, not the actual audio signal. In the Off position, the Sidechain EQ is inactive.OUTPUTAfter the compression stage, the signal can be boosted or attenuated up to +/- 12dB with the Output Gain, which makes the IRON easy to integrate into any signal chain.AUTO BYPASSBoth the left and right channels have separate illuminated activating switches. Further, in Auto Bypass mode you can use the Interval control to set a time frame during which the compressor automatically toggles back and forth between the processed and unprocessed signals. This makes AB comparisons between the original and compressed signals a breeze, besides making it easier to assess the settings in context.FEATURES:Variable bias tube compressorParallel dual tube circuitTube selection and pairing with Weigl Roe TestSpecially conceived Mu-Metal iron transformersFeed-forward resistive vactrol-opto-isolatorSix different Rectifier settings availableSidechain that allows you to choose between Off, four sidechain-filter presets or an external sidechain signal.All functions can be adjusted via switches or, in the case of the Threshold, with a detented potentiometerIn Link mode, the Threshold, Tube Bias, Attack, Release, and Rectifier parameters, as well as the Sidechain EQs, are controlled with the right side (channel 2) of the unit.Additional passive 120 V equalizer with two presetsHigh Dynamic 120 V operating voltageAuto Bypass modeMade in Germany

Optimize Your Audio with the Stereo VitalizerThe SPL Stereo Vitalizer Mk3-T harmonic exciter is an indispensable tool for enhancing your audio. Based on research in the fields of psychoacoustics and audiometry, SPL’s unique, patented Vitalizer circuitry heightens detail and transparency, boosts perceived loudness, and beefs up bass response for powerful, radio-ready mixes that blast right out of the speakers. The key to the Stereo Vitalizer Mk3-T’s sonic magic is that it works both in the frequency and time domains through a series of minimal temporal offsets of loud frequencies. As a result, superimposed audio transients are unmasked to unveil a whole new level of clarity in your mixes. For decades, recording engineers have used subtle harmonic excitement to help elements sit perfectly in the mix. Now, with the SPL Stereo Vitalizer Mk3-T harmonic exciter, you can too.An indispensable sound-design toolSPL's Vitalizer technology is known by engineers worldwide as an effective way to polish audio with highly musical results. Use the Drive control to fine-tune the signal level for precise interaction with the filter network and bring out the best parts of an audio signal. The Stereo Vitalizer Mk3-T is unsurpassed as a sound-design tool. It adapts the frequency spectrum to the curves of equal loudness, heightening the perception of loudness. It can enhance intelligibility in vocals and augment the soundscape of a complete mix — and more. Low frequencies are subtly shifted to prevent them from masking transient details, giving your tracks and mixes more clarity than ever. The integrated Bass Comp focuses on the bass range so you don't overload downstream equipment in your signal chain. So, even if you use the Stereo Vitalizer Mk3-T to bolster your bass tracks, you still have the dynamic control you need to keep signal levels in check.The cure for iron-poor mixesPrevious versions of the Stereo Vitalizer have proved their mettle in top studios for years. Now, the third-generation Stereo Vitalizer Mk3-T ups the ante with a new design that uses a higher internal audio voltage of +/-18V, resulting in enhanced dimensionality and increased detail. Processed through the Vitalizer Mk3-T, you’ll notice your mixes bloom with vitality and richness of detail that makes them more accessible to the ear. They brim with enhanced depth and width, more deeply layered and widely spread apart. Authoritative, natural, and lively-sounding, your mixes will translate better to the world outside your studio, holding up well on real-world playback systems where lackluster mixes go to die. So do your mixes a favor. Energize them with the SPL Stereo Vitalizer Mk3-T.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Get That Authoritative, Professional SoundNow in its third iteration, the ever-popular SPL Track One MK3 Premium channel strip has been extensively updated with upgraded specs and a more intuitive design optimized for the modern recording studio. This version of the Track One MK3 Premium is spec'd with premium Lundahl input and output transformers for that authoritative "big-iron" sound that leaps right out of the speakers. From broadcasting and voiceovers to music recording, podcasts, and live events, Track One MK3 Premium always delivers superior sonics, enhancing vocals and instruments from any source, be it mic, line, or DI. The stellar mic preamp provides plenty of gain for your mics and instruments, and SPL's acclaimed De-Esser is onboard for taming sibilant vocalists. Optimize your dynamics with the compressor/limiter, sweeten your tone with the 3-band EQ, and you've got radio-ready sound from the SPL Track One MK3 Premium channel strip.Your solution for fast, high-quality recordingsWe talk to many musicians at Sweetwater who need to be able to produce professional recordings quickly — guitarists and bassists for hire, engineers making radio spots, the list goes on. The beauty of the SPL Track One MK3 Premium channel strip is that it's amazingly fast to dial in a great sound with virtually any source. The built-in processing is perfect for adding that extra studio polish without having to patch in external processors or bounce audio through plug-ins.Capture better vocals with the built-in De-EsserThe SPL De-Esser is considered an essential tool in countless studios, and it's built right into the SPL Track One MK3 Premium channel strip. It's known for removing harsh sibilance from vocalists in a natural, musical way, serving up transparent results even at extreme settings. One thing you'll find especially useful is the SPL De-Esser's automatic threshold-adjusting function. It basically compensates for a singer's varying distance from the mic, applying de-essing even with the signal is lower so that compressing afterward doesn't bring lower sibilants back up in level.Compressor/Limiter controls dynamics and adds characterThe Track One's compressor/limiter is an extremely easy-to-use one-knob design utilizing time constants (including attack and release) that are automated adaptively to the input signal, allowing for simple set-and-forget operation. Pressing the Limiter button switches the compressor into limiter mode, with the threshold being set by the compression knob. Like the compressor, SPL’s soft limiter is unobtrusive and delivers consistent, highly musical-sounding results. A separate makeup gain knob is provided for maintaining proper gain structure in your signal chain.Combine two for stereo operationFor maximum flexibility in your studio, get two SPL Track One MK3 Premium channel strips and link them for stereo compression. You'll be able to record beautifully wide stereo tracks and get true stereo compression with just one set of controls. Best of all, the EQs will still be independent, so you can fine-tune the stereo image simply by using slightly different EQ settings on each side.SPL Audio: supercharged audio productsFormed in Germany in 1983, SPL Audio has been at the forefront of the pro audio industry since its inception. After developing proprietary 120V Technology in the ’90s, SPL decided to make this groundbreaking invention the heart of all its high-end products, and this incredibly powerful yet transparent sound has earned many devotees at Sweetwater and beyond. Other revelatory inventions SPL has become known for include level-independent envelope processing and using phase cancellation in auto-dynamic de-essers for reducing sibilance. Sweetwater is proud to offer audio professionals SPL’s distinguished lineup of innovative products.

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Mastering Equalizer This is a unique equalizer – for several reasons. It has two times five fully parametric filter bands, each of which can be switched between constant Q and proportional Q! And there’s sheer unlimited headroom and a very special kind of EQ sound – thanks to 120V technology. Stepped Potentiometers Recall of all settings is easy thanks to the potentiometers with 41 steps. Cut/Boost & 1/4 Gain Each filter band can be boosted or cut up to 20 dB. If only minimal changes are required, the 1/4 Gain switch can be used to reduce the boost or cut range from +/-20 dB to +/-5 dB. Frequencies We have designed the frequency distribution to overlap widely between the bands, so that problematic frequencies can also be addressed with two bands. Bandwidth Q The bandwidth Q determines the steepness of bell characteristic. A small Q is a wide bandwidth and a high Q a narrow bandwidth. The labeling of the scale is divided into two parts. The values with white background refer to the proportional Q mode and the values without background refer to the constant Q mode. On/Off The orange button is used to switch the individual filter band on and off.  Constant & Proportional Q The blue button is used to toggle the Q mode. In constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is ideal for eliminating interfering frequencies. In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude value is +/- 20 dB, while the maximum amplitude decreases to +/- 2.8 dB at the largest bandwidth setting. This control behavior simplifies sensitive, creative processing and is musically very useful, since high amplitudes become increasingly unusable with increasing bandwidth. Auto Bypass For an objective evaluation of the edited music program, it makes sense not to switch between the original signal and the edited signal yourself, but to leave this to an automatic system. It is also an advantage that, for an optimal evaluation of the processing, one does not have to move from the stereo center and can concentrate fully on the program. With the help of the Interval control the switching time window can be determined. Turning it clockwise extends the time interval. Link The PQ is designed as a completely separate dual-mono, two-channel equalizer and can individually process two mono music programs simultaneously. It is of course also possible to edit a stereo program (left/right). If the Link function is activated, the functions LF, LMF, MF, MHF, HF On/Off and Con. Q/Prop.Q on both sides are switched together by the buttons on one side. This makes it possible to activate or deactivate a filter band or the Q characteristic on both sides of the equalizer with a single button operation. In Link mode, the right side controls the left side as factory preset. However, this can be adapted to individual working habits. If the channel switch of a channel is pressed until it flashes, this channel controls the other side from that moment on. Channel On/Off The orange button switches the entire channel on and off. Specifications: Analog inputs & output: XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -82 dBu Frequency range (-3 dB): 10 Hz – 100 kHz THD & N (+30 dBu, 1 kHz): 0.0005 % Noise (A-weighted): -94.3 dBu Dynamic range: 135 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 3.15 mA Fuse for 115 V: T 6.3 A Power consumption: max. 100 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 177 x 300 mm Unit weight: 15.2 kg Shipping weight (incl. packaging): 18.7 kg

Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter​ All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Mastering Compressor As a mastering compressor, IRON is inspired by the legendary vintage tube compressors à la Fairchild, Collins or Gates and has been developed in a way to give modern productions more energy and power with the advantages of the 120V technology. Input & Output Input and output levels are switchable in a control range of +/- 12dB. An increase of the input level leads to more intensive compression. When mastering full scale material, the reduction can be useful. The output is used to adjust the level ratios of input and output. Attack & Release The time parameters Attack and Release are switchable in six steps from Slow to Fast. The times vary depending on the rectifier circuit selected. Side Chain EQs With the side chain EQs, compression can be focused on frequency ranges. In addition to an inserted EQ, there are four internal EQ presets with a partly complex frequency response. Rectifier The tube stage is controlled by a rectifier circuit. There are six diode control characteristics generated by germanium, silicon and LED diodes or combinations thereof. Variable-Bias Limiter/Compressor The IRON Mastering Compressor is a variable-bias (variable µ) limiter/compressor from the basic concept. IRON works on the principle of the bias controlled remote cutoff tube. Parallel to this, a medium-variable-bias triode (sharp-cutoff tube) with a steeper characteristic is connected. The tube bias voltage (BIAS) can be adjusted in three steps. The tubes are integrated into special Lundahl manufactured balanced high-level double core mu-metal-iron transformers. AirBass & Tape Roll-Off The compressor is followed by a passive filter network with two equalizer presets: AirBass and Tape Roll-off. The AirBass filter boosts low and high frequencies by about 1.5 dB and the Tape Roll-Off filter emulates the typical frequency response of a tape machine. Link All functions can be set via switches and the threshold via a rasterized potentiometer which makes recall easy. The settings of Threshold, Bias, Attack, Release, Rectifier and Side-Chain-EQs are transferred from the right side (channel 2) to the left side in Link Mode, in which the compressor operates with summed control signals. Auto-Bypass Channels 1 and 2 are activated with the large illuminated IDEC switches. In Auto Bypass mode, the channels are automatically switched on and off, which leads to a more objective assessment. The Interval control is used to adjust the time window continuously between two and 20 seconds. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Frequency range (-3 dB): 10 Hz – 40 kHz Common mode rejection (0dBu, 1kHz): > 80 dB Crosstalk (1 kHz): -108 dBu THD (+10 dBu): 0.002 % Noise (A-weighted): -98 dBu Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 40 VA Dimensions & Weight W x H x D (width x height x depth): 482 x 132 x 300 mm Unit weight: 11 kg Shipping weight (incl. packaging): 14 kg

Dual-Channel Microphone Preamplifier in 120V-Technology With the Crescendo duo, we are expanding our 120V microphone preamp portfolio with a dual-channel version of the Crescendo. The Undistortable Crescendo duo convinces with the same outstanding sound and technical features as the flagship of the product range – the eight-channel Crescendo. It is almost impossible to overdrive this microphone preamplifier. It shines with absolute signal fidelity and clarity and lets microphones appear in a whole new light – because they have never been amplified like this before. 48 V  The phantom power required for the use of condenser microphones is activated with the 48V switch. VU -10 In the Crescendo duo, high gains can be used to optimally drive subsequent AD converters. Should the VU meter therefore deflect too far, you can reduce the displayed level by 10 dB. Ø Turn the polarity of a microphone signal 180° by activating the polarity reversal switch. HP A high-pass filter with 6 dB per octave reduces subsonic noise below 120 Hz. Mic Gain The gain is adjusted by a 12-step switch. The pre-amplification ranges from +18 dB to +70 dB. Output The switchable output control allows level adjustment to subsequent devices. The control range is +/- 10 dB. This results in a total gain of 80 dB.   Pad For loud input signals (including line signals) the input sensitivity can be reduced by 20 dB. Built-in Output Splitter Both microphone preamps have dual outputs. The often needed splitter is therefore already built in. Record the microphone signal on a recording system and at the same time record it on a backup system. Specifications Analog input & output XLR (balanced): Maximum input & output level: 32.5 dBu Input impedance: 10 kΩ Output impedance: 75 Ω Frequency range (-3dB): 20 Hz – 100 kHz THD + N (10 Hz – 22 kHz, 32 dB Gain): 0.002 % THD + N (10 Hz – 22 kHz, 63 dB Gain): 0.001 % Noise (A-weighted, 150 Ω, 32 dB Gain): - 94 dBu Noise (A-weighted, 150 Ω, 63 dB Gain): - 67.5 dBu E.I.N. (150 Ω): -130.5 dBu Common mode rejection (1 kHz): 88 dB Internal Linear Power Supply with Shielded Toroidal Transformer: Operating voltage for audio electronics: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply: Mains voltage (selectable, see fuse chamber):230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 1 A Fuse for 115 V: T 2 A Power consumption: max. 20 VA Dimensions & Weight: W x H x D (width x height x depth): 482 x 88 x 300 mm Unit weight: 6.1 kg Shipping weight (incl. packaging): 9 kg

Passive Mastering Equalizer In the PASSEQ we have revived the concept of the passive equalizer that was used in the 50’s and 60’s. The charming sound of this vintage technology combined with the modern 120V technology results in a very special equalizer. Only one filter​ All control functions are part of only one passive filter. There are three frequency ranges: Low Freq / Mid Freq / High Freq Each with a cut control on the left and a boost control on the right. In the middle is the output control. Design A passive filter has no amplification stages. It can therefore only be lowered. If one frequency is to be boosted, all the others must be lowered. Behind the filter there is a stage that makes up for the lowered overall level. Since low noise is particularly important here, since up to 20 dB can be made up for, the 120V technology comes into its own. The entire passive filter (variable resistor, capacitor and coil) provides a very nice sound characteristic. Besides the choice of components, the charging behaviour of the capacitors and the saturation behaviour of the coils play a major role in this. The resulting relative inertia compared to potentially very fast active filters is the reason for a pleasant, musically advantageous sound characteristic. We would choose smoothness and transparency as well as strikingly silky highs and pithy basses as a description that suits our perception. During fine-tuning, through component selection, in countless listening sessions, the emphasis was on achieving the most musical sounding curves possible, which, for example, need fear no comparison with a Pultec EQ from the 1950/60s. Only without all the disadvantages of a 60 year old original, such as the very high background noise, but above all the very limited frequency selection. Another highlight of the PASSEQ is the HF+ band, which has been extended by the frequencies 25 kHz and 35 kHz and sounds so incredibly good that you don’t want to switch it off. Specifications: Analog inputs & output; XLR (balanced) Maximum input & output gain: 32.5 dBu Input impedance: 20 kΩ Output impedance: 75 Ω Common mode rejection: -60 dBu Frequency range (-3 dB): 10 Hz – 200 kHz Crosstalk (1 kHz): -108 dBu THD + N (+30 dBu, 1 kHz): 0.0012 % Noise (A-bewertet): -95.2 dBu Dynamic range: 134.5 dB Internal Linear Power Supply with Shielded Toroidal Transformer Operating voltage for analog audio: +/- 60 V Operating voltage for relays and LEDs: + 12 V Mains Power Supply Mains voltage (selectable, see fuse chamber): 230 V AC / 50; 115 V AC / 60 Hz Fuse for 230 V: T 500 mA Fuse for 115 V: T 1 A Power consumption: max. 15 VA Dimensions & Weight W x H x T (W x H x D (width x height x depth) x Höhe x Tiefe): 482 x 132 x 300 mm Unit weight: 10.2 kg Shipping weight (incl. packaging): 14 kg