SPL
The Kultube is an extremely versatile compressor with a broad range of control facilities that cover all typical compressor applications. From improved stereo mixes in the “MIDI Studio“ to surround mastering with several devices connected, all jobs can be undertaken to the highest degree of sound quality. • Stereo Compressor with discrete gain cells instead of VCAs) • "Progressive Time Control": user optimization of attack and release times that work in conjunction with the unit's signal responsive circuitry to provide the best attributes of manual and auto compressors at the same time • Adjustable tube saturation with automatic output level adjustment • Selectable soft or hard knee characteristics • Unique decompression mode • Large VU meter displays gain reduction or (mono summed) output level • Switchable side-chain inputs on the front panel • Slave mode for multi-channel operation • Options: 24/96 AD/DA converter, Lundahl input and output transformers Ideally suited... • for stereo and surround mix or single channel processing. • to produce massive attacks and to significantly increase loudness without destructive side-effects. • for effortless integration into digital environments with the optional 24/96-AD/DA converter. • for ‘softening‘ too harsh sounds, for example, for making digital recordings more "musical." | The Charisma is an 8-channel tube processor to improve the sound quality of digital 8-track recording systems. It brings the warmth and smooth bottom end into digital recording. The novel "Charisma" circuitry generates variable tube saturation that can be compared to the saturation effects of analogue tape recorders. Charisma processing improves the power, punch, dynamics as well as subjective loudness. It also helps to optimise the exploitation of the headroom in digital recording and helps to prevent overloading. | The Charisma 2 is a dual channel tube processor designed to improve the power, punch, dynamics and the subjective loudness of processed signals. Designed to introduce a subjective tonal warmth and a smooth bottom end into digitally recorded material, Charisma exceeds the mere simulation of tape saturation. Charisma also helps to prevent overload and clipping on digitally or analogue recorded tracks. Charisma gives your signals more clarity, transparency and presence. Each part of the mix, instrument or vocal can easier be distinguished and located. Using the Charisma on single instruments alone lets those signals stick out of the mix. It also helps you to place vocals in a densed playback and maintaining their presence. The Charisma is equipped with XLR-connectors and TRS stereo jacks for balanced operation. |
The Transient Designer offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way! Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally. The Transient Designer allows you to emphasise or smooth the attack and extend or shorten the sustain. For the first time it is possible to shape the dynamic path of a signal as you want, as if for example you were changing the microphone distance and position after the recording has been made. With no effort you can shorten or lengthen the attack of all kinds of percussive signals, such as the bass drum, snares, toms, congas etc. to give them more kick, or to flatten the signals. It’s almost like being able to change the amount of drum damping after the recording. The same applies to virtually any other signal: Amplify or reduce the picking sound of an acoustic guitar, hold the sound of the strings longer, reduce the reverbtime of a choir, compress solo vocals, increase intelligibility, actuate the piano pedal “electronically”, turn down the slapbass a notch or give it even more attack, etc. | The Transient Designer offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain of a signal in a very simple way! Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic characteristics, so all signals (loud and soft) are processed equally. The Transient Designer allows you to emphasise or smooth the attack and extend or shorten the sustain. For the first time it is possible to shape the dynamic path of a signal as you want, as if for example you were changing the microphone distance and position after the recording has been made. With no effort you can shorten or lengthen the attack of all kinds of percussive signals, such as the bass drum, snares, toms, congas etc. to give them more kick, or to flatten the signals. It’s almost like being able to change the amount of drum damping after the recording. The same applies to virtually any other signal: Amplify or reduce the picking sound of an acoustic guitar, hold the sound of the strings longer, reduce the reverbtime of a choir, compress solo vocals, increase intelligibility, actuate the piano pedal “electronically”, turn down the slapbass a notch or give it even more attack, etc. | The DynaMaxx compressor, limiter, gate offers ease of use due to musically automated time constants and premiers the De-Compressor to regain vitality from compressed audio files. The DynaMaxx is used for unobstrusive compression or as sound tool delivering compression effects. It makes use of the new THAT 2181 VCAs in Differential-Drive technology for maximum transparency, dynamics, and lowest distortion. DynaMaxx is equipped with XLR-connectors and TRS stereo jacks for balanced operation. "The SPL DynaMaxx succeeds pretty clearly in the performance as well as in the price/value category." TOOLS4Music 2/2003 (GER), (Review of DBX 1066, Drawmer DL-241, LA Audio GCX-20, SPL DynaMaxx) User statement of Patrick Sanders, Midimix Recording Studio, Belgium: "I'm totally satisfied with the SPL DynaMaxx. In my opinion, this unit captures the essence of pure "set and forget" equipment. It is so easy to use (compress ratio and gain make-up ... Hello? Where are the 35 other parameter knobs?) and nearly always sounds great, very musical and perfectly natural. When I started buying hardware for the studio, I reckoned that compressorwise I'd better play it safe and go for the old traditionals (dbx, TC Electronics). Luckily the guys of Music Store (Köln-Germany) pointed out that this compressor is a "must have", considering the price, its ease of use and its sound quality. Now I regret not having bought 3 units instead of just 1, because I find myself always returning to and depending on it. Need some punch and you don't have half an hour to waste searching for the ideal attack/release times? Just shove it through this machine, it always does the trick. Whether it's vocal tracks, drums, (bass) guitars, pianos or Hammonds I'm recording: I just wished I had more Dynamaxx compressors. Congrats SPL, great stuff!" |
"SPLs DE-ESSER is undisputedly the best representative of its kind." Keyboards (GER) The SPL Auto-Dynamic De-Esser is a highly specialised audio tool for removing undesired sibilant frequencies in a very simple and musical way without compromising the timbre and natural character of a voice. To solve this difficult problem, SPL has developed a new circuit design that combines ease of use with natural sound characteristics and the highest level of technical performance. SPL’s Auto Dynamic De-Esser monitors the S-frequency spectrum and automatically detects the sibilant frequencies. The de-ess bandwidth is set so narrowly around the range of the sibilance that neighbouring frequencies remain unaffected. Input processed via this frequency band is mixed back into the main signal phase-inverted so that only the S-sounds are cancelled where the S-reduction controller determines the intensity of the phase-cancelled mix. The result is a neutral, unobtrusive and extremely effective de-essing process. Even at high S-reduction values the de-essing has a negligible effect on the character and timbre of the voice. Rounding out the amazingly simple control system is an automatic threshold-adjusting function. Differences in the input level caused by the varying distance to the mic, are compensated for automatically. This ensures even De-Essing independent of signal level so any necessary compression may be applied post the de-esser. |
