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SPL Channel One:

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The SPL Channel One is a complete recording studio audio channel strip including both a transistor and tube microphone preamplifier, de-esser, compressor, limiter, noise gate, EQ and headphone monitor, for recording voices, instruments, and digital or analog audio sources in the highest sound quality.

The concept of the Channel One is as the ideal recording tool - for hard disk tracking as well as for analog environments. Intelligent automation ensures intuitive, fast operation and guarantees the finest recording results.

The preamp stage provides three (four with converter option) optimized inputs: The microphone input features 48V phantom power, phase reverse function and a subsonic filter. The low-impedance Line input has a precise balancing stage for connecting studio equipment. The low-noise, high-impedance instrument input is easily accessible on the front panel. Digital insert is possible using the optional AD/DA converter.

The de-esser subtly, yet effectively, removes offending sibilants by processing only the "S" frequencies. The Auto-Threshold mode ensures constant processing even when the microphone distance varies. All the user need do is set the desired S-reduction. Insert (Send/Return) allows external effects devices to be looped in or the unprocessed pre-stage signal to be sent out.

The Compressor/Limiter section is based on SPL's Double-VCA-DriveŽ circuitry with its outstanding noise and distortion characteristics. The compressor is extremely easy to use via a single knob; its strength lies in the inconspicuous, musical way in which it works.

The Noise Gate operates flawlessly; reverbs are recognized and not cut off. For the Channel One an EQ section was designed especially for processing voices as well as acoustic or electronic instruments. In addition to Low, Mid-Hi and Air-Band filters, a field-effect distortion stage is used to subtly distort the signals in a way that lends character.

The headphone monitor allows the singer or speaker to get an individual mix directly and without latency problems in hard disk recording systems.

The options include a 24/96 AD/DA converter as well as a sound enhancing Lundahl in- and output transformer.


    • Microphone Input
    • Frequency response
      10 Hz-100 kHz
      (100 kHz = -3 dB)
    • Common mode rejection (@ -20 dBu) 1 kHz:
      -80 dB / 10 kHz: -78 dB
    • THD & N Gain:
      20 dB -97.1 dBu
      40 dB -91.1 dBu
      65 dB -69.4 dBu
    • Dynamic range:
      118 dB
  • Line/Instrument Input
    • Frequency response:
      10 Hz-180 kHz
      (100 kHz = -3 dB)
    • Common mode rejection (@ 0 dBu) 1 kHz:
      -80 dB / 10 kHz: -78 dB, Line input only
    • Total harmonic distortion Gain (A-weighted):
      5 dB -99.4 dBu
      20 dB -97.2 dBu
      42 dB -79 dBu
  • Input impedance Line:
    20 kOhm / Instr.: 1 MOhm
  • Max. input level Line:
    +22 dBu / Instr.: +14 dBu
  • Dynamic range:
    119 dB
    • Output data
    • Max. output level:
      XLR/jack +20 dBu
    • Output impedance:
      50 Ohm Power supply
    • Toroidal transformer
      20 VA
    • Fuses:
      315 mA (230 V/50 Hz)
      630 mA (115 V / 60 Hz)
  • Dimensions
    • Standard EIA 19"/IHE 482 x 88 x 210 mm
    • Weight 4.15 kg

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