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Sound Performance Lab Gain Station 2272 User Manual

Single channel microphone and instrument preamplifier
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Power
-30 0 dB
SOURCE
HI PASS
Mic
50
Hz
Hi Z
Off
22 24
21
19
26
18
29
16
32
15
35
14
38
13
41
46
12
11
54
10
63
dB
Mic: +7dB
w/transformer
Discrete High-Gain Preamplifier / Model 2272
GainStation 1
Single channel microphone and instrument preamplifier
User's Guide
Gain
Station
Clip
AD OVL
9
18
48V
Ω
PHASE
IMPED.
PHANTOM
Rev.
On
10k
1.2k
Nor.
Off
200
18 20
16
12
21
-12
9
-14
22
23
-16
7.5
6
24
-18
4
24.5
-20
25
2.5
-22
1
25.5
-24
25.8
-25
26
-26
dB
Class A
Class A
60-Volt Amplifiers
Models 2272, 2273
Limit
LIMITER
Peak
Off
+Fet
-9 -8
-10
-6
-5
-2.5
0
2
3.5
5
5.5
6
dB

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Summary of Contents for Sound Performance Lab Gain Station 2272

  • Page 1 User’s Guide Power -30 0 dB Clip SOURCE HI PASS PHASE Rev. Hi Z Nor. 22 24 Mic: +7dB w/transformer Class A Class A 60-Volt Amplifiers Discrete High-Gain Preamplifier / Model 2272 GainStation 1 Single channel microphone and instrument preamplifier Gain Station AD OVL...
  • Page 2 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...

  • Page 3: Table Of Contents

    Introduction ... Before you begin Rear panel/connections ... Wiring General advices Connectors and switches Optional AD Converter Converter-related connectors Control elements ... 14 Clean Gain, Tube Gain, Output Level Source, Hi Pass, Phase Imped. Ω, Phantom ... 16 Limiter ... 17 POWER-LED, LED Level Display, AD OVL Operation ...

  • Page 4: Introduction

    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.
  • Page 5 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 micro- phone. For more permanent installations, up to four GainStation 1‘s can be rack-mounted in one optionally available 3-unit rack space mounting frame.
  • Page 6 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 into- nation. Percussive transients are interpreted more precisely, which leads to a clearer rhythmic content and in turn a more solid rhythmic performance and perception.

  • Page 7: 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.

  • Page 8: Rear Panel/Connections

    Rear panel/connections S/P-DIF signal to DAW, HD recorder etc. 24/96 AD AD IN 2 2nd signal input OUT 2 of the optional A/D converter INPUT Instruments, Line signals PUSH Pin wiring of the XLR microphone input 1 = GND, 2 = hot (+), 3 = cold (-) POWER VOLTAGE/FUSE 230 V –...

  • Page 9: General Advices

    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 amplifies microphone signals as well as other unwanted signals. Before connecting the GainStation 1 or any other equipment turn off all power. IMPORTANT: Adjust the voltage setting on the back so that it corresponds with the power conditions.

  • Page 10: Mic Input

    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.

  • Page 11: Sample Rate

    Rear panel/connections POWER 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) DIG. OUT SYNC INPUT SAMPLE RATE 24/96 AD OPTICAL SPDIF SPDIF 44.1 LOCK 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...

  • Page 12: Converter-Related Connectors

    Rear panel/connections AD IN 2 AD IN 2 If the optional 24/96 AD converter module is installed, this input IN 1 MUTE can be used to convert an external analog signal. To avoid clip- ping, the input level should not exceed +12 dBu (+12 dBu corre- sponds to full digital gain of 0 dBfs).

  • Page 13: Sync Input

    Rear panel/connections SYNC INPUT SYNC INPUT The SYNC input allows you to feed an external signal into the converter to control the sample rate. Connect an S/P-DIF output SPDIF LOCK from your master source (e.g. sound card) to the SYNC input. The AD converter will automatically convert to the same sample rate that is received.

  • Page 14: Control Elements

    Control elements CLEAN GAIN 22 24 This potentiometer controls the amount of preamplification provided by the class A solid-state stage. A range of up to +63 dB is provided. For more information, please see „Setting levels on the GainStation 1“ on page 19. Mic: +7dB w/transformer IMPORTANT NOTE: If a Lundahl input transformer is installed,...

  • Page 15: Source, Hi Pass, Phase

    SOURCE This switch allows you to select between the MIC and HI-Z/LINE inputs. Both inputs can remain connected at all times, regard- less of which input is selected. When first thrown after powering up the unit, this switch can cause a noticeable pop due to the discharge of residual current. This is normal and no cause for concern.

  • Page 16: Imped. Ω, Phantom

    Control elements IMPED. Ω Ω IMPED. This 3-way switch allows you to select between three input 1.2k impedances for the MIC input. The effect varies depending on the microphone used. With dynamic microphones, a lower impedance setting will also reduce the input level—this effect is less pronounced with good condenser microphones.

  • Page 17: Limiter

    LIMITER The GainStation 1 offers two types of output level limiting: PEAK and FET. The limiter is pre-output level control, so that the limited signal can be optimally adapted to the internal or external converter. The peak limiter operates with special diodes that convert signal peaks into a type of saturation.

  • Page 18: Power-Led, Led Level Display, Ad Ovl

    Control elements POWER-LED Power This LED indicates that the GainStation 1 is connected to the proper AC current and switched on. If the tube stage is active when the unit is switched on, it can take several seconds before a signal can be heard—this time is necessary for the tube to reach operating temperature.

  • Page 19: Operation

    Operation In spite of its quality and flexibility, the GainStation 1‘s trans- parent user interface allows quick, intuitive operation. The unit is suited for a wide variety of applications. The following sections will provide an overview of the most important opera- tional concepts and several application examples.

  • Page 20: Limiter

    Operation Combining different amounts of clean and tube gain will create various effects. The GainStation 1 operates virtually distortion- free with the tube stage bypassed. The sound is clean and trans- parent with extreme detail and very low noise. The clean stage is ideal for most acoustic instruments, as well as jazz or clas- sical recordings.
  • Page 21 Operation The peak limiter sounds different with the tube stage activated, since leveling occurs somewhat asymmetrically with the tube in the signal path, so that the negative half-wave is leveled with a much flatter curve. To determine the ideal limiter setting for the internal converter, activate the peak limiting mode and adjust the Clean and/or Tube Gain to a setting well above your working level, so that the Limit LED illuminates brightly.

  • Page 22: Application Examples

    Application examples Next to the obvious recording or sound reinforcement appli- cations, the GainStation 1 is also extremely interesting as an instrument preamp for musicians. Bassists can go through it directly into a power amp, resulting in a sound that is hard to achieve with standard bass preamps, with unparalleled punch, detail and dynamic.

  • Page 23: Vocals/Speech

    Application examples Vocals/speech The tube stage is well suited for adding presence to vocals. Exercise caution when setting levels, particularly with the clean stage, since vocals can be extremely dynamic. The FET limiter can be very helpful here to level peaks in a subtle, musical fashion and ensure safe levels for AD conversion.

  • Page 24: Electric Bass

    Application examples Electric Bass If an electric bass is directly connected to the HI-Z input, a combi- nation of clean and tube stages is usually best. In the case of extreme dynamics, the FET limiter will deliver excellent results and a tight, punchy bass sound that usually needs no additional compression.

  • Page 25: Drums/Snare-Drum

    Application examples Drums/snare drum Exercise caution when setting levels to avoid clipping. Drums are notorious for fast, powerful transients that can easily add 10 dB to the average level. In addition, few drummers (or any musicians, for that matter) are so disciplined that they don‘t play louder during a take or concert than they do during sound check.

  • Page 26: Technology

    Technology Inside the GainStation 1 The most time-consuming part of the development of the GainStation 1 was searching for, selecting and matching compo- nents, PCB‘s and IC‘s. One decisive factor in achieving impec- cable audio quality is the refusal to accept any weak spots in the chain—the insistence upon each link being as good as the next.
  • Page 27 Technology An output stage, which also operates in class A mode with over 6 mA of closed-circuit current, functions as a current amplifier. The transistors and resistors utilized also had an enormous effect on the audio quality. To facilitate selection, we assem- bled several models and subjected them to extensive listening tests.
  • Page 28 Technology The Hi-Z input is a fully discrete impedance converter that also operates in class A mode. It is based on a low-noise field effect transistor that is especially well suited to this task due to its extremely high input impedance. The signal then passes to the clean gain stage.
  • Page 29 Technology The 2 x 30-V current alone is first pre-regulated to 33 V and then reduced to 30 V in order to filter out the last remnants of hum. This task is handled by select 1000-µF electrolytic capacitors. In addition, critical currents are stabilized via a 100-nF MKP foil condenser, to ensure sufficient current for even the shortest impulses.

  • Page 30: Technical Specifications

    Technical specifi cations Frequency response (Clean Gain 30 dB, Tube Gain off, output level 0 dB, +/- 0.5 dB): Frequency response (Clean Gain 30 dB, Tube Gain off, output level 0 dB, +/- 3 dB): Frequency response (Clean Gain 30 dB, Tube Gain 1 dB, output level 0 dB, +/- 0.5 dB): THD+N (Clean Gain 24 dB, Tube Gain off, output level +6 dB, 20-22 kHz, +25 dBu out):...

  • Page 31: Dimensions/Weight

    Dimensions (W x H x D): Weight (w/o Lundahl transformer and AD converter): The following accessory is optionally available: • Lundahl input transformer (upgrades after sale by authorized service personnel or SPL only) • 24-Bit/96 kHz AD converter (Upgrading after sale can also be done by clients) •...

  • Page 32: Warranty

    Warranty SPL products are manufactured using carefully selected compo- nents and materials and state-of-the-art production techno- logy. Every SPL product is thorough inspected and tested before leaving the factory, including acoustic and electronic testing. SPL warrantees the SPL 24/96 AD Converter Model 2376 to be free of defects in materials or workmanship for a period of 24 months after the date of purchase.

  • Page 33: Notes

    Notes ..............
  • Page 34 User’s Guide GainStation 1, Models 2272 & 2273 All you need is imagination, good ears and three letters:...

This manual is also suitable for:

Gain station 2273

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