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User manual for SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD
- Manufacturer: SPL
- Basic description and contents of package
- Product classification: Pro Audio - Recording - Microphone Preamps
- Safety instructions
- Startup and operation of the microphone preamps
- Tips for setting up your SPL
- Settings and expert assistance
- Contact SPL service
- Troubleshooting
- Warranty information
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We recommend checking out our discussion threads on the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD,
which address similar problems with connecting and setting up Microphone Preamps SPL.
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User manual for the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD
The user manual for the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD provides
necessary instructions for the proper use of the product Pro Audio - Recording - Microphone Preamps.
The SPL TwinTube Dual-Channel Processor AD with the built-in 24-bit, 192 kHz Module 1090, provides perhaps the two single most important and beneficial artifacts generated by tubes: Saturation and Harmonics. The warmth, presence and suppleness analog tube and coil filtering provide can enrich any production, almost regardless of the music genre.
The TwinTube's saturation effects are sonically comparable to the effects of tape saturation which adds warmth and loudness and emits subtle-to-clear effects while harmonics create more presence and clarity without adding appreciable sound levels, as is the case with EQs. Harmonics help to move signals to the front of a mix and can add a further richness to the sonic source.
These effectual changes of the sound character by the TwinTube can work for all kinds of signals, such as vocals, acoustic guitars, drums, strings, brass, etc.
Saturation
Saturation effects are generated through the tube being pushed to and beyond its normal operating limits. In contrast to semiconductors, which at that point would cause a harsh sound, a tube thus pushed to such levels does not clip from reasonable over-level. Once approached, this pushed level limits and thereby produces its typical tonal result, which in audio signal processing can have such often profitable aural effects. On one hand (and depending on the amount applied), from subtle to extensive harmonic distortion and on the other hand, a compaction of the sonic event, that is, a limiting effect that exhibits a pleasant, rounded or soft sound. Acoustically, and also in its range of applications, this can be compared very well with tape saturation effects.
Harmonic Distortion
Harmonic distortion and limiting are the generally known "classic" tube effects, which are today cornerstones of much sound processing. But other less known and potentially important effects are a tube's ability for improving presence and spatial qualities through its processing of specific regions of the overtone series.
Applications
Here we refer to only two significant examples, of course without suggesting completeness. The effects and results described here can be applied to many other instruments:
1. Vocals
Optimizing vocal tracks is a highlight among the processing applications of the TwinTube. Often further EQing is not necessary anymore in order to lift a voice from a mix and get it up front. A recommendation for female voices: HARMONICS switch to 6, HARMONICS control to about 2 o'clock, SATURATION to about 12 o'clock.
With these settings the described effect should be clearly audible and from here individual tracks can be optimized. With female voices we suggest trying HARMONICS switch settings 6 and 10 while switching between 2, 3, and 6 with male voices.
2. Acoustic Guitars
The success in treating electric guitars depends on previous recording and processing gear and techniques: if tube amps and further effects were already applied, it is hard to foresee how much the TwinTube can contribute when optimizing or designing a sound.
In contrast to electric guitars, there is a huge potential in processing acoustical guitar tracks. Guitar-picking sounds can be intensified, and in general, tube saturation and limiting can improve loudness and condense the sound. Presence is emphasized and the instrument cuts through a mix much better without raising levels too much. A well-chosen amount of harmonic distortion always adds some roughness which may often add a nice touch to several playing styles.
24-Bit / 192 kHz AD Converter Module 1090
This TwinTube AD comes equipped with the 24-bit / 192 kHz A/D Converter Module 1090, and works with a plug-and-play design for easy installation and usage. It offers an S/P-DIF output with both coaxial and optical connectors in parallel. The heart of the module is a 24-bit converter with a variable sample rate of up to 192 kHz. Quartz oscillators help ensure a clean, low-jitter master clock. The internal sample rate can be switched between 44.1, 48, 88.2 and 96 kHz. Other sample rates (32, 176.4 and 192 kHz) are set by external syncronization.
The converter can be synced to other digital devices via a S/P-DIF input. The internal oscillators are automatically disabled when an external clock signal is present to prevent interference. An extremely effective voltage-stabilizing circuit ensures that the converter continuously receives sufficient and stable voltage - an important prerequisite for clean, transparent audio. The compact design minimizes the signal path to the converter. Grounding surfaces on both sides of the circuit board effectively reduce interference and ensure optimal separation between analog and digital components.
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If you own a SPL microphone preamps and have a user manual in electronic form,
you can upload it to this website using the link on the right side of the screen.
You can upload and download the manual for the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD in the following formats:
- *.pdf, *.doc, *.txt, *.jpg - Other formats are unfortunately not supported.
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Additional parameters of the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD:
| Harmonics | Harmonics Stage:
Frequency Range: 10 Hz to 80 kHz
THD & N: 0.1 % (@ 1 kHz, 0 dBu input level, unity gain)
S/N ratio, A-weighted: -87 dBu
Dynamic Range: 103 dB
Maximum Input Level: +18 dBu
Harmonic Filter
Filter 1
Center Frequency: 9.8 kHz
Bandwidth: 9.6 kHz
Maximum Gain: +15 dB
Filter 2
Center Frequency: 6.6 kHz
Bandwidth: 5 kHz
Maximum Gain: +15 dB
Filter 3
Center Frequency: 2.8 kHz
Bandwidth: 9 kHz
Maximum Gain: +15 dB
Filter 4
Center Frequency: 1.9 kHz
Bandwidth: 4.7 kHz
Maximum Gain: +15 dB | | Saturation | Stage:
Frequency Range: 10 Hz-77 kHz
THD & N: 0.02 % (@ 1 kHz, 0 dBu input level, unity gain)
ca. 15 % @ 0 dBu input level and maximum saturation
S/N ratio, A-weighted; -96 dBu
Dynamic Range: 114 dB
Maximum Input Level: +21 dBu | | Audio - Cumulative | (Harmonics and Saturation Stage)
Frequency Range: 10 Hz to 77 kHz
CMR: -74 dBu (@ 1 kHz, 0 dBu input level, unity gain)
Noise, A-weighted: -87 dBu
Dynamic Range: 105 dB | | A/D Converter | Internal sample rates: 44.1, 48, 88.2, 96 kHz
External sample rates: 32 kHz, 176.4 kHz and 192 kHz
Dynamic range: 112 dB (A-weighted)
THD+N (@-1 dBFS/1 kHz): 0.0007%
Frequency response (48 kHz): 10 Hz to 22 kHz, ±0.2 dB
Jitter (average; 700 Hz to 100 kHz): ‹ 300 ps
Stop band attenuation: -105 dB @48 kHz; -102 dB @96 kHz
0 dBFS: = +15 dBu
Power consumption +15 V: max. 115 mA
Power consumption -15 V: max. 17 mA
Dimensions (W x H x D): 3.94 x 1.06 x 3" (100 x 27 x 76 mm)
Weight: 2.39 oz. (68 g) | | Input | XLR connector, electronically balanced, optionally transformer balanced
Max. Input Level: +20 dBu
Impedance: ca. 20 kOhms | | Output | XLR connector, electronically balanced, optionally transformer balanced
Impedance: ca. 150 Ohms
Maximum Output Level: +21 dBu | | LED Display | Signal-LED: -20 dBu
Overload-LED: +18 dBu (peak hold 1.5 seconds) | | Power Supply | Toroidal transformer
Fuses:
230 VAC, 50 Hz: 315 mA
120 VAC, 60 Hz: 630 mA
Voltage selector: 115 V / 230 V
Power consumption
@ 230 V: 9.1 W / 10.8 VA
@ 115 V: 5.6 W / 7.1 VA | | Dimensions (W x H x D) | 19.0 x 1.7 x 11.8" (482 x 44 x 300 mm) (depth includes knobs and sockets) | | Weight | ca. 10.6 lb (4.8 kg) | |
The user manual for the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD can be downloaded in .pdf
format if it did not come with your new microphone preamps, although the seller is
required to supply one. It is also quite common that customers throw out
the user manual with the box, or put the CD away somewhere and then can’t find it.
That’s why we and other SPL users keep a unique electronic library
for SPL microphone preampss,
where you can use our link to download the user manual for the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD.
The user manual lists all of the functions of the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD,
all the basic and advanced features and tells you how to use the microphone preamps.
The manual also provides troubleshooting for common problems. Even greater
detail is provided by the service manual, which is not typically shipped with the product,
but which can often be downloaded from SPL service.
If you want to help expand our database, you can upload a link to this website
to download a user manual or service manual, ideally in .pdf format. These pages
are created by you – users of the SPL TwinTube Dual-Channel Processor AD SPLTWINPRAESAD. User manuals are also
available on the SPL website under Pro Audio - Recording - Microphone Preamps.
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