Gauting, Germany (May 18, 2023)—German pro-audio producer Lake People has launched the brand new MC100 monitor controller. While Lake People is thought for its headphone amplifiers and converters, the brand new unit marks its first foray into monitor controllers.
With the MC100, as much as 4 analog sources will be linked—two analog stereo alerts will be plugged into the balanced XLR sockets, yet another analog enter will be hooked as much as the unbalanced RCA connectors, and there’s additionally a 3.5-mm (1/8 inch) jack enter that can be utilized by cellular gadgets. Meanwhile, a USB-C enter feeds the interior DA converter with PCM as much as 384 kHz and 32 bit in addition to DSD 256. Users can choose to have the enter selectors releasing one another, or enable for a number of inputs to be chosen on the identical time, summing the alerts.
The entrance panel options switches for as much as for 3 pairs of screens in addition to a subwoofer output. Within the MC100, the unit’s headphone amplifier drives most varieties of headphones by way of 3.5-mm or 6.3-mm jacks and offers a particular X-Feed circuit for simulating speaker playback. There are additionally mute, dim, mono, channel swap, channel solo and section reverse functionalities out there on the entrance panel as nicely. At heart, the big grasp quantity knob adjusts the primary stage by means of an Alps RK27 potentiometer; in a particular MC100 PRO model, the pot is changed with a 256-step reed relay circuit.
With the output stage, three balanced XLR outs enable for switching between three completely different units of audio system. Each output will be attenuated by as much as 12 dB. Like the inputs, the outputs can mutually deactivate, or choose a number of outs on the identical time, as per consumer alternative. The subwoofer output will be activated independently to reinforce the chosen output. In addition to those speaker outs, the MC100 additionally options two secondary outputs as balanced XLR. These carry the chosen enter sign with no affect from the extent knob, to allow them to feed measuring gadgets like stage meters or analyzers.
The Lake People MC100 is on the market later this month by means of retail and by way of www.cma.audio. The MSRP for the MC100 is 1,799.90 EUR (roughly $1940 US), for the MC100 PRO with reed relay quantity management 2,399.90 EUR (roughly $2,585 US). Lake People is distributed within the US by means of American Music & Sound.
THE TAKEAWAY: “I’m recommending the MK2 for its in depth characteristic set, wonderful audio efficiency, sturdiness and a glossy, horny look that enhances any room it resides in.”
COMPANY: SPL • www.spl.audio PRICE: $1,299 PROS:
• Excellent headroom, noise and frequency response.
• A wealth of options and conveniences, with sensible design and styling. CONS:
• A contact of leakage when totally attenuated.
• Fewer routing choices than unique MTC.
As a longtime person of SPL’s MTC 2381 monitor controller, I had blended anticipation in regards to the new MTC Mk2, considering, “How would possibly the corporate enhance on the wonderful design of a predecessor with out sacrificing high quality or options?” The brief reply is that they maintained the audio high quality, added quite a few trendy conveniences and surrendered just a few routing flexibilities.
Being {that a} monitor controller acts like the middle part of a mixing console for the fashionable digital studio, an incredible quantity of I/O is critical, together with a impartial sonic profile, sturdiness (for what will likely be fixed utilization) and adaptability of options to satisfy a enough variety of studio wants (switching enter sources, offering headphone outputs, routing cue mixes, offering talkback services, controlling monitor quantity and management of mono fold-down, dim and mute features, and many others.).
SPL MTC Mk2 Monitor Controller, being examined at Catalyst Recording in Charlotte, NC.
INS, OUTS, CONTROLS
Perhaps a very powerful characteristic improve isn’t terribly glamorous—an inside working voltage of ±18V, which ensures excessive headroom, low noise, prime sonic efficiency and signifies that that is critical skilled tools. The MTC Mk2 can deal with 22.5 dB of stage, about 1.5 dB greater than typical ±15V units. A switched-mode energy provide routinely accepts 90 – 250 VAC at 50 or 60 Hz.
SPL has continued with the wedge-shaped type issue, with a reasonable 10 x 11-inch footprint and a slanted, milled-steel faceplate. The prime row of backlit coloured buttons consists of 4 pairs of stereo inputs—A through D—with A, B and C on 1⁄4-inch TRS connections at +4 dB and D on RCAs at -10 dB. Input C is particularly the Cue Mix enter and receives particular routing therapy.
The unit consists of 4 pairs of outputs for displays SP1 to SP3, with output SP4 being a full-range mono output for connecting a subwoofer or feeding a mono speaker (e.g., a limited-bandwidth dice monitor). These switches don’t toggle, as they permit a number of monitor outputs to be chosen directly, identical to the enter buttons.
The prime row of buttons additionally consists of ample monitor features, together with L/R Swap, Phase (the distinction between left and proper channels) and Mono (the sum of left and proper). Also: a Dim button for attenuating output by -10 dB and two Mute buttons (audio system and headphones) for comfort.
The decrease row of knobs gives stage controls, beginning with Talkback, which features a built-in condenser mic and momentary change. The again panel additionally gives a 1⁄4-inch footswitch jack for comfort.
Next in line is Phonitor Matrix and crossfeed management, a completely new characteristic borrowed from a lot of different SPL merchandise. This constantly variable management permits for the introduction of a contact of leakage between channels to make headphone listening extra pleasurable and never as starkly hard-panned, really a contact extra mono, if you’ll.
The 45mm central aluminum knob/ potentiometer adjusts control-room monitoring ranges by way of the 4 speaker outputs, starting from -97 dB to 0 dB attenuation. This management is constantly variable, with no steps.
Finally, there’s a pair of headphone output controls (Producer and Artist) on the entrance panel, every with a 1⁄4-inch stereo jack. Producer is fed with no matter mixture of inputs are chosen for the audio system/displays; the Artist management feeds the identical, or solely the Input C cue combine when the adjoining Cue Mix button is chosen.
These are high-quality circuits, as SPL explains: “The output stage of the headphone amplifiers is designed as a push-pull amplifier in Class AB mode. The bipolar transistors share the amplification of the optimistic and damaging half-waves, which produces the next achieve and the next output voltage than in Class A operation, the place just one transistor amplifies each half- waves.”
The again panel of the SPL MTC Mk2 Monitor Controller.
The again panel homes a pair of XLR outputs for SP1 and SP2, a pair of 1⁄4-inch TRS for SP3 and a single XLR for the Subwoofer output. The backside of the unit homes a set of dip switches for attenuating output ranges globally (-6, -10 or -13 dB) so as to get out of the primary few levels of journey with the large quantity knob and with a bit extra decision.
There can also be a Meter output, which is fed the identical sign because the speaker outputs, simply pre-fader (large quantity knob). A Cue Mix output on a pair of TRS 1⁄4-inch jacks permits for an output together with Talkback sign and switches to a direct feed from the Input C/Cue Mix enter when the entrance panel Cue Mix button is engaged. A Talkback output is offered for routing talkback mic sign on to a speaker (presumably within the performer’s room), and the Talkback change 1⁄4-inch enter is discovered right here, as nicely.
IN SESSION
Once I converted from my unique MTC (fast and easy, as I already had all the suitable connections), I used to be capable of inform that the Mk2 sounded no totally different than its predecessor, with no discernible noise, seemingly absolute linear frequency response, unrestrained headroom (all my displays hit the beginnings of dynamics loss and non-linearity lengthy earlier than the MTC does) and loads of punch.
The headphone amps sound notably good, with ridiculous quantities of achieve accessible (sufficient for higher-impedance cans) and nice imaging; the addition of the Phonitor Matrix can also be good to have, if not important. This characteristic can be in fixed use for my informal listening, however for every day work, I discover myself utilizing it solely when mixing, and even then solely sparingly.
The backlit buttons, set in opposition to the flat-black entrance panel, are straightforward to see even in a dimly lit management room. The newer monitor management features are all helpful and make mixing classes just a bit simpler. I’ve additionally discovered the Subwoofer output fairly handy for fast evaluation of bottom-end monitoring and mixing points. I maintain my 1⁄8-inch stereo mini-plug cable patched to Input D, which is fairly darn handy for all of the cellphone audio, which is an more and more frequent a part of working with my purchasers.
The one factor I don’t desire with the brand new MTC Mk2 is the simplification of routing, which has sacrificed a number of combos. The unique MTC had a number of knobs/faders for mixing sources (the Cue enter could possibly be blended with any of the stereo inputs, with such mixing accessible for the control-room speaker outputs in addition to the cue-mix outputs). This was a bit extra sophisticated in use and made for a extra crowded entrance panel, to make certain, however with these options and a follower output, I used to be capable of create three mixes (Cue 1, Cue 2 and management room) and achieve very giant live-tracking classes with no cue mixing system! Yes, this was an intricate setup and never more likely to be wanted by anyone however energy customers, however I nonetheless nonetheless miss this stage of excellent routing flexibility.
One different minor quibble is the crosstalk efficiency of the primary attenuator knob/pot. The management has leakage when totally attenuated; that’s, there’s nonetheless some audible audio, in the suitable channel solely, when the knob is totally “off” (really -97 dB). Using the worldwide -10 dB attenuation practically eliminates this minor downside.
Similarly, the left-to-right steadiness isn’t at all times balanced when the attenuator is throughout the starting of its journey, though steadiness is even and stays even above that. Both of those behaviors are an identical to the unique MTC and could possibly be alleviated by a stepped quantity management, a wildly costly characteristic discovered on mastering-grade tools that’s probably not economically possible for this unit. Once once more, utilizing international -10 dB attenuation relegates this subject to insignificance.
THE FINAL MIX
I’ve been utilizing the SPL MTC Mk2 for months now and it has develop into invisible in its software, dutifully doing its job with out being obvious. If I’m not listening to dynamics, or element, or punch, it merely isn’t within the combine—no guesswork.
At $1,299, the SPL MTC Mk2 inhabits a value vary nicely above that of semipro models, but nicely under mastering-grade and boutique models. This price-to-performance ratio is a good match for smaller professional studios (particularly these with out mixing consoles), in addition to private studios and even artist-based manufacturing rooms that want extra flexibility than a tabletop interface and software program can permit.
I’m recommending the MK2 for its in depth characteristic set, wonderful audio efficiency, sturdiness and a glossy, horny look that enhances any room it resides in.
The Grace Design m908 monitor controller has brand-new V2.0 firmware.
Lyons, CO (January 25, 2023)—The Grace Design m908 monitor controller has been a part of many production facilities workflows, and now a V2.0 firmware update will give the unit additional functionality, with an improved web-based set-up and control platform that speeds up integrating the controller into a user’s setup.
The new firmware allows m908 users to not only control all monitoring features, but also load, edit and store all system parameters on the m908 from a web browser on any desktop or mobile device. The update also includes an expanded room correction EQ capability, which now supports 12 bands per channel on all 24 channels at all sample rates—a plus for facilities looking to get Dolby Atmos certification for a room.
“This firmware and software has been a top-priority project for our engineering team” says Grace’s President Michael Grace. “The m908 has a very deep setup environment which can present a steep learning curve when operated on the hardware remote, but this new platform makes setup easy by allowing users to directly edit and store parameters into fields on a webpage.”
Users enter the IP address of their unit into a browser from a device on the same local network. The m908 will automatically serve the control platform to the browser and work from there. There is nothing to download or install.
“We have had the new software in Beta for a good while with a few demanding engineers and studios,” added Grace. “Now it’s ready for prime time and hope it makes current and future m908 owners and operators lives a little better.”
PreSonus MicroStation Bluetooth Monitor Controller
Baton Rouge, LA (May 5, 2021)—PreSonus is now shipping its new MicroStation BT Bluetooth 5.0 stereo monitor controller, which can receive audio from a phone, tablet or other Bluetooth source and feed it to powered speakers. The MicroStation BT also can be hardwired to a powered subwoofer to create a 2.1 listening environment.
While the unit can pair with a Bluetooth-enabled device with the press of a button, a stereo ⅛-inch input is also provided, allowing users to still connect via a wired input. Accordingly, the unit also sports a Bluetooth On/Off button that can toggle between Bluetooth and analog sources.
Other onboard inputs include balanced left and right ¼-inch TRS inputs, which can route audio from pro-audio hardware to speakers, while the balanced ¼-inch TRS or unbalanced RCA Subwoofer outputs can send audio to a sub. An ⅛-inch stereo headphone/aux output lets users connect headphones or send stereo audio for streaming, recording and more.
Front and center, the main control is a large, ergonomic Volume knob that controls the overall level of connected speakers and subwoofer. A Sub Bypass button mutes the subwoofer feed, allowing users to toggle between a 2.1 system and just full-range speakers. A main Mute button with an LED status indicator let users silence your speakers or headphones as needed.
The PreSonus MicroStation BT is available now with a street price of $129.95.
SPL Marc One Monitoring and Recording ControllerFela Davis is a 2019 Hall of Fame inductee at Full Sail University. She also owns 23dB Productions and One of One Productions Studio, which specializes in podcasting, video, and music production. Clients include the Holding Court with Eboni K. Williams podcast, Sirius XM, Atlantic Records, iHeart Radio and numerous Grammy award-winning musicians. www.oneofoneproductions.com
New York, NY (April 30, 2021)—The SPL Marc One Monitoring and Recording Controller is a beast, providing high-end quality whether you’re listening back or putting down tracks. It offers three monitoring modes, a 32-bit AD/DA converter and a smart, user-friendly design.
For this review, we connected it to our Kali IN-8s and Neumann KH 120s studio monitors via USB to the DAW, but it was impressing us before we even turned it on. First of all, its heavy-duty metal frame body and actual weight give you a hint of the quality you’re about to hear. All knobs and toggle switches are weighted, supporting the impression of a high-end product.
The first toggle switch on the left side of the device controls the two sets of studio monitors and has an off position in the middle. Position A on the toggle includes the subwoofer if you have one, while the off position is silent. There’s no bleed into your monitors in any switch position.
Next is the volume knob. It takes up a lot of real estate but it’s ultimately the reason I love this controller. It provides lots of ways to tweak your outputs that we will get into later. You’ll use this knob the most, and the even volume response sounds amazing.
The second toggle switch gives you the option to listen in mono, stereo or channel swap, which reverses the stereo image so you can hear everything that’s going on with your mix. There are light indicators for left and right monitor distortion to help protect your monitors.
When the monitor knob is centered, all input signals are equally loud; turn to the left and the analog stereo inputs get louder while the USB input signal gets quieter. Turning from the center to the right does the opfeposite, all helping to tweak your system to deliver the perfect volume for mixing. There’s also a headphone volume knob and a cross-feed knob so you can blind-hear the studio monitors and headphones together for more listening options. The amount of depth from the headphone amp to our studio headphones, Sennheiser HD 800s, opened my ears to new things in our mixes.
Now to the back of the unit. First is a heavy-duty on/off switch that looks like it can stand up to years of use. Next to it are two dip switches: 1 provides a 10 dB pad on your studio monitor sources, while 2 is a Rec 1+2, which mixes together both line inputs and allows you to record them together via USB in mono. Both dip switches are easy to flip without requiring a tool or a long fingernail to use.
All of the TS and TRS inputs and outputs on the back of the unit stick out for better grounding. The USB connection is class-compliant, which means that all Mac computers and iOS devices like iPads and iPhones can use the full performance bandwidth of the 32-bit AD/DA converter without driver installation. (iOS devices will need the camera adapter to connect, however.) For Windows, you’ll only have to install a driver (downloadable on the SPL site) if you need higher sample rates. The USB connection will connect to your DAW for superb studio monitor playback at very high resolutions— for example, DSD4 and DSD256 (11.2 MHz) are supported.
Over the course of our review period, we found the amazing resolution and high-quality build combined perfectly in use as we toggled seamlessly between studio monitors and headphones to listen to mixes. Used as a monitor controller, SPL got the layout perfect for muscle-memory mixing, with the monitor toggle switch and volume knob ideally located for quick adjustments while listening. When you consider that it’s also an interface for recording, able to record high-resolution audio from 10 Hz to 200 kHz, the $799 price tag is worth it. The SPL Marc One is now a staple in our studio and workflow.
Fela Davis is a 2019 Hall of Fame inductee at Full Sail University. She owns 23dB Productions and One of One Productions Studio, which specializes in podcasting, video, and music production. Clients include the Holding Court with Eboni K. Williams podcast, SiriusXM, Atlantic Records, iHeartRadio and numerous Grammy Award-winning musicians. www.oneofoneproductions.com.
SPL Marc One (top) and Control One Monitor Controllers
Montreal, Canada (October 22, 2020)—SPL of Germany has added to its Series One line with the introduction of its new Control One and Marc One monitor controllers, both manufactured in Germany.
The SPL Control One is an analog control center, managing audio sources and monitor speakers including subwoofers. The device features an individually adjustable headphone amplifier with Phonitor Matrix based featuring ‘crossfeed’ control. There are two stereo line inputs, two stereo speaker outputs for control of two sets of speakers, a subwoofer output and a stereo line output.
The SPL Marc One includes these features while adding a stereo AD/DA converter with an AKM AK 4490 Velvet Sound chip on the DA side and the matching AK 5552 on the AD side. Besides playing and recording digital PCM audio material with up to 768 kHz/32-Bit, a playback of Direct Stream Digital Audio up to DSD4 is also possible. Marc One can directly be connected to a computer via USB. It also sports analog volume controls, switches and a metal housing with aluminum front panel.
Hermann Gier, co-founder and CEO of SPL, said, “With the Marc One and the Control One, we are bringing two monitoring controllers to the market, designed to speed up the workflow and to create remarkable sounding mixes. The Marc One is our first monitoring and recording controller with a hi-res AD/DA converter on board. That means that users can not only monitor any USB source, but they can now also record using their beloved channel strips or mic preamps, reaching a higher sound quality than with the usual interfaces.”
The SPL Control One has a MSRP of $599.00 USD, while the Marc One runs $ 799.00. The SPL line of products is distributed by Focal-Naim America in the US and Canada.
