| MIX VERDICT: SPL MTC Mk2 Monitor Controller |
| 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.).
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 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.
Lalal.ai Source Separation – A Mix Real-World Review
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.
