“Every studio that deals with the recording of acoustic signals should at least have a good microphone and a good preamp. The SPL Channel One goes one step further and offers, in addition to the preamplifier, an equalizer a compressor a noise gate a de-esser and even a distortion stage. Thus, it does justice to a complete mono channel strip of a mixing console.”
The online magazine Amazona has made it its mission to “present all-time classics for the studio that have stood the test of time and are still available in stores.” Of course, the SPL Channel One can’t be missing. You can find the full review (in German) online at Amazona – here you we provide a short summary in English.”
Concept:
“Most of the consoles in the lower and middle price ranges do not have compressors and gates in the channel strip, and the EQ is not likely to be of outstanding quality either. Thus, a channel strip offers itself to equalize the signal at a high level, to color it pleasantly or to compress it slightly already during recording. During later post-processing or mixing in the mixing console, all signals can then benefit from the good recording quality. In addition, a signal can be routed through the channel strip again during mixing.”
“Computer-only users who do any processing in the box will benefit from the Channel One’s analog stages, as they sound far better than most available plug-ins. When paired with the optional AD/DA card (see below), DAW users also have the option of using the Channel One digitally during mixing.”
DeEsser:
“The DeEsser here is designed to operate very simply but effectively, so it’s hard to make any operating mistakes. A single control determines the response of the reduction of sibilants.”
Compressor/Gate:
“The operation of the compressor and the gate is just as simple as the DeEsser. After you have faded out the background noise with the Gate, you will compress the signal more or less strongly with Gain Reduction and compensate the level loss with the MakeUp control.”
“The compressor provides a round and full tone, and adapts very well to the audio material.”
Semiparametric equalizer:
“The equalizer consists of two semi-parametric bands and a simple air band, which can do a lot. The mid- and low-band work according to the proportional-Q method, i.e. at higher gain settings the bandwidth decreases. So with this you can make slight adjustments to the frequency response, but also attenuate or boost certain frequency ranges, whereby the nearby frequencies are less affected by the lower bandwidth here.”
Signal routing:
“I rate the internal headphone section as a special feature. You can mix the volume of playback and recording signal for the musician directly on the device.”
“The connecting possibilities leave nothing to be desired.”
Conclusion:
“Sonically, the SPL Channel One convinces all along the line. The manufacturing is excellent and the set of features is complete. The Channel One is therefore an entirely professional device. Demanding musicians and sound engineers should definitely take a closer look at the Channel One, because the purchase is rewarded by an excellent sound. In addition to the regular model, there is also the premium version with built-in Lundahl transformers for the inputs and outputs.”