BiG @ AudioTechnology

“SPL is no stranger to stereo enhancement or harmonic excitement processing, so it makes good sense that it should release a standalone 500 series model that takes on both these roles. With just three continuously variable controls and a couple of switches on the double-width faceplate the BiG is sparsely populated by the standards of this format. Make no mistake though, the sound that this unit delivers is certainly not shy, nor is it a one-trick pony. The BiG also sports what may well be the single largest rotary knob in the entire 500 series universe.”

At AudioTechnology you can find a review about our new 500 Series module SPL BiG. You can read the complete review online. Here provide a short summary as usual.

Controls:

“The ‘Range’ knob is effectively something between a high pass filter and a standard frequency control, and the ‘Stage’ knob determines how much the effect is pushed to the front or back of the mix. They are designed to be used in tandem and each affects the other. The ‘Bigness’ control then boosts the overall effect of these by a little or a lot relative to the dry signal.”

“When the ‘Bass’ switch is engaged the BiG also provides a nice strong boost in the lower frequencies that really does thicken up a mix. It’s a smooth and tasteful extension low down. The ‘Bass’ enhancement is a very handy addition to the unit and complements the other parameters well.”

In practice:

“Initially I thought that the SPL BiG would be the perfect stereo mix-bus tool, but after working with it for a while I discovered other workflows that arguably make better use of its aggressive nature. In the role of parallel signal processor I found the BiG to be very effective in spreading the stereo field and adding heft and character to a full mix without any noticeable phase artefacts. Working in this way with the BiG — as I often do with the Stereo Vitalizer — I got some very tasty results.”

“I experimented with processing only keyboards, strings, or backing vocal stems through the BiG and loved how this approach allowed me to really push certain characteristics of these sources. The power and drive of a low rhythm piano track and the airy highs of female backing vocals were real highlights here. Pushing just a few mix elements out hyper-wide is an old trick but the SPL BiG makes this feel new again.”

Conclusion:

“SPL’s BiG challenges you to extend your mixes beyond the standard boundaries of the stereo field. The rewards can be great and the BiG delivers a wide variety of sonically pleasing colours with just a few well-selected controls. The quality of the sound is undeniable.”

“The stereo spreading and bass enhancement really do add new dimensions to a mix and, when used judiciously, can help take your sounds to the next level.”

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