SPL Channel One Model 2950 with Lundahl Transformers

Description

Item in overall excellent condition. Modifications include Lundahl Input (2161) and Output (2052) transformers. Also, a Genalex 12AX7 Gold pin vacuum tube exceeds the specifications of the factory Sovtek.
I have had more than a year used in a smoke-free home studio for voiceovers along with the Sennheiser MKH416 microphone and  JK Audio Daptor Three Bluetooth Wireless Audio Interface listed on eBay.
Minor scratches on the bottom of the case.
Tube Preamp
The pre-amplification stages offer three inputs:
The microphone input has 48 V phantom power, polarity reversal and an LF cut filter.
The line input has a precise balancing stage for connecting additional studio equipment.
The low-noise instrument input is easily accessible on the front panel.
De-Esser
The De-Esser removes annoying S-sounds without affecting the sound. In contrast to conventional compressor techniques, the S-frequencies are detected in a very narrow band and are mixed in phase reversed to the original, whereby the S-sounds are deleted very unobtrusively.
The De-Esser works in Auto-Threshold mode. This ensures constant processing even if the distance to the microphone and thereby the input level fluctuates. Just one-knob is needed to set the desired S-Reduction.
Insert
Via the insert (send/return) external effect devices (reverb, delay) can be inserted or the pure preamp signal can be sent out.
Compressor & Gate
The compressor/limiter section is based on SPL’s Double-VCA-Drive circuit, which provides excellent noise and distortion data and delivers musical results even at extreme settings.
The compressor is also extremely easy and fast to adjust with just one control.
The Noise Gate with Auto-Release-Circuit works crackle- and flutter-free; reverb tails are “detected” and not cut off.
Equalizer & FET Distortion
A new EQ section has been designed for Channel One, specifically designed for processing voices and acoustic and electronic instruments.
In addition to low-, mid-hi and air-band filters, a field-effect distortion stage is used to equalize distortion-prone signals full of character.
Output & HP-Monitoring
With the headphone monitor, the singer/speaker can finally be fed an individual mix without latency problems. The mix via a mixing console is no longer necessary.
SOUND
A good part of the "warmth" that is commonly associated with vintage gear comes from transformers. With transformers the low end and lower mids sound rounder, full-bodied with more punch. The top end gets a silky touch and benefits from improved presence without sounding boosted. Reasons are reduced odd harmonics (which produce harsh top end impressions) and a slower characteristic compared to electronic stages which causes a more voluminous sound.
TRANSFORMERS IN PREAMPS
Used in SPL preamps or channel strips, the input transformers add ca. 14dB gain (depending on the microphone). This must be added to the scaled values. The additional passive gain relieves the complete unit permanently at any gain level. That's why the input transformer is more important in preamps, but to benefit from all possible sonic effects and full operational safety, both input and output should be equipped with transformers. If SPL preamps only offer an input transformer option, the simple reason is not enough space.
OPERATIONAL SAFETY
Transformers transmit the signal by induction. This means there is no static connection (like a wire) to transmit the signal. This protects the unit from damage caused by power failures in the input/output connections. In addition, hum problems are effectively avoided if balanced connections are used throughout. That's why transformers can be very interesting for live units or in units used in facilities that need highest operational safety (broadcast, sound reinforcement). Another notable advantage for many live and recording applications is that much longer cable lengths are possible with no loss in signal quality.
Genalex Gold Lion 12AX7/ECC83 Gold Pin Preamp Tube Features:
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