ja die gainstation ziet er leuk uit
altijd handig zo'n limiter met 135 db aan gain
anyway
bij thomann kost die 999 met ad converter
en bij music productiv kost ie 885 zonder ad ( zover ik kan zien op hun site)
kwam nog een review tegen uit keys
(vertaald door google)
Test report key board 10/03
Markus earthling
SPL Gainstation 1+AD - the revolution of the microphone and instrument preamplifier
Housing and circuit | In front | In the back | Sound | Result | Interview with developer Ruben Tilgner
Preamplifier gives it many in most different preisklassen. With the new Gainstation 1 there is now a model that into existing similar environments cannot only be merged, but also an almost optimal addition for each digital studio is.
The Gainstation is not however by any means a further preamplifier, which extends the offer at the market, but she contains a new circuit concept. A goal of the developers was it to build a preamplifier which is characterised by an almost perfect dynamic behavior and thus an optimal interface for all in the signal path following devices is and Plug in. And as much is already times in front taken: The Gainstation fulfills these high requirements.
This dynamic behavior makes photographs possible, which can be attained at Detailreichtumg and pressure only heavily with other devices. Which you tried to perhaps reach up to now with various compressors and EQs and other effects afterwards, the Gainstation from house settles: greases and pressureful photographs, which very well locatably and in front in mix stand. If you use the Gainstation for your photographs, do not only save much time, but also through results are recompenced, which get you so only heavily or not at all.
Housing and circuit
At first sight the Gainstation looks quite unusual, because their housing format reminds of the modules of old radio technology. So that the Gainstation does not only make a live good figure in the studio, but also, she is not only easily transportable (there is even a special "GainBag"), but can be platziert also in the studio simply, where one needs her. In addition the connections always are in the direct access.
The developers of SPL decided predominantly for a very consistent similar circuit execution in Class A execution (one refrains once from it that the AD version naturally possesses an analogue-digital converter).
The operation amplifiers are developed discretely in this circuit technology and a complete self-development, them work with a tension of 60V (usual is approx. 30V), which is important for the particularly large dynamics. The amplifier rate of rise (Slew rate) has a very high value with 200V/Mikrosekunden, whereby above all high frequency signal portions will transfer cleanly and without flank cutting. The signal flow is to a large extent DC voltage-coupled. Thus the developers could do without condensers, which are responsible for sound falsification. Also the internal layout was in such a way optimized that short signal paths and large mass surfaces are present, which provides again for a low impedance level and a good screen. All switching functions are implemented over totally enclosed relays with gilded contacts, and used resistances in the audio path work with 0,1% and after hearing comparisons were selected.
One put special attention on the power pack, which offers its own coil and regularization apart from an additional screen for each tension. In the roehrenstufe selected Sovtek tubes are used beside MKP foil condensers.
In front
On the front plate of the Gainstation 1 the few control elements are protected by two metal handles. The arrangement of the three automatic controllers for cleanen preamplification level, tube preamplification level and output volume correspond also to the signal process: The input signal goes through only the cleane preamplification stage and goes then into those additionally to roehrenstufe, so that preamplifications up to 89dB become possible here. By the own automatic controllers the portion of the roehrenstufe can be regulated very well by more easily warmth over December width units thickening to easy distortions. The sound remains always very pleasant.
The remaining control elements are fast avowed: Eingangswahlschalter Mic/Line, 50-Hz-Highpass-Filter a/from, phase rotary switch, impedance selector switches (l0kOhm, 1.2kOhm/200 ohms) to the optimal adjustment to the respective input signal, phantom powering and a Limiter.
This works in two possible modes of operation: Either with switched on roehrenstufe as FET Limiter, somewhat more softly, more slowly (more in music) and more gently in kind of a compressor regulates and well for singing, guitar, bass and piano is suitable and than Peak Limiter, which intercepts very fast signal points and itself so optimally for schlagzeug or Percussion is suitable.
Most switching positions are represented by LEDS. Additionally there is a 5-Stufen-Level-Anzeige and an Overload LED, which indicate over-regulations of the AD transducer.
In the back
With the view of the back you will be pleased, because is here the desire equipment of each music-inspired. Similar entrances and exits in the Xlr (for microphone) and handle format (for instruments), digital exit as Cinch socket and in optical execution in the S/P DIF format. An additional handle entrance is available for the ungenutzen second channel of the AD transducer, so that you could here go either an additional transformation on high sound-technical level to the order or out of the similar to Out of the Gainstation 1 into external effect equipment and from there into the AD-lN-2, which corresponds to an INSERT circuit. If you work by the way purely similarly, you can the AD transducer LN back mute-switch, so that the frontlateral LED does not indicate always transducer over-regulations. Digitally to synchronize the Gainstation 1 over the Sync inputs in the Cinch format leaves itself. You stop the SAM polarizing rate of the 24Bit-Wandlers likewise on the back with two switches. Are available 44.1, 48, 88.2 and 96 kHz.
Sound
The Gainstation convinced me absolutely, and I am more than inspired. The signals come into mix very beautifully forward and have apart from unbelievable dynamics a marvelous fine design. In the comparison with the signals, which I over the KEYBOARDS reference Preamp Channel One of SPL took up, that becomes very clearly apparent. The Gainstation 1 sounds fatter, and one must work on the Channel One signal with EQ and compressor, in order to reach somewhat something similar, without really coming to the goal.
I heard rarely so clearly perceptible differences, and it is not to be forgotten that the Channel One is already a very well sounding Preamp. Over the adjustable roehrenstufe you have thereby the klangcharakter completely simply and very well in the grasp.
The Gainstation 1 is an absolute luck grasp for your photographs and gets from me the maximum note.
Result
The Gainstation 1+AD is in each studio and a live mad klangliche extension, which does not give it in this form and at this comparatively favourable price otherwise. With the Gainstation 1 you will be also in the next years klanglich UP ton DATE. Who states the fact that hardware is dead and software can do nevertheless meanwhile everything can be able to be instructed from the Gainstation 1 of a better one. Beside the maximum note for this mad Preamp remains saying to me only: Buy.
Plus/minus:
+ sound
+ processing
+ sound possibilities
+ price
+ concept
Interview with Gainstation 1-Entwickler Ruben Tilgner
Where do you see the advantage of hardware in relation to software? Which right of existence has hardware today still?
On the one hand similar hardware is inevitable at the latest during the sound transformation: To front-end "microphone" and at baking the "monitoring". Audio production will always take place therefore in mixed environments. Important thereby the reduction of the necessary analog/digital transformations and thus the meaningful determination of central A/d and a D/A transitions as possible are. If I send an already to a large extent optimized signal into the computer, which must be worked on hardly more with a good similar channel course, I work fast, reliably, and it sounds official. And Plug in or hardware digital effects, which achieve also only approximately similar sound quality, are not importantly cheaper necessarily.
Second factor is often connected the high efficiency of similar technology in the treatment of signals, with periods of operation for many decades. That is, it is given a very high investment security with analog technique, while in the software and/or digital range already utilization periods form the absolute exception of 3-5 years.
And straight because the work with DAWs enormous possibilities for relatively small costs offers, is it the more meaningfully to invest in crucial places into long-term quality.
Are further devices planned in this circuit technology for the future?
Clearly! We will present soon with the MixDream 16/2 a 16-kanaliges Outboard Mixing system in 60-V-Class-A-Technik, which is arbitrarily expandable with likewise 16-kanaligen expansion unit. We want to offer thereby a very high-quality and inexpensive solution for the ideal hybrid hybrid-Studio, in which the strengths of analog technique can be connected when merging many channels on stereo with the strengths of digital technique with Editing and storage simply and efficiently. The system permits the integration of Samplern and Outboard processors and reduces as central interface the necessary A/D transformations to the absolute minimum. The oft-quoted "sound of large analog consoles" is then anyhow no more matter of price.
