Celebrated for 20 years as a synonym for high-quality, extremely musical recording, the Channel One Mk3  from SPL delivers on its legacy with new improvements for the modern day recordist. Sporting an improved Transistor Tube Preamplifier, an integrated Transient Designer for efficient compression, a magical-sounding Tube Saturation stage, and a highly useful Mic A/B comparison option as well as much more, the Channel One Mk3 can make any mic, line, or instrument signal sound like a professionally recorded track.

Like the older Channel One, the Mk3 still sports the essential channel strip features needed by any serious engineer or artists. You still get a dynamic and versatile dual-band de-esser, a simple yet powerful compressor with up to -20 dB of gain reduction, and a 3-band semi-parametric EQ with a wide range of 30 Hz to 19 kHz. Separate mic and line XLR inputs are provided as well as a 1/4" instrument input, and you get multiple line outputs with a special direct Preamp output for parallel tracking on your DAW. And with an enhanced ±18V internal operating voltage, the Mk3 delivers a more detailed sound.

Improved Transistor Tube Preamplifier    SPL's De-Esser and Transient Designer    Compressor/Limiter with Noise Gate    Three-Band EQ Section    Tube Saturation Stage    Mic, Line, and Instrument Inputs    A/B Microphone Comparisons    Electronically Balanced Outputs    ±18V Internal for Enhanced Audio Quality    Phase Reverse Switch and Subsonic Filter

Provides three inputs:

• The microphone input features 48V phantom power, phase reverse function and a subsonic filter
• The low-impedance Line input has a balancing stage for connecting studio equipment
• The low-noise, high-impedance instrument input is accessible on the front panel

With this control, the amount of tube saturation can be determined, and the output level is accommodated automatically; in extreme settings, the level increases by only 6 dB. Therefore modest to expressive harmonic distortions can be easily dialed in by turning just one knob.

Saturation effects are generated through the tube being pushed to and beyond its normal operating limits. In contrast to semiconductors, a tube thus pushed to such levels does not clip from a certain level, approaching more gradually its level limits and thereby producing its typical tonal result, which in audio signal processing can have such often profitable aural effects—on one hand (and depending on the amount applied), from subtle to extensive harmonic distortion and on the other hand, a compaction of the sonic event, that is, a limiting effect that exhibits a pleasant, rounded, or soft sound.

Subtly removes offending sibilants by eliminating only the "S" sounding frequencies with phase-cancelling processing technology. The unit's auto-threshold assists in constant processing, even with varying microphone distances.

• S-Reduction control adjusts the intensity of the S-sound reduction
• The Low switch activates the low de-esser band with a center frequency of 6.4 kHz and a bandwidth of 4.4 kHz
• The High switch activates the high de-esser band with a center frequency of 11.2 kHz and a bandwidth of 5.5 kHz
• Both switches can be used together for full bandwidth de-essing

With the Transient Designer, it is possible to manipulate the envelopes of audio signals level independently (no threshold). Accelerate or slow down transients, lengthen or shorten sustain times—with just two controls: attack and sustain. All time constants are automated in a musical way and optimize themselves adaptively, according to the characteristics of the input signal.

Allows for insertion of external processors or can be used to record the pure preamplifier signal.

Use SPL's Double-VCA-Drive circuitry for improved noise and distortion characteristics with control via a single knob and signal-dependent automation and musical results in just about any situation.

Provides an EQ design optimized to process vocals, acoustic, and electronic instruments.

• LMF controls low and mid frequencies from 30 to 700 Hz, covering a range of about 4.5 octaves
• MHF governs the mid and high frequencies from 680 Hz to 15 kHz, also covering a 4.5 octave range
• Both filters allow for a boost or cut of up to 12 dB
• Air is a high-frequency, coil-capacitor filter with bell characteristics and a center frequency of 19 kHz
• Air filter provides maximum attenuation and accentuation of 10 dB

The illuminated VU meter displays the input level, output level, and gain reduction. With the VU switch on the right, below the VU meter, it's possible to select which level is displayed.

Provides an individual mix for the singer or speaker without the latency problems often associated with digital systems.

Channel One Mk3 offers two microphone inputs on the rear panel—Mic A and Mic B. Two microphones can be connected. This enormously simplifies the workflow. Thus, when comparing or changing microphones, it is no longer necessary to unplug them.

The inputs and outputs of the Channel One Mk3 are equipped with Neutrik XLR sockets and plugs with gold-plated contacts. The signal transmission is electronically balanced, at a nominal level of +6 dBu.

• Separate Mic In A and B for A/B mic comparisons during recording sessions
• Dedicated line-level XLR input
• Direct mic Preamp Out connection for backup DAW track recordings or processing-free takes
• Two separate XLR line outputs
• Front-panel high-impedance instrument input with 1/4" jack
• A switch can select between Mic A, Mic B, and Line/Instrument inputs

Channel One Mk3 has a 4mm thick, black anodized aluminum front panel and knobs milled from solid aluminum. The housing is made of high-quality steel and is powder coated in elegant black.

The Channel One Mk3 comes in two different output balancing flavors: electronically balanced (Channel One Mk3 standard) or transformer balanced using Lundahl transformers (Channel One Mk3 Premium). Transformers are used as an alternative to electronic balancing stages in the inputs and outputs.

Transformers can be found in many classics of audio engineering. They make the bass and fundamental tines rounder and give it a little more punch. The high and overtone range sounds a bit silkier and more present, making them ideal for vocals and voices. For highest precision and speed in signal transmission (transient processing), however, electronic stages are better suited.

As with all SPL devices, the Channel One Mk3 was developed not only according to plan, but also by ear. Many important components are installed on the circuit boards using Through-hole technology.

This way SPL can ensure that only the best sounding components are used. Also like all SPL products, this device was manufactured in SPL's own production facility in the Lower Rhine, Germany.

Related Questions and Answers

Q: 1. Are the speedrings replaceable? I want to use the the Godox mount ring and if possible is this a 150 or 130mm size mount?

A: While the speedring included with the FotodioX Pro Studio Solutions EZ-Pro Strip Softbox (9 x 36") is built onto the softbox, the speedring inserts are interchangeable. That being said, most all Godox studio strobes use the Bowens S-mount speedring, which is one of the speedrings included with the purchase of this softbox. If you own a Godox studio strobe that uses a proprietary Godox speedring, we may not have an insert for your specific light fixture. The speedring insert is approximately 150mm in size.

Q: 2. How does "timecode support" work? How is the timecode generated in the MixPre-6 synchronized with or connected to the camera(s) (Canon EOC Cxxx for example)? I presume when this is done correctly I don't need to record scratch audio on the cameras for sync'ing in post?

A: The MixPre can work with TC a couple different ways: You can set the 3.5mm TRS Aux Input as Timecode in (although that means you won't be able to use channels 5&6 for audio); You can set the 3.5mm TRS Stereo Output as timecode out (although that then means you won't be able to use your mixer's line out); or you can input timecode via the micro-HDMI if you connect your camera's video output (although I've had trouble with introducing interference noise messing around with the HDMI port). So, you've got a few options here. If you don't mind being tethered, you can connect your camera to the mixer and feed timecode one direction or the other. Of course, that will burn an input or output on your mixer and you'll be tied down, so that might not be preferable. The other option (that doesn't require more gear, and won't require you to burn an input/output) is to "jam" sync. Basically, before you start shooting, connect them up and jam timecodes to get them in lockstep. Then you can detach, and even change your settings on your mixer to get your inputs & outputs back. I'm not a huge fan of this method, because some devices lose their sync when you power off & change batteries, so if it's a complicated, hectic shoot and you lose sync for some reason, you might not know till later. Plus, if you've decided to use your 3.5mm in/outs for a different purpose, now you'll have to unplug things and menu-dive to re-jam, which may not be workable in a rush. The third option, which is what I'm planning on doing for my next shoot, is to use an external device (like a Tentacle Sync or UltraSync or Locket Box or Deity BPTRX) to feed consistent timecode into both devices. That way you can set your timecode on your TC boxes, then mount those to your devices and trust that they'll keep everybody marching to the beat of the same drum. For me, this is the best compromise, because I don't want to send TC out of my MixPre (because I need the stereo output for monitoring and I don't want to re-configure on set), and I don't need my aux inputs on 5 & 6, so I'm okay burning that input for my TC in. That said, there's still nothing wrong with getting a scratch track for reference on your camera. It's probably a good idea to have *some* reference audio there for a multitude of reasons. Hope this helps.

Q: 3. Would this Stripbox work on Prolinca 250 lighting?Many thanks

A: This softbox will work on a Prolinca 250.

Q: 4. Can I use this as my Mac's computer mic for talking on Zoom, Discord, etc.?

A: While the Sound Devices MixPre-6 II 6-Channel / 8-Track Multitrack 32-Bit Field Recorder does not include a microphone component, it could be used along with a microphone as a computer interface for use with Zoom, Discord etc.

Q: 5. Can I input a browser? I've created a scoreboard, controlled via smartphone, I click +/- on it for scoring, it updates on a website and I can insert it in the LIVE, using it in vMix and Livestream Studio. Can it be done here?

A: This switcher has 2 HDMI inputs which you will be able to use to bring in the video from a computer with an HDMI output. We have a diagram shown on our website that shows a computer connected to the switcher. If the score board program you have offers a white or black background you would be able to key it in. https://bit.ly/2HRABWZ

Q: 6. Do you have a grid for these?

A: Unfortunately we do not have a grid for these at this time.

Q: 7. For a standard two camera angle and external sound shoot, how many Tentacle sync/other brand TC boxes are necessary? Two or three?

A: You would need one (1) Tentacle Sync E for each device that you plan to use for recording in your setup. In the case of two (2) cameras with one (1) Sound Devices MixPre-6 II 6-Channel / 8-Track Multitrack 32-Bit Field Recorder, you would need three (3) Tentacle Sync E units.

Q: 8. Will this work with wescott fj400 lights ?

A: Yes. The following light shaping tool is based off a 3pin Bowens system.

Q: 9. Is it possible to record 4 inputs and end up with a single 4-channel .wav file?

A: Yes; It is possible to record 4 inputs and end up with a single 4-channel .wav on the Sound Devices MixPre-6 II 6-Channel / 8-Track Multitrack 32-Bit Field Recorder. The YouTube video entitled "MixPre Quick Tip: Track Arming and Recording", from the Sound Devices channel, explains how. https://www.youtube.com/watch?v=zJzBxb3WwGg

Q: 10. Is this recorder capable to solo and mute channels to the headphone out, while recording?

A: Hi Alejandro. Yes, both mute and solo are available while recording. Please note that mute will also mute it from the currently recording tracks.