Styled in a red finish, the SPL DMC is a comprehensive mastering console that gives you the ability to process audio from four sets of stereo inputs, manipulating their level and polarity on a per channel basis as you hit the insert stage (i.e., your external compressors, EQs, and such). After processing audio from your external gear, you can use the DMC to monitor through four sets of speakers, a sub, and a headphone amplifier.

Monitor controls are on hand for -20 dB dimming, level compensation, L/R solo, L/R polarity, and mute. All XLR terminations—and there are many of them, rest assured—are secured with Neutrik connectors to ensure durability. At the core of the mastering console is its formidable 120 VDC power rail, which has a palpable effect on the maximum level the circuits can handle. This translates into an extremely low signal-to-noise ratio, a large dynamic range, and much in the way of headroom. Indeed, you can push this system quite hard and loud before noticing distortion.

4 Sets of Recording Inputs    4 Sets of Source Inputs    Comprehensive Monitoring Section    4 Sets of Speaker Outputs    Sub Output and Headphone Amplifier    Dim, Mute, Mono, and L/R Polarity Flip    Insert Path with Neutrik Connectors    GPI Button for Talkback    120V Power Rails for Increased Headroom

Four sets of stereo inputs sit at the right of the panel. At the input, prerecording stage, you can flip the polarity of any input source, sum them to mono, adjust the recording gain, and use the input trim knobs (left and right) to either lower or drive the input to your inserts. The separation of input trims allows you to adjust for any perceived stereo imbalances.

These four input-pairs can be assigned to your DAC, a tape machine, or whatever media device you use for mastering. Pressing any active input button a second time lets you instantiate direct input monitoring, effectively bypassing processing at the monitoring stage, allowing you to compare the original material with the processed path without affecting the recording stage.

Following the recording input path are four sets of stereo source inputs; these can be monitored, but not processed. You can place an external reference source (your DAW's return, a tape machine, a record player, a CD player, etc.). Pressing the source button for a set of inputs will allow you to listen to them.

You'll find four speaker outputs for selecting among your various monitors. Three of these (A, B, and C) are stereo, while the fourth (D) is mono. Below these are the on/off buttons for your headphone amplifier and your sub. To link a sub to any speaker button, press and hold both the sub button and the applicable speaker button until they blink. Once connected, you only need to use the speaker buttons to maneuver between differnt sets of monitors or monitor-sub combinations. Please note, this sub output is full range, so you'll need external bass management hardware to manage the frequencies of this output. The headphone amplifier output can be set to mute your speakers and subwoofer when engaged. To do this, you only need to press and hold the HP Out button until its LED flashes.

The monitoring section offers a large knob, Monitoring Level, to control the level of the signal in your room. Mono and mute buttons are on hand, as is a -20 dB dim switch, a ±10 dB monitor level offset for loudness compensation, solo L or solo R channels, and polarity switching for both the left and right signals. This setup lets you compare your source material with the processed result, compensating for level differences in a variety of ways: through the direct input path, with inserts bypassed or engaged, or from the source input. An auto-bypass switch is on hand to streamline the level-compensation processing.

A General Purpose Interface button has been offered to use as a switch for a talkback mic or to activate a recording indicator (a red light, for example). Its signal path is discrete and does not affect audio.

The insert path provided is for connection to external mastering gear such as compressors, EQs, and stereo processors. It offers balanced female XLR plugs. It cannot switch the order of your chosen outboard gear; it is not a mastering patch bay in this respect, and will need to be paired with an external device capable of switching.

Related Questions and Answers

Q: 1. How many of you sold aFZ1000 to buy the FZ2500? Are you glad you did? Does the 2500 focus faster?

A: I kept my FZ1000; hardly worth selling given you don't get much for it used. I don't know if 2500 is faster but it certainly is fast. I have taken photos of flying eagles, planes crossing the moon, endless water scenes, etc. The zoom is the feature I like most, along with option to take multiple photos in a row. Be aware, these hybrids do not match the quality of a D-SLR but are much lighter in weight.

Q: 2. What is the physical depth with the lens extended?

A: If you measure from the front of the extended lens to the rear of the viewfinder it is approximately 7 1/4 .

Q: 3. What is the outside diameter of this lens filter? Will this filter protect the lens of a Canon G9X? Thank you!

A: MegaGear Camera UV Lens Filter is specially made for Sony Cyber-Shot DSC-RX100 VI camera and will fit a Canon G9x.

Q: 4. When moving a dial for premiere pros lumetri color, does this automatically apply the effect as well? As in, turn a dual set for exposure, and it raises the exposure as well as of course applying the effect? Or do I need to be in the color or effects panel.

A: The loupedeck will open the effect for you. for example if you press the button to open up the lumetri controls it will open up the lumetri effects panel.

Q: 5. What is the highest iso recording iso?

A: The standard ISO range for use with the Panasonic Lumix DMC-FZ2500 is ISO 125-12,800, with ISO 12,800 being the highest standard ISO setting. The boosted ISO range for the camera is ISO 80-25,600, with ISO 25,600 being the highest boosted ISO setting.

Q: 6. Will this work for iMovie (BigSur OS)?

A: At this moment the Loupedeck Live would support Final Cut Pro but not iMovie. https://bit.ly/3Ic1phF

Q: 7. Can it charge from the micro-usb port when connected to a usb battery pack?

A: The Advanced Manual says the camera is on battery or AC adapter power when connected to a PC, use only USB cable provided, and nothing about charging or powering the camera with the USB cable.

Q: 8. Will this camera accept sdxc II (U3) memory as well as sdxc I (U3)?

A: The Panasonic LUMIX DMC-FZ2500 Digital Camera is compatible with UHS-I Speed Class 3 (U3) cards. The UHS-I Speed Class 3 (U3) guarantees a constant minimum write speed of 30 MB/s typically required when recording 4K video, and is recommended when using high bitrate video recording mode of 100 Mbps or greater. The camera would be compatible for use with UHS-I U3 cards, but does not indicate it support UHS-II cards. While a UHS-II card may be used in the camera, you would not obtain UHS-II transfer speeds.

Q: 9. Is the 120FPS mode continuous or is there a realtime buffer at the head and tail of each clip like the Sony RX10III?

A: According to Panasonic, as of the date of this response, the FZ2500 information released so far only confirms that the 120fps Variable Frame Rate allows the user to execute Slow/Quick Motion recording. It does not indicate if the Slow Motion recording mode has a buffer at the beginning/end of the recording.

Q: 10. Does it support PAL Video system?

A: This will offer 50p and 25p for PAL usage.