Styled in black, 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 dim, 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.

For a full understanding of the DMC’s various sections, please peruse the features section.

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

Four sets of stereo inputs sit at the right of the panel. At the input, pre-recording 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 into 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're mastering from. 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 a source button, prominently placed in the center, will allow you to listen to these source inputs.

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, say, full-range monitors and near fields with a sub. Please note, this sub output is full range; 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 Phonitor HP Out button until its LED flashes.

The monitoring section offers a large knob conveniently labelled "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 switching is on hand to streamline the level-compensation processing, if need be.

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), or to control a door's buzzer while you're working. 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 do I set for time lapse photography?

A: The time lapse process is best described on page 216 in this user manual: https://bhpho.to/3dYDZPL

Q: 2. Does this camera have clean HDMI output?

A: Yes, you can have the unit output a HDMI signal so only the image is output or you can change it to output the display as it appears on the LCD.

Q: 3. If I was looking to mix 5.1 audio for post production, would this be a good solution as the interface between my 5 speakers + sub and my computer (running Adobe Premiere and Audition CC)? Would I need any additional hardware? I'm confused over whether something like this, or something like the Focusrite 18i20 is better for my purposes. Or something else? Again, I'm NOT using this to record audio, but only to mix audio for video post production. While 80% of my mixes will be for stereo output only, a small portion will be for 5.1 surround. Please advise.

A: The 18i20 will work much better.

Q: 4. Does the LCD screen have a wide viewing angle using IPS technology to compensate for not having a tilted or fully articulated screen?

A: Unfortunately, this information is not provided by the manufacturer.

Q: 5. Can 2 Frontliners be connected for stereo operation of the processing modules?

A: Unfortunately the Frontliner is designed as a single channel unit with no linking features for dual or stereo operation.

Q: 6. Does this have a lad articulating screen ?

A: This camera does not have an articulating LCD display.

Q: 7. I am thinking of buying this camera. But, I am on the fence. I have some concerns about the quality of the camera; the complexity of the features and the image quality. How does this camera hold up to other similar cameras? Thanks.

A: The Panasonic Lumix DMC-ZS100 Digital Camera (Black) (B&H# PADMCZS100B) has image quality that is comparable to the best among other cameras with a 1" sensor. However, its 25-250mm lens allows it to outclass other such cameras of its type and price category when it comes to its ability to capture detail in objects that are far away. The autofocus system is best suited for subjects that are not moving toward nor away from the camera speedily.

Q: 8. Is there any way to get on a list for the Z 6II edition of the book?

A: At this time, there have been no announcements regarding an updated version of this book for the Z6 II specifically. In the event that the update will be released, we will notify those signed up for the B&H E-Mail Newsletter.

Q: 9. What is the recommended external flash for this camera?

A: This camera does not have connectivity for an external flash.

Q: 10. What are exact dimensions of this desk?

A: The dimensions of the GLORIOUS Workbench are 1560 x 980 x 580 mm.