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At NAMM: SPL Shows Three Products for Mastering Engineers

New hardware includes updated version of mastering equalizer PASSEQ, updated DMC stereo mastering console and the new MC16 analog mastering controller.

Anaheim, CA (January 25, 2018)—At its NAMM location in the Audio Plus Services booth, SPL is showing an updated version of its mastering equalizer PASSEQ, an updated DMC stereo mastering console and the new MC16 analog mastering controller. All devices are available in red or black and are expected to ship this spring.


The dual-channel PASSEQ (model 1650/1654) passive mastering equalizer is an update of SPL’s 2595. The new model features the same number of boost and cut frequencies as its predecessor, though the choice of frequencies is altered and the Q-factor is said to be more musically adjusted for each selectable frequency. Based on user feedback, SPL engineered the new PASSEQ model with Air band, a stepped output control ranging from -10 dB to +10 dB and a mid-cut band starting at 200 Hz. Other improvements include custom-made single capacitors in the filters and optimized bandwidth per frequency range.


The MC16 16-channel mastering monitor controller offers a 16-gang precision potentiometer specially designed for SPL. To integrate multichannel monitoring into a stereo mastering environment, SPL has devised a workflow that pairs the MC16 with the new DMC stereo mastering console, allowing mastering studios to work in all current audio playback formats at the same quality level, all without reconnecting any speakers.


The 3RU stereo mastering console has four stereo inputs and four stereo sources, with two stereo recording outputs, as well as three stereo and two mono speaker outputs that can be expanded with the new MC16 analog mastering controller.

Of his experience with the updated DMC stereo mastering console at Coast Mastering, Michael Romanowski says, “The new DMC is the heart of my mastering system, with all my analog processing gear connected to it. The most important things for me about the DMC are its transparency, its flexibility in gain structure, and its monitoring capabilities. And with emerging markets for immersive audio, its ability to expand the channel count is a necessity. Those are the biggest reasons that I choose to use the DMC.”

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He continues, “It is so clean sounding and open, the transparency of the sound is fantastic. I like how much headroom the audio has, that I can push it, let it breathe, or anywhere in between—I can count on what I’m hearing to be accurate. I am not hearing anything holding it back in any way. Because I use analog outboard gear for all of my mastering work, the DMC allows me to set my gain structure correctly with the input and output trims. I can get my analog chain to behave with exactly the right signal to noise ratio that works for my system.”

SPL (Sound Performance Lab) •