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SPL Transducer
[SPL-T] Analog Speaker- and Miking-Simulator
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SPL Transducer

Analog Speaker and Miking Simulator

  • With the Transducer a dream comes true: you can play loud without being loud! The ultimate D. I. solution for guitar amps is the first full alternative to cabinet miking that really rocks.
    Via headphones you can play inaudible while the Transducer delivers authentic sounds even of the finest nuances of your guitar amp. Pure, high-quality analog design produces the same load like a cabinet and guarantees direct response with latency-free processing.
    You want to record your fully torqued tube amp in a hotel at night? You’ll stay. Everything goes in studio and home sessions, everwhere, everytime – and without a sound booth.
    On stage all problems with loud cabs and complex mikings are avoided. The artist can play with in-ear-monitoring at moderate levels, and a perfect signal in recording quality is provided for the live mix!


    Main advantages

    • • Authentic sound qualities and real time response for the guitar player – in contrast to digital simulations with latencies in processing
    • • Independence from volume levels during performances or recording sessions
    • • Independence from room acoustics in recordings
    • • Provides for a live signal in recording quality without crosstalk from miking
    • • Great space and weight reduction in transport


    German magazine GITARRE & BASS, Report on Musikmesse Frankfurt:

    "Of course we know about the most new products also before the fair starts, so we are more busy examining instruments and devices than looking for surprises. However, sometimes you discover a hit though, like this year in hall 5.1 at the booth of SPL, renowned manufacturer of studio gear. The developer himself demonstrated the ultimate D. I. solution for guitar amps: the Transducer. This 2 U unit elaborately recreates the load reactions of a loud speaker. Switches allow to choose from different cabinet and microphone simulations. It was impressive during our rehearsal how variable and real the Speaker Action and Miking Level controls shaped the signal. The signal quality is simply convincing, substantially better than anything in this sector up to now. Our editorial office is considering a centralized order – with a price of approximately 1100 Euro the holy grail is even affordable."


    Tonehunter and SPL

    The Transducer is a cooperative developmental effort between the guitar amp firm of Tonehunter and SPL. It brings together many years of experience from the professional music scene, combining specialized knowledge of electric guitarists and SPL‘s established international reputation in the research and development of analog studio electronics. This mutual effort of these two firms has been the basis for new ideas such as the unique Transducer concept, which has the potential to revolutionize the working life of both the electric guitarist and the recording studio engineer.



    SPL Users

    Dominik Korte
    Guitar player

    "This is the first cab simulation that really sounds."

    Dominik on the Transducer: "This piece of gear sounds so good! How many cabinets would it take to get these sounds? And how long would take the miking?
    Now I get it done at any volume level in my living room ... unbelievable. Its the first cab simulation that really sounds."

    335 improvisation (Gibson ES 335 '66 with Playback, Tonehunter Custom Amp)

    Tom Hapke
    Drummer & Producer

    "SPL accompanies my studio and live work since many years with reliable and excellent sounding equipment."

    "No day without SPL! Thanx for that PARAMOUNT equipment!"


  • Advantages


    In studio and on stage the Transducer replaces the guitar speaker cabinet and microphone(s) so that the time and resource-intensive microphone processing of this loud sonic source is no longer necessary.
    In addition the Transducer offers much more sonic flexibility and variety than a single mike and cabinet setup because it allows for varied speaker and mike simulations while allowing to retain accustomed features of individual setups (such as the ability to vary level-dependent loudspeaker characteristics and microphone distances).

    • • The Transducer supplants at least four loudspeaker cabinets, two high quality microphones, their preamp, a good room ambiance, and at any time, the amplification may be cranked up.

    • • The entire Transducer usage is highly intuitive and requires no miking expertise.

    • • The Transducer offers a unique ability for the guitarist during production performance to hear a true playback and then adjust his playback to the moment in the control room.

    • • Fully analog construction for the highest authenticity in sonic quality and outstanding playability throught direct, latency-free response.

    • • Critical parts are carefully selected for exceptional sonic characteristics. In these days of mass production, we still select our OP amps only after listening to them and rejecting those lacking in our required exceptional sonic characteristics. This also applies to our top flight foil condensers and individually built High-Z transformers from renowned German manufacturer Lehle.

    • • The Transducer replaces all major cabinet and microphone types, thereby enormous savings in cost and space in transport, on stage, or in the studio.

    • • Processing is independent from absolute volume levels, which means that no recording room is necessary and ear-saving work is possible everywhere and at any time.

    • • The Transducer is sonically much more flexible than a fixed cabinet/mike set in that all important loudspeaker and cabinet types, as well as dynamic and condenser microphones can be simulated.

    • • Multiple guitar tracks can be “stacked” – the doubled layers become “phatter”. In the process, there will not be any thinning effect from phase shifts as with digital simulation.

    • • 200-Watt Power Soak: The power amp‘s distortion may, as with cabinets, be integrated into an authentically distorted sonic design.

    • • Resulting recorded sounds are independent from room characteristics – what you hear is what you get.

    • • Signals for live mixes are at recording quality level and free from crosstalk from other sound sources.

    • • As on-stage recording loudspeakers are not needed any in-ear monitoring is done at safe-hearing levels as the cabinet must not be drowned out.

    • • Significantly less time spent and much more efficiency and convenience in equipment setup, preparation, and working with sound variations.

    • • Working procedures and connections follow customary standards of amp and cabinet sets.

    • • Live application advantage: It is extremely easy to achieve a dry-wet-wet setup. The amp signal passes via “Speaker Thru“, for a dry direct signal and the Transducer line out is connected to the effects machine; FX left and right out provides a wet signal on stage.

    • • Live application advantage: two line outs with separate balancing drivers – the Transducer provides for both FOH and stage routings.

  • Specifications



    • Speaker Thru: 1/4" Jack connection
    • Pre Simulation Out: 1/4" Jack connection
    • Impedance ca. 1 kOhm

    Mic Level Output

    • XLR, electronically balanced
    • Impedance unbalanced: ca. 600 Ohms
    • Impedance balanced: ca. 1,2 kOhms
    • Max. Output Level: +6 dBu
    • Signal to Noise Rati:o -100 dBu (A weighted)

    Line Output 1

    • XLR, electronically balanced
    • Impedance: unbalanced ca. 600 Ohms
    • Impedance: balanced ca. 1,2 kOhms
    • Max. Output Level: +21,5 dBu
    • Signal to Noise Ratio: -94 dBu (A weighted)

    Line output 2

    • XLR and 1/4" TRS connection, electronically balanced
    • Impedance unbalanced: ca. 600 Ohms
    • Impedance balanced: ca. 1,2 kOhms
    • Max. Output Level: +21,5 dBu
    • Signal to Noise Ratio: -94 dBu (A weighted)

    Power Supply

    • Selectable Line Voltages:
    115 V AC, 60Hz/ 230V AC, 50 Hz
    • Power Consumption: 5,2VA
    • Fuses:
    110 – 120 V AC: 400mA slow blow
    220 – 240 V AC: 200mA slow blow
    • Power Connector: Standard 3-prong IEC connector

    Dimensions & weight

    • Height x Width x Depth:
    88,2mm x 482,6mm x 270mm/ ca. 3,4" x 19" x 10,6"
    • Weight: 4,8kg/10,58 lbs





    Setup 1: Recording


    This is the simplest setup for recording situations. The guitar amp is connected normally to the Transducer. In this case either the Transducer line outputs can connect to external line ins or the Mic Level Output can be routed to a microphone preamp. Both line outputs may be used simultaneously.




    Setup 2: On stage without cabinet


    This is the simplest setup for live applications and when it should be quiet on stage. Connect the amp to the Transducer. The guitarist receives a monitoring signal (in-ear or through a monitor box) from the Transducer Line Output through the live mixer.
    The PA may also be fed from the mixer or a Transducer output (Line Output, or Mic Level Output).




    Setup 3: on stage with cabinet


    If an on-stage guitarist wishes to have his cabinet sound, the signal should be routed to his box via the Transducer Speaker Thru. In this case the amp signal power is reduced by 8 dB enroute to the box; here saturation (that is, power amp distortion) begins to occur at moderate listening levels.
    The two separate Transducer Line Outputs may be used simultaneously to feed both an FOH mixer and monitor mixer.




    Setup 4: on stage, Transducer and cabinet simultaneously connected to an amp


    If the guitarist does not need the 8 dB Speaker Thru signal reduction, he may connect both the guitar box and Transducer simultaneously with the guitar amp loudspeaker outputs (assuming this is an amp option).




    Setup 5: on stage, stereo effects/dry-wet-wet setup


    With cabinet (Dry) and two stage monitors (Wet).
    The dry guitar signal is routed from the Transducer Speaker Thru. Connect the Transducer Line Output to an effects machine. The effects machine‘s wet outputs (Right/Left) are then connected as needed to powered monitors. The guitarst gets a simple stereo effects (Dry-Wet-Wet setup) signal on stage. The second Transducer Line Output may, for example, be routed for P. A. use.




    Setup 6: Live, stereo effects/dry-wet-wet setup


    For three powered monitors without cabinet.
    The dry guitar signal derives from Line Ouput 1, which is routed to an active monitor. Connect the Transducer Line Output 2 with an effects machine and route each of it‘s wet outputs (L/R) to an active monitor. The guitarist gets a simple stereo effect Dry-Wet-Wet setup on stage.




    Setup 7: on stage and P. A., stereo effects/dry-wet-wet setup


    With (dry) cabinet and two (wet) stage monitors.
    The dry guitar signal is routed via the Transducer‘s Speaker Thru. Connect the Transducer Line Output 1 with an effects machine and each of it‘s wet outputs (L/R) to an active monitor.
    The on-stage guitarist gets a simple stereo effects Dry-Wet-Wet setup. For the FOH mixer, the two wet signals need only to be split for further routing. The FOH mixer receives a dry signal from the Transducer Line Output 2.





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