The
MixDream design plan provides for the integration of analog equipment
in digital production environments and stereo mixdown at the analog
level.
This
concept offers high-grade analog summing without panorama and fader
controls, in turn allowing an engineer to retain the entire scope of
his computer automation. One MixDream can sum up to 16 audio tracks to
a stereo signal, and should the need arise for more than 16 tracks,
several MixDreams may be linked together.
The
MixDream discrete class A technology is based on a 60-volt rail (+/-
30V). Newly developed circuitry, based on the most modern analog
components, guarantees an extremely high slew rate, a low noise level
of -97dBu (A-weighted, all channels active) and a dynamic level of over
125dB. Thus the MixDream easily realizes the technical level of the
best analog consoles.
Analog
vs. Digital Summing
Nowadays, many are asking whether analog summing is better than digital
summing. But perhaps the real question is whether digital summing
better than analog summing? We at SPL don‘t know of anyone who says so.
We do know that summing with the MixDream creates an amazing signal
depth, precise localization and a wonderful stereo imaging. Moreover,
the addition of individual instruments results in soft and pleasant
transitions. These are analog summing differences that we hear—and that
you can expect.
However,
in contrast to simple summing devices the MixDream‘s insert and
processing capabilities clearly spotlight a factor that is most
important in a quality mix: while quality summing is the basis of a
good mix, quality processing in the mixing process has the biggest
influence on sound. When engineers discuss the qualities of
highly-acclaimed analog consoles, it is very often the superior analog
processing potential of such consoles that is an integral part of such
“shop talk”.
The
MixDream now allows DAW users to exploit this potential with maximum
comfort and uncompromising quality, ensuring that nothing can stand in
the way of the engineer‘s having the best of both analog and digital
worlds.
Reduction
of A/D conversions
Calculated with 16 units for all MixDream inserts, 14 A/D conversions
can be spared in the summing process: DAW insertion of 16 analog units
through A/D-D/A converters requires 32 conversions, while with the
MixDream only the summed signal needs to be converted (18 conversions).
Especially the critical A/D conversions are reduced to a minimum and
the analog effects are summed before any (in principle not loss-free)
A/D conversion has to be made at all.
The
MixDream in Mastering
Multi-channel sessions can be mixed and processed in analog, something
that may also be of special importance when an engineer wishes to
upsample to SACD or DVD-A.
Controls
for stereo summing
• Adjustable insert level
• Stereo expansion control with infinite gradation
• Adjustable analog peak limiter
• Adjustable outputs with added in/out switching of Lundahl transformers
Processing,
but you choose the mix
Each input channel is equipped with a signal-present LED and a
switchable insert-loop. A three stage toggle switch per channel allows
the choice of whether or not a channel should be added to the mix buss.
With the No-Mix switch control, a channel may be removed from the mix
while remaining available for re-recording through its Direct Output.
The No-Mix function can be particularly useful, for example, when the
engineer wishes to add track compression. The compressed signal can be
re-recorded to the DAW for level automation. This is also known as
“bounce back” capability, and without it, compressed signals could not
employ level automation, since the compressor is inserted post fader.
Common
Bypass for all Inserts
All Inserts may be switched on or off globally.
Connection of Sampler, Keyboards etc.
Along with DAW audio tracks and effects machines or processors in the
insert loops, samplers, keyboards and expanders may also be connected
directly to the MixDream. Then the Midi tracks need only be added in
the DAW project, the outputs (for example, from a keyboard) are then
routed directly to the MixDream.
Mono
Controls
To save converter channels, channels 1 & 2, 3 & 4 and 5 & 6
may be switched to Mono so that two signals can be converted by a
paired D/A. In this case such signals are characteristically chosen
which would receive a more central placement in the stereo mix (e.g.
kick, snare, lead vocal, bass). All channel pairs must otherwise be
panned hard left/right in the mix.
APPLICATIONS
In use,
the MixDream requires almost no departures from an engineer’s usual
working mode, so that all his trusted DAW features and familiar working
routines remain available while the MixDream seamlessly expands his
aural mixing palette. The following are a few tips for typical
applications.
Simply Summing Up
This, of course, is the most basic way in which you can benefit from an
analog summing device. In the process each individual DAW track is
transferred through D/A converters for summing in the MixDream. It goes
without saying that only identical high quality converters can be
recommended.
With mono signals one should use inputs 1-6, as these channels may be
switched to mono mode. In the DAW such signals must be panned hard left
or right if you want to confine them to a single D/A converter (thereby
avoiding the waste of having to use a D/A pair for one mono track).
Because a production often consists of more than 16 tracks, mono tracks
like vocals, drums, synths, guitars etc. may be routed through a common
D/A output. By switching out the analog inserts, channels can be used
as though they had not left the DAW (except for summing). Such a
capability means that—and particularly in track arranging—you can
recall any of your automated DAW settings.
Summing with Master Insert, Stereo Expander and Peak
Limiter
When you have completed project and wish to mix it down to CD or other
mastering medium, then is the time to apply the MixDream’s powerful
mastering functions. The Master Insert is most useful in cases where a
combination of compression and/or equalization are needed, as here you
can control signal levels, the Insert Send level being the effects
processor level control.
The Stereo Expander can also add even greater width and depth to your
mix—as the panorama and width won by analog summing can be undergo
broadening effects from the “classic” to the “astounding”.
As a
final link in the chain, the analog Peak Limiter can play a decisive
roll in protecting the following A/D converter from overs. On the one
hand this limiter avoids clipping from peaks, and on the other, it may
allow for a generally higher loudness level. The degree to which this
may be applied depends greatly on track characteristics. If the track
has overall a narrower dynamic range, then less limiting to avoid
distortion is both sensible and highly advisable. In tracks with large
dynamic peaks such as those from percussion, you can achieve up to a
6dB overall loudness boost.
Summing with Single Channel Inserts
Using these individual channel inserts effectively means that you are
realizing the MixDream’s full potential. As the name implies, you can
employ a complete spectrum of analog processors (EQ, compression,
gates, etc.) to each individual channel. But to be as simple and
effective as possible, you must also coordinate this processing and
MixDream assignments in the most logical way. One example we have
mentioned is the use of channels 1-6 mono switching capabilities, a
more specific case of which might be an SPL Transient Designer for kick
drum and snare on channels 1-2, compression for bass on channel 3 and
compressor/EQ on a channel 4 vocal (in the last case, you see that
chained processing is possible for individual channels).
You may leave such processors in a standard hookup of your choice,
toggling them into the mix whenever you need them. Within the DAW you
can then take advantage of software flexibility, routing each output to
a specific insert in your MixDream hookup. During further mixing such
processing proceeds hand in hand – with both the MixDream and DAW—so
that if activating an insert EQ results in levels that are too loud,
the channel volume may be lowered in the originating DAW project.
You can,
of course, also connect reverb and multi-effect processors to the
MixDream inserts, routing desired DAW signals to corresponding outs via
aux sends. At the same time, you can employ the No Mix function as mute
for monitoring individual tracks as solo. In such applications your
Direct Outs become very important, as a typical DAW aux send will be
pre-insert (that is, the reverb portion of heavily compressed drum set
signals would not be compressed.). In such case a channel’s direct out
would be routed back through the A/D converter. The converter channel
must be set to monitor mode in the DAW in order to use it as an aux
send. Now the send levels can also be processed with the DAW’s
automation features. This procedure retains both the convenience of
digital control and the superior analog sound you desire.
Should
you suddenly need to listen to another recording or do an additional
take during mixdown, the Inserts On toggle offers a quick, efficient
way of temporarily defeating all external processing. In such cases,
you only need to reset the mono switches. Otherwise your entire
processor routing remains in the background for a quick return to
previous work.
Summing of Subgroups
A typical production environment will often have more than the 16
channels of a single MixDream. There are several possible solutions to
this:
1. Well, you could buy additional MixDreams (which we confess would
make us happy—and we’re sure would not disappoint you), or:
2. Sum your grouped tracks with the MixDream itself.
For example, if you’ve done a chorus backup in 16 solo tracks, you can
adjust your panning in the DAW, then route this to the MixDream for an
analog summing in stereo, which can in turn profit directly from the
MixDream Master Inserts, Stereo Expander, and Limiter. Having a pro EQ
ready for the Master Inserts means just about every possibility is
covered.
We
strongly recommend initially processing spatial and loudness-related
characteristics with the Stereo Expander and Peak Limiter in the
subgroups (including tracks with such as guitar overdubs,
drums/percussion, keyboards, and so on). You can apply more extreme
settings with subgroups than in stereo mixes, achieve more
differentiated processing and avoid unnecessary affects to other
groups.
In our
experience, the above procedure can yield a much improved sonic quality
over a simple 16:2 summing (especially of digitally summed
subgroups)—and also leaves many doors open for creative audio work:
Through extreme limiter adjustments you can turn an innocuous sequencer
loop into a heavy duty techno beat, while more severe stereo expander
settings can move an organ sound far outside the normal stereo image,
and so on. A further advantage is that your DAW must only play back a
few stereo files and thus is faced with less track processing. Of
course, you keep your original 16 tracks for possible further work, but
these are muted when listening to the results of your current MixDream
summing.
Bounce-Back Function
When you have your DAW, 16 A/D-D/A converters, MixDream and processor
hardware set up you can do repeat takes with individual or multiple
tracks—what is nowadays often referred to as “Bounce Back”. This
procedure plays an important role if you wish first to process a track
in analog (for example, drum kit compression), but later on wish to
apply the results in further DAW automation.
In such
work you are well advised to avoid latency problems by routing the
complete mix to a stereo out while simultaneously routing the signal to
be processed to yet another stereo out. You then can hear everything in
the correct time frame and can thereby be sure of correct processing
results.
For the processing of the signal itself, two possibilities suggest
themselves:
1. Over the corresponding channel’s Direct Out
2. Over the Master Output. Here you must be careful to toggle your No
Mix switch to avoid having the entire mix included with the recording.
Inserted
processors may be routed as DAW inserts via the Direct Outs. At the
same time, the output signal must be time adjusted so that in the DAW
it is also mixed without latency problems. In this case, be sure to
toggle the Insert switch to No Mix.
Discrete Mastering
Normally a studio mastering engineer requires that a stereo file be
made available for his or her work. But in such a mixdown, any problems
(for example, significant variations in volume among instrumental
subgroups) will mean equally significant limitations to your final
mastering options.
Instead, however, if one masters from a discrete mix with four or eight
stereo subgroups, each of these can be adjusted just as easily and
quickly in the mastering process—to the extent that even individual
groups can be tweaked with different processing. Your final
result is clearly better and the time needed, minimal—especially since
it is less likely that a new mix will be called for.
The
MixDream is predestined for such applications, as we’ve planned its
superior sound quality for just such occasions. Moreover, input
channels can be used in mastering as input toggles to select different
contributing tracks. Finally, different D/A converters may be compared
so that you can be sure of selecting those most suitable for your
present project.
Linking Several MixDreams
An expansion connector provides for a second MixDream input should 16
channels not suffice. This second MixDream’s master output—as well as
it’s Insert Sends—may be used. In such cases, it is important that you
set the Insert Level of the second MixDream to 0dB to avoid a global
difference between the two.
If more
than three MixDreams are to be summed, we recommend to employ a further
MixDream as master—otherwise the signals from the first MixDream (as
the worst example) would unnecessarily be summed in each following unit.
If you wish to keep the channels with mono switch, use channels 7 to 16
at the master unit for connection of slave units. The respective Insert
switches must be set to the Off position.
TECHNCIAL
SPECIFICATIONS
Freq.
Response: ‹1Hz-220kHz (+/- 3dB)
THD+N
Ratio: -104dB
(20Hz-22kHz, Input +10dBu, all channels active)
Noise
Level: -97dBu
(20Hz-22kHz, A-weigted, all channels active)
Max
Input Level: +28dBu (@1kHz)
Max
Output Level: +28dBu
(@1kHz/THD+N -95dBu)
Dynamic
Range: 125dB
(20Hz-22kHz, A-weigted, all channels active)
Crosstalk
L/R: 97dB@1kHz
CMRR:
‹70dB
(@1kHz, +10dBu input level)
Input
Impedance: 10kOhm
(for Input 1-16, Expansion, Insert Return)
Output
Impedance: 82Ohm
(for Master/Monitor Out w/o transformer, insert send)
Output
Impedance: 65Ohm
(for Master/Monitor Out with transformer)
Power
consumption: 75W
