The pre-amplification stages offer three inputs:
The microphone input has 48 V phantom power, polarity reversal and an LF cut filter.
The line input has a precise balancing stage for connecting additional studio equipment.
The low-noise instrument input is easily accessible on the front panel.
The De-Esser removes annoying S-sounds without affecting the sound. In contrast to conventional compressor techniques, the S-frequencies are detected in a very narrow band and are mixed in phase reversed to the original, whereby the S-sounds are deleted very unobtrusively.
The De-Esser works in Auto-Threshold mode. This ensures constant processing even if the distance to the microphone and thereby the input level fluctuates. Just one-knob is needed to set the desired S-Reduction.
Via the insert (send/return) external effect devices (reverb, delay) can be inserted or the pure preamp signal can be sent out.
Compressor & Gate
The compressor/limiter section is based on SPL’s Double-VCA-Drive circuit, which provides excellent noise and distortion data and delivers musical results even at extreme settings.
The compressor is also extremely easy and fast to adjust with just one control.
The Noise Gate with Auto-Release-Circuit works crackle- and flutter-free; reverb tails are “detected” and not cut off.
Equalizer & FET Distortion
A new EQ section has been designed for Channel One, specifically designed for processing voices and acoustic and electronic instruments.
In addition to low-, mid-hi and air-band filters, a field-effect distortion stage is used to equalize distortion-prone signals full of character.
Output & HP-Monitoring
Unique in this product category:
With the headphone monitor, the singer/speaker can finally be fed an individual mix without latency problems. The mix via a mixing console is no longer necessary.