Track One Mk3

Compact and competent

In broadcast and voice recording, the compact channel strip has already made a big name for itself. Whether singer-songwriter, live event or podcast – Track One always delivers a great sound. It enriches the microphone, line or instrument signal. De-esser, compressor/limiter and equalizer ensure professional results.

In the latest Mk3 version, the high-quality recording and mixing channel strip has been improved in a variety of technical details and optimized to meet the needs of modern recording studios.
The new design of the SPL Studio Series provides this third generation Track One with a more intuitive and at the same time classy design.

Preamplifiers

The Track One is equipped with two preamps:

• a microphone preamp with 48V phantom power and
• a separate instrument preamp.

Both are tuned to a sound-neutral, open and transparent characteristic.

Gain

The gain control can be used to adjust the preamplification. For microphone signals, a preamplification of up to 63 dB can be realized – so even really demanding microphones can show their qualities.

• The control range for line signals ranges between -12 dB and +22 dB.
• The control range for instrument signals ranges between 0 dB and +35 dB.

Analog plugin

Track One Mk3 offers the possibility to process line signals.This means that sources with line level, such as an analog signal from an audio interface, can be processed with de-esser, compressor, limiter and equalizer and then be recorded again. In this way, Track One Mk3 becomes an “analog plugin” within an insert of a DAW.

48V

The 48V switch activates the required phantom power of 48 volts for the use of condenser microphones. 

Highpass filter

A highpass filter with 6 dB per octave reduces impact noise below 80 Hz.

De-Esser

Unobtrusively and effectively, the Auto-Dynamic De-Esser removes distracting S-sounds, in a mix or on vocal tracks. S-frequencies get detected and mixed back phase-inverted into the main signal, thus simply deleting sibilants in the original signal. The Auto-Threshold control maintains constant processing even as the singer’s distance from the microphone varies. The result is tonally neutral, unobtrusive and extremely effective. Even at high S-reduction values, the de-essing has no significant effect on the character and timbre of the voice.

Operation is limited to setting the desired sibilance reduction via the S-Reduction control. The On switch activates the De-Esser.

The Equalizer

LMF

The center frequency of the half-parametric bass filter is set with the LMF control (low/mid frequencies). The adjustable frequency range is between 30 Hz and 700 Hz so that this filter covers a range of about 4.5 octaves, allowing it to be used from the deepest bass to the lower mid range. This together with the MHF filter ensures that the entire frequency spectrum is covered.

The -/+ control (right to the LMF control) determines the boost or cut of the LMF filter.

The maximum values are +/-14 dB. The LMF filter also operates to the proportional-Q-principle, in other words the bandwidth is dependent on the selected boost or cut. This filter characteristic permits a musically more sensible processing of the frequency spectrum than with constant-Q filters: if a more thorough setting has been chosen this will lead to far preciser definition of the frequency range to be processed. This in turn minimizes influences from adjacent ranges. The boost or cut values, in relation to the bandwidth, are higher than with the MHF filter. The bandwidth is therefore narrower at maximum boost than with the MHF filter for even more precise filtering. The LMF filter can be applied in many ways. Examples are; to accentuate the fundamental sound of a voice, to cut boom frequencies and for placement of bass emphasized instruments during recording or subsequently when mixing.

MHF

The center frequency of the semi-parametric mid/high frequency filter
is set with the MHF control. (MHF: mid/high frequencies). The frequency range can be set between 680 Hz and 15 kHz so that this filter covers a range of 4.5 octaves and can be equally employed in the lower mid as well as the high range.

The -/+ control determines the boost, or cut of the MHF filter; the maximum values are +/-12 dB.

The MHF filter utilizes the proportional-Q-principle, too: the higher the boost or cut values are set, so the bandwidth becomes narrower; by low boost or cut values the bandwidth increases. The filter construction permits the complete scope, from selective removal of accentuated frequen- cies through to character giving accentuations of an instrument, to be effectively and quickly covered.

Air

The high frequency filter in the equalizer module is described as AIR. A coil-capacitor filter with so called bell characteristics and a center frequency of 19 kHz comes into operation here. At this frequency the maximum possible accentuation is +10 dB, the maximum possible damping is -10 dB.

The soft and natural tonal property, characteristic of the coil-capacitor filter, lends itself extremely well to provide clarity and air to vocals in the upper frequency range thereby improving their presence. On the other hand harsh sounds can be lent a more pleasant sound characteristic through damping.

Output

The outgoing signal can either be dampened to -20 dB or further amplified by +5.5 dB with the Output control to provide optimal drive to the subsequent units or the optional AD converter.

The selected output level is shown on the PPM OUTPUT display in the display field.

Everything at a glance – the display area

• The S-Detection LED “S-DET.” lights up as soon as an S sound is detected. It is only active when the de-esser is switched on, but it works independently of the set reduction value. In other words, it always indicates that the circuit is detecting sibilants – so your focus is always directed to a possible need to control.
• The clip LED “CLIP” lights up as soon as an overload is detected in the device. The indicator picks up at all relevant points of the signal flow: after the preamp, after the compressor, after the equalizer and after the output control. The LED should light up as seldom as possible to avoid negative sonic artifacts.
• The signal LED “SIG.” lights up as soon as an input signal with a higher level than -30 dB is detected.

The PPM OUTPUT display shows the peak reading of the output level. This display also serves to level the preamplifier.

The Gain Reduction indicator provides information about the processing performed by the compressor.

Inputs and outputs

The inputs and outputs of the Track One Mk3 are equipped with Neutrik XLR sockets and plugs with gold-plated contacts. The signal transmission is electronically balanced, at a nominal level of +6 dBu.

Inputs

Microphones of all types can be connected to the Mic socket (dynamic, condenser, tube, and ribbon microphones). 48 volts phantom power, which is required for some microphones, can be activated with the 48 V switch on the front panel.

Use the unbalanced Instr./Line socket for high-level line or instrument signals. Line signals usually have impedances lower than 1 kΩ, examples are sources like D/A converters, synthesizers or samplers. Instrument signals, such as e-guitars and basses, acoustic guitars with pick-ups and so on, are high impedance sources.

Outputs

The balanced Outputs deliver the output signals.

Compressor Link Feature

The Compressor Link feature allows to operate two Track One compressors with one control signal to ensure coherent stereo results.

The Master/Slave switch determines which device operates as master and which device is being controlled as slave.

Looks great, feels great – and lasts for a lifetime

Track One Mk3 has a 4 mm thick, black anodized aluminum front panel and aluminum knobs milled from solid. The housing is made of high-quality steel and is powder-coated in elegant black.