SPL TwinTube, Руководство пользователя

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Analog Elemental Series
The TwinTube module is the first ever combination of two essential tube effects into
a single processor, that is, saturation effects along with harmonics processing.
Both stages work separately from each other and are based on an individual tube
circuit, therefore each module employs two tubes. The effects can therefore not
only be applied both individually or separately, but also in common.
Saturation effects are generated through the tube being pushed to and beyond its
normal operating limits. In contrast to semiconductors, a tube thus pushed to such levels
does not clip from a certain level, approaching more gradually its level limits and thereby
producing its typical tonal result, which in audio signal processing can have such often prof-
itable aural effects —on one hand (and depending on the amount applied), from subtle to
extensive harmonic distortion and on the other hand, a compaction of the sonic event, that is,
a limiting effect that exhibits a pleasant, rounded or soft sound.
Acoustically and also in its range of applications this can be compared very well with tape
saturation effects. Harmonic distortion and limiting are the generally known, “classic” tube
effects, which are today cornerstones of sound processing.
But other less known and potentially important effects are a tube’s ability for improving pres-
ence and spacial qualities through its processing of specific regions of the overtone series.
A special circuit comes into play for overtone/harmonic processing that involves a combined
coil/condenser system working in conjunction with the tube. The control reacts dynamically
to the audio signal and thereby processes both overtones as well as a signal’s phase struc-
ture.
The processing of the phase structure influences the moments of acoustic perception and
occurs in microsecond time divisions – it has to do nothing with the cancellations one associ-
ates with 180-degree signal shifts. A decisive factor in resultant tonal quality is the alignment
of level relationships the overtone spectrum. Such overtone “enrichment” does not operate
on the generator principle of exciters (wherein distortion is added to the original signal). In
this case the TwinTube harmonics control effects a rather a more equalized overtone struc-
ture resulting in a sound which in effect appears much more in the foreground, but without
doing so through extreme level changes. Thus, for example, a voice appears immediate apart
from the overall mixture, “sitting” clearly outlined in the mix’s foreground.
HAR. ON/SAT. ON
Activating HAR ON engages the HARMONICS control. Likewise you engage SATURATION with
the switch SAT. ON. When turned on, these switches illuminate.
One of the both processing stages can be applied therefore respectively separately. Similarly
you can process the signal with both stages at the same time.
Warm-up phase: A warm-up phase for both tube stages begins after powering on the unit,
independent of the HAR. ON or SAT. ON switches. During the warm-up phase HAR ON and SAT.
ON flash alternately. The warm-up phase can last between 20 seconds and a minute. During
the warm-up phase the entire module remains in a bypass mode.
Hard-Bypass: For power fail safety, the TwinTube module employs a relay hard bypass design.
It guarantees a direct switching from the inputs to the outputs in case of a power failure to
maintan the signal flow.
HARMONICS Control
With the HARMONICS Control you can adjust the overtone processing intensity. The available
level range of a chosen harmonics frequency (see “HARMONICS Switch” on the next page)
lies between 0 and 15 dB.
Overtones are marked also as “Harmonics”. The HARMONICS control results in an enrichment
of the overtone range for a chosen fundamental tone (see “Introduction” above). The tonal
result is an intensification of the presence that produces a fresher, silky and more brilliant
aural image. Similarly, the signal’s spacial qualities gain in intensity.
TwinTube | Introduction
TwinTube | Control Elements