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SPL’s Transducer Model 2601, used by Joe Satriani and Mark Knopfler but now discontinued, is a super high-end all-analog cabinet and mic simulator that was designed in cooperation with the German guitar amp specialists Tonehunter. It’s basically an active power soak that replaces your speaker cabinet and will accept heads up to 200 watts allowing you to get the sound of a cranked guitar amp either for direct recording or playing onstage.
Please note that this is the original version of the SPL Transducer. Later models were fitted with a so-called "Hot Rod" modification designed for high gain guitar sounds, i.e. metal. I once tried a Transducer with that modification and ended up returning it because it just didn't sound good with clean tones. This one does, and in my opinion sounds great with high gain stuff as well.
You can control the type of speakers and voicings you want for your sound, adjust the speaker cone characteristics, add extra overtones, change between open and closed cabinets, and even choose the type of mic you want to simulate and its distance from the cabinet. It’s also got very flexible connectivity options, offering wet/dry signals for sending to effects, routing to onstage cabinets or to a house PA, etc.
Like all SPL gear this thing is built like a tank. I’ve only used it for occasional direct recording of electric guitar and it’s never left my smoke-free and pet-free home project studio. It’s in excellent condition and working perfectly. It comes with its original power cord but please note I no longer have the printed manual, but I will email one to the buyer as a PDF.
From the Manufacturer:
The SPL Transducer is an analog mic and cabinet and simulator for guitar amplifiers. 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).
Do you want to record a fully torqued tube amp in a hotel at night? With headphones you'll be virtually inaudible to anyone else, with stunning authenticity soundwise, and with the direct response of latency-free analog gear. The Transducer‘s purely analog design and strictly selected components are the key to its extremely fast and complex sonic processing – latency problems simply do not exist! It thereby gives the guitarist a direct response with an authentic punch. The analog simulation is so lavishly designed and constructed that even the most subtle guitar amp nuances are reproduced. With just a few adjustments the engineer has at his or her disposal a fi rst class guitar signal for either studio recording sessions or in a live P. A. mix.
Advantages – an Overview
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. Moreover, the entire Transducer usage is highly intuitive and requires no prior 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 through 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 fl ight foil condensers and individually built High-Z transformers from 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. • Sonically much more fl exible than a fi xed 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. Please pay close attention to the warnings for connecting guitar amps to the Transducer on page 11.
• 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 safehearing levels as the cabinet must not be drowned out.
• Significantly less time spent and much more effi ciency 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. On Stage The Transducer’s “Speaker Thru“ option allows a cabinet to be connected without any loss in signal quality. The stage sound comes as usual from the stack, while at the same time the sound technician receives a top quality recording quality signal without miking – and without crosstalk from any other sound source. If on the other hand very low sound levels are required on stage, the Transducer can supplant the cabinet. The line or microphone signal of the Transducer can then be routed via FOH mixer to either a stage monitor or in-ear system for the guitarist.
| Listed | 9 months ago |
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SPL’s Transducer Model 2601, used by Joe Satriani and Mark Knopfler but now discontinued, is a super high-end all-analog cabinet and mic simulator that was designed in cooperation with the German guitar amp specialists Tonehunter. It’s basically an active power soak that replaces your speaker cabinet and will accept heads up to 200 watts allowing you to get the sound of a cranked guitar amp either for direct recording or playing onstage.
Please note that this is the original version of the SPL Transducer. Later models were fitted with a so-called "Hot Rod" modification designed for high gain guitar sounds, i.e. metal. I once tried a Transducer with that modification and ended up returning it because it just didn't sound good with clean tones. This one does, and in my opinion sounds great with high gain stuff as well.
You can control the type of speakers and voicings you want for your sound, adjust the speaker cone characteristics, add extra overtones, change between open and closed cabinets, and even choose the type of mic you want to simulate and its distance from the cabinet. It’s also got very flexible connectivity options, offering wet/dry signals for sending to effects, routing to onstage cabinets or to a house PA, etc.
Like all SPL gear this thing is built like a tank. I’ve only used it for occasional direct recording of electric guitar and it’s never left my smoke-free and pet-free home project studio. It’s in excellent condition and working perfectly. It comes with its original power cord but please note I no longer have the printed manual, but I will email one to the buyer as a PDF.
From the Manufacturer:
The SPL Transducer is an analog mic and cabinet and simulator for guitar amplifiers. 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).
Do you want to record a fully torqued tube amp in a hotel at night? With headphones you'll be virtually inaudible to anyone else, with stunning authenticity soundwise, and with the direct response of latency-free analog gear. The Transducer‘s purely analog design and strictly selected components are the key to its extremely fast and complex sonic processing – latency problems simply do not exist! It thereby gives the guitarist a direct response with an authentic punch. The analog simulation is so lavishly designed and constructed that even the most subtle guitar amp nuances are reproduced. With just a few adjustments the engineer has at his or her disposal a fi rst class guitar signal for either studio recording sessions or in a live P. A. mix.
Advantages – an Overview
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. Moreover, the entire Transducer usage is highly intuitive and requires no prior 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 through 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 fl ight foil condensers and individually built High-Z transformers from 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. • Sonically much more fl exible than a fi xed 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. Please pay close attention to the warnings for connecting guitar amps to the Transducer on page 11.
• 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 safehearing levels as the cabinet must not be drowned out.
• Significantly less time spent and much more effi ciency 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. On Stage The Transducer’s “Speaker Thru“ option allows a cabinet to be connected without any loss in signal quality. The stage sound comes as usual from the stack, while at the same time the sound technician receives a top quality recording quality signal without miking – and without crosstalk from any other sound source. If on the other hand very low sound levels are required on stage, the Transducer can supplant the cabinet. The line or microphone signal of the Transducer can then be routed via FOH mixer to either a stage monitor or in-ear system for the guitarist.
| Listed | 9 months ago |
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