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Maselec MPL-2
Maselec MPL-2
227 800 руб.


Single-channel peak and high-frequency limiter

The Maselec MPL-2 is a brick-wall and high frequency limiter. It can be used to achieve high subjective levels and reduce unwanted high frequency levels (de-essing).
The Maselec MPL-2 is also used to ‘smooth’ and give digital recordings a more ‘analogue’ character.
The Maselec MPL-2 is housed in a 1U 19" rack mount alloy case. A minimum of controls is used due to automatic time constants and optimisation techniques for the gain reduction. The advantage is not only simple operation but also increased performance for highly dynamic and inconsistent materials without the need for continuous readjustments.
The input gain does not reduce the wide dynamic range of the limiter. It can be used at its maximum setting with no increased risk of distortion. This eliminates the need for excessive levels, which could cause clipping in equipment feeding the input of the limiter. A further benefit is that the maximum peak output level (set with the threshold) is independent of different gain settings.
High Frequency Limiting is primarily intended for use as a de-esser, reducing unattractive high frequencies. Part of the high frequency limiter circuit is also used to reduce distortion from the wideband limiter.
Users of the Maselec MPL-2 will notice the removal of spurious peaks, and an increase of subjective levels, without the coloration and increased distortion so often associated with soft clippers and other ultra fast limiters.

User Testimonials

            "Well this is really two boxes in one, firstly the de-essing/High Frequency limiter is the same as their other unit the MDS-2 - except in the MPL-2 it's just one set of controls for both channels. If you have a look at the majority of well specified mastering suites chances are you'll see one of these boxes.
That's because a lot of us mastering types grew up cutting vinyl records and Neumann had a slightly similar box called an acceleration limiter. The great thing about this sort of limiter is that you can smooth the top end of a program, sometimes even adding more top end, but when a cymbal strikes for example, the limiter takes a bit of the pain off and so the feel is smoother and silkier (if done properly of course). In the MPL, depending on how much high frequency limiting you use, the unit adjusts things like attack time according to the program material, so it really works with the music in a nice way, biting down more quickly on aggressive transients, but being more gentle on general top end.
Then there's the peak limiter. It's nice and smooth as well as long as you don't push it. In fact I much prefer it to the peak limiters in the CraneSong STC-8 and the Focusrite blue series. This reduces the peaks of transient signals which allows you to get slightly hotter mixes, or to control overloud snares, or anything really that sticks out in a mix.
It also has two settings Normal and Hard. Hard has a quicker release, both are very useful and it's good to have a choice. Normal has a nice pillowy release which can work wonders on so many things.
I probably would have bought an MDS-2 but I was so impressed with the peak limiter I had to get the MPL.
I use it for mastering, mainly on the left and right channels, but also sometimes in sum and sifference mode, or even just on the centre image (where most peaks and sibilance lives). "
William Bowden
William Bowden is one of Australia's leading mastering engineers. He worked for the famous Festival records on both vinyl and cd mastering cutting his first record in 1988 on the Neumann VMS-80 lathe. When Festival closed he set up King Willy Sound in Sydney where he now works with a classic array of gear including a much beloved EMI TG console. Credits include: The Living End, Split Enz, Kylie Minogue and Gerling, more info at www.myspace.com/williambowden


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