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 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 optimization 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 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.

FEATURES

• Stereo I/O with consolidated controls
• Distortion-free peak limiting
• Increases subjective loudness
• High-frequency limiter with independent controls

The Maselec MDS-2 is a dual mono, linkable, high frequency limiter. It is housed in a 1u 19" rack mount alloy case. It is primarily intended for use as a de-esser, reducing unattractive high frequencies, with minimum coloration and loss of clarity.
Automatic time constants and optimisation techniques for the gain reduction minimises the number of controls. The advantage is not only simple operation but also increased performance for highly dynamic and inconsistent materials without the need for continuous readjustments.
With wide input range, up to +29dBu input and low noise, the MDS2 can be used in many different applications.
The side chain can be switched to M-S, which can be used to zoom in on high frequencies in the centre of the stereo image. With this function switched in the threshold is 6dB lower for the centre image compared to extreme left and right. The M-S function does not affect the actual audio path.

The Maselec MEA-2 is a stereo or two-channel, four-band precision analog equalizer with variable Q/shelf, frequency and cut/boost controls on each band. The MEA-2 Precision Stereo Equalizer is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required.

APPLICATIONS:

Top recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue equalizers have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital delivery media. The MEA-2 provides fully-stepped controls for precision and repeatability for all parameters.
The MEA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MEA-2 has stepped controls with a fine 0.5dB gain adjustment at low cut/boost settings. Maximum cut/boost per band is 8dB.
The MEA-2 is an equalizer that can provide precise equalization with minimal side-effects - it is designed to provide a very transparent signal path where only the desired equalization effect is obtained without adding any particular sonic signature.

PEDIGREE AND DESIGN PHILOSOPHY

The MEA-2 was developed by Leif Mases in conjunction with recording engineers, producers and mastering engineers to provide a tool for high quality signal processing in the most demanding professional applications. It has been carefully designed to be easy to use and provide a natural warm sound with a great degree of transparency. The MEA-2 also offers precision controls, which enable exact recalls of previously used configurations.

USING THE MEA-2

The MEA-2 is a very special Equalizer that has been designed to achieve a certain sound. It has a distinctive character, discernible both sonically and in the unique shape of its EQ curves. With 4 bands per channel, shelving/peaking/Q selection on each and 84 interleaved frequency settings per channel, the MEA-2 provides great flexibility and precision.
When a cut/boost control is set to 0 dB; the associated frequency section is by-passed Channel 1 and channel 2 can be by-passed individually with the illuminated push buttons on the front panel. The inputs and outputs can be connected to both balanced or unbalanced equipment and are able to handle up to +29 dBu levels.
The MEA-2 provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path. All critical components are hand selected and matched. Great sounding EQ is right behind the controls!

The MLA-2 is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.

Applications

Top recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue compressors have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital media. The MLA-2 provides fully-stepped controls for precision and repeatability for ALL parameters.
The MLA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MLA-2 has a rear-mounted range control switch that adjusts the threshold range to suit either mastering or recording/mixing applications.
The MLA-2 is a compressor that can provide effective dynamic control with minimal side-effects - it is designed to provide a very transparent signal path.

Pedigree and design philosophy for the MLA-2
The combination of Leif Mases' experience with the creative process and engineering and technical excellence ensure that the Maselec MLA-2 delivers great-sounding audio in an intuitive and easy-to-use package.

Using the MLA-2

The MLA-2 is a very special Compressor that has been designed to provide effective but subtle compression. It uses the principle of a fixed threshold, with adjustable drive (or input gain). This makes for more intuitive operation than an adjustable threshold - turn the drive control clockwise and increase the compression depth.

The progression into the compression region is gradual and changes as the ratio is increased. Minimal output gain make-up adjustment is needed as the threshold is slightly modified running through different ratio settings. This creates a consistent gain point with about 2-3dB of compression across the ratio range.

The MLA-2 automatically adjusts its attack and release times based on the front panel setting for the most musical result. In addition, a modified release decay is used rather than the conventional exponential curve.

The MLA-2 IMAGELINK system provides a stereo side-chain link that allows the gain of the two channels to track so avoiding the risk of stereo image shifting when only one channel is controlled. However, transients that are placed to the extreme right or left can result in a slightly un-natural ducking of the other channel, so the stereo link is controlled to avoid this.
The MLA-2 achieves excellent results with speech and other highly dynamic sources, as well as instruments such as piano, saxophone or drums. It has a distinctive character, discernable both sonically and in the unique shape of its progressive compression curves. It provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path.

Based around the MLA-3 multiband compressor, the MLA-4 offers expansion on all bands too, with ratios from 6:1 compression to 1:2 expansion. The link circuits are separate, which means that you can link compression from one frequency band whilst the expansion from the other band is also linked. This unique linking feature makes it possible to create a compression from the bass on the whole program and at the same time expand the mid range or the highs to get a groove with added punch. Hence you can have both compression and expansion simultaneously in a frequency band. This is clearly indicated on the high visibility metering for each band.
Over compressed program can be opened up with selected frequency expansion. This has traditionally been difficult because expanders have mainly worked on the full frequency range so with the MLA-4 fine tuning of the material can be achieved and a little can go a long way to salvaging a crushed mix.
The unit is incredibly accurate and easy to recall as all the controls are rotary switches, no potentiometers to be found! This also helps the left and right channels track perfectly, even under heavy processing. Noise, distortion and dynamic range figures are outstanding.

The Maselec MTC-1X is the perfect tool for mastering studios as well as for high quality home recordings. With exceptional sonic properties, new functionalities and usual rock solid Maselec quality, the MTC-1 is an ideal alternative to the MTC-2 mastering console.
The MTC-1 measures 3 U height with a depth ‘behind panel’ of 260mm and 8kg weight. The front control surface has 42 push-button controls with LED lights and 12 high quality rotary switches. Gold XLRs are used for all audio connections, assisting the use of highest quality cables. Connecting and rearranging external equipment is very easy.

The Input section

• Input source selection
• Phase invert for left and right
• Separate Left and Right gain controls
• 5dB additional gain selectable for low level sources
• Low-cut and High-cut filters
• Independent Cut controls for left and right

The Output section

• Separate Left and Right gain controls
• Elliptical filter with 20 frequencies
• Stereo Width control
• Output Cut control
• The stereo image circuits are identical to the famous controls of the MTC-2

The Insert section has six insert points and offers additional powerful functions

• M-S with gain control for the ‘difference’ signal
• Inserts 1 & 2 equipment swap (FLIP)
• Insert 4 or Inserts 2-4 cross-fade or additive mix with
• the use of a rotary switch. This function could be
• used for ‘parallel’ compression or adding reverb
• Inserts 4 & 5 equipment swap (FLIP)
• Insert 6 can be moved to Post Output. This is the preferred position for a brick-wall limiter.

The Monitor section

• Four external Monitor Sources
• Monitor of the Input and Output sections
• Two speaker feeds
• 0 to +10dB offset trim for inputs S1 and S2
• Monitor of the Stereo-, Left-, Right-, Mono- or Difference- signal
• Individual Cut controls for Left and Right speakers
• Progressive Dim function
• Meter output, which follows the monitor source
• –6dB, -8dB and –10dB Meter Offsets