Maselec
All Maselec products are developed by Leif Mases. His experience as a producer, recording engineer and studio owner, working with Jeff Beck, Led Zeppelin, Black Sabbath, ABBA and others, is reflected in the operation and performance of his designs.
Leif has developed a comprehensive range of high-quality analogue processors that offer precision, transparency and in some cases, program-dependent effectiveness.
MEA-2
Precision stereo equalizer
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 modern demands. 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.
Overview
The MEA-2 is a stereo or 2-channel, four-band precision analogue equalizer with stepped Q/shelf, frequency and cut/boost controls on each band. It is designed for recording and mastering applications where ultimate sonic performance, musicality and precision are required.
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 transparancy. 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, discernable 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 0dB; 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 +29dBu 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!
- Maximum boost/cut: 8dB/section.
- Minimum boost/cut: 0.5dB.
- Frequency settings: 19Hz to 27kHz.
- Maximum Input Level: 26dBu.
- Distortion: <0.001%.
- Output noise (typical set-up): <-85dBu.
- Enclosure: 19-inch 3RU, depth: 280mm.
- Power supply: 90-120V, 200-250V, 50/60Hz, 20W
- Four separate shelf/bell switchable equalizer sections per channel.
- Unique equalization characteristics, optimized through extensive listening tests.
- Precision stepped controls for accuracy and repeatability.
- Overlapping frequency ranges with 84 settings per channel.
- Excellent channel-to-channel matching.
- Interactive cut/boost and bandwidth controls for more natural operation.
- Low noise and wide dynamic range.
- Electronically balanced inputs and outputs.
MLA-2
Precision 2-channel compressor
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.
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.
Applications
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.
- Maximum input level: 26dBu
- Distortion: <0.001%
- Output noise (typical set-up): <-85dBu
- Enclosure: 19-inch 2RU, depth: 280mm
- Power supply: 90-120V, 200-250V, 50/60Hz, 20W
- Input Gain control, adjusts compression depth (drive)
- Output Gain control for gain make-up
- Adjustable ratio from gentle compression to limiting
- Adjustable Attack and Release times
- Attack and Release times are also dynamically auto-adjusted to avoid pumping effects
- Switchable gain reduction or program level (VU) metering
- IMAGELINK system for intelligent stereo linking: Short transients on one channel do not duck both
- Precision stepped controls for accuracy and repeatability; larger controls for often-used adjustments
- Low noise and wide dynamic range
- Electronically balanced XLR inputs and outputs
MLA-4
Multiband Compressor / Expander
Based around the MLA-3 multiband compressor, the Maselec 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 Maselec 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.
- Input Impedance: 100 kohm.
- Maximum input level: +29dBu (0dBu = 0.775V).
- Thresholds (0dB input gain): -10dBu to +20dBu.
- Typical THD: (ratio 1:1) <-90dB.
- Frequency Response: within 0.05dB 20Hz to 20kHz.
- Bandwidth: greater than 1Hz to 500kHz.
- Typical Noise: -90dBu.
- Maximum Output level: +28dBu.
- Output impedance: 33 ohm.
MPL-2
Limiter & de-esser
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.
- Input dynamic Range: Better than 115dB
- Output dynamic range: 96dB to 115dB (depending on gain and threshold settings)
- Maximum input level: 129dBu (balanced)
- Maximum output level: 129dBu (balanced)
- Distortion: Typically less than 0.003%
- Limiter attack time: Instant
- HF limiter attack time: Programme dependent 1msec to 20 msec
- Release time: Programme dependent
- Input impedance: 100kΩ ground floating electronically balanced
- Output impedance: 34 34Ω electronically balanced
- Threshold: 12dBu to 20dBu
- H.F. Threshold: -14dBu to 20dBu
- Gain: 0dB to 10dB
- H.F. Limiter: >2kHz
- Power: 90-130, 180-260 Volts @ 50-60 Hz
- Fuse: 315mA, anti surge (slow)
MDS-2
De-esser
The 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 MDS-2 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.
- Input dynamic Range: Better than 120dB
- Output dynamic range: Better than 120dB
- Maximum input level: 129dBu (balanced)
- Maximum output level: 129dBu (balanced)
- Distortion: Typically less than 0.003%
- HF limiter attack time: Programme dependent 1msec to 20msec
- Release time: Programme dependent
- Input impedance: 100kW ground floating electronically balanced
- Output impedance: 34 34W electronically balanced
- Threshold: -26dB to ∞
- Gain: 0dB
- H.F. Limiter: >2kHz
- Power: 90-130, 180-260 Volts @ 50-60 Hz
- Fuse: 315mA, anti surge (slow)
MTC-1X
Stereo Mastering Transfer Console
The Maselec MTC-1x 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 11 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 Maselec MTC-1x is structured into four different sections.
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.
1. 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
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.
3. 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.
4. The Monitor section:
– 4 external Monitor Sources
– Monitor of the Input and Output sections
– 2 speaker feeds
– Monitor of the Stereo-, Left-, Right-, Monoor 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