Interestingly, these are always monitored in mono (ie. The second two are dedicated unbalanced instrument (DI) inputs, again with their own gain controls and sockets on the front panel. The first two comprise discrete transistor mic preamps with individually switched phantom power, high‑pass filters, and gain controls. The unit is finished in a matte grey paint with clear white labels, some on red backgrounds, and with the rear socketry labelled - as most SPL products are - so as to be readable when leaning over from the front!įour separate analogue recording input channels are routed to the USB port. The PSU provides 12V DC at 1.5A (the Crimson consumes around 17W of power), and DC‑DC converters inside the Crimson generate the ☑7V and +48V analogue audio power rails, as well as the +5 and +3.3 V digital supplies. It is powered from a universal wall‑wart with a clip‑on adapter plate to suit the local main plug style. The Crimson is a fairly large but low‑profile desktop unit, measuring 330 x 60 x 207 mm (WHD), and weighing a surprisingly heavy 2.7kg. Until recently, 'digital' wasn't even in SPL's lexicon, but the company now offer a 16‑channel MADI A‑D/D‑A converter called the Madison (see what they did there?) and - the subject of this review - the new Crimson, which is a six‑in, six‑out USB 2 interface combined with a high-quality monitor controller. The company's catalogue offers various solid‑state and valve‑based preamps, channel strips, dynamics processors (such as the excellent Transient Designer), equalisers, headphone amps and several monitor controllers - as well as some very impressive mastering console systems. The German company Sound Performance Lab are well known for manufacturing a range of well‑designed and high‑quality, exclusively analogue, audio equipment. SPL's Crimson combines a high‑quality interface and monitor controller into one conveniently sized box.

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