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The Klark Teknik DN9630 simplifies the connection of computers to AES50 audio networks to provide simultaneous multi-channel computer audio recording and playback, making it ideal for use with digital consoles and other AES50-equipped products. The single USB 2.0 interface connects directly to a Windows PC or Mac, offering up to 48 bidirectional channels at 48kHz and 24 bidirectional channels at 96kHz sample rates.

Digital Audio Networking

Klark Teknik’s SuperMAC (AES50 Compliant) digital audio networking technology provides high channel counts, ultra low and deterministic latencies, sample synchronous and phase-aligned networked clock distribution, error detection and correction along with network redundancy.

Ethernet Control Data Support

DN9630 provides a separate RJ-45 port which serves as an external interface for the bidirectional AES50 auxiliary data channel. This link allows remote control and metering of connected AES50 devices via standard Ethernet communication.

Dual Sample Rate Support

A dedicated slide switch is provided for either 48k or 96k sample rates, allowing the DN9630 to work with either AES50 network’s incoming source clock for flawless sync.

Klark Teknik: www.klarkteknik.com
Australian Distributor: www.nationalaudio.com.au

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Well, this is weird. Of all the brands that’d be inclined to clone the classic 1176, Klark Teknik doesn’t spring to mind as the most likely. The company’s new 1176-KT FET-style compressor pays homage to Urei’s respected classic, albeit with an ‘entirely modernised’ signal path that uses Midas input and output transformers. Ratios available are 4:1, 8:1, 12:1 and 20:1, and of course the ‘all-buttons-in’ mode for that super-squished 1176 punch.

Controls are an identical match to the original, nice and simple. In addition to the ratio buttons you get attack and release knobs, input and outputs knobs, and a power switch. A vintage-style VU meter can display gain reduction or output level based on which button is selected to its right. The 1176-KT is housed in a 2U rack enclosure. The unit has Neutrik connectors and a universal power supply with automatic voltage sensing.

More info:
Klark Teknik: www.klarkteknik.com
Australian Distributor: www.nationalaudio.com.au

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They’re analogue processors, they go in outboard racks and they’re new… what gives?

Text: Mark Woods

Good analogue outboard gear is a pleasure to use and Klark Teknik has been making some of the best examples of it for 30 years. As a result the brand has become one of the most trusted names in professional audio, and its once ubiquitous DN360 analogue graphic EQ is like an old friend in the front-of-house rack.
Even though heavy racks of outboard gear are largely being replaced by the almost unlimited processing power of digital mixing consoles, there are still plenty of situations where an external analogue compressor and/or gate will achieve a better result. In the case of the new analogue Klark Teknik DN530 Creative Quad Gate and the DN540 Creative Quad Comp,
they also provide audio enhancement not available in the
digital realm.
Both these new Klark Teknik models are single rack unit devices with distinctive looks about them – their four grey panels clearly defined against a red background. The knobs and buttons have a quality feel, the meters and indicator lights are bright and clear. The rear panels are the same on both units with balanced XLR ins and outs, and a ¼-inch TRS for inserting an external side chain. Unfortunately, ‘alternate’ ins and outs via ¼-inch sockets are not provided.

THE QUAD COMP

Looking at the DN540 Quad Comp first we find six knobs in each of the four compressor units; threshold has a red top for easy identification, the others blue/grey. The threshold, attack, release, gain and ‘presence’ knobs are all well placed and clearly labelled. The only exception is the ratio control, which is a bit counter-intuitive in my opinion, with the ratio increasing as the knob turns to the left. Klark Teknik has been doing this way for years… perhaps it’s just me. The six buttons on each of the compressors have colour-coded indicator lights. These control bypass, soft/hard knee selection, an auto attack and release setting, activation of the external sidechain, a ‘link’ to the next adjacent compressor and a choice between metering of the compressor’s input or output levels via the six-segment LED meters (which have indicator lights for 1, 2, 3, 6, 10 & 20dB
of gain reduction).
Using the DN540 is quickly rewarding. For live performance or recording it’s quiet as a mouse and when the threshold, ratio, attack and release knobs are all at 12 o’clock it can be thrown across anything as a general peak controller with good results. Fine-tuning allows for a wide range of compression styles from sensible to silly. It’s also one of those devices that just sounds good – whatever source you throw at it seems to come back not only dynamically changed but somehow more solid sounding. The metering is excellent and I especially appreciated the accurate calibration at low amounts of gain reduction – compression is generally best applied in small amounts and I got a strong sense of control by having the first 1, 2 and 3dB of gain reduction clearly displayed on the meters. The other pleasing function is the ‘Presence’ control, which is centred on 5kHz and progressively reduces the gain reduction in the hi-mids and high frequencies. It’s a useful tool that raises the loudness of a source by allowing higher levels of gain reduction without the sound becoming dull, and because it’s continuously variable the effect can be quickly tuned to taste. It’s most useful on loud sources and great for aggressive drums sounds where the attack and distinctive characteristics of the drum are maintained while the more powerful body of the sound gets reduced in level.
The DN540 could also easily earn its keep in any PA outboard rack as a general-purpose insert or as part of the system control. For live shows I routinely use a stereo compressor over the vocal sub-group to keep the peaks and choruses from becoming overpowering, and while this technique works reasonably well, the cost is often a loss of detail at higher gain reduction levels. The DN540, however, provides transparent and controllable compression with the Presence control allowing the operator to dial-in how much presence they want during the loud sections. This proved very effective over the vocal sub-group at one particular gig, with a noticeable improvement in clarity and diction when the music cranked up. Similarly, as an insert over drums the compressor’s fast response coupled with the presence control delivered a wide range of dynamic and tonal possibilities and for really tricked up, or super-aggressive live drum sounds, the DN540 can be chained together with the DN530 gate. Combining the two would be perfect for kick drums in metal bands where you really need to hear the attack of the drum while the rest remains as loud as possible. Luckily, I didn’t get to try this…

THE QUAD GATE

The DN530 is laid out in a similar manner to the DN540. Seven knobs and five buttons this time, but the threshold is still red. In the main section of each unit there’s the usual attack, release, range and hold knobs as well as buttons (with indicator lights) for bypass and duck mode. In the same way the DN540 has its unique ‘Presence’ feature the DN530 has an ‘Accent’ control that adds level to the signal transient. In the sidechain section of each unit there are buttons to solo the sidechain signal, activate an external device and a switchable internal sidechain filter with a knob to adjust its frequency response. The clever six-segment vertical level meter simultaneously displays (from the top): clip, accent, threshold, hold, release and shut.
The DN530 is fun to use. Analogue gates take me back to the ’80s and ’90s when I used them for big drum sounds at live shows and clean drum sounds in the studio – reverb tricks too. Most of the shows I do now are too subtle for gated drums, often too subtle for drums at all, but I got to try these with a couple of rock bands, and used as simple gates, they’re great. It’s easy to set them so they only open on the desired source, they don’t click, they close cleanly and you can hear the sidechain filter working. Like the DN540 the metering on the 530 is excellent. And then there’s the aforementioned Accent control. Klark Teknik calls it ‘Transient Accenting’ – adding up to 12dB of level to the signal immediately after the gate opens. The speed at which this extra level is added to the signal is determined by the unit’s Attack setting. The extra level only lasts 30ms but it’s very effective at adding snap to drums and other percussive instruments. It can get hard sounding, and too loud if you use a lot of it, but just a few dB adds a pleasing extra punch to gated skin drums and I quickly grew to miss it when it wasn’t there. Mixers of heavy rock bands will love both these units.
Overall these present as top-class analogue quad-compressor and quad-gate units equally at home in either live or studio applications. Both units offer features beyond their basic functionality; the DN540’s ‘Presence’ control and the DN530’s ‘Accent’ control are both simple but effective sound-shaping tools that set these Klark Teknik products apart from their competitors. There will always be uses for good analogue gear and both these units offer latency-free functionality beyond equivalent digital devices. Given the longevity of other Klark Teknik products the purchase of either of these units should be viewed as a long-term investment that you’ll enjoy using.

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Is splitting a headache? It needn’t be.

Text: Ben Burns

If your hand was forced and the chips were down, you could split a mic signal three ways by using two (analogue) multicore systems with parallel outputs, to connect three consoles (FOH, Monitor and an OB truck) to each mic. This is akin to using two XLR Y-splits connected together. But there’s a big problem with this method. Joining the cables in this manner electrically connects the three consoles together, raising safety issues, causing grounding problems and incorrect loading on the microphone. More gain is required at each console to compensate for the extra load, and high frequency energy will be lost with long cable runs. A way around this is to use an isolating transformer, but even then, the extra load on the mic will remain.

The best way to split signals is with an active split system like the Square One Splitter reviewed here. With two electronically-buffered outputs and one electronically-buffered and transformer-isolated output for each of the eight inputs, you can rest assured that each console connected will receive a quality source signal.

INS/OUTS, FRONT/REAR

The Klark Teknik SQ1 Splitter has two sets of parallel (duplicate) inputs on the front and rear panel, providing a handy way to patch quickly. Once plugged in to either side of the unit, a signal will appear at all three (A, B & C) outputs. The rear outputs (A & B) are electronically-buffered (normally for the FOH and monitor consoles), while the transformer-isolated outputs (Outputs C) on the front panel are designed to be used by a recording truck or broadcast unit. Apart from being transformer-isolated, the ‘broadcast’ output is sourced before the gain stage, allowing independence from whatever the PA company is up to.

One side of the front panel contains the eight channel strips and the other provides the inputs and the eight ‘broadcast feed’ outputs. These feeds also feature Pin 1 isolation, ensuring there no ground loops. An adjustable gain stage is used to amplify the mic signal up to line level in 5dB steps, then you can insert a 30Hz high-pass filter and solo the signal to the headphone socket. Each input features a four-segment LED meter indicating –15, 0, +12 and +21dBu. This is the output level of the two sets of connectors on the rear panel. Round the back you’ll also find recessed switches to lift the earth (Pin 1) for the eight ‘A’ outputs or the eight ‘B’ outputs.

SPLIT PERSONALITY

The Square One Splitter also has a surprise up its sleeve, sporting the ability to function as a 16-way Media Splitter for press feeds. This allows a mono mix from a console to be fed to the 16 XLR outputs on the rear panel, providing an audio mix for cameras and news reporters etc.

This is accomplished by prodding the recessed ‘media split’ switch next to the input connector for Channel 8. While using the splitter in ‘media split’ mode, you can still use the first seven channels on the front panel as isolating transformers with all the benefits of electronic balancing and buffering. This incorporation of two products into one will please many – both a press box and active splitter use essentially the same components, so why should two separate products be purchased when they can be combined?

The SQ1 Splitter needs mains power to function, and for that, the internal switch-mode power supply can automatically deal with anything between 100V and 240V AC. The power input is via a standard IEC but there’s no power switch; the unit will always be on when connected to the mains.

Phantom power is not passed to the mic inputs from any of the console connections. Instead, if phantom power is detected on any of the 16 rear output connectors, then phantom power is energised on that channel, illuminating the LED on the front panel. There is also a switch for each channel if you need to apply the phantom manually.

THINKING INSIDE THE SQUARE

Complete with a well-written manual and a three-year warranty, the SQ1 looks the goods. I used the unit on a couple of shows to split audio into an in-ear system. Apparently the SQ1’s preamps are ‘Midas XL8-inspired’. What that means precisely, I’m not entirely sure, but the splitter worked a treat with noticeably better sound quality than the small digital console we used to mix the in-ears.

This is a high quality front-end device that’s well priced. Rental companies will like the flexibility of the ‘media feed’ dual-purpose design while anyone putting together an install will look carefully at the Splitter.

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