SIMMONS SPM 8:2 PROGRAMMIERBARER ACHTKANAL 19" 1HE Rack MIXER MISCHER MIT MIDI 19 Zoll mit nur 1HE !! Midi Programmable Mixer - 8 Channel!
Hallo zusammen,
Sie bieten auf einen TOP technischen gebrauchten Drum Simmons SPM 8:2 19 Zoll 8 Kanal Rackmixer, mit nur 1 HE Programmierbarer Midi Mixer !! Midi Programmable Mixer - 8 Channel !
Versicherter Versand via DHL kostenlos innerhalb Deutschlands.
Versicherter Versand EU Länder Zone 1 zusätzlich mit 29,00 € Porto
absolute Rarität
aus vergangenen Zeiten für Liebhaber.
Weitere Infos bitte der Homepage entnehmen.
Wegen Hobbyaufgabe zu
verkaufen: 19" Mixer, für Drummer entwickelt, aber auch für andere Musiker
geeignet,
Der Clou an diesem
Mischer sind die analogen Synthesizerfunktionen, die jedem Kanal zugemischt
werden können.
Für Fans von
"abgefahrenen" Sounds und Musiker, die gerne mit Space- und
Discosounds der 80 er Jahre arbeiten.
Die Merkmale: 19",
eine Höheneinheit, 8 Kanäle, von denen nur ein Kanal sichtbar ist, die anderen
können angewählt werden.
Volume, Pan, FX1 Send, FX2 Send, Bass, Mid, Mid Freq. Triebel
und die analogen Synthi-Funktionen
Kaskadier bar, ab
speicherbar, Datensicherung über Batterie,
Das Gerät habe ich
getestet und ist funktionsfähig.
Mit Netz Stromkabel EU 230 Volt, wird Top gepolstert seht Dick verpackt damit
beim Transport keine Schäden entstehen !
Das Gerät befindet optisch und technisch in einem sehr guten Top Zustand siehe Bilder !! technisch geprüft!
bei Fragen einfach mailen.
1
11.
Versicherter Versand via DHL kostenlos innerhalb Deutschland
2. Für EU Länder Zone 1 zusätzliche Porto und Versand
Gebühr 29,00 €
Alles wird
zum Versand in stabilem Karton TOP gepolstert verpackt !!
Schaut nach meinen Bewertungen und anderen
Auktionen um evtl. Porto Versand Gebühren zu sparen, meine Artikel wie zum
Beispiel:
Mackie SRV 2402 VLZ PRO Live Studio 20
Kanal Mixer ; dazu ein Multicore 24 / 8 mit 30 Meter ; oder ein Yamaha MG206 c
20 Kanal Mixer 19", oder Mackie 19 Zoll Mixer 1604 VLZ Pro, oder eine
Shure SLX 4 Wireless Funkstrecke ; oder Shure SLX2 Wireless Sender Mikrofon wie
Beta 58, SM 58, SM 86 usw.; Antennensplitter Shure UA 844 ; Shure SLX4 Guitar
Gitarre Bass Wireless Funkanlage Set mit Shure SLX1 Bodypack Sender ; oder nur
ein Shure SLX 1 Bodypack Wireless Sender S6 + R5; oder eine Ersatzantenne Shure
UA400 für SLX Serie und andere ; oder Simmons SPM 8:2 19 Zoll Midi Mixer; oder
eine Weller Lötstation WTCP-S mit Lötkolben Neuzustand ; Weller Lötstation
WECP-20 mit LR21 Lötkolben Neu antistatic ; Weller Lötstation WS 50 mit Nagel
Neuem Lötkolben LR 21 ; oder ein Einsteiger Gesangsmikrofon Set; oder 6 X Niedervolt
Fassungen MR16 GU4 G4 GU5.3 MR11 Sockel Niedervolt 12V Halogen Lampe
LED; oder für Gugge Musik ein Schlagzeugwagen Tama, Mapex, Paiste, Dixon
usw. Vielleicht ist noch was anderes dabei ?.
Und nun wünsche ich viel Spaß beim Bieten
!
Specifications und Technische Daten
Treble cut/boost: |
+12dB |
IVR mix output: |
Line level 3V PP. |
Effects sends 1 and 2: |
Line level 3V PP. |
All inputs: |
Line level 3V PP |
Signal/noise ratio: |
>78dB |
Total harmonic distortion: |
0.2% |
Basscut/boost: |
+12dB |
Mid cut/boost: |
+15dB |
Mid centre frequency: |
600Hz-6KHz |
Processor type: |
8031 |
Program ROM: |
32 Kbytes |
User battery packed RAM: |
8 Kbytes |
Cassette dump frequency: |
1200/2400Hz |
Hier noch einen
Bericht über diese Kult Rarität Gerät in Englisch
Music Technology -
Mar 1987 |
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This sleek rack-mount unit
offers all the features current sub-mixers offer, plus some new ones. But does
its compact format work against its usability? Review by Rick Davies.
YOU ONLY HAVE to look at the effects racks
which tend to go hand in hand with today's keyboard player's setup to get an
idea of how greatly things have changed since MIDI came along.
First of all, almost every rack-mount digital effects device is programmable,
or features multiple factory-supplied presets. MIDI has
become almost a prerequisite for these units, and though many users may not
know exactly how they're going to take advantage of the DIN jacks at first, the
word on the street is that they will need it at some time or other, so better
safe than sorry.
Second, effects are no longer in the rack alone; many chorus and DDL circuits
are now built into synthesisers as patch-programmable features, and this is
being extended to include digital reverb and EQ processing in machines like the
new Roland D50, as a result of musicians showing a desire to have all their
sound goodies (generating and processing) in one box.
By the same token, it seems that nearly every keyboard synthesiser is also
available in rack-mount form, now that manufacturers have recognised that many
musicians would rather not pay for more keyboards than they need.
Simmons have been putting their electronic drum brains in rack-mount form for
some time now, yet it still may come as a surprise to find that they are also
responsible for the most compact programmable, MIDI-equipped eight-channel
mixer we've ever had the chance to examine.
Perhaps even more surprising is that the SPM8:2 retails for under £600, without
sacrificing features such as equalisation and effects sends, and even offers
some features which have yet to appear on most non-programmable mixers in the
same price range.
While the SPM8:2 is well suited to the needs of electronic percussionists
wanting to reduce the size of their setup, it could also be an attractive
prospect for keyboard players wanting to extend the programmability of their
instruments all the way to the final blend of their various synths and samplers.
The inclusion of
THE SPM8:2 IS housed in a 1U 19" rack-mount chassis, into which Simmons
have managed to fit an astounding assortment of controls. The rear panel barely
has room enough for the eight 1/4" inputs and corresponding input trim
knobs, the two effects send/return pairs, left and right audio outputs,
footswitch input, and MIDI In and Thru sockets, but it manages.
Of all the controls on the SPM, only the input trims and the master output
levels are non-programmable; all other controls are stored in 64 program
memories, arranged in two groups of four banks of eight programs. Four LEDs
indicate the selected program bank, while a single-character LED display shows
the current program, the display's decimal point indicating whether group 1 or
group 2 is selected.
The only way to call up a program from the SPM itself is by stepping through
them with the up/down switches. A bit cryptic perhaps, but since chances are
that the SPM will be a slave to some other MIDI controller (in many situations,
at least), random access to programs is possible over
AT FIRST SIGHT it may be hard to believe that the SPM could do more than simply
control signal levels and pan positions. Yet the SPM features three-band EQ
(with parametric midrange controls), two effects sends, auto-pan, an LFO
modulation source, and a variable crossfade rate per channel. To achieve this,
Simmons have done what many synth manufacturers began doing several years ago:
reduce the number of physical controls to save panel space and reduce costs.
Rather than resort to the typical "parameter/value" approach, which
would drive anyone crazy if implemented on a mixer (potential Yamaha DMP7 users
please note), the main controls over the mix are in the form of a row of 12
clearly marked knobs, the first eight of which have dual functions. From left
to right, these control the level, pan, two effects sends, low-frequency EQ (-/+
12dB range), midrange EQ (-/+ 15dB), midrange frequency (600Hz-6kHz), treble EQ
(-/+ 12dB), LFO speed, amount, and mode (more on this later), and finally the
crossfade rate.
In other words, the controls which are typically laid out as one column on a standard
mixer have been arranged as one row on the SPM. Rather than duplicate these
controls for each of the eight audio channels, they operate on one mixer
channel at a time. This means that a glance at the front panel cannot inform
you of all the current control settings, but since the SPM is intended for
pre-programmed use (ie. you only work on the mix once, then recall the settings
as needed), this is a compromise worth accepting to keep size and cost down.
LEDs below each of the first eight knobs indicate which of the eight channels
is being adjusted. For example, when the LED below the FX1 Send knob lights,
channel 3's controls may be adjusted. The Chan up/down switches (to the right
of the program number display) step through the eight channels, and with a
ninth position being "no channel selected".
"Storing
edited mix programs is more involved than storing programs on synthesisers,
since the SPM forces you to step through the programs before you can store a
new mix."
In this last case, none of the channel LEDs is lit, and the first eight knobs
control the levels of the eight channels. This is handy when a fast level
change is needed in performance to balance the mix, since there is no need to
fuss with selecting the right channel. At any moment, the SPM can control
either all eight levels, or individual channel settings. Just keep in mind that
this compromise in controls will free several spaces in your rack.
While the two effects send and return/pan controls are straightforward enough,
the LFO and Xfade controls may puzzle some players. The LFO section provides a
sine wave modulation source with variable frequency and mod amount, and four
modulation modes. The first mode (LFO Mode knob set to 1) uses the LFO to sweep
the audio input across the stereo image to a variable degree; mode 2 applies
the LFO to the frequency of the midrange EQ for wah-wah-type effects; mode 3
(not to be confused with the MIDI mode, of course) uses the input signal level
to "auto-pan" the signal from one output to the other; and mode 4
does the same as mode 2, but also uses the input signal level to alter the LFO
speed - the louder the input, the faster the LFO. Although these are hardly
your average mixer controls, and their usefulness is questionable, they have
been implemented unobtrusively, and the auto-pan feature in particular will be
a welcome surprise to many. Again, these controls are set individually for each
mixer channel, so it's possible to have three channels auto-panning, while
other channels have various degrees of LFO mod. Not a likely situation, but
possible.
The other unusual feature, and the last control channel control, is the Xfade
Rate. This control determines how quickly each channel's control settings
change from one program to the next. Not only does this help avoid abrupt level
and EQ changes, but it can also be used to simulate some pretty crafty fader
work when programs are changed.
Upon selecting a program, each channel's settings change at a different rate.
If it weren't for the fact that the SPM is programmable, it would take several
dozen hands to accomplish the same effect. If you're determined, a
On the non-programmable side of things, the left, right, and headphone output
(conveniently located in the centre of the front panel) levels are always under
manual control, so that these global controls needn't be adjusted for each
program should your sound system change for one reason or another.
WHEN IT COMES to programming the SPM, a few nice facilities are included. For a
start, the SPM has a Hold switch which freezes the current channel settings and
allows you to transplant them to any other channel in any program, so long as
you remain in the same program group. This is quite useful when you've spent
half an hour getting some clever mix together, then want to use portions of it
in some other program. Similarly, you can set all of any or all channel's
controls to a "flat" condition as a starting point if desired.
When it comes to actually storing mix programs, the SPM does get a bit tedious
to work with, since it does not offer random access to the 64 programs by
itself. So, storing edited mix programs is a little more involved than storing
programs on most synthesisers, since the SPM forces you to step through the
programs before you can store a new mix. If you wish, rather than use the
program up/down switches to step through the programs, you can use footswitches
to do the same job, providing they use a stereo 1/4" plug to suit the
SPM's footswitch input.
It appears that program back-up is only possible using the SPM's tape interface
which uses the
Speaking of program selections, if you're going to control the SPM over
The only trouble I came across with
THE OTHER MAIN drawback of the SPM8:2 is an
obvious one - its controls are limited, so the user has to spend a bit of time
getting used to it. And since the programmed positions of the knobs cannot be
read, it can be tricky (though not impossible) to figure out which control is
having which effect on the mix. The trade-off is the programmability with real
knobs against using the parameter/ value approach in order to make each control
value visible. It's a matter of using your ears, rather than your eyes.
But the possible applications of the SPM are endless, and the range of effects
available in this device, which claims to be a mixer but is actually rather
more, are pretty impressive. I can see how owners of Simmons drums will benefit
by coupling the SPM's programmability with the vast array of programmable drum
kits, and at the same time, Simmons are now going to reach keyboard and guitar
players, or for that matter, any musician using electronic instruments or
effects.
Overall, the SPM8:2 is amazing. No, it's not going to replace studio or live
consoles. But for performing musicians, it could make life much easier - and
interesting, too.