By Andrew Leyenhorst
ROAD TEST
SPL Marc One Monitor & Recording Controller
I
suppose when one refers to something being a “ complete package ,” it ’ s a rather contextual assessment as far as what needs are being catered to and the criteria being met in order for the package to actually be complete . However , when it comes to no-compromise audio monitoring control , German designer / manufacturer SPL ( Sound Performance Lab ) has truly delivered a complete package with the Marc One , which is part of its Series One line of products .
Marc One takes the core idea of its little brother , the Control One – a simple , yet high-performance monitor controller with a host of useful controls – and elevates it into a full studio hub with vastly increased functionality and convenience . The Marc One adds full class-compliant USB compatibility , as well as ü ber-resolution 32-bit conversion , supporting audio playback and recording up to a mesmerizing sample rate of 768kHz . This is made possible by the unit ’ s revered AKM AK4490 converter equipped with AKM ’ s Velvet Sound ( DSD4 or DSD256 resolutions are also supported ).
As far as monitoring goes , the Marc One can output to two pairs of monitors , switchable via a three-way toggle on the front face . Pair A specifies balanced TRS connections , while pair B specifies unbalanced TS . A subwoofer can also be added to pair A , also via balanced TRS . The Marc One also features a single pair of line outs via TS . As I mentioned , the active speaker pair is chosen by a three-way toggle on the front , which in its neutral position simply bypasses both pairs of outputs . The front of the unit also features , of course , the main output volume pot and an imaging toggle that allows users to choose between standard stereo playback , collapsed mono , or inverted stereo that flips the left and right channels .
Three more knobs are present : Monitor , the headphone amp ’ s volume control , and an interesting pot labelled Crossfeed . The Monitor pot simply allows the user to balance the Marc One ’ s output between a direct pipe of the line inputs , and what ’ s being played back via USB . At noon , it outputs both equally . The Crossfeed control dials up SPL ’ s Phonitor Matrix within the headphone amp , which is an extremely powerful tool that , in simple terms , allows the user to simulate the aural directionality of listening to speakers while working in headphones . It does this by blending the left and right channels into each other within the cans as you turn the pot , and it ’ s surprisingly confidence-inspiring when it comes to the translation of mixes .
Marc One requires a 12V power supply to run at full capacity , but also sports a secondary internal supply that generates +/ - 17V for the analog sections . In the power section as well is a -10dB dip switch to give more usable range to the main volume control , plus as a Rec 1 + 2 switch that combines the line inputs when recording .
While there are no preamps onboard , Marc One features a pair of line inputs with discrete balanced TRS and unbalanced TS jacks allowing users to patch their favourite outboard pres or channel strips into the converter for USB recording and / or direct monitoring ; for the purposes of this review , I patched in a Universal Audio LA-610 Mark II tube pre and compressor .
We ’ ve already gotten far enough into this that I ’ m just going to say outright that the Marc One sounds incredible .
I first tested it out by playing back a variety of audiophile music rips at 96 and 192kHz , and was immediately blown away ; the dynamics , the precision of the stereo imaging , the seemingly infinite amount of headroom was breathtaking to listen to . Bouncing some of my own previous mixes through Marc One brought about a degree of improvement as well , and properly working through the unit while tracking and mixing was a treat . Subtle nuances find their place more effectively , there is more depth and clarity to every sound , and it ’ s quite inspiring . These converters just rock .
The monitoring tools on offer are nicely conducive to improving workflow , as it ’ s easy to quickly switch between speaker pairs and imaging modes without any jumps or dips in volume or other annoying symptoms . The main volume pot is very smooth and precise , allowing the user to gently land on pretty much any level without having to fiddle unnecessarily .
The line inputs do their job , and sound every bit as good as whatever you run through it ; my recordings of the LA-610 sounded rich , full , and well , like the LA-610 , which is exactly what you ’ d want from your line input . No additional colouration or anything of the like , just pure and accurate tone . Unfortunately , there ’ s no actual input control anywhere on the Marc One , so you ’ re handling everything at the outboard , but I have little qualms with that considering the extremely high degree to which the unit performs in all aspects .
The headphone amp sounds excellent , and as mentioned earlier , the Crossfeed function is a paradigm-shifter that allows you to change the way you work in headphones for the better , while also improving universal translation .
Altogether , the Marc One delivers unparalleled conversion and monitor control for its price point , and everything beyond that is a bonus . It ’ s not quite a full-on interface , but with its feature set , USB compatibility , and the ability to record outboard gear , it ’ s still a fantastic choice for the discerning engineer or self-recording musician .
Andrew Leyenhorst is a Niagara-based producer , engineer , mixer , and Consulting Editor at Canadian Musician .
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