Maselec MLA-3

Multi-band compression Analog, Analog high transparency entirely.
A crossover to select the frequency bands to be treated;
low - medium: 100 - 200 - 400 - 800
Medium - High: 1k5 - 3k - 6k - 12k.
Then we have 3 type compressors MLA2 working independently.
Entry - transformerless output, everything is transistor.
The sound quality is impeccable, not color.
Model 4 rack units (!)
Impeccable build quality: Front worthy of a tank. All knobs are slotted home, so easy to make Recall.
Input - balanced XLR outputs.

UTILIZATION

Setup is simple and intuitive:
Just set the first Cross - Over to set the bands on which you want to work.
The switch used to select listening: Bypass - compressed or listen to the tapes Low medium or high or separately, so the output of each compressor prestack.

A "Master Threshold" lowers the threshold reference all together.
The types available are oriented Mastering Ratio: 1.6 -1.4 1 -2 -3 - 6. Not allow them to work very precisely, but not compress with ratios> 6.

The input range is not huge: - 5-5. This means that we must get into it with a mix that has the correct level. Against by the input levels and output callent in 1/2 dB.

The attack time - Release are adapted in each band at the expected type of sounds:
For the bottom band: the attack is from 1ms to 200ms, Release of 0.1 to 32
Then, the higher one goes, the more time is short, so as to stick to the signal (a priori)

So, coming back in a mix, and leaving all knobs at noon, was already setting a good start and an idea of ​​the effect of multiband compression.

The Cross - Over must be set based on the content of the music, the output of the different bands can work as an EQ (at very low Q so sweet)


The finer adjustment of the attack - Threshold and release by band and less obvious, and I think takes time.

SOUND QUALITY

Indeed very transparent and efficient. I mostly tested on mix.
There are many possibilities but the first that come to mind are:
- Compress down hard without undergoing pumping effect on the rest of the spectrum.
- De-essing a mix or a voice.
- On the Piano or Guitar, able to handle the compression of different bands, with little effect on the fundamental frequencies and thus keep the Medium fuller potential.

OVERALL OPINION

I got 15 days to test and I did not finally retained (after much hesitation)
So I miss a step back from the machine but I still post the first notice.

The pros:
- Manufacturing Quality impeccable.
- All settings are serrated, accuracy of 0.5 dB.
- Compressors and tri-band Analog entirely (there are very few actually)
- Very high Transparency and Quality of Signal.
- Transistor circuit, no coloration.
- Several tools simultaneously: EQ - Compressor - De-esser.
- Edition thoughtful.
- Fair price.

The -:
There has not really, here's just why I have not kept:
- So that transparent, just, nothing magical happens to the mix and that the benefit of the tool is less obvious analogue with other tools, compressors lamp for example. After many test, I got to close results with the algorithms of the TC 6000, enough to ask me if it was really necessary to buy the beast. even if it is not theft, it's still a budget.
- I have not had the opportunity to compare it with other compressors Mastering, which also makes me doubt.
- I have not been able to compare it with converters worthy of the name: I went through the 192 i / o, I still await my Lavry Blue. Maybe it would change something at the benefit of the analog.