SPL BiG Studio: Creative Stereo Imaging Processor
A versatile stereo imaging processor with added tube harmonics.
5,0 / 5,0 | 
SPL BiG Studio: Creative Stereo Imaging Processor · Source: SPL
SPL BiG Studio · Source: SPL
The SPL BiG Studio expands on the stereo imaging concept from the BiG 500-series module, adding tube circuitry and low-end processing.
The renowned German manufacturer SPL is recognized as a leader in analogue signal processing and signal management designs for recording, mixing, and mastering workflows.
SPL BiG Studio
The BiG Studio has the same controls as the BiG 500-series, including the Range and Stage controls, for selecting the frequency range you would like to pull forward or push back into the mix, and of course, the Bigness control, which determines the amount of processing you want to use on the input signal.
To do this, the BiG Studio uses a parallel network of analogue filters in a way that goes beyond simple mid-side processing, and as a result, it creates a clean signal free from phase issues or artifacts when summed to mono. With the Harmonics switch engaged, the tube circuit is introduced to the signal path, but the light will flash if the tubes are not yet at the optimum temperature.
Once the tubes are hot and ready, you can adjust the amount of harmonics you wish to add with the Tube Harmonics control. To add more low-end punch, the Bass switch gives you access to a filter effect similar to the AirBass function of the IRON Mastering Compressor. This is a useful tool to balance the weight of your mix after you’ve added the stereo processing.
Overall, the BiG Studio is a useful tool that can be added to stereo channel groups within your mixing workflow. It could easily become a secret weapon for getting that extra bit of stereo width on backing vocals, guitars, and or your main mixbus.
Pricing and Availability:
The SPL BiG Studio is currently available for pre-order, shipping this month. Get it at Thomann.*
More about SPL BiG Studio:
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One response to “SPL BiG Studio: Creative Stereo Imaging Processor”
I have to admit, I’m a “big” SPL fan, but this new product just doesn’t meet my expectations. While I use my Big 500 every day, I’ve noticed three main issues that could have been addressed in a higher-end rack unit like this:
Limited Headroom – The headroom is too small. I understand that 120V technology has come a long way, and it could really benefit serious mastering engineers by providing more dynamic range and clarity.
Bass Boost – The bass boost is only switchable, and there’s no way to dial in the right amount of it. While it sounds good, it ends up being impractical because I can’t fine-tune the low end to suit the track. This makes it pretty much useless for serious work.
Upper Midrange Boost – The upper midrange is pushed quite a bit, which is not documented in the manual. I’d much prefer to have this as a knob control so I could adjust it as needed, rather than it being fixed and omnipresent in the mix.
The price is double what I’d expect for something with these limitations, and the tube circuitry feels unnecessary. Let’s be honest—anyone in the market for a serious final step in an analog mastering chain likely already owns a more complex tube unit. I already have a Wes Audio NG Tube EQ and an Undertone Audio Unfairchild, so I’m not sure what adding another tube stage brings to the table here.