Manufacturing & Technical Services
for Professional Audio & Video Facilities



The level and frequency settings use stepped switches making repetabliity easy. There is an input level control so you can adjust the audio signal before equalizing to help prevent clipping, and an output level control to readjust the gain of the signal with equalization. There are bypass and a phase reverse switchfor each channel. The EQ in switch turns the entire equalizer on or off. The high frequencies (8Khz, 10Khz, 12Khz, and 16Khz) can be switched between shelving or peak EQ with 10db of boost or cut in 2db discrete steps. The low frequencies (30hz, 60hz, 100hz,and 150hz) are shevling EQ with 10db boost or cutin 2db discrete steps. Mid 1 and Mid2 are peak equalizers with frquencies overlappingby 1/4 octaves and have up to 14db of boost or cut in 2db discrete steps . The high pass is an 18db per octave low cut filter variable from 30hz to 300hz. The HP filter switch allows on/off control independent of the EQ in switch. The circuits are designed to musical scales, not to mathematical relationships and the variable "Q" circuits maintain the tonal balance as the amplitude is adjusted.




Transparency, Dynamic, Clarity and Wide Image.

I am a producer, a composer, and a mixer engineer and I mostly work with acoustic, vocal and instrumental classical music. I have tried serveral summing mixers before: SSL, Neve, Tonelux, Dangerous. Each one has interesting attitudes and coloration, depending on gain settings ect. The RED48 does not color but slightly sweetens the transients in a pleasant and sophisticated way, respecting, body and full dynamic of whatever material you send though it. I am actually summing 16 channels only, with fantastic results in terms of clarity, image and musicality. Soon I will be summing 40 channels. Many presttigious colleagues claim that the true benefits of summing start manifesting when working with (at least) 16 channels or above. The absence of faders and pan knobs might look like a limitation but actually makes mix recall fast and accurate. The stereo buss insert allows a limiter to glue your mix, for example. The remote controller is great. I just wish there was a mono switch, and this is the only minus I can think of. 4 stereo input-sources, alternate speakers, cue mix and talkback. I do not need a speakers manager so far. At this price, it is almost a miricale.
Thank you Glenn
Leo-Z from Los Angeles on April 15, 2016.

TB4M





Note about the RED48
Esteemed colleagues:

As an in-demand studio musician and recording artist, sound quality is of primary importance. While I have been very happy with Pro Tools HD for years, there was always something missing from the sound. In general, the overall sound lacked depth, clarity, and warmth. All of that changed with the installation of the Coleman Audio RED48. For the first time in my digital music career, the sound opened up, it is warm, has depth, and the stereo field is three-dimensional. Now the nerve center of our facility, the RED48 was instrumental in our new productions. Dr. Ed Calle Presents Mamblue and World Music 5 = America. Nominated for a 2015 Latin Grammy Award for the best instrumental record, the two-CD release Dr. Ed Calle Presents Mamblue is receiving accolades from radio, musicians, and listeners, They’re extremely positive feedback on the sound of Mamblue is a true testament to the power of the RED48 and the magic it helps us capture and share with our listeners. Thank you Glenn for bringing the music back to life. Warmest regards,
Ed

Dr Eduardo J. Calle (EdD, DHEL)
Five time Grammy nominee
2015 Faculty awards.org Best Professor - Miami Dade College
2014 United Teachers of Dade Champion of Education - Entertainment and the Arts
2013 King of Carnival Miami
Tenured Full Professor of Music Business and Production - Miami Dade College












Glenn:

I felt it was time I dropped you a line to tell you how absolutely delighted I am with the M3PH MKII I purchased from you over 5 years ago.
As a professional voice actor (retired aeronautical engineer), I have had a home studio for the past dozen years. The learning curve in terms of selecting the finest components and gaining proficiency in the art of mixing has been a long and fascinating one. Having multiple sources and two pairs of monitors (currently Neumann KH310 and Klein and Hummel M52), I figured one of the first things I needed was a clean monitor controller. I tried out several other units (passive and active; some more expensive than yours) before I finally discovered the Coleman. And what a brilliant find it has been.
What made my pursuit of 'perfection' all the more difficult is that I am an avid audiophile to boot (my home stereo system cost over $50K). Cursed with insatiable passion for signal 'purity', I went about systematically assembling my studio setup to sonically approach the level of my main system. From the very rudiments cables, (exclusively Gotham) every component I currently own has passed my own rigorous set of litmus tests, and proven itself to sound the best to my ear, It has been, nominally, a cost-no-object excirsize with whose results I am exceedingly happy. (I can envisage further improvement only by upgrading my main monitors to ATC SCM25A's which will happen soon).
This interminable pursuit, understandably, has compelled me to traverse vast swaths of pro-gear terrain, dozens of mics, preamps, gates, expanders, AD to DA converters, recorders, power conditioners, and such to get to my current state of studio audio nirvana. I am pleased to report the only piece of equipment from my early days that has stood the test of time (and comparative evaluation), never left me wanting in the least, and remains firmly anchored to my rack is your M3PH MKII.
Frankly, regardless of what other changes I may make going forward, I can not see the Coleman leaving my system in the foreseeable future. The M3PH MKII (along with my loyal Lynx Hilo AD/DA converter), has found a permanent and pivotal place in my studio. It is one brilliant piece of kit for which you deserve hearty congratulations. Thank you for a truly exceptional product.

Kind regards,
Nila

NILA SAGADEVAN
Author Narrator Educator
Warpaint of the Gods
Essential thinking for the new millennium


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Pro Sound News: A view from the top.



TapeOp.jpg

Behind the gear.

A little bit of the history behind Coleman Audio.
Tape Op article written by Holly Lane.



MCIyears.jpg

The years at MCI

The years I spent at MCI were invaluable for my company Coleman Audio. Since MCI did everything in house I learned how it was done, from the begining to a final product, the right way.
On line Tape Op article written by Holly Lane.



QS8





The new Coleman Audio QS8 takes control room management to the next level. In a tracking session it eliminates the latency issue and gives you cue mixing capabilities to satisfy the most demanding artist. More me in the headphones at the turn of a knob. Of course you need talkback so you can tell them to do it again. A talkback mic is included along with a slate output (trk 1, trk 2) and remote switching jack to activate the talkback. When it's time to mix the QS8 becomes an analogue summing box with four stereo inputs summing to a balanced stereo output you can record back to your DAW for the mix track. When you want to listen back it's passive signal path with stepped attenuator won't add any noise, or coloration, just your program. It's everything you need..


QS8

Hey Glenn
So here's a pic of my QS8 as the center hub of my setup.
Allows me great flexibility bringing together two different
converter card outputs, summed together for overdubs,
mix downs, headphone cues and just simple routing.
With digital where it is today, QS8 is the new high end
"analog mixing board".
Love it.


Mark
224-392-7938
Mark@IllinoisMediaGroup.com
iMaster Studios
www.iMaster-Studios.com
www.IllinoisMediaGroup.com
.