AMS Neve BCM Console 10 Als 10, 16, 24, 48 Channel Version erhältlich   Designed in 1969, the classic BCM10 was the ultimate tracking console for the world's premier studios. Its class A design, transformer balanced topology, and 1073® modules delivered the ultimate in audio performance throughout the golden era of studio recording.   When designing the modern BCM10/2 Mk2, Neve® engineers painstakingly reverse-engineered the classic BCM10 console. No expense was spared when sourcing original components in order to deliver the legendary Neve sound heard on countless recordings spanning the past five decades.   The BCM10/2 Mk2 introduces modern routing and monitoring options, bringing the console fully up to date for use in today’s most demanding studios, and its compact size allows this Class A legend to be housed in a premier home studio environment for artists and producers looking to access the legendary Neve sound.   Designed, manufactured, and assembled by hand in the UK, the BCM10/2 Mk2 is the preeminent console choice for discerning Artists, Producers, and Engineers and is guaranteed to delight even the most demanding ear.  Technical Overview Neve classic sound using Class A topology  Console sizes: 10,16,24, 32 or 48 channels 1073N microphone preamp and EQ module in each channel Classic voltage mixing using 1272 balanced mixing topology 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the Mix Bus Direct outputs on every channel selectable pre or post channel insert Simple Input to each channel doubles the mix inputs when mixing and also allows monitor and cue mixes 4x Auxes, 1x Stereo Cue, 1x Stereo Main Mix Bus Stereo and 5.1 monitor with passive 24 position gold plated monitor level control 3x Stereo & 1x 5.1 selectable loudspeaker output sets Comprehensive Solo system with destructive and safe/isolate modes 2x Stereo reverb returns with width, mono and balance controls & 2x mono DI to bus inputs Main Mix output insertion selectable pre or post fade with IMR (Insert Mix Return) parallel processing controls 25-way D-sub connectivity for easy installation into home or studio environments Optional side car stand on castors 

AMS Neve Genesys Black G16 Als 16, 32, 48, 64, 96 Channel Version erhältlich. Optinional 1084 Classic Upgrade.    In the beginning, there was analogue, and it was good. It was warm, it was intuitive, and Neve–with the industry’s favourite mic preamps, flying fader automation and hand-built-in-England quality and reliability–was the brand to own. If you could afford it.   Including legendary microphone preamplifiers and highly revered analogue circuit design, the extensive digital control and connectivity puts Genesys Black at the creative heart of your studio. To start, Genesys Black offers 8 channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, 8 channels of Neve digitally controlled analogue 4-band EQ,  (optional) 8 channels of Neve digitally controlled analogue VCA dynamics and optional channel and monitor section A/D/D/A conversion via MADI, AES and FireWire formats A central touch screen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an integrated footprint with internal power supply provides all the power you need Genesys Black, hand-built in our UK factory, combines superb analogue design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it’s modular, meaning you don’t have to wait until you can afford the full 32-fader system to become a Neve-equipped studio. In its basic 8-channel configuration you get 8 channels of mic/line preamps plus 16 channels of DAW control and 16-channel analogue summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring.There’s a ‘classic Neve’ look and feel to the controls, but take a closer look and you’ll see they’re ultra modern too: every switch is ‘soft’. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analogue EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you’re juggling multiple projects in your studio. GenesysControl Plugin - Automate the Console from the DAW This exciting DAW plugin for the iconic Neve Genesys and Genesys Black consoles gives DAW users the ability to connect to and control the console’s analogue hardware and also automate the EQ and Dynamics processing parameters, fader levels, channel strip settings and more.  All of the elements available within the GenesysControl plugin can be fully controlled and automated from your DAW. The GenesysControl plugin can be applied in the DAW to a mono, stereo or master track and can be assigned to control selected channels on the Genesys or Genesys Black console. The GenesysControl plugin automatically recognises the fitted Genesys analogue processing hardware and allows control & automation of all parameters of the digitally controlled, analogue Neve 1084 EQ, 88R EQ and VCA Dynamics plus Channel strip control, REV Return & 8-Track section control and Master fader control.

AMS Neve Genesys G32 (32 Input 16 Fader) In the beginning, there was analogue, and it was good. It was warm, it was intuitive, and Neve–with the industry’s favourite mic preamps, flying fader automation and hand-built-in-England quality and reliability–was the brand to own. If you could afford it. Things change. Along came digital workstation technology – less warm and much less intuitive, to be sure, but cheaper and very flexible – to put more mixing power within reach of the smaller studio. But guess what… not everything changed. People welcomed digital’s flexibility and power, but they also wanted Neve’s analogue warmth. The trouble was, that meant juggling two mixing surfaces and spending valuable control room time sorting out a mess of wiring and a mass of interface problems. We at Neve knew we could come up with a better solution. Welcome to the brave new world The brief to our design team wasn’t just to create a brand new console that encapsulates the best of both (digital and analogue) worlds. We also asked them to see if there wasn’t a way to make owning a Neve console a realistic prospect for smaller studios – without compromising on sound quality. They did it. Genesys, hand-built in our UK factory, combines superb analogue design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it’s modular, meaning you don’t have to wait until you can afford the full 64-fader system to become a Neve-equipped studio. In its basic 16-fader configuration you get 16 channels of mic/line preamps plus 16 channels of DAW mixing and 32-channel analogue summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring. There’s a ‘classic Neve’ look and feel to the controls, but take a closer look and you’ll see they’re ultra modern too: every switch is ‘soft’. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analogue EQ and dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you’re juggling multiple projects in your studio. GenesysControl Plugin This exciting DAW plugin for the iconic Neve Genesys and Genesys Black consoles gives DAW users the ability to connect to and control the console’s analogue hardware and also automate the EQ and Dynamics processing parameters, fader levels, channel strip settings and more. Click below to read more.

AMS Neve Genesys G48 (48 Input 24 Fader) In the beginning, there was analogue, and it was good. It was warm, it was intuitive, and Neve–with the industry’s favourite mic preamps, flying fader automation and hand-built-in-England quality and reliability–was the brand to own. If you could afford it. Things change. Along came digital workstation technology – less warm and much less intuitive, to be sure, but cheaper and very flexible – to put more mixing power within reach of the smaller studio. But guess what… not everything changed. People welcomed digital’s flexibility and power, but they also wanted Neve’s analogue warmth. The trouble was, that meant juggling two mixing surfaces and spending valuable control room time sorting out a mess of wiring and a mass of interface problems. We at Neve knew we could come up with a better solution. Welcome to the brave new world The brief to our design team wasn’t just to create a brand new console that encapsulates the best of both (digital and analogue) worlds. We also asked them to see if there wasn’t a way to make owning a Neve console a realistic prospect for smaller studios – without compromising on sound quality. They did it. Genesys, hand-built in our UK factory, combines superb analogue design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. And it’s modular, meaning you don’t have to wait until you can afford the full 64-fader system to become a Neve-equipped studio. In its basic 16-fader configuration you get 16 channels of mic/line preamps plus 16 channels of DAW mixing and 32-channel analogue summing at mixdown. And eight auxiliary buses, and eight group buses. And 5.1 monitoring. There’s a ‘classic Neve’ look and feel to the controls, but take a closer look and you’ll see they’re ultra modern too: every switch is ‘soft’. The benefits go far beyond letting you customize your set up to suit the way you work. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analogue EQ and dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you’re juggling multiple projects in your studio. GenesysControl Plugin This exciting DAW plugin for the iconic Neve Genesys and Genesys Black consoles gives DAW users the ability to connect to and control the console’s analogue hardware and also automate the EQ and Dynamics processing parameters, fader levels, channel strip settings and more. Click below to read more.

API 1608 II Following the introduction of the 1608 in 2008, API delivered over 600 consoles and expanders to discerning audio professionals throughout the world. New for 2018 and based on the incredible success of the original, API proudly announces the 1608-II. Equipped with an updated feature set and debuting API's new cross-platform Final Touch Automation® system, the 1608-II continues API's rich legacy of crafting the world's highest-quality analog recording consoles. Adding valuable features for today's Engineers, Producers and Musicians, the 1608-II provides the powerful reliability and the incredible API sound that has characterized API products for nearly 50 years. 1608-II Features: 16, 32, or 48 Input Channel Frame sizes Each channel equipped with Mic Pre and Equalizer Accepts API 500 Series Equalizers 8 Multitrack Buses 8 Auxiliary Buses 1 Stereo Bus 4 Stereo Returns, 100mm faders (manual or automated) with Multitrack and Stereo Bus assign Full Center Section Control Surround 5.1 Center Section Monitoring Classic Analog Metering Global 0dB Fader Bypass Comprehensive Rear Panel IO Connectivity Standard fit 16x 548B Inputs with Mic/Line and Direct Output 12x 550A Equalizers 4x 560 Equalizers 8x Echo Returns 1x Complete Center Facilities Section 16x Manual Faders 1x Stereo Fader

API Audio 2448 Designed to the same standard of excellence as the 1608, Legacy AXS and Vision consoles, API proudly announces the debut of the new 2448 Recording Console. The 2448 offers a powerful and impressive feature set including Dual Inputs on each channel, Stereo Returns and optionally, API's new cross-platform Final Touch Automation® fader automation system. The 2448 expands API's powerful line of world-class analog recording consoles and continues API's nearly 50 year legacy of combining functionality and reliability with the unmistakable warmth of the API sound. 2448 Console Features: Available in 24, 32, and 40 Channel Frame sizes Each channel equipped with Mic Pre and Equalizer Accepts API 500 Series Equalizers Each Channel features Dual Inputs (small fader rotary pot, pan, solo, mute, safe and flip) 56 Channels available to the Mix Bus - in a 24 Channel Frame 8 Multitrack Buses 8 Auxiliary Buses 1 Stereo Bus 4 Stereo Returns, 100mm faders (manual or automated) with Multitrack and Stereo Bus assign Full Center Section Control Surround 5.1 Center Section Monitoring Classic Analog Metering Global 0dB Small Fader Bypass 529C Stereo Bus Compressor (optional) Comprehensive Rear Panel IO Connectivity

API THE BOX II Project Recording and Mixing Console API successfully debuted THE BOX Console over five years ago, and its highly desirable large console sound in a compact footprint has become a favorite choice of audio pros worldwide — from commercial production facilities to home studio operations. The newest version of the award-winning BOX Console provides even more options and flexibility for modern studio workflow. Offering a total of eight input channels and eight 500 Series slots, the updated BOX Console also features LED metering for each of its 24 summing channels. The new BOX Console provides the same comprehensive rear panel  connections, full center section and monitoring as its predecessor, as well as the 0dB bypass switch on each summing channel — a feature so popular it was included in the design of API's new 1608-II and 2448 consoles. THE BOX is API's small-format solution for any studio where space or budget is limited. Using the same circuitry and components as all other API consoles (including the Vision and Legacy AXS), THE BOX provides the signature analog sound and performance users have come to expect from API. Designed and optimized for the digital era, THE BOX handles all the functions needed for production not provided by most DAWs, including mic preamps, input signal processing, high-quality mix bus, cue sends with talkback, monitor control and more. Most importantly, THE BOX offers the legendary API sound in an efficient, cost-effective package.  Features Eight (8) input channels with Mic Preamp, Line Input and Hi Pass Filter Eight (8) 500 Series slots (1 per input channel) Direct Out on Input Channels On-Board Stereo Bus Compressor w/ ability to assign to program bus or input channels 1-4 Instrument Direct Inputs on channels 1-4 Sixteen (16) summing channels (24 channels during mix) 0dB bypass switch for each summing channel 4-Segment LED Metering on each summing channel Stereo program bus with master fader, insert, and external input One (1) stereo and (2) mono auxiliary sends/buses Stereo cue send/bus & headphone system PFL, AFL, and Solo-In-Place solo modes with stereo solo bus Full-featured monitor section that supports two stereo monitor systems Talkback system Comprehensive rear panel connections with balanced inputs and outputs Integrated power supply PLEASE NOTE: THERE ARE NO EQs INSTALLED IN THE STANDARD VERSION !

Audient ASP4816-SE Premium Compact Analogue Recording Console Die auf der diesjährigen NAMM Show vorgestellte neue Audient ASP4816 Heritage Edition Konsole ist ab sofort verfügbar. Sie präsentiert sich in einem brandneuen Look und mehr Features – inspiriert von ihrem größeren Gegenstück, dem Flaggschiff von Audient, der ASP8024-HE Konsole. Von Grund auf von David Dearden neu entwickelt und mit seiner legendären analogen Schaltungstechnik ausgestattet ist die ASP4816-HE das perfekte Herzstück für Projekt- und Produktionsstudios. Zu den Neuerungen gehören die Vintage Mix Bus-Schaltung, John Hardy Operationsverstärker am Mix-Bus-Ausgang, leistungsstarke neue Ergänzungen des Mix-Bus-Kompressors – und vieles mehr. Ausgestattet mit einem echten Transformer Drive sowie einem Low Bump und High Lift EQ – inspiriert von den klassischen Mastering-Equalizern vergangener Zeiten – ermöglicht die ASP 4816-HE einen breiteren und räumlicheren Sound in der Stereo-Summe. Eine weitere Verbesserung – bekannt aus der ASP8024-HE Konsole – ist die Bass Expand-Funktion des Bus-Kompressors. Dieser brandneue Hochpassfilter im Sidechain der Kompressoren strafft Mischungen und verleiht ihnen Punch, ohne dabei die Bässe auszulöschen. Ein weiteres starkes Update sind die neuen Summenverstärker für den Mix-Bus, nämlich die diskreten 990 OP-Amps, des renommierten US-Herstellers John Hardy. Sie bieten mehr Dynamik, einen besseren Sweet Spot und Punch und verleihen dem Mix-Bus mehr Klarheit und ein wenig mehr Charakter. Zu den weiteren Verbesserungen des ASP4816-HE gehören ein Kopfhörerverstärker in Monitorqualität; Fußtasteranschluss für ferngesteuertes, freihändiges Talkback; ein überarbeiteter Mastervolumefader und ein VU-Meter zur Überwachung der Peak-Reduction der Kompressors. Features: Inline Architektur mit 2 Eingängen (Mic/Line und DAW/Tape Return) pro Kanal 16 audient Class-A Mikrofonvorverstärker 40 Fader 6 Aux- und 2 Cue-Sends 8 Subgruppen 16 Recording Busse 42 Inputs 4 Band Splittbarer EQ White LED Metering AFL, PFL und Solo-in-Place Solo-in-Front-Modus Stereo VCA Bus-Kompressor Vintage Mix Bus John Hardy 990 OpAmps Bus Compression Bass Expand Gain Reduction VU Meter Monitoring Grade Kopfhörerausgang Fusstasteranschluss für Talkback Umfangreich ausgestattete Master-Sektion Handballenauflage aus Holz Abmessungen: Breite 1090 x Tiefe 995 x Höhe 335 mm Gewicht: 90kg verpackt

Harrison Audio 32Classic Dante High Performance Design mit wichtigen Details – Manuelle PCB Layout Technik für optimierte Leiterbahnverläufe, extrem robuster Aufbau, goldbeschichtete Schalter und Summenbusse auf massiven Leiterbahnen (statt Flachbandkabel) legen den Grundstein für hervorragenden Klang, geringen Stromverbrauch und lüfterloses Design. High Performance Mono Mic/Line Kanäle – Harrison Mic Preamps mit transformersymmetriertem Vorverstärker Design und dem legendären Harrison 4-Band Parametric EQ mit variable High- & Low Pass Filtern Zeitgemäße Features und Details – optimale Intagration in Hybrid Studios durch mögliche Ablageflächen für Tastatur, Maus, Trackball etc und Integration eines 64 Kanal Dante Interface sowie 7.1.4 Atmos Monitoring   Flexible Bus & Routing Architektur mit 8 Bus Mastern für Mono/Stereo Konfiguration, 5 Aux Bussen, In-Line Recording Status, separatem Playback Pfad, Ausgangsmatrix u.v.m.   Technische Daten Verfügbar mit 32 und 48 Kanälen (Custom Built auf Anfrage) Klassischer Harrison 4-Band EQ mit High-/Low Pass Filtern Transormersymmetrierte Mikrofonvorverstärker Transormersymmetrierte Main Mix Ausgänge In-Line oder Split Recording/Monitoring Status Symmetriesche Line Eingänge/ Insertpunkte, Direct Outs Supersmoothe 100mm Premium Fader 8 Multitrack Busse, 4 Aux Sends, Stereo Cue Send 64 Premium AD/DA Wandler Integriertes DANTE AoIP interface 12 Pfad Atmos Monitoring (7.1.4) DAW-taugliches Rahmendesign Zero Fader Lock/Bypass

Rupert Neve Designs 5088 Der analoge Standard Elegant, flexibel und mächtig: das diskret aufgebaute, modulare Analogmischpult RND 5088 verdeutlicht die Philosophie von herausragender Signalverarbeitung und setzt die Messlatte für Klangqualität deutlich herauf. Die Basis des 5088 besteht aus einem erweiterbaren 16-Kanal Line-Mischpult mit 8 Buss Gruppen, 8 Aux Sends, 4 Stereo Returns und einem Stereo Output Buss. Die Kanalzüge können dabei nach den eigenen Bedürfnissen völlig frei konfiguriert werden. Hierzu können über die Module der Portico-Serie in bis zu zwei Penthouses Mikrofonvorverstärker, Kompressoren, Equalizer und mehr integriert werden. Flexibilität pur. Der 90V-Unterschied Die neue, voll diskret aufgebaute Architektur des 5088 ist die Essenz aus Rupert Neves angesammelter Erfahrung im Design von analogen Schaltungen. Speziell für das 5088 angefertigte Hochspannungs-Operationsverstärker eliminieren Übersprechen vollständig. Die neuen OpAmp-Karten bieten einen großzügigen Headroom, einen hohen Dynamikumfang und eine erstaunliche Frequenzwiedergabe, wobei Verzerrung und Rauschen extrem gering ausfallen. Legendäre Übertrager Als steter Befürworter von übertragerbasierten Designs hat Rupert Neve für jeden Aus- und Eingang eigens entwickelte Übertrager verbaut, die die Konsole elektrisch entkoppeln (Floating Ground) und den klassischen, hochwertigen Klang seiner klassischen Designs gewährleisten. Komplett modularer Aufbau Als Herzstück eines Studios muss ein Mischpult einfach zuverlässig sein, eine kompromisslose Audioqualität bieten und einen flüssigen Arbeitsablauf gewährleisten. Das zeitlose Design des 5088 wurde über die letzten Jahrzehnte hinweg entwickelt und stetig verbessert. Klangtechnisch bietet es die Spitze der bisherigen Entwicklungen von Rupert Neve. Da das 5088 vollständig modular aufgebaut ist, können Ingenieure ihre bereits vorhandenen Geräte einbinden und so ihre Mikrofonvorstufen, Equalizer und Kompressoren weiter verwenden, ohne überzählige Features bei ihrem Kanalzug mitzahlen zu müssen. Erweiterungen, Penthouses und Porticos Sowohl die Zahl der Eingangskanäle als auch die Kanalzugfeatures können beim 5088 mittels 16-Kanal Erweiterungschassis und Penthouse-Rahmen individuell angepasst werden. Durch Hinzufügen von ein oder zwei Penthouse-Rahmen können die Module der Portico-Serie verbaut werden. So erhält man beispielsweise Kanalzüge, die mit Mikrofonvorstufe, Dynamikbearbeitung und 5-Band Equalizer ausgestattet sind. Die Modulschächte über den Gruppen und dem Masterbereich können für Stereo-Buss und Gruppenbearbeitung verwendet werden, zum Beispiel Bandsättigungsemulation, Stereokomprimierung und Stereofeld-Bearbeitung. Im Gegensatz zu anderen Konsolen kann man dabei die Portico-Module jederzeit wieder dem Penthouse entnehmen und sie im Stand-Alone-Betrieb verwenden. Die Meterbridge Sowohl eine VU- als auch eine LED-Meterbridge zur Pegelkontrolle der Eingänge und der Gruppen sind für das 5088 erhältlich. Automation Eine optionale Automation kann eingebaut werden, um die 5088-Konsole mit Motorfadern und DAW Read/Write-Möglichkeit zu erweitern.  

SSL AWS δelta 948 Channel - Used - Gebrauchte SSL AWS Delta 948 Baujahr 2015 im Kundenauftrag. Guter Zustand, voll funktionstüchtig, weitere Infos und Fotos auf Anfrage, Artikel ist differenzbesteuert, entsprechend ist kein Ausweis der MwSt möglich -  The AWS 948 maintains the same 24 fader footprint as the AWS 924 (and classic AWS 900) and achieves its 48 input count via a unique Dual Path Channel Strip design where each channel has a single Mic Amp and two line level inputs, a new Stereo EQ and Stereo Insert. This new channel enables three different operating modes: STEREO MIX, IN LINE MIX and IN LINE TRACKING. These differing modes offer a wealth of workflow options that enhance today's versatile production environments; IN-LINE TRACKING is similar to the AWS 924 with either the MIC or the LINE signal providing the CHOP and Track Bus source. Normally this primary signal is level controlled by the V-Pot. However through "fader flip" it is possible to use the large fader instead. In this setup the secondary signal (DAW output/Monitor Return or the even the CH OP) goes to the Large fader. AUTO-M takes control of the RETURN switch to provide automatic monitor source switching between the channel paths, following the DAW transport status. The monitor path is heard in Play, and the input path is heard in Record or Stop. S-CUE employs automatic cue send source switching between the channel paths, following the DAW transport status, to provide full zero latency drop-in and record monitoring, a sum of both paths is heard in Play and only the input is heard when in Record or Stop. IN-LINE MIX provides identical operation to the AWS 924 channel strip with the exception that a second signal path is available as a Mix input in classic "In Line" console fashion. In this mode the Channel V-Pot acts as the second input gain control (along with the associated SOLO/CUT switches). Furthermore the V-Pots level and mute status can be automated. This allows all 48 channel signal paths level and cut automation in the analogue domain. Note that it is also possible to move the Insert into the secondary path (ideal for X-Rack processing etc). Channel configuration and Setup is accomplished via the AWS 948 onboard TFT screen and soft keys, and it is even possible to move or divide the channels processing resources (EQ, Insert etc.) between each of the dual paths. 948 Channel Features Input Section The AWS 948 Channel Input section features two balanced Line Inputs with +/-20dB of gain and a world class SuperAnalogueTM Mic Amp featuring continuous mic gain control (+15 to +75dB), phase reverse and switchable 48V phantom power. The -20dB PAD is intended for use with very high output microphones. The routing functionality of the Insert varies according to the three different operating modes. EQ Section The Stereo EQ design featured on the AWS 948 is sonically identical to the SSL SuperAnalogueTM mono Channel EQ taken from the legendary XL 9000 K Series console and its current successor Duality. It is a highly flexible 4 band parametric EQ design. HF/LF and Mid Frequency bands are independently switchable between E and G series response curves and tonal characteristics. PRE places the Insert before the EQ section. In conjunction with the dynamics CHIP and CHOP routing keys, the order of the EQ, INSERT and DYNAMICS blocks can be re-ordered. HPF - 18dB/Octave high-pass filter with detente bypass position G-EQ Curve switch - toggles between the default E-Series and G-Series tonal characteristics and control interaction with independent switches for the HF/LF and Mid Frequency bands LMF - Low frequency parametric mid-band EQ HF - High frequency shelving equalizer switchable to fixed Q parametric response via the Bell switch HMF - High frequency parametric mid-band EQ section LF - Low frequency shelving EQ Switchable to fixed Q parametric response via the Bell switch Routing & Sends Each channel has access to 2 main Stereo Busses (RECORD and MIX) in addition to 2 Stereo Cue busses and 4 mono FX sends. Every AWS Channel features a Direct Channel Output (CH OP) and can also feed 8 independent Track Busses. SSL's unique "EFX" system is present on all channels significantly enhancing creativity by allowing free assignment of send controls. Pan/Width In IN LINE MIX and IN LINE TRACKING modes the Pan control is a standard L/R pan control, in STEREO MIX mode it is a stereo Width control. For stereo signals the pan pot functions as a width controller with normal stereo image in the centre. When the pan pot is turned to the right an out of phase left component is introduced to the right signal, and vice-versa, resulting in a widening of the signal's width beyond the speakers. When the pan pot is turned left in-phase components are introduced into the signal in a similar way, resulting in a narrowing of the width with fully left being mono. Furthermore, stereo signal balance is controlled using the channel V-Pot. Digital Scribble Strips When the AWS is in analogue mode the Digital Scribble Strips display name and parameter information for the selected analogue signal path. When the AWS is in DAW mode they display DAW channel and processing parameters.

SSL AWS δelta 948 Dual Path Channel The AWS 948 maintains the same 24 fader footprint as the AWS 924 (and classic AWS 900) and achieves its 48 input count via a unique Dual Path Channel Strip design where each channel has a single Mic Amp and two line level inputs, a new Stereo EQ and Stereo Insert. This new channel enables three different operating modes: STEREO MIX, IN LINE MIX and IN LINE TRACKING. These differing modes offer a wealth of workflow options that enhance today's versatile production environments; IN-LINE TRACKING is similar to the AWS 924 with either the MIC or the LINE signal providing the CHOP and Track Bus source. Normally this primary signal is level controlled by the V-Pot. However through "fader flip" it is possible to use the large fader instead. In this setup the secondary signal (DAW output/Monitor Return or the even the CH OP) goes to the Large fader. AUTO-M takes control of the RETURN switch to provide automatic monitor source switching between the channel paths, following the DAW transport status. The monitor path is heard in Play, and the input path is heard in Record or Stop. S-CUE employs automatic cue send source switching between the channel paths, following the DAW transport status, to provide full zero latency drop-in and record monitoring, a sum of both paths is heard in Play and only the input is heard when in Record or Stop. IN-LINE MIX provides identical operation to the AWS 924 channel strip with the exception that a second signal path is available as a Mix input in classic "In Line" console fashion. In this mode the Channel V-Pot acts as the second input gain control (along with the associated SOLO/CUT switches). Furthermore the V-Pots level and mute status can be automated. This allows all 48 channel signal paths level and cut automation in the analogue domain. Note that it is also possible to move the Insert into the secondary path (ideal for X-Rack processing etc). Channel configuration and Setup is accomplished via the AWS 948 onboard TFT screen and soft keys, and it is even possible to move or divide the channels processing resources (EQ, Insert etc.) between each of the dual paths. 948 Channel Features Input Section The AWS 948 Channel Input section features two balanced Line Inputs with +/-20dB of gain and a world class SuperAnalogueTM Mic Amp featuring continuous mic gain control (+15 to +75dB), phase reverse and switchable 48V phantom power. The -20dB PAD is intended for use with very high output microphones. The routing functionality of the Insert varies according to the three different operating modes. EQ Section The Stereo EQ design featured on the AWS 948 is sonically identical to the SSL SuperAnalogueTM mono Channel EQ taken from the legendary XL 9000 K Series console and its current successor Duality. It is a highly flexible 4 band parametric EQ design. HF/LF and Mid Frequency bands are independently switchable between E and G series response curves and tonal characteristics. PRE places the Insert before the EQ section. In conjunction with the dynamics CHIP and CHOP routing keys, the order of the EQ, INSERT and DYNAMICS blocks can be re-ordered. HPF - 18dB/Octave high-pass filter with detente bypass position G-EQ Curve switch - toggles between the default E-Series and G-Series tonal characteristics and control interaction with independent switches for the HF/LF and Mid Frequency bands LMF - Low frequency parametric mid-band EQ HF - High frequency shelving equalizer switchable to fixed Q parametric response via the Bell switch HMF - High frequency parametric mid-band EQ section LF - Low frequency shelving EQ Switchable to fixed Q parametric response via the Bell switch Routing & Sends Each channel has access to 2 main Stereo Busses (RECORD and MIX) in addition to 2 Stereo Cue busses and 4 mono FX sends. Every AWS Channel features a Direct Channel Output (CH OP) and can also feed 8 independent Track Busses. SSL's unique "EFX" system is present on all channels significantly enhancing creativity by allowing free assignment of send controls. Pan/Width In IN LINE MIX and IN LINE TRACKING modes the Pan control is a standard L/R pan control, in STEREO MIX mode it is a stereo Width control. For stereo signals the pan pot functions as a width controller with normal stereo image in the centre. When the pan pot is turned to the right an out of phase left component is introduced to the right signal, and vice-versa, resulting in a widening of the signal's width beyond the speakers. When the pan pot is turned left in-phase components are introduced into the signal in a similar way, resulting in a narrowing of the width with fully left being mono. Furthermore, stereo signal balance is controlled using the channel V-Pot. Digital Scribble Strips When the AWS is in analogue mode the Digital Scribble Strips display name and parameter information for the selected analogue signal path. When the AWS is in DAW mode they display DAW channel and processing parameters.

SSL BIG SIX The Ultimate Desktop Mixer BiG SiX is the big sister to SSL's acclaimed SiX console. Although both BiG SiX and SiX are small by SSL standards they carry the same values and inherited DNA. What follows are some of the key elements that make BiG SiX a professional product for the highest quality audio applications. Fully balanced inputs and outputs All of BiG SiX’s inputs and outputs are fully balanced (with the exception of the Phones output). This means professional equipment with balanced connections can be properly interfaced allowing longer cable lengths without noise/hum pick-up penalties and the best signal to noise performance from the whole signal chain. Short is beautiful... To provide the purest audio signal paths, BiG SiX has several features not normally found on small footprint mixing consoles e.g. the channel processing is switched, allowing it to be removed from the signal path if it’s not being used. It’s definitely worth taking some time to understand the BiG SiX block diagram and reading the examples later in this manual. We hope you’ll really unlock the versatility of the console when discovering the many signal paths that are available and the multiple ways they can be used. Meter scales and response The upper LED meter points on BiG SiX’s main meters have been carefully chosen. The console is designed with a huge +27 dBu headroom and the meters have defined segments for +24 dBu and +18 dBu, this is to match the two most common 0 dB Full Scale (dBFS) alignment standards, i.e. European/EBU at 0 dBFS=+18 dBu and the US/SMPTE standard at 0 dBFS=+24 dBu ensuring optimum performance for converters and proper gain structure throughout the signal chain. The meters in BiG SiX have been designed with a fast ‘peak’ response (rise time to 60% Full Scale Deflection approx 1 ms @ 1 kHz) and a slower release time to give the ability to meter fast peaks while still being able to show useful signal levels. Converter alignment levels The sixteen A to D and D to A converters in BiG SiX are aligned for 0 dBFS=+24 dBu to give the optimal performance from the console's dynamic range. Power and power management You will have noticed that BiG SiX is powered by an external power supply with a multipin connector. This significantly helps the design and performance of BiG SiX. It moves the power supply's electromagnetic interference away from the SuperAnalogue circuits inside BiG SiX. This allows us to design the internal electronics to have a bandwidth as wide as possible and thus deliver the great phase and transient response SSL large format console users have come to expect in a very small footprint package. Another thoughtful design feature for an analogue console is how the power rails are ramped on power-up to minimise thumps on monitor and headphone outputs. Features     •    Durchgängig symmetrische Signalführung mit +27dBu Headroom (excl. Phones)    •    12 Kanäle (4 Mono, 4 Stereo)    •    4 SuperAnalogue™ Mic Preamps mit +48V/75Hz HPF    •    4 Stereokanäle mit HiZ Impedanzschalter (1MOhm)    •    Monokanäle: 3-Band EQ mit schaltbarer HF/LF Charakteristik, SSL Compressor, symm. Insert    •    Stereokanäle: SSL 3-Band EQ    •    Schnelle, akkurate PEAK Response LED Anzeigen    •    Hochwertiger 16-Kanal AD/DA Wandler mit USB-C Interface für Recording    •    18-Kanal Stereo SuperAnalogue™ Summierung    •    Summenbus mit symmetrischem Insertweg    •    SSL Bus Compressor (vereinfachte Version)    •    Hochwertige 100mm Studiofader    •    Stereo Mix Bus Summierung zur Kaskadierung von Mischpulten    •    Zwei Stereo Cue Sends    •    Mustergültige Abhörsektion mit Talkback, Local Monitoring, 2 Stereo Cue Feeds    •    Zwei Kopfhörerausgänge mit separater Quellenwahl    •    Variable B-Bus/Mute Schaltung für simple Overdubs    •    “Listen Mic Compressor” mit flexiblem Routing für Talkback u.v.m.

SSL Duality Fuse Duality is firmly established as the industry standard for large-scale professional audio production worldwide. Akin to previous generations of classic SSL consoles, Duality enables engineers and producers to work quickly and ergonomically, as well as delivering superior sonic results. It's innovative hybrid approach has found many fans, by combining a traditional analogue path and signal processing along with exceptional DAW control and integration, all within a single hardware surface. The introduction of δelta-Control launched the next evolutionary step in plug-in control for Duality, and now with integrated Fusion processing, it’s simple to add an almost limitless range of tonal character, weight and space to your mix, delivering superior sonic results on any style of production. Workflow Comprehensive DAW Workstation ControlHardware control over two DAWs simultaneously with high speed Ethernet connectivity. Fader Control From The Sweet Spot8 group faders and master fader focus, enable you make level adjustments and solos from the centre of the console. Constant Visual FeedbackNew look Channel TFT screens deliver complete optical feedback of channels status, processing, routing etc, and the innovative Eyeconix icons. Multi Operator Total RecallWith channel Autoscan, utilising the welcome real estate of the TFT screens, allowing more than one operator to recall the console. Sound Beautiful, precise SSL SuperAnalogue™ mix bussNear linear phase, flat frequency response, 0.005% THD, exceptionally low noise floor, ultra-wide stereo imaging FuseIntegrated Fusion processor -  Limitless sonic flavors for any production style Dual Mic Pre’s - SuperAnalogueTM & VHDFrom the purity of your microphone through to creative distortion and all the stops in between through the versatile Variable Harmonic Drive (VHD) circuit. SSL Bus CompressorThe classic SSL master bus compressor can work in Stereo or 5.1 mode, with useful side-chain functions for complete control. Classic SSL Processing on every channelEach channel strip features a compressor/gate, high and low pass filters and EQ (switchable between E/G series curves). Automation NEW! δelta-Control AutomationSeamless integration with all the benefits of classic SSL analogue console automation and DAW based workflow. On Board SSL AutomationThe traditional SSL automation system with all of the much loved SSL modes. Low running costs Classic SSL console benefits without the overheads of a vintage consoleReduced overall power consumption demands, minimised requirement for air conditioning and controlled maintenance costs (via standard warranties and available service contracts) all contribute to reduced overall running costs. Routing Split Signal Flow Channel ArchitectureUnique dual path channel architecture provides unrivalled flexibility for placing processing in the record/monitor paths. Flexible Bussing3 stereo mix busses and 24 track busses for flexible routing. Internal busing feature allows patch-free sub groups by allowing channels inputs to be sourced from track bus outputs. Complete 5.1 Surround SupportFull range of monitor calibration and setup options for today’s surround productions.

SSL Origin This is our ORIGIN As the latest in a long heritage of SSL studio mixing consoles, ORIGIN has traditional analogue studio workflow at its heart whilst providing the perfect partner for a modern DAW-driven ‘hybrid’ production studio. Its classic design looks back to the origin of in-line consoles for signal flow inspiration, incorporating cutting-edge analogue developments to deliver a unique sonic signature that’s still unmistakably SSL. ORIGIN is more than just the culmination of four decades of technical innovation. Because of our deep knowledge of workflow and studio integration, we also understand that a console has to provide the immediacy and well-executed ergonomics that will inspire and engage a modern studio environment. We believe ORIGIN does this and more; leading the way with a fresh look at how an analogue console compliments the latest digital tools and production techniques. Next generation analogue studio console The legendary SSL consoles of the 70s and 80s helped define studio production. ORIGIN takes these principles and combines them with a modern feature-set that bridges the gap between digital production and analogue console workflow.A purely analogue inline design, with 16 buses, E-Series EQ and classic Bus Compressor, ORIGIN breathes new life into a design classic across the whole console. The new PureDrive™ mic pre inherits the clarity and purity of previous SSL Mic Pre designs, switching character to a warm, harmonically-rich and driven tone that varies with mic pre gain. The new mix bus and mix amp architecture delivers an amazingly-low noise floor along with huge headroom. The result is a mix bus that retains the classic SSL sound, whilst bringing the breadth and space to mixes that engineers and producers love from analogue summing. Balanced insert points per channel path (both large and small fader), dedicated channel direct outputs, stem-ready 0dB fader bypass switches, plus a new configurable centre section, make ORIGIN an ideal way of adding console workflow to a modern production studio. The adjustable centre section features 12U of rack space, allowing the modular 6U master tile to be repositioned to create space for software controllers, a computer keyboard or additional outboard processing. The meter bridge can also be lowered into the centre section, enabling a screen to be positioned so all your production software can be viewed just where you need it.

SSL SIX The Ultimate Desktop Mixer Solid State Logic SSL SIX - 6-Kanal Analog Desktop Mixer  To the casual observer SiX looks like any other compact desktop mixer. Look a little closer and like all SSL consoles, SiX reveals a carefully considered feature set that is driven by an obsessive desire for total flexibility, to encompass every creative eventuality. It may be small but SiX is a classic SSL design. It carries the DNA of 40 years of true expertise in creative studio workflow. Listen to SiX and you will experience the impeccable sonic performance that is the hallmark of every SSL console. It is powerful and intuitive. Inspired and rewarding.  SiX is a condensed professional console for use in the studio, in post-production, on stage, and for podcasting. SiX offers big console sound and an impressive set of utility features in a format that is small enough to stick in a bag a go wherever you need it. SiX is stunning value; it offers two recording channels with SuperAnalogueTM mic pres, two band EQ, an essential one knob version of the classic SSL Channel Compressor, a new two-band Channel EQ, inserts and 100mm faders. There is a two-knob version of the legendary G-Series Bus Compressor on the main mix bus and the unique Listen Mic Compressor on the Talkback. In mixdown mode it is a very capable twelve channel summing system that offers analogue detail, depth and width to your mixes. The SuperAnalogue™ Sound of SSL SiX is an SSL SuperAnalogue™ design – it gives you the sonic signature of a large format SSL console on your desktop or in your backpack. Its signal path is fully balanced from front to back on everything except the headphone output. It delivers pristine, detailed audio with wide dynamic range, ultra-low noise, ultra-low distortion and superb imaging. Two Recording Channels SiX has two mono channels with SSL SuperAnalogue™ Mic’ Pre’s; these are transparent, fast and have a much wider available gain range than you would typically get on a compact desktop mixer – 66dB of gain compared to the more typical mid-40s or 50dB found in desktop mixers. They have phantom power, 75Hz high pass filter and an independent line-level input which can be switched to instrument level input with high impedance. Moving down the channel strip we have a brand-new one knob compressor circuit. This design is based on and has the same sound as the classic SSL feed-forward Channel Compressor circuit. It has a program-dependent attack time, a fixed release time and fixed ratio. Simply adjust the threshold, watch the traffic lights flash to see how much compression is happening and rely on the circuit to automatically adjust gain to match input levels. This is a cool-sounding circuit that makes it simple to dial in a consistent level and get signals sitting right in the sweet spot. Both mono channels have a new two-band SSL EQ that may be independently switched between shelf and bell curves, with different centre frequencies for each type. This approach draws upon the SSL design legacy of specifying response curves and centre frequencies for channel EQ that are immediately intuitively pleasing in their response; these curves and frequencies were selected by our team as the most “musically useful” for a wide range of sources. SiX has 100mm faders. We spent some time working on alternate fader tapers and settled on a law that gave us the most control over the most useable gain range, making on-stage level control far easier than it would be with a rotary or a 60mm fader as found on other compact mixers. Each channel has a fully balanced insert point for integrating other signal processors which is after the EQ and Compressor circuits, and like all SSLs the insert send is always active – meaning you can use this as a “dry” record send to your DAW if required. At the bottom of the mono channels we have an ALTernate input switch which can source 2 extra mono channels from a connector on the rear of the console which can be used at mixdown. Line Level Heaven SiX has two stereo input channels with -10/+20 dB trim for line sources such as synthesisers, drum machines, output from soundcards etc. These have their own balance controls and 100mm faders. If only the Left input of a stereo channel is connected (and the right left free) the channel will automatically switch to mono, panned centre. While SiX might be small it can handle a lot of inputs at mix-down! Using the two mono input and the two stereo input channels gives SiX its name, but we also have two stereo EXTernal inputs (with volume controls in the master section) which can be sent to the mix bus. Include the ALT inputs and we have up to 12 channels that can be summed into the main mix bus. Master Bus Magic SiX has a G Series Bus Compressor on the main mix bus. This uses the same circuit design as the legendary SSL Bus Compressor from our larger consoles but with a fixed ratio, attack, and release settings and a more modern quad-VCA chip. The simplified controls make it very easy to get that SSL glue and snap on whatever you push through your master bus. SiX also has a set of inserts on the main mix bus that can be used to bring external processing tools (like SSL Fusion) to your mixdown. Routing Pro SiX has a collection of professional routing & monitoring features taken directly from our large format console heritage. It has two Stereo Cue buses (with level and pan controls) for individual artist foldback mixes. The Master Section has main and alternate monitor outputs with a proper monitor source matrix, as well as mono check, dim and cut. The fader channels all have proper PFL and a Mute button that routes the muted signal to a ‘Bus B’. Bus B can be used as a convenient DAW record send but it can also be routed to the monitor matrix. This means that the muted signal can be monitored without it feeding the main mix bus and then switched in to the main mix with the Mute button – perfect for live webcasting because a remote feed can be monitored ‘offline’ and punched in to the broadcast feed. There is a talkback mic’ input with phantom power and SSL’s unique, crunchy Listen Mic Compressor, which of course also serves as a unique processing tool that delivers that classic 1980’s slammed drums sound. Key Features SSL SIX Desktop Mixer: A fully professional condensed console for use in the studio, in post-production, on stage, and for podcasting. Benchmark SuperAnalogue™ audio performance Ultra low noise : ultra-low distortion : pristine sound Stunning Record Path Two SSL console grade SuperAnalogue mic pre’s Classic SSL Channel Processing Essential versions of SSL Channel EQ and Dynamics The unique Listen Mic Compressor Nothing slams drums quite like it! Professional Routing & Monitoring  The hidden versatility of truly professional features 12 Input Summing at Mixdown 12 line level inputs with channel and Master Bus inserts Legendary Master Bus Compressor An essential version of the incredible SSL legacy Completely balanced signal path Everything except the headphone jack is fully balanced

SSL XL Desk 24-Kanal Analogpult  XL-Desk is a modern twist on the classic analogue studio console. It's designed for tracking or mixing engineers who require an analogue console within a DAW centric studio, but don't want or need the integrated DAW control and analogue level automation other SSL console products have made the new hybrid studio standard. XL-Desk is in many ways a traditional 24 into 8 analogue console but it packs in an incredible collection of features. It has 20 channel strips: 16 dual input mono (switchable between main input or DAW return) and 4 stereo channels. The first eight channels have VHD mic pre's. There is an 18 slot 500 format rack built in that can be used for processing or mic pre's. XL-Desk ships with a legendary SSL Stereo Bus Compressor module in slots 17 & 18 (hard wired to Mix A). The rack has its own dedicated high spec' power supply. There are four main Mix Buses (A, B, C, D) with buses B, C and D able to be summed into Mix A. The Buses and channels can access the 500 rack and each have a separate insert point for processing. There are two mono aux sends and two stereo return inputs. Direct outputs on every channel, stereo return and mix bus enable convenient stem printing. Each channel has a Cue Stereo Bus section (with Pan and Volume) used to provide one of the headphone mixes while tracking. At mixdown the mono channel DAW return signals can be routed to the CUE ST bus and then summed into Mix A, so there are 16 main faders + 16 Cue ST inputs + 4 Stereo channels providing 40 summing inputs (using the stereo returns and insert Sum functions you can squeeze in over 50 summing inputs). There is also a fully-featured monitoring section with bass management (3 sets of speakers + subwoofer), Foldback A and B with individual talkbacks for headphone mixes and a built in Listen Mic input + classic compressor circuit, with its own direct output. Features: 20 + 1 fader, over 40 input SuperAnalogueTM SSL console 8-built in Variable Harmonic Drive (VHD) preamps 16 dual input mono channels (switchable between main input or DAW return) 4 stereo channels (switchable to mono for tracking) The legendary Stereo Bus Compressor, with new high-pass filter sidechain 18-slot 500 format rack built-in, accessible from channels or mix busses In addition to a 500 rack insert each mono channel also has a standard insert point 4 stereo Mix Buses with their own insert points and access to the 500 rack One stereo and 2 mono aux sends. Two dedicated stereo return inputs Direct outputs on every channel, stereo return and mix bus for stem printing Fully-featured monitoring section with bass management Foldback A and B with individual talkbacks for headphone mixes Built in Listen Mic input + classic compressor circuit, with its own direct output AFL and Solo-In-Place solo modes, with Solo Clear and Solo Safe (Protect) modes Balanced D-Sub rear panel inputs/outputs & Front panel headphones & iJack sockets High quality internal PSU VHD Pre's: XL-Desk features 8 of SSL's patented Variable Harmonic Drive (VHD) microphone preamps, built-in to the first 8 channels of the console. The VHD pre can deliver clean SSL grade recordings but also features the VHD circuit used in our acclaimed Duality console* which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre's give the user the ultimate versatility from a studio grade preamp. Whether it's ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver. Features: 8 channels of high-quality, SSL microphone preamps with 75 dB of gain Switched VHD circuit - introduces either 2nd or 3rd harmonic distortion or a blend of the two for enormous tonal versatility 48V phantom power 20dB Pad on input for line level signals Hi Z switch toggles impedance between 1.6K and 10K for different microphones *Note: Duality has two different channel inputs; the SuperAnalogueTM mic pre (as also featured in the AWS and X-Rack Mic Amp Module) and a VHD input. XL-Desk uses the VHD input circuit not the SuperAnalogue mic pre. Channel Strips XL-Desk may be compact but it features all of the classic SSL channel strip features which make our consoles so versatile and accommodate such a wide range of production requirements. XL-Desk has 20 channel strips. The first 16 channel strips are dual input mono, meaning they can be switched between a main input and a DAW return whilst tracking. The Remaining four strips are stereo channels. Channels 1-8 have VHD mic pre's. Channels 9-16 are line level but can use the 500 rack for mic inputs if desired. Each mono channel can access a corresponding 500 format module and also has a separate traditional Insert point. The four stereo channels cannot access the 500 rack and do not have Insert points. All of the channels have an additional Direct Output to facilitate printing processed material to your DAW and this can be switched between pre-/post fader. Each channel has a +/-20dB Trim control which can be used in a couple of ways: for VHD channels in can be used to control the output level from the VHD into the channel when using heavy distortion, when used with a 500 rack module it can be used to drive the level into the inserted module. There is a phase invert switch. Beside the Trim control is a tri-colour signal indicator LED. The metering on XL Desk can be switched between +24dBu and +18dBu Scale to give the following LED settings. Each channel has a CUE Stereo section with Level and Pan Controls and a pre/post fader switch. When tracking this would typically be used to feed one of the headphone buses. The mono channels have an ALT button which switches the CUE ST section to sourcing its signal from an additional rear panel ALT input, which is then summed into Mix A. This ALT input means we have 32 inputs to the mono channel strips for Mixdown. There are two Mono Aux Sends (globally switchable pre and post fader) and two Stereo Returns (the Returns also have Direct Outputs for DAW printing). Each channel has a Pan/Balance Control and buttons for routing to the four Mix Buses. Completing the channels are 100mm faders which give hands on, precise level control. Features: 16 dual-input mono line inputs channels with 100mm faders 4 stereo line-input channels with 100mm stereo faders Tri-colour signal level indication LED on every channel Phase invert switch Direct Channel Output switchable between pre and post fader on each channel '500' button can insert associated 500 slot into the channel Regular Insert Point (send always active) - 'INS' button CUE Stereo section, switchable between pre and post fader on each channel 'ALT' button sources second channel input to the Stereo Cue Bus, providing 16 extra summing inputs on mixdown Aux 1 and Aux 2 globally switchable pre and post fader Pan/Balance Control Mix Bus A, B, C, D routing buttons SOLO and CUT buttons. Solo system can work in solo-in-place 500 Format Slots For many of our users combining different tonal characteristics from a range of analogue equipment by a selection of manufacturers is an integral part of their sound. The popular modular '500 format' facilitates the use of a wide range of analogue processing modules from different manufacturers. So, built into the penthouse of XL-Desk is an 18-slot 500 format rack. This rack can be loaded with any combination of SSL or third-party 500 format modules, as desired by the user. The in-built 500 rack offers the user the opportunity to add their own favourite sonic flavours to their SSL console, whilst keeping it all within arm's reach. The XL-Desk rack has its own dedicated power supply, separate to the power supply for the rest of the console. Unlike many stand-alone 500 format racks the XL Desk rack has a very highly specified power supply which should deliver sufficient power to accommodate your selection of modules. SSL cannot guarantee compatibility but has tested this rack with over thirty different modules. Each of the mono channels of the XL-Desk (1-16) has access to its own corresponding slot in the rack and the channel strips access them via a '500' Insert button. The four Stereo channels cannot access the 500 rack. Slots 17-18 are hard wired to Mix A to accommodate a stereo mix bus compressor and XL-Desk ships with these slots pre-loaded with 500 format module version of the legendary SSL G Series Bus Compressor. The console will ship with a new version of this module which features a sidechain HPF. The four Mix Buses can also access rack slots 9-16 (in stereo pairs) although the Mix Buses and mono channels 9-16 cannot use the rack slots simultaneously. The inputs and outputs of module slots 1-16 are accessible via standard DB25 connectors on the rear panel. This does mean that the modules are not hard wired into the mono channel strips 500 Insert send/return, but the console does ship with a set of external DB25 jumper cables to facilitate this approach if required. The advantage of our opting not to hard wire the rack into the channel signal flow is of course that if desired (and we do recommend this), the rack can be connected to a patchbay for ultimate flexibility and creating chains of patching between 500 modules. Furthermore, this means that the 500 rack can be used 'standalone'. The 500 rack can also accommodate stereo modules that comply with the pin 6 link specification - the switch to assign an odd/even pair of slots to stereo operation is internal so must be set before the module is fitted. Features: 18-Slot 500 format rack in a 16+2 configuration Slots 17-18 pre-loaded with the SSL Bus compressor (featuring sidechain HPF) Stereo-link switch available for odd/even pairs (for modules that comply with the pin 6 link specification) +/- 16.5V DC +48V DC High quality internal PSU, with over specified power supply  Mix Busses Designed by the team behind Duality and AWS, XL-Desk delivers the kind of stunning audio quality only associated with SuperAnalogueTM SSL consoles. XL-Desk provides the sought after separation, clarity and punch behind thousands of hit records made on SSL consoles. Everyone agrees that the sonic magic of an SSL console happens at the Mix Bus but one bus is not always enough! Many high-profile mixers use multiple mix busses to create parallels or sub-groups of instruments, helping them to compress and manipulate sounds in unique ways. These 'tricks of the trade' are some of the most effective to help take a mix from 'good' to 'great'. XL-Desk provides no less than 4 mix busses - A, B, C and D. Mix A is the master bus, from which the final stereo mix is derived. This has its own 100mm fader. Mixes B, C and D each have their own level control and crucially, the ability to sum into Mix A. All 4 Mix Busses have Direct Outputs for DAW printing, separate standard stereo Insert points and have the ability to access slots 9-16 of the in-built 500 format rack. Features: 4 stereo mix busses (A, B, C and D) Mix A has 100mm fader, stereo insert point, access to the G-Comp bus compressor and access to 500 rack slots 9-10 Mix B, C and D - Can be routed to Mix A, with independent level controls, stereo insert points, access to 500 rack slots 11-16. Monitoring: The monitoring system of any professional music environment is one of the most important parts. XL-Desk offers a pristine, SuperanalogueTM monitoring section, packed with useful features. There are three sets of stereo monitor connections (Main, Mini 1 and Mini 2) plus a sub connection. These are controlled by a front panel button matrix with individual Level controls. The sub connection has bass management: When the SUB is engaged, the bass management sums left and right signals through a 3rd order low-pass (high cut) filter at 80Hz and sends the sum out of the Sub monitor output. Also, 2nd order high-pass (low cut) filters are inserted into the selected left and right monitor outputs. The bass management on XL-Desk is intelligent. It will remember if the SUB button is on or off for each speaker set. The Monitor Source can be selected from; Mix A, a separate External rear panel input or the front panel iJack input and a Mono button folds down these monitor sources to mono if desired. A Monitor SUM button allows any combination of these to be summed and monitored. There is a large Monitor Level control and an associated DIM button (with DIM Level control), CUT button and an AFL Level control. Having clear and easy communication between the performer and the engineer/producer is crucial to the smooth creative flow of a recording session. XL Desk has two Foldbacks with individual Level controls and Talkback. Foldback A is fed by the CUE Stereo and Foldback B is fed by Aux 1. MON buttons below each Foldback's level control override the default Foldback source (Stereo Cue or Aux 1) and replace it with whatever is selected as the main monitor source. This is really useful for quickly playing back the studio control room mix to the performer(s) in the live room. There is an in built talkback microphone with a Talk button and Level control. A set of DIP switches on the rear panel allow the TALK button to be configured as latching or momentary. Also, Talkback can be set to either SUM with or REPLACE the existing signal. A Listen button allows the engineer to monitor a live room listen mic if one is connected and this too has a Level control. XL-Desk also includes the classic SSL Listen Mic Compressor. This is an aggressive compressor ideal for ensuring a very strong signal from the live room listen mic but can also be used as a process effect to create the classic heavily compressed 80's drum sound which was created using this circuit. The XL-Desk Listen Mic Compressor has no controls, it is simply always on and it has a dedicated external output to facilitate its use as a process effect.  Features: 3-way speaker selector - Connect 3 sets of speakers up to XL-Desk Bass Management with filtering - Connect a subwoofer to extend your low-end monitoring. Intelligent bass management automatically switches in or out with each speaker set. Large blue monitor level pot with variable DIM and CUT Rear panel external input and front panel iJack input to Monitor section Monitor bus Mono foldown and monitor source sum Front panel headphone jack 2 solo modes for channels - Solo-in-place (SIP) or After-fader-listen (AFL) 2 Foldbacks - individual talkback to two separate headphone mixes High-quality in-built talkback microphone mounted into the console's front surface. Listen Mic input and compressor circuit - allows a dedicated 'listen' microphone to be set up in the live room, so that the engineer can easily hear what the performers between takes. In addition, a discrete Listen Mic output is available for recording 'that' legendary heavily compressed sound!