| Content | Brand New, in sealed original box, never used, in perfect condition!
Tascam product info:
Built-in DSP 4 line outputs Dante converter to respond to various needs of contractor market and professional audio scene.
The ML-4D/OUT-E is a compact converter that converts Dante input signals into 4-channel line output signals. With half the size of a standard 1U rack, the ML-4D/OUT-E is suitable for different Dante systems as an exquisite analog output unit. The built-in DSP mixer enables small scale systems to fully perform with a variety of input/output models the TASCAM Dante Compact Processor Series offers. ML-4D/OUT-E supports up to 96kHz/24bit and uses Euroblock connectors for analog line output.
4 line output
4 Dante input/output
Supports PoE (Power over Ethernet)
Up to 24bit/96kHz
Includes a variety of DSP functions for optimal use in different scenes/environments (Output effects, 4 in/4 out matrix mixer)
Supports Dante daisy chain; this allows two Dante Compact Processor models to be connected without a network switch
Compatible with Dante Domain Manager and Dante AES67 Mode
Flexible scene preset function allows to work in different area situations (Up to 50 presets)
Timer event function allows to automatically switch scenes at a specified time (planned to be compatible on a future version update)
2 types of user control software available for Windows/Mac/iOS/Android devices:
For integrators: input/output routing selection, DSP/design/scene settings of the complete system, etc.
For end-users: simple app design for only the necessary functions such as area volume settings, etc.
Remote control via GPI and Dante
Half-rack mountable size
Equipped with indicators that show LAN/Dante connection status and sample rate
Equipped with signal indicators that monitor line output signals
Configurable reference level (via remote control only) | The Ultimate Desktop Mixer Legendary SSL studio tools redefined and streamlined
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. If you want to know more about the technical reasons why SSL mixers sound so good read our document.
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:
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 | Heritage Audio's MCM-8 MK2 is an 8-slot 500 Series chassis with an integrated 10-channel summing mixer. The top-of-the-line MCM-8 MK2 features On Slot Technology that leverages next-generation power electronics to handle power supply on a per slot basis. Each slot has its own power supply linear regulation stages, isolating each module from the rest. Your modules simply share the metal enclosure. Each slot even has test LEDs for checking correct power operation. Dual-concentric potentiometers handle Volume and Pan for each slot, with pan pots being center detented for precise center positioning. Each channel is equipped with an On switch to assign it to the mix bus. MK2 improvements include a lower noise floor and the addition of a bypass switch for each slot that still lets you use the summing mixer functions. Heritage Audio has earned the respect of Sweetwater engineers, and the MCM-8 MK2 lives up to that sterling reputation.
Superb build and feature set
From its RAF blue-gray enclosure to the solid tactile feedback from its knobs and switches, the Heritage Audio MCM-8 MK2 unabashedly rocks vintage British Class A vibe. And just like the classic gear that inspires all Heritage Audio equipment, the MCM-8 MK2 boasts superb build quality and a very smart feature set. There's an additional stereo input on the back panel, which allows several MCM-8 MK2 units to be daisy-chained — or signals not needing further 500 Series processing to be mixed together. The central section sports analog VU meters and a Stereo Master fader. Gold-plated XLRs and DSUB25s handle the I/O.
Smart technology, superior sound
Thanks to Heritage Audio's On Slot Technology (OST), the MCM-8 MK2's power capability is a maximum of 400mA per rail, per slot — with an overall of 1.4A (1.6A non-continuous) per rail, whichever is reached first. Total available phantom power is 140mA. The mix bus has a passive voltage summing topology, similar to that found in Rupert Neve's 80 Series consoles of the 1970s. The gain loss is restored by the same Class A, 2n3055 driven, transformer-based output stage used in the Heritage Audio's modern-day version of the classic 1073. If you're not into specs, what this all means is that the MCM-8 MK2 is built right to give you many years of authoritative sonic performance and trouble-free use in your studio or on the road.
Heritage Audio MCM-8 MK2 Features:
- 8-slot 500 Series chassis with integrated 10-channel summing mixer
- NEW lower noise floor
- NEW bypass switch for each slot that leaves summing mixer functions enabled
- Mix bus with vintage Neve-style passive voltage summing topology
- Additional stereo input on the back panel allows several MCM-8s to be daisy-chained
- Central section sports analog VU meters and a Stereo Master fader
- Handles power supply on a per slots basis, isolating each module from the rest
- Gold-plated XLRs and DSUB25s handle your I/O
- 140mA total available phantom power
- Class A transformer-based output stage
- Solid build quality for many years of trouble-free use
| Add the undeniably vibrant sound of analog summing to your DAW with the SPL MixDream XP 16 x 2 analog summing mixer. Take one of your past projects and mix it through the MixDream XP and you'll hear more depth, enhanced stereo imaging, and noticeably punchier dynamic impact. The Class A design and 60-volt rails in the MixDream XP provide amazing headroom and ultra-low noise, rivaling the sound of full-featured analog consoles. Once you've got your submixes sounding just right, Sweetwater can highly recommend the SPL MixDream XP summing mixer to take your mix over the top.
SPL MixDream XP 16 x 2 Summing Mixer at a Glance:
- Deeper, wider mixes from analog summing
- Premium analog design for top-notch sound
- Expandable for higher channel counts
Deeper, wider mixes from analog summing
While the debate over analog vs. digital summing is not new, most engineers agree that summing your mix through high-quality analog gear sounds awesome. Compared to the exact same mix summed in your DAW, you'll notice that the SPL MixDream XP sums your mix with greater depth and enhanced stereo definition, with an undeniably vibrant quality.
Premium analog design for top-notch sound
SPL designed the MixDream XP summing mixer with 60-volt rails for an outstanding 125dB dynamic range, with a very low noise floor too.The discrete Class A topology was designed to give you essentially the same sound as a high-end mixing console, in a convenient rackmount form factor.
Expandable for higher channel counts
Need more than 16 channels of analog summing? It's easy to expand your summing capabilities with additional MixDream XPs. Just use the expansion inputs to daisy-chain your MixDream XPs, or even mix and match with SPL MixDream model 2384 summing mixers.
SPL MixDream XP 16 x 2 Summing Mixer Features:
- 16-in, 2-out analog summing mixer
- Amazing dynamic range and ultra low noise, thanks to discrete Class A design and 60-volt rails
- Multiple units can be linked for surround operation
- Allows you to achieve an analog vibe that's difficult to create with plug-ins
- Ideal for mixing and mastering applications
| Brand New Midas ProX with Neutron.
In person demos are available. Shipping cost is the buyers responsibility and will be determined by buyers location. Please message to discuss shipping. If purchased without a shipping agreement in place, the buyer will be responsible for local pickup.
The Midas PRO Series family moves up a gear with the PRO X control centre and the industry-changing NEUTRON Audio System Engine. Featuring 168 simultaneous input channels and 99 time-aligned and phase-coherent mix buses, the PRO X sets a new performance benchmark in high-profile live sound applications and is a truly impressive digital control surface for the engineer whose very livelihood depends on both unparalleled functionality and reliability. Like all PRO Series consoles, the PRO X features managed latency and 40 bit floating point processing precision.
HyperMAC and AES50 audio networking technologies allow the PRO X to dynamically assign up to 288 inputs and 294 outputs at 96 kHz sampling rate to any of its input channels and bus outputs on a scene-by-scene basis. This high level of connectivity, coupled with the large channel and bus counts, makes the PRO X equally at home in theatres and symphony halls as it is in live concert touring, outside broadcast and music festivals. | While the convenience and power of DAWs is indisputable, some engineers prefer the sound of analog, particularly when it comes to mixing. That's where the Burl Audio B32 Vancouver analog mix bus comes in. Designed specifically for the digital audio environment, this summing amp lets you realize the full potential of your DAW by delivering the kind of sound quality you'd expect from a classic, large-format analog console - from a compact 1U device. Built in the USA using only the finest mastering-grade components, Burl Audio's B32 Vancouver sums 32 channels (24 stereo, eight mono inputs) to dual stereo outputs, and gives you the flexibility of a 6dB gain boost and tone-enhancing switchable output transformer.
Burl Audio B32 Vancouver 32-channel Mix Bus at a Glance:
- Large-format analog console hugeness
- Impressive Sonic versatility and ease of use
- Burl Audio: pro gear driven by an audiophile sensibility
Large-format analog console hugeness
If you've ever worked on a classic large-format analog console, you've likely got that inimitable sound stuck in your head, and the results you're getting out of your DAW may not be cutting it. Enter the the Burl Audio B32 Vancouver. With no capacitors in its discrete analog Class A signal path, this 32-channel "mix bus" embues your mixes with the hugeness, impact, spatial detail, and clarity. It gives your mixes the "glue" they've been missing.
Impressive sonic versatility and ease of use
Burl Audio's B32 Vancouver gives you impressive sonic versatility, and it's so easy to use. Aside from your left- and right-channel mix level pots, there are just two other controls for each channel - a button that engages a 6dB summing amp Gain Boost, and a button to insert Burl's BX5 output transformer into the circuit. The Gain Boost endows your mix with hugeness and slam factor, while the BX5 output transformer provides an alternate tonality (which sounds amazing, trust us). The bottom line? If you want massive-sounding mixes, the Burl Audio B32 Vancouver is a no-brainer.
Burl Audio: pro gear driven by an audiophile sensibility
At Sweetwater, we've been nothing but impressed with Burl Audio gear. Based in a professional Santa Cruz, CA recording studio, Paradise Recording, Burl is driven by an audiophile sensibility; their gear is designed by pro recording engineers, for recording engineers of all levels. The company's directive is simple: to provide you with high-quality recording equipment that will improve your recording, mixing, and mastering. Their innovative solutions not only sound amazing; they intelligently address the challenges of the digital age.
Burl Audio B32 Vancouver 32-channel Mix Bus Features:
- Discrete analog Class A signal path
- Eight mono inputs, 24 stereo inputs
- Audiophile-grade 0.1% stepped attenuators
- Switchable BX5 output transformer
- Summing amp Gain Boost
- Dual stereo outputs
- Made in the USA
|
Reviews
There are no reviews yet.