It’s the timeless debate. A digital control-surface will help with ergonomics and workflow, keeping all audio “in the box,” while going with analog can provide unmatched character and color. This decision comes down more to your sonic preferences than it does budget. There are good choices out there in both analog and digital domains for almost any budget-range.
Are you ready to go with an actual console or control surface?
Analog or Digital
It’s the timeless debate. A digital control-surface will help with ergonomics and workflow, keeping all audio “in the box,” while going with analog can provide unmatched character and color. This decision comes down more to your sonic preferences than it does budget. There are good choices out there in both analog and digital domains for almost any budget-range.
Control Surfaces
In terms of control-surfaces, there are some very smart and advanced digital systems out there now, made by Slate Digital, Avid, SSL and others. Audio does not actually pass through the surface, but instead of having to use a mouse, you have tactile control over the DAW’s parameters. You’re mirroring the DAW functions on the screen…faders, mutes, pans, sends, etc…with an actual analog-like user interface. For many, this makes working far easier and quicker. Audio is typically flowing in and out of the computer via an external interface.
Budget Considerations
First of all, do you have the right budget? A $10,000 used console needs a $15,000 budget; there’s shipping, servicing and installation costs. It’s not sexy and no one likes to pay for it, but cabling is not free, far from it. We have all-to-often seen novice console buyers get in a pickle by buying the desk and then not having the proper resources to do all the other necessary things
CONSOLE BUYERS GUIDE
If you are like many recordist nowadays, you may be gearing up to get away from mousing and clicking, and ready to go with an actual console or control surface. It’s a big decision, and one that cannot be made hastily or without a solid knowledge-base under you. What do you need to know, and what are the right questions to ask? PAD Group, with decades-deep experience selling, servicing and installing hundreds and new and used consoles, is here to help guide you in the right direction.
ANALOG vs. DIGITAL
ALL DIGITAL CONSOLES
There are essentially two types of digital systems; console and control-surface. A digital console, like an AMS Neve 88D or SSL C300, handles all audio, routing, effects and automated mixing functions within the digital domain. Typically these desks have high-quality A to D converters onboard, which digitize the audio for signal flow through the console. Ergonomically, these digital desks look, feel and behave like their analog counterparts.
CONTROL SURFACES
In terms of control-surfaces, there are some very smart and advanced digital systems out there now, made by Slate Digital, Avid, SSL and others. Audio does not actually pass through the surface, but instead of having to use a mouse, you have tactile control over the DAW’s parameters. You’re mirroring the DAW functions on the screen…faders, mutes, pans, sends, etc…with an actual analog-like user interface. For many, this makes working far easier and quicker. Audio is typically flowing in and out of the computer via an external interface.
ANALOG CONSOLES
Most of us know the reputation of analog. Desks like Neve, API, SSL and Trident have been household names for decades. These consoles have a sound. They have color. They have character. SSL and API give you punch. Neve and Trident give you thickness and opulence. If analog is your direction, there is a world of new and used analog consoles out there of all different shapes, sizes and sonic character. Which one is the best fit for you? If you have say, $15K to spend, do you buy a new budget desk for that price, or buy a vintage classic that was pushing $100K when it was new?
HYBRID CONSOLES
One of the nicest trends over the last few years is the advent of analog consoles with smart DAW control, meaning your audio stays all in the tone-rich analog domain, while you have convenient full DAW facilities at your fingertips to replace the mouse. The faders on the console control both the analog audio and the DAW mix data. Examples of these would be the Neve Genesys desks, and the SSL AWS series.
DIGITAL TOTAL RECALL & RESET
One of the features of DAW that we take for granted is that it is total reset and total recall. Load your file from last week’s session and in seconds you’re back where you left off. And it’s easy to program your mix to be fully automated to the ‘enth degree. So how does that work with a console? If you’re on a DAW control surface or digital desk, the manual moves you make on the surface control the moves on the DAW screen, and of course are recorded, recalled and replayed by the DAW. Your hands can move on. The mix can recall and reset the console. There’s a 100% mirroring and it’s ergonomically great not to have to mouse around.
ANALOG AUTOMATION SYSTEMS
But what about an older analog desk? Usually the technology is old enough to where the automation might be wonky or totally off-line. In that case you can do the mix-moves in the DAW, and play the tracks out through the console channels with the console faders set at unity. You’re still getting the sonic benefit of the analog circuits. This is why you often see analog studios that also have a DAW control surface sitting next to the console.
Conversely, many analog studios are essentially using the DAW as a “tape machine”. The faders in the DAW are set at zero, no moves, no plug-ins, output set 1 to 1 to the console channels, using the console to do the mixing, either manually or by console automation. In many cases, the analog console owner must live with the reality of manual recall and reset. It’s going to take more time and effort, but analog believers say it’s 100% worth it. Good thing we have digital cameras on our phones to photograph our settings. Many analog consoles, most notably SSL, have a feature called Total Recall, (a name they own and trademarked in 1969). While this can recall the mix, it does not reset the faders knobs and switches on the console. At least TR gets you half-way there, showing you the image on the screen of where the knob was in your mix, and where it is now. It blinks green when you match it up.
PREOWNED
It’s a big decision. Going “out there” in the open market and buying a used desk can have high risks. The first time-buyer may not recognize red-flags, or even know all the questions to ask.
HOW MANY CHANNELS DO h4 NEED?
Keep in mind that more analog console channels means more channels of digital converters. A pro mixing specialist may have 64 discrete DAC outputs from his DAW, and he’s not using cheap converters. So it’s key to think about what the right number of mixing channels will be. We see a lot of 32 channel mixing rigs, using the Antelope Orion 32 channel converter, which is reasonably priced and sounds solid. A matching console will need 32 or more channels, accounting for effects returns. However, you may be happy to sum your mix out to 16 or 24 great sounding analog paths to help fatten up your mix. Not to mention there is the physical size, weight and footprint of the desk itself to consider
BUDGET CONSIDERATIONS
First of all, do you have the right budget? A $10,000 used console needs a $15,000 budget; there’s shipping, servicing and installation costs. It’s not sexy and no one likes to pay for it, but cabling is not free, far from it. We have all-to-often seen novice console buyers get in a pickle by buying the desk and then not having the proper resources to do all the other necessary things.
TECH REPORT
Do you really know what condition the console is in? That’s where a Tech-Report comes in. Hiring a qualified and impartial technician to inspect the console before money changes hands is STRONGLY recommended. A tech report may cost you a couple hundred dollars, but it is money well spent.
SHIPPING & INSTALLATION
Whether you purchase a new or used console, there’s going to be shipping, which, if you use the right kind of shipper, can cost anywhere from$500 to two or three thousand. Then there’s getting the console in your door and assembled in place. There’s power and wiring up the desk, any necessary troubleshooting and servicing, and finally commissioning. All of these steps along the way have costs. As mentioned earlier, a $15K total budget buys a $10K console. We don’t know anybody who likes paying for these necessary steps, but we also don’t like unhappy surprises. All this is an essential part of the commitment of buying a real console.
PATCHBAY & WIRING
Any time you invest in a high level console, you need to consider the wiring and patch-bay element. This is not an afterthought type of issue. It has to be pre-planned and built in to the budget. A good patch-bay along with installation and wiring can cost as much as $10K. Even consoles that come with an onboard bay need to be wired in to your room - not always easy or cheap. That’s why buying from a reputable service-based company, with competent technicians is key. If buying a used desk get all the information about the bay and what cabling comes with the desk. Often, you can get a package deal which includes the price of the console bundled with a service and installation plan, and even a warranty.
DO YOUR HOMEWORK h4 BE READY
We have seen may times a first-timer who wanted a used SSL, for instance, but was not aware of everything that is part of an SSL system. There’s a tall rack of power supplies and computer that must live in a climate-controlled space, for example. There are minimum power requirements. To connect to the console patchbay, all your gear needs to be wired to Cannon DL multi-connectors. Basically, buying a used SSL or Neve or API requires a certain level of infrastructure that unfortunately some buyers learn too late. It is rarely if ever a plug-and-play scenario. Either way you look at it, buying a preowned console is a commitment.
SMART SHOPPING
A smart buyer should be looking to work with a company that can service, support and warrantee the used console. Working with the right seller from the start is key. You can discuss what you’re looking for, your budget, logistics, etc, with an experienced consultant that knows the used console landscape, and can guide you through tech-report, purchase, refurbishment, delivery, installation and provide after-care. Often this level of seller may offer a bundle deal that includes all of the above. This is where you really find the added value, and can save some money and trouble in the end. Plus, it’s a lot easier for the buyer to deal with one person throughout the process than multiple. You’ll have an agent looking out for you, who has your back at all times.
NEW CONSOLES
There is always the option of buying something new, and fortunately there are plenty of good choices on the current market. Let’s look at analog and hybrid desks first. What are the features you need? How many channels is enough? Good mic-pres? Solid center-section with monitoring? On board patch-bay?
PROJECT BUDGET TO $25K
Stripped down summing with hi-quality sound can be found
with API’s 16-input “The Box.” Conversely, the Audient ASP
4816, which has loads of features including DAW control.
The new Trident 88, Aurora Audio’s beautiful all Class-A
“Sidecar,” and the SSL XL Desk are other offering in this
market segment. In a class by itself is the SSL Matrix 2,
which has full DAW control and Superanalogue sound, but is
a line mixer only; it does not have mic preamps. All of
these boards have their upside, primarily great sound, but
none has a patch-bay,
for example. That means you’ll
have to add an external bay and will need to budget for
that.
API The Box
Building on API's rich heritage of extremely highquality recording consoles, THE BOX is a small-format recording/mixing console designed for professional project studios, home studios, and production facilities of all kinds. 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, without the redundant capacities of larger consoles. Most importantly, THE BOX provides the legendary "all discrete" API sound in an efficient, cost-effective package.
Aurora Audio Sidecar
The Aurora Sidecar. Fifty years of electronic design and production experience, 40 of those years specializing in Class A discrete audio equipment, and 15 years of everyday practical experience by the Aurora Audio team manufacturing Class A discrete audio electronics used all around the globe, Geoff Tanner brings to you his highest achievement yet. A magnificent piece for the audio professional, the Aurora Sidecar delivers 10 channels of pure Class A discrete fury complete with 4 band EQ and super thick, transformer coupled two bus output for the user. Each channel of the Aurora Sidecar features Aurora Audio’s renowned DI input, individual analog VU metering, direct channel output connectivity, bus assign switching with pan, and top of the line Penny+Giles (P&G) faders.
Audient 4816
SP4816 provides the key features of a large format recording console in a compact, cost effective form. Designed by audio guru, David Dearden and featuring Audient’s legendary analog circuitry, ASP4816 is the perfect center piece for production studios and educational facilities. The main input channels feature Audient’s renowned Class A preamp and 4 band EQ - a combination found in hundreds of ASP8024 equipped studios where many users no longer feel the need to reach for their outboard preamps and EQ. In addition, the console also features 40 faders, 16 bus routing, 6 auxes, 2 dedicated cue sends, 4 stereo returns, stereo bus compressor and a comprehensive monitor section
MIDDLE OF THE RANGE TO $60K
There are a few very nice options in this budget zone. You might call it a sweet spot in terms of sound-quality and bang for buck. Given that professional consoles were once a $100K and over proposition, buying in to a good analog desk is more now affordable than ever.
Audient ASP-8024
A fully analog in-line desk that comes in buckets of 12, Heritage Edition features solid sounding mic-pre, sweet British EQ, and an SSL style VCA mix-buss compressor. The HE revision adds a “retro-iron” feature where you can insert Carnhill transformers in to the mix buss, introducing a classic British chunk to the tone. Other options include inboard patchbay and Dual Layer DAW control module.
API 1608
One of the more popular and best-sounding small analog consoles to emerge in the last decade, API’s 1608 is based on their vintage 1604 “sidecar” of the 1970s. Starting at 16 channels and scalable up from there, the all-discrete desk has a 312-style mic-pre on every channel as well as an on-board 20-slot 500 series chassis. The base model fitted with 16 API EQs starts at $50K. Double the size to 32 and add the optional automation, and the console hits $100K mark.
AMS Neve Genesys Black
AMS Neve’s recently-introduced Genesys Black might be the perfect hybrid console. It marries the modern DAW control with the famous British tone of lore and legend. Like the API 1608, it starts in a 16- channel frame size and can build from there in eightchannel buckets. The base GB has eight 1073 classic mic-pres, digitally controlled analog EQ, and super-smart touch-screen DAW control. Option upgrades to Neve 1084 EQ, dynamics, and AtoD modules are available.
PRO BUDGET, $60K PLUS
If you’re a pro studio competing in this business, these
are the top-flight desks that will bring business in your
door,
with high-performance and sound quality for
days.
AMS Neve BCM-10
More a reimagining than a reissue of Neve’s legendary 10 x 2 sidecar, the new BCM10/2 MK2 gives you all the auditory glory of the classic, with updated routing and monitoring features never found on the original. Loaded with ten 1073N mic-pre/EQs and plenty of 1272 line-amps throughout, you also have upgrades like direct outs on each channel, a pair of 2264a buss compressors, 4 mono aux sends, stereo cue, dual inputs per channel, and even 5.1 monitoring. The MK2 comes in 10, 16 and 32 channel models; no automation, patchbay not included. Pricing starts in the $60k’s.
AMS Neve Genesys
The hybrid Neve Genesys grafts together superb Neve analogue circuitry with hands-on DAW control and connectivity for Pro Tools, etc. Being modular, 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 Genesys offers 16 channels of 1073 mic/ line preamps, plus 16 channels of DAW mixing and 32- channel analog summing at mixdown. There are eight auxiliary buses, eight group buses, and even 5.1 monitoring. Genesys has 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,’ meaning all settings can be saved and instantly recalled/reset. Encore automation provides moving faders for analog mixing and/or DAW control. These are just the top of the list of Genesys’ huge feature set. Expandable to 64, patchbay not included.
AMS Neve 88RS
Sir George Martin calls it “The Rolls Royce of consoles,” and deservedly so. AMS Neve’s 88RS is the elite analogue console in the world today, and the first choice of many top-level professionals. Known for it’s peerless fidelity, the 88RS is built not just for traditional mixing, but for film scoring and surround as well. The desk’s 100kHz analogue bandwidth surpasses 192khz digital recording quality, and has been engineered to deliver recordings at the purist conceivable quality onto any format at any sample rate. There are no VCA’s in any audio path, including the monitor section. 88RS is Neve’s completely new electronic and mechanical design, while based on classic Neve attention to audio quality and ergonomics.
-
Highlights include:
- In-line design
- Stem mixer
- Eight track scoring panel.
- Encore Plus automation with recall
- Acoustically streamlined frame
- Soft knee compression
- Remote mic amplifier option
- With or without patchbay
The Neve 88RS starts at 24 channels (48 mix inputs) and is expandable by 12-channel buckets.
API LEGACY AXS
API’s Legacy consoles have been going strong since 1989. The newest incarnation is the Legacy AXS analog recording and mixing console. Featuring the traditional API analog signal path, the 24-buss AXS also offers a powerful feature set, including a 500-series bay with 550A and 560 EQ’s, fader and mute automation, a 2500C master buss stereo compressor and 200 type modules on every input (212 mic pre, 225 compressor, 235 gate, and more). API’s are known for their fast, midforward sound. The Legacy AXS can be built from 32 to 80 channels in 16 channel buckets. Pricing starts in the mid $100K range.
Custom Series 75
In the world of purely analog desks, the CS75 by Burbank Audio Systems has no rival at its price point; starting in the $60K range. Essentially, the console has the guts of a Neve 8078, one of the most legendary and sought after desks in recording history. The made-in-the-USA CS75 is licensed by Neve to build certain vintage circuits, so you get authentic Neve sound in a modern context, with up to date routing and monitoring functions. The channel amps are 1081 pre/4-band EQ modified to Class A (the original Neves were Class A/B), along with a pair of 2254e centre section compressors. This one is a true analog hunk of iron, with no DAW control. A factory patch-bay is available, and automation is in development for the future.
SSL AWS948 Delta
Not to be outdone, Solid State Logic, the other major UK-based console builder, offers beautiful hybrid desks as well, getting your hands on smart DAW control, and your ears on hyper-clear Superanalogue sound. In the $90K to $100K range you’ll find the very popular AWS948, a 48 input dual inline board in a small footprint. The AWS workstation gives you the best of both worlds both without ANY compromise in either sound quality or range of functions. Analog-wise, the 948 is a complete 24-channel/8-bus standalone mixer with 48 analog inputs. You get 24 hi-fi SuperAnalogue mic pres, stereo line-level inputs, a stereo 4-band EQ, and a stereo compressor — all drawn on the tried and true SSL tech that mixed thousands of hits. THEN, push a button, and the fader bank instantly becomes a smooth, moving-fader control surface for your DAW, including comprehensive plug-in control! Price without patchbay, just under $100K
SSL Duality Delta
SSL Duality Delta, SSL’s flagship hybrid analog/ digital system has become a worldwide industry standard for large-format professional consoles. The new-gen Delta Control delivers seamless SSL analog console automation and DAW based workflow. Duality sizes go from 24 to 96 faders, expandable in 24 fader buckets. Price begins well in to the $100K’s
CONTROL SURFACES
Tactile interfaces that make the DAW workflow a dream.
Slate Raven Z3
The RAVEN Z Series of Multi-Touch Production Consoles offer a state of the art workflow center for the Elite Modern Studio. Choose from two models, the fullsize Z3 or Z3C, our more compact offering. Both models feature a center 46” multi-touch panel and two 27" multitouch panels along with the Slate Control fully analog monitoring system. The Z3 series can be configured according to the client's needs with specific rack spaces and locations, custom colors, and much more. Having three world class multi-touch panels allows engineers, producers and artists to have an extremely versatile workflow with a variety of options.
Slate Raven Core Station
At Slate Media Technology, one of the most common requests we've received is for a genuine piece of RAVEN furniture designed to compliment the MTi. We knew we had to offer a solution that was elegant, versatile and cutting edge, but also affordable. What we came up with exceeded our expectations. We're happy to introduce the RAVEN CORE Station. The CORE Station is a beautiful console enclosure made by your partners at Zaor and exclusively distributed by Slate Media Technology, that can come stock with one or two MTi second generation touch screen consoles. Current MTi2 users can get a Core Station through any Slate MT dealer. We are also in the process of developing a retrofit version as well for MTi1 owners as well as optional add-ons like spaces for rack gear.
Avid Artist Control Avid S3
While their S6 falls at the upper end of the budget range, Avid offers a whole suite of more affordable tactile control tools. For around $1000 there is the Artist Control, a small desktop, go-anywhere controller with four faders and a touch-screen. The S3 is a 16-fader EUCON based controller which also has a 4-in 4-out audio interface and comprehensive control over faders, bussing, transport, and plug-ins. S3 has a list price of $4,999.00.
Avid Dock
Avid Dock is another EUCON protocol controller which can be used as a stand-alone device or in conjunction with Artist or S3. It employs an iPad as its touch screen, and comes in at $1,200 not including the iPad
Avid CI24
Avid CI24 has been around for over a decade, and is a popular controller that looks and feels very much like a real analog console. The 24 fader controller also comes with 16 hi-quality mic preamps and a full monitoring section that includes 5.1. CI24 runs $9,999.
Avid S6 | M40 & M10
Avid’s flagship control surface, the S6, is the result of combining it’s previous technologies, the S5 and ICON, in to one super control surface. The result is far and away the most advanced and immersive DA Workstation in pro audio. The modular, scalable system enables you to build your own version, or purchase a pre-configured model. The list of features of the S6 is huge, and includes EUCON automation, center touchscreen, center automation control, full control over plugins, advanced routing and monitoring, and much more. The illuminated, color-coded soft controls (real knobs) and plasma-style metering give it ergonomic ease and make it really cool-looking in dimmed control rooms. Two versions of S6 are offered, the M10, starting below $20K, and the M40, starts in the $60K range for a 16- fader system.
Fully Digital Consoles
Ergonomically they tend to look and feel like analog
consoles,
but under the hood there’s a whole lot of
digits flying around.
Presonus Studio Live
Among the most popular and affordable alldigital mixers on the market is the PreSonus Studio Live Series, now in its third generation. The compact, USB-based consoles come in 16, 24 and 32 channel sizes, and are packed with a plethora of parameters and can be used for stage or studio. You get motorized faders, a newly re-designed “Fat-Channel,” Sonically solid Class-A mic pres, remote control by iPad or iPhone, full recall/reset, and even stand-alone recording via SD card with no computer/DAW attached. Studio Live comes with PreSonus “Studio-One” DAW software, (will work with a host of other DAWs), and a suite of sweet plugins. Series III pricing ranges from $1,999 to $2,999.
Midas M32 Behringer X32
The Midas M32 carries the respected Midas name in to the digital mixer world with impressive results. Although Midas is known for live sound reinforcement, this compact console could easily adapt to a DAW-based studio environment. This 40-channel Digital Mixer boasts 32 Midas Preamps, 25 Mix Busses, 25 Midas Pro Motorized Faders over 50 Built-in Effects, 7" TFT Display, and 32-channel, 48kHz USB 2.0 Audio Interface. For $3,999, MM32 has already become an industry standard in FOH. The Behringer X32 is a 40-input digital mixer with all the features you’d expect, and maybe some you don’t, not the least of which is 32 high-quality mic preamps designed by Midas, along with 16 XLR aux sends. While the X32 tends to be geared for live mixing, there is no doubt it could be applied to the project studio user. For $1999 it’s hard to beat.
AMS Neve 88D
Neve does not just make great sounding analog consoles, they are also at the forefront of digital console design. The 88D is arguably the finest digital desk available. Using classic Neve transformer mic inputs and gigabit-linked Super High Definition converters, the Neve 88D represents the pinnacle of digital console design and brings the legendary Neve Sound to contemporary music production. 88D combines a DSP engine capable of mixing 1000 tracks at 96kHz with classic 1081R mic preamps, dedicated 8.1 surround monitoring of multiple sources and the latest Encore Plus automation for efficient and creative mixing. Entry level price on the highly configurable 88D is $130K
SSL C300
SSL’s large scale digital desk is called the C300, and offers many of the same features that the Neve 88D has. C300 displays an ergonomic work surface with excellent visual feedback vertical fader stacks simplify mapping complex track layouts to a fixed console configuration, highresolution TFTs display routing and processing, direct (HUI) control of up to four DAW simultaneously, 500 inputs on mix, 128 x 8 monitor matrix, four x 7.1 monitor outputs, each with an independent 8 x 8 format matrix, and much more. Scalable and configurable, entry level price starts over $100K.
USED DIGITAL CONSOLES
Buying a used digital console can offer the benefit of getting what was once a six digit priced item for a fraction of that. The downside is that digital technology can become obsolete quickly and may no longer be supported by the manufacturer. Having said that, you might consider a used 88D, C300, SSL Axiom, Euphonix S5. Make sure you buy from a dealer that can insure the console is up and running and working properly.
SSL 9080J
Beautiful pre-owned Solid State Logic SSL 9080J recording and production console. Formerly housed in Hollywood's legendary NRG Studios, this console has had hundreds of hit songs mixed on it, including Papa Roach and Evanessence, and it's ready to pump out hundreds more. Very nice condition, professionally serviced and maintained throughout it's life, this console represents the pinnacle of large format modular console design. Fitted with 80 channels (160 inputs at mix) this console features all your favorite SSL options: Ultimation Moving Fader Automation, Total Recall, selectable E & G series equalizers, and of course the unmatched bus compressor. Includes Remote Patch Bay, Tower rack, J Series Computer, Power Supplies, manuals.
SSL Duality 48
Beautiful pre-owned Solid State Logic SSL 9080J recording and production console. Formerly housed in Hollywood's legendary NRG Studios, this console has had hundreds of hit songs mixed on it, including Papa Roach and Evanescence, and it's ready to pump out hundreds more. Very nice condition, professionally serviced and maintained throughout it's life, this console represents the pinnacle of large format modular console design. Fitted with 80 channels (160 inputs at mix) this console features all your favorite SSL options: Ultimation Moving Fader Automation, Total Recall, selectable E & G series equalizers, and of course the unmatched bus compressor. Includes Remote Patch Bay, Tower rack, J Series Computer, Power Supplies, manuals.
SSL Duality 72
Solid State Logic Duality 72, Beautiful preowned console, two years old, excellent condition. Includes total recall, automation, all manuals and current software. Also available is a complete TT patchbay system including wiring.
Quad 8 Virtuoso
If you love big, fat, detailed, analog consoles, this Quad 8 Virtuoso may be just the console for you. It is a 60 channel inline console, giving you 120 inputs at mix. 24 bus, 4 band fully parametric Equalizer with sweepable frequency and bandwidth, shelf or bell on high & low bands, HPF and sweepable LPF, and Dynamics on each channel, 8 Aux sends, 4 mono and 2 stereo aux returns, 2 stereo mix busses, onboard spectrum analyzer. Integrated Right hand patch bay.
SSL Axiom MT+
Axiom MT combined the proven technology of the A Series system with SSL's instantly familiar and world-wide accepted control surface to provide a digital multi-track console with an analogue-intuitive operator interface. 48 channel frame, Inline console with 96 channels of Analog and Digital I/O. Each channel has 48 bus assignment, full dynamics processor, 4 band parametric EQ with splittable HPF and LPF, 12 Auxiliary sends, 24 remote control Mic Pres, Bar graph meters, and console also has 3 x Mytek DDD-603 Digital meters mounted in the meter bridge. Includes Tower rack with SSL Computer, Digital patch panel, Optical storage drive, and 4 x RIO 48 channel converters (2 Analog RIOs and 2 Digital RIO’s). Also includes Full remote patch bay (12 x 96 point bays) with wiring looms attached to the patch bays. (Connectors have been cut from the cable ends but are included for reconnection).
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