(2527,75,0,422,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M10 8-5 Modular Control Surface with Producer\'s Desk</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>8 faders, 5 knobs per channel (S6 M10-8-5) <br />16 faders, 5 knobs per channel (S6 M10-16-5) <br />24 faders, 5 knobs per channel (S6 M10-24-5) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2528,75,1,422,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M10 8-5 Modular Control Surface with Producer\'s Desk</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>8 faders, 5 knobs per channel (S6 M10-8-5) <br />16 faders, 5 knobs per channel (S6 M10-16-5) <br />24 faders, 5 knobs per channel (S6 M10-24-5) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2529,85,0,422,''),(2530,85,1,422,''),(2531,76,0,422,''),(2532,76,1,422,''),(2533,75,0,423,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 16-5 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2534,75,1,423,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 16-5 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2535,85,0,423,''),(2536,85,1,423,''),(2537,76,0,423,''),(2538,76,1,423,''),(2539,75,0,424,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>AVID S6 M40 16-9 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2540,75,1,424,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>AVID S6 M40 16-9 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2541,85,0,424,'Avid S6 M40 16-9-D Control Surface'),(2542,85,1,424,'Avid S6 M40 16-9-D Control Surface'),(2543,76,0,424,''),(2544,76,1,424,''),(2545,75,0,425,'<h1>Avid Pro Tools | S6 M40 16 Fader Control Surface (Used)</h1>\n<i>This used Avid S6 M40 16-Fader Control Surface is in near-perfect condition, showing little signs of use. This console came to us from a client\'s working studio and was very well taken care of. Save money by purchasing a pre-owned console and get the peace of mind knowing it has been fully tested and approved by RSPE Audio.</i><br /><br />\nAvid’s groundbreaking S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px none;\"><img src=\"/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br />'),(2546,75,1,425,'<h1>Avid Pro Tools | S6 M40 16 Fader Control Surface (Used)</h1>\n<i>This used Avid S6 M40 16-Fader Control Surface is in near-perfect condition, showing little signs of use. This console came to us from a client\'s working studio and was very well taken care of. Save money by purchasing a pre-owned console and get the peace of mind knowing it has been fully tested and approved by RSPE Audio.</i><br /><br />\nAvid’s groundbreaking S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px none;\"><img src=\"/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br />'),(2547,85,0,425,''),(2548,85,1,425,''),(2549,76,0,425,''),(2550,76,1,425,''),(2551,75,0,426,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 24-5 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2552,75,1,426,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 24-5 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2553,85,0,426,''),(2554,85,1,426,''),(2555,76,0,426,''),(2556,76,1,426,''),(2557,75,0,427,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 24-9 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2558,75,1,427,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 24-9 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2559,85,0,427,''),(2560,85,1,427,''),(2561,76,0,427,''),(2562,76,1,427,''),(2563,75,0,428,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 32-5 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2564,75,1,428,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 32-5 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2565,85,0,428,''),(2566,85,1,428,''),(2567,76,0,428,''),(2568,76,1,428,''),(2569,75,0,429,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 32-9 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2570,75,1,429,'<style>\nh4{margin-bottom:5px;}\n</style>\n<h2>Avid Pro Tools | S6 M40 32-9 Modular Control Surface</h2>\n<span style=\"font-size:16px; font-style:italic;\">Avid redefines mixing with ergonomically designed, user-configurable consoles that can be expanded in both fader count and rotary encoders at any time.</span><br /><br />\nAvid’s groundbreaking S6 M10 and S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M10 and S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px;\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br />   <br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>S6 Display Module</h3>\nThe Display Module tightly integrates the control surface with DAW. Not just a display, it’s a fully networked EUCON module with integrated processor that does all graphics rendering without taxing your DAW’s CPU. Long awaited by large-format control surface owners, it gives you an unprecedented level of visual feedback, including high-resolution metering (supports all Pro Tools metering modes); scrolling waveforms displayed in the track colors from the DAW; and clip names. The scrolling waveforms enhance your ability to manage large track counts in dense sessions. \n<br /><br />\n<strong>S6 Display Module at a glance:</strong>\n<ul>\n	<li>8-channel high-resolution TFT display                                                                                                           </li>\n	<li>Integrated single board computer                                                                                                                </li>\n	<li>Provides deep visual feedback, including channel names, audio meters, routing, groups, DAW affiliation, scrolling Pro Tools waveforms, and more </li>\n</ul>\n<strong>Displays include:</strong>\n<ul>\n	<li>Channel names             </li>\n	<li>Audio meters              </li>\n	<li>Routing                   </li>\n	<li>Groups                    </li>\n	<li>Automation modes          </li>\n	<li>Clip names                </li>\n	<li>DAW affiliation (and more)</li>\n</ul>\nThere are also display presets you can select at any time during the mix when different visual feedback is required. For example, you can have full-screen meters with scrolling waveforms alongside them; meters across the top with waveforms below; or meter and pan position without waveforms.\n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>System options</h3>\nThe Avid S6 frame also offers a number of system options—ergonomic extras to personalize your desk. These include:\n<br /><br />\n<ul>\n	<li><strong>Blank Panel:</strong> Cover empty module spaces with a smooth surface                                     </li>\n	<li><strong>Display VESA Arm:</strong> Mount your DAW monitor on the surface with an adjustable arm                   </li>\n	<li><strong>Producer’s Desk (2\' W):</strong> Integrate a keyboard and DAW display directly into your control surface  </li>\n	<li><strong>Sliding Keyboard Tray:</strong> Get hands-on with your computer keyboard wherever you’re sitting          </li>\n	<li><strong>Sliding Script Tray:</strong> Hold pen, paper, and your personal devices within easy reach                </li>\n	<li><strong>Speaker Bridge Mount:</strong> Place speakers in an optimal position with the S6 frame                    </li>\n</ul>\n<br />\n<h2>Avid S6 M10 and M40 preconfigured systems</h2>\nIf you don’t want to go the custom route, Avid offers a number of pre-configured S6 M10 and M40 systems to get you up and running quickly. \n<br /><br />\n<h3>Avid S6 M10 Configurations</h3>\nThe smaller S6 M10 comes in preconfigured versions only and does not support the Display Modules. \n<br /><br />\n<h4>S6 M10-based configurations:</h4>\n8 faders, 5 knobs per channel (S6 M10-8-5)\n<br /> \n8 faders, 5 knobs per channel (S6 M10-8-5), plus Producer’s Desk \n<br />\n16 faders, 5 knobs per channel (S6 M10-16-5) <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus Producer’s Desk <br />\n16 faders, 5 knobs per channel (S6 M10-16-5), plus leg assembly and Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5) <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus Producer’s Desk <br />\n24 faders, 5 knobs per channel (S6 M10-24-5), plus leg assembly and Producer’s Desk<br /><br /><br />\n<h3>Avid S6 M40 Configurations/options</h3>\nThe following pre-configured S6 M40 surfaces are available to handle most music and post workflows. You can customize any S6 M40-based surface further by adding a Producer’s Desk, leg assembly, and/or different channel module combinations. \n<br /><br />\n<h4>S6 M40-based configurations:</h4>\n16 faders, 5 knobs per channel, and TFT displays (S6 M40-16-5-D) \n<br />\n24 faders, 5 knobs per channel, and TFT displays (S6 M40-24-5-D) <br />\n32 faders, 5 knobs per channel, and TFT displays (S6 M40-32-5-D) <br />\n16 faders, 9 knobs per channel, and TFT displays (S6 M40-16-9-D) <br />\n24 faders, 9 knobs per channel, and TFT displays (S6 M40-24-9-D) <br />\n32 faders, 9 knobs per channel, and TFT displays (S6 M40-32-9-D) <br /><br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br /><br />\n<h4>There is so much more to this system that we have en entire <a href=\"http://www.rspeaudio.com/Avid_S6_a/316.htm\" target=\"_blank\" class=\"colors_productprice\">microsite dedicated to Avid\'s S6!</a></h4>'),(2571,85,0,429,''),(2572,85,1,429,''),(2573,76,0,429,''),(2574,76,1,429,''),(2575,75,0,430,'<h1>Avid Pro Tools | S6 M40 32 Fader Control Surface With Avid Leg Assembly (Used)</h1>\n<i>This used Avid S6 M40 32-Fader Control Surface is in near-perfect condition, showing little signs of use. This console came to us from a client\'s working studio and was very well taken care of. Save money by purchasing a pre-owned console and get the peace of mind knowing it has been fully tested and approved by RSPE Audio.</i><br /><br />\nAvid’s groundbreaking S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px none;\"><img src=\"/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br />'),(2576,75,1,430,'<h1>Avid Pro Tools | S6 M40 32 Fader Control Surface With Avid Leg Assembly (Used)</h1>\n<i>This used Avid S6 M40 32-Fader Control Surface is in near-perfect condition, showing little signs of use. This console came to us from a client\'s working studio and was very well taken care of. Save money by purchasing a pre-owned console and get the peace of mind knowing it has been fully tested and approved by RSPE Audio.</i><br /><br />\nAvid’s groundbreaking S6 M40 modular control surfaces bring scalability and functionality to a new plateau. Another first from Avid, the S6 is the product of a collaboration that combines the experience and expertise of Avid and Euphonix engineers, equally renowned for the creation of world-class audio systems and industry firsts. But more important than the pedigree of its designers, the features and functionality of Avid’s S6 M40 are driven by the needs and requests of audio professionals.<br /><br />\nFrom intelligent control via integrated touchscreen, to extensive visual feedback, including meters and waveform display of each channel, The Avid S6 is the world’s first control surface that lets you customize the surface to match your current and growing needs. <br /><br /><a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" style=\"outline: 0px none;\"><img src=\"/v/vspfiles/assets/images/config-banner.jpg\" alt=\"\" /></a> <br /><br />RSPE Audio Solutions’ exclusive <a href=\"http://rspeavids6configurator.com/\" target=\"_blank\" class=\"colors_productprice\" style=\"font-weight: bold;\">Avid S6 Configurator</a> lets you design a virtual Avid S6 M10 or Avid S6 M40 recording console/control surface, or select from stock Avid S6 M10 or S6 M40 DAW controllers.<br /><br />\n<h3>Avid S6 Unique Features:</h3>\n<ul>\n	<li>World’s first modular system that can be easily user-configured on-site                                                                                                                                                  </li>\n	<li>Highly cost-effective design lets you add modules and functionality as needs or budget determine                                                                                                                         </li>\n	<li>Comes in two versions: preconfigured mid-size M10; custom-configurable mid-size to large-format M40                                                                                                                      </li>\n	<li>Ergonomic design provides ability to reach more controls without leaving the sweet spot and feels like a physical extension of Pro Tools                                                                                 </li>\n	<li>Customer-driven features include thoughtful conveniences such as computer keypad and script trays that slide along the entire length of the M40 frame                                                                    </li>\n	<li>High-resolution OLED displays provide detailed channel information, such as 10-character track names, automation modes, record indicator, and more, with higher contrast in low ambient light conditions than LCD screens</li>\n</ul>\n<br />\n<h3>Avid S6 M10 and S6 M40</h3>\nLike its predecessors, the Avid D-Command and D-Control, The S6 comes in two flavors. Analogous to the D-Command, you have the smaller, more affordable M10, and the Avid S6 M40, which takes the place of D-Control and Euphonix System 5 MC.  \n<br /><br />\nWith Avid’s S6 modular control surfaces, you can select from various pre-configured S6 M10 systems, while the S6 M40 can be custom-configured to your specific requirements in not only fader count, but also number of knobs per channel, plus the addition of visual displays. And upgrading your S6 M40 doesn’t mean buying a new console; you can add various control modules any time you desire without the need for on-site technicians. It’s as close to plug-and-play, or shall we say, plug-and-mix as you can get. In fact, just like the portability of Avid’s Pro Tools software from studio to studio, you can actually bring S6 modules to another S6-equipped facility, plug them in, and mix or track the way you’re accustomed to. Only the Avid S6 M40 allows this kind of scalability and flexibility.<br /><br />\n<h3>Avid S6 M10 and S6 M40 key features:</h3>\n<ul>\n	<li>Customize the surface with only the modules you need for great cost efficiency                                        </li>\n	<li>Scale the system from mid- to large-format to match your workflow, with room to grow                                  </li>\n	<li>Mix faster and easier with intelligently designed controls, touchscreen, and intuitive layout                         </li>\n	<li>Access and manipulate multiple aspects of your mix through the master touchscreen                                     </li>\n	<li>See your mix in a whole new way with detailed visual feedback and professional metering                               </li>\n	<li>Get the deep, integrated Pro Tools® mixing control only Avid can provide                                              </li>\n	<li>Extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs                                              </li>\n	<li>Experience highly responsive, precision control with high-speed EUCON connectivity                                    </li>\n	<li>Control up to eight audio workstations simultaneously (e.g. Pro Tools, Nuendo and Logic—even from across the facility </li>\n</ul>\n<br />\n<h2>Avid S6 features in depth</h2>\nA collaborative effort of Avid and Euphonix engineers, driven by input from audio professionals, S6 offers total scalability from being able to configure number of faders and rotary encoders per channel to the addition of meter/waveform displays. Plus, there are user-requested features you won’t find in any other control surfaces, such as sliding computer keypad tray and script tray that move along the entire length of the desk.\n<br /><br />\n<h4>Revolutionary modular design</h4>\nThe words “future proof” have been used in pro audio since N.E.D.’s Synclavier was introduced in 1981. So far, instead of the promised 10 years, future proofing has lasted six months to a year at the outside—that is, until the arrival of Avid’s S6 modular consoles. How does Avid do it? By creating an Ethernet-based power frame that allows you to add modules at any time as your needs or workflow changes. \n<br /><br />\nAnd here’s where it gets interesting; these scalable modules are not just fader packs. There are six modules that comprise the S6 including: Fader Module, Process Module, Knob Module, Display Module (M40 only), Master Touch Module, and Master Automation Module. <br /><br />\nOn the S6 M40, you can add stunning visual display modules, as well as more control knobs per channel bank (or less should you desire). For example, you can have 8-channel banks with five knobs to control panning and 4-band EQ right alongside fader banks with nine knobs to add dynamics control to EQ and panning. Or, you could have channel banks with one encoder knob if, for example, you wanted to create dedicated aux or submaster channels. And of course, down the road, you could convert those single-knob and five-knob channels into full 9-knob channels depending on the depth of the S6 frame you’ve selected. (More on frames later.)   <br /><br />\nThe horizontal and vertical scalability of the S6 offers you the greatest cost efficiency by letting you start out with only what you need and no more. You don’t invest in unnecessary bells and whistles or take designer’s potluck; hoping they thought of everything you need, or accept trade-offs if they didn’t. Avid didn’t design the S6 to try to be all things to all people—just all things to one person: you.<br /><br />\n<h4>Mix intuitively with superior ergonomics</h4>\nTo create the perfect blend of knobs, faders, switches, and touchscreen, Avid engaged in extensive ergonomic research and tapped the expertise of Euphonix engineers who’ve excelled in this area with their System 5 designs. \n<br /><br />\nThat said, in long mixing sessions, you need to quickly access controls and see and reach what you need to without “wheel chair races” across the length of your console. S6 addresses these issues by bringing faders and encoders closer to the center section of the console. And for D-Command users who couldn’t reach the top row of controls without climbing over the console, S6’s narrower depth will come as a welcome relief. Quite simply, with an S6 you reach more and move less. <br /><br />\nCarrying the idea of ergonomically intuitive access forward, the S6 acts and feels like a physical extension of your software, providing a truly intuitive and immersive experience. Turn around projects faster with high-precision editing and mixing control within easy reach. Quickly access and edit plug-ins, surround panning, and more with the multipoint touchscreen, and see every detail of your mix with unprecedented visual feedback. And along with the ability to stay in the sweet spot longer, the S6 frame comes with a comfortable elbow-supporting bolster and physical topology that doesn’t obstruct the sound field. <br /><br />\n<h2>The control surface engines—master modules</h2>\n<h3>S6 Master Touch Module (MTM)</h3>\nThis is the real brains of the outfit and is required for all S6 control surfaces. The S6 MTM is a tilting, multi-touch display with eight assignable encoders. It has dedicated navigation buttons, two full-color soft key sections, and monitor section. There are two versions of the MTM: the S6 M10, which can control 10 modules, and its smarter brother S6 M40, which can control 41 modules. (Well, it’s not really smarter, just more powerful.) \n<br /><br />\nThe MTM features a 12.1\", multi-touch screen that lets you view up to 72 tracks at once in the tracks matrix view, all with colors and meters. And with the swipe of a finger you can scroll vertically through the track matrix to access the rest of your session. You can record-arm, mute, or solo tracks easily via touch. There’s also an “attention” mode that takes you to an exploded view of a selected track. At the top of the exploded track view is a high-resolution meter bridge that you can horizontally scroll through via finger swipe, bringing any bank of eight channels right to you for processing directly via the screen. Touching a meter “attentions the track. Or you can similarly scroll an 8-channel-wide matrix at the bottom of the screen (similar to the track matrix view with just a single row). <br /><br /> \nWith the ability to view, access, and edit various aspects of your mix, including tracks, panning, processing, and metering, without “mouse Olympics” or “sub-menu races,” the S6 Master Touch Module gives you absolute power (yes, you can be the swordmaster of your audio universe). \n<br /><br />\nSpeaking of universal domination, there’s a Universal Color Bar above the bottom-screen track matrix that allows you to navigate much larger sections to find the track you want and edit its parameters.  <br /><br />\n<h3>S6 Master Automation Module</h3>\nWhile this module is optional (c’mon, you know you want one), the Master Automation Module provides two more soft key sections, bringing the number of soft key sections to four—another way S6 keeps you in the moment rather than searching through menus. It sports a jog/multi-function wheel, focus channel fader with OLED display, transport section, and numeric keypad. It also has a dedicated OLED time code display in the upper right hand corner. \n<br /><br />\nWhen combined with the Master Touch Module, you have a very powerful master section that is only one foot wide, providing lots of accessible control via touch screen and combined 60 function buttons of the Master Touch and Automation modules.<br /><br />\n<h2>Avid S6—channel modules</h2>\nAs long as we’re talking modules, lets discuss the remaining four. The channel modules provide the control and feedback elements you need—from faders and knobs, to processing and metering. All channel modules feature reliable, high-speed Ethernet connectivity for easy set-up. With the exception of the TFT Display Module, they all have high-resolution OLED displays, which provide a deeper black background and brighter display than any type of LCD screen. OLED displays are perfect for environments with low ambient light, such as bat caves, man caves, and studio control rooms. Here are the modules you can choose: \n<br /><br />\n<h3>S6 Fader Module</h3>\nThe Fader Modules have a bank of eight 100mm motorized faders featuring HQ brushless motors for smooth operation during subtle fader moves. These are the same faders as those used on System 5. To keep you apprised of current status, the OLED displays show full track names and current automation mode. \n<br /><br />\n<strong>S6 Fader Module at a glance:</strong>\n<ul>\n	<li>8 HQ brushless motorized faders                                     </li>\n	<li>8 OLED displays for full track names and automation mode            </li>\n	<li>Dual tri-color LED meters per channel (with gain reduction metering)</li>\n	<li>Mute, solo, and other switches with color LEDs                      </li>\n	<li>Control levels for eight simultaneous tracks                        </li>\n</ul>\nAlongside the faders are 32-segment meter displays that also show gain reduction, plus there’s an automation delta display (automation changes).\nThere are 11 switches per channel, including mute, solo, and others, with color LEDs for easy identification. Beneath the faders, there is a row of full-color modifier keys and additional function keys that match the selected track color in Pro Tools.\n<br /><br />\n<h3>S6 Process Module</h3>\nThe Process Module hosts assignable switches for knob-module processing and bus assignments, plus eight freely assignable, multi-color LED top-lit knobs. There are 22 function-select switches per channel with color LEDs for easy identification. This module lets you select process modes (EQ, dynamics, etc.) for the knob modules, allowing control of up to nine simultaneous encoder values. The Process Module also contains eight OLED displays for labels and other visual feedback.\n<br /><br />\n<strong>S6 Process Module at a glance:</strong>\n<ul>\n	<li>8 multicolor LED top-lit knobs (one per channel)                                            </li>\n	<li>22 function-select switches per channel with color LEDs                                     </li>\n	<li>8 OLED displays for labels and visual feedback                                              </li>\n	<li>Provides mode selectors for Knob Modules to control up to nine simultaneous encoder values  </li>\n</ul>\n<h3>S6 Knob Module</h3>\nAs mentioned above, the Knob Module comprises 32 multi-color LED top-lit encoders (4 per channel) and works in conjunction with the Process Module. With control of 32 simultaneous encoder values, these knobs control EQ, dymanics, and other assignable parameters.  \n<br /><br />\n<strong>S6 Knob Module at a glance:</strong>\n<ul>\n	<li>32 multicolor LED top-lit knobs (four per channel)                                                                                    </li>\n	<li>32 OLED displays for labels and visual feedback                                                                                       </li>\n	<li>11 function-select switches per channel with color LEDs                                                                               </li>\n	<li>Works in conjunction with the Process Module                                                                                          </li>\n	<li>Control up to 32 simultaneous encoder values; stack two Knob Modules (S6 M40-based surfaces only) to get up to nine knobs per channel </li>\n</ul>\nThe Knob Module also features 32 easy-to-read OLED displays that clearly show encoder function, position, and values. There are also 11 additional function-select buttons per channel. Two knob modules can be stacked for up to nine knobs per channel (M40 only). \n<br /><br />\n<h3>Frames, Ethernet, and power supply</h3>\nWhat holds it all together is the S6 power frame, which comprises a number of 1-foot wide chassis that attach together to hold the S6 control surface modules. Each chassis has its own power supply and wiring harness to provide Ethernet and power to each module fitted in the chassis. The chassis comes in two depths: a 4-module version including display module, and 5-module version included the display module (M40 only).  \n<br /><br />\nThe Ethernet switches (differently sized depending on number of modules) are also housed internally in the frame. Once you’ve selected the number of chassis you want (from 2 to 9), bolster, back-, and side-panels are added to the frame, which can then sit on a desktop. For frames that are five, six, seven, or nine chassis wide, a leg assembly option is available for a freestanding console. <br /><br />\n<h3>Included with the Avid S6</h3>\nS6 surface (a pre-configuration or your own design) \n<br />\nS6 frame and other accessories (as specified per your pre-configuration or customization) <br />\nXMON S6 monitoring system <br />\nAll necessary cabling <br />\nOne year of Avid Advantage ExpertPlus support* with Hardware Coverage (includes 24/7 access, priority phone support, advance hardware exchange (next-day), complimentary S6 software upgrades, and more—to keep you up and running) <br /><br />\n* After one year, you can renew your support plan for continued operational efficiency—and peace of mind. <br /><br />\n<h3>Intelligent studio control</h3>\nPair the S6 with Pro Tools and you gain the Avid advantage of faster workflows, extended visual feedback, and unique features to accelerate your efficiency every step of the way. And with S6 you can extend your control to Logic Pro, Nuendo, and other EUCONTM-enabled DAWs, enabling you to mix projects on multiple workstations simultaneously and switch out sessions in seconds—all from a single control surface.\n<br /><br />\n<strong>Experience the deep DAW control that only Avid S6 can deliver. Call or chat with an RSPE representative for more in-depth information, or assistance configuring an Avid S6 control surface for your studio.</strong><br />'),(2577,85,0,430,''),(2578,85,1,430,''),(2579,76,0,430,''),(2580,76,1,430,''),(2581,75,0,431,'<h1>Used Avid Sync I/O</h1>\n<i>This item came from our client\'s meticulous, working studio and is in near-perfect condition! </i><br /><br />Accommodating the high sample rates intrinsic to Pro Tools|HD with the utmost accuracy, SYNC I/O features near sample-accurate lock to time code or bi-phase/tach signals and a 192 kHz-capable, high-fidelity, low-jitter Word Clock. In addition to support for industry-standard pull-up/pull-down rates for film and video, two 9-pin ports are included for use with the Avid MachineControl option. AES/EBU clock I/O, video reference in/thru, video program in/out, and a host of other features make SYNC I/O the most consistent, dependable solution for Pro Tools|HD installations in commercial music and post production facilities.\n<br /><br />Passes a thorough test from our own Avid Certified Technician.<br /><br />Plus, you\'re protected with RSPE\'s 6 month Platinum Warranty!<br /><br />\n<h3>RSPE Platinum Support</h3>\nWhen you purchase from RSPE Audio and Video , you can make your purchase with CONFIDENCE. RSPE Audio has been in business for over 22 years and we have built our reputation on consistent and personalized customer service and expert advise. <br /><br />RSPE Platinum Warranty for Pre-Owned Equipment covers return ground freight to you PLUS parts and labor (or product replacement) for 6 MONTHS(this item)<br /><br />This warranty covers normal use only. Damage from mis-use or loss is not covered under the Platinum coverage.'),(2582,75,1,431,'<h1>Used Avid Sync I/O</h1>\n<i>This item came from our client\'s meticulous, working studio and is in near-perfect condition! </i><br /><br />Accommodating the high sample rates intrinsic to Pro Tools|HD with the utmost accuracy, SYNC I/O features near sample-accurate lock to time code or bi-phase/tach signals and a 192 kHz-capable, high-fidelity, low-jitter Word Clock. In addition to support for industry-standard pull-up/pull-down rates for film and video, two 9-pin ports are included for use with the Avid MachineControl option. AES/EBU clock I/O, video reference in/thru, video program in/out, and a host of other features make SYNC I/O the most consistent, dependable solution for Pro Tools|HD installations in commercial music and post production facilities.\n<br /><br />Passes a thorough test from our own Avid Certified Technician.<br /><br />Plus, you\'re protected with RSPE\'s 6 month Platinum Warranty!<br /><br />\n<h3>RSPE Platinum Support</h3>\nWhen you purchase from RSPE Audio and Video , you can make your purchase with CONFIDENCE. RSPE Audio has been in business for over 22 years and we have built our reputation on consistent and personalized customer service and expert advise. <br /><br />RSPE Platinum Warranty for Pre-Owned Equipment covers return ground freight to you PLUS parts and labor (or product replacement) for 6 MONTHS(this item)<br /><br />This warranty covers normal use only. Damage from mis-use or loss is not covered under the Platinum coverage.'),(2583,85,0,431,'Used Avid Sync I/O'),(2584,85,1,431,'Used Avid Sync I/O'),(2585,76,0,431,''),(2586,76,1,431,''),(2587,75,0,432,'6416dio Digital I/O Module. The 6416dio provides 16 AES3 digital inputs and 16 AES3 digital outputs to a Pro64 audio network.\n\nThe 6416dio Digital I/O Module provides sixteen channels of digital inputs and outputs to and from a Pro64 A-Net audio network in a single 2U package, using the AES3 format. With exceptional clock performance, the 6416dio meets the needs of digital console and workstation users in a range of applications.\n\nThe input and output sections of the 6416dio module can be independently configured to operate within a specified 16-channel A-Net Slot range for maximum versatility. Input and output port assignments for Manual Mode are also independently configurable. Each channel of a 6416dio can be made active on the Pro64 audio network as needed.\n\nThe 6416dio supports all valid Pro64 system sample rates, from 44.1/48kHz± to 192kHz±. Regardless of the sample rate of incoming audio, no sample rate converters are used, guaranteeing pristine, low latency distribution of the digital signal. The 6416dio can clock to the modules internal clock, the distributed network clock, an AES3 digital input, or an external Word Clock. The selected clock is also output locally through Word Clock out as well as embedded in the AES3 outputs. If the 6416dio is set as the Pro64 network Clock Master, the selected clock is also distributed throughout the Pro64 network over A-Net, using Aviom\'s revolutionary clock dejitter algorithms.\n\nThe 6416dio is available with either BNC or DB25 multipin connectors for audio I/O. DB25 connectors for both the Digidesign/Tascam and Yamaha compatible pinouts are provided.\n\nThe 6416dio also includes I/O for Aviom\'s innovative Virtual Data Cables?. The VDCs can be used for simultaneously distributing up to 14 channels of non-audio control data to any device on the Pro64 network. The 6416dio provides VDC connectors for RS-232 or RS-422, as well as GPIO.\n\nThe 6416dio is fully compatible with all Pro64 Series products, allowing sophisticated audio networking systems to be designed, scaled, and expanded as needed. The 6416dio meets or exceeds the AES3 specifications for Input Level, Jitter Tolerance, Common Mode Rejection, and Jitter Gain.'),(2588,75,1,432,'6416dio Digital I/O Module. The 6416dio provides 16 AES3 digital inputs and 16 AES3 digital outputs to a Pro64 audio network.\n\nThe 6416dio Digital I/O Module provides sixteen channels of digital inputs and outputs to and from a Pro64 A-Net audio network in a single 2U package, using the AES3 format. With exceptional clock performance, the 6416dio meets the needs of digital console and workstation users in a range of applications.\n\nThe input and output sections of the 6416dio module can be independently configured to operate within a specified 16-channel A-Net Slot range for maximum versatility. Input and output port assignments for Manual Mode are also independently configurable. Each channel of a 6416dio can be made active on the Pro64 audio network as needed.\n\nThe 6416dio supports all valid Pro64 system sample rates, from 44.1/48kHz± to 192kHz±. Regardless of the sample rate of incoming audio, no sample rate converters are used, guaranteeing pristine, low latency distribution of the digital signal. The 6416dio can clock to the modules internal clock, the distributed network clock, an AES3 digital input, or an external Word Clock. The selected clock is also output locally through Word Clock out as well as embedded in the AES3 outputs. If the 6416dio is set as the Pro64 network Clock Master, the selected clock is also distributed throughout the Pro64 network over A-Net, using Aviom\'s revolutionary clock dejitter algorithms.\n\nThe 6416dio is available with either BNC or DB25 multipin connectors for audio I/O. DB25 connectors for both the Digidesign/Tascam and Yamaha compatible pinouts are provided.\n\nThe 6416dio also includes I/O for Aviom\'s innovative Virtual Data Cables?. The VDCs can be used for simultaneously distributing up to 14 channels of non-audio control data to any device on the Pro64 network. The 6416dio provides VDC connectors for RS-232 or RS-422, as well as GPIO.\n\nThe 6416dio is fully compatible with all Pro64 Series products, allowing sophisticated audio networking systems to be designed, scaled, and expanded as needed. The 6416dio meets or exceeds the AES3 specifications for Input Level, Jitter Tolerance, Common Mode Rejection, and Jitter Gain.'),(2589,85,0,432,'Aviom 6416dio Digital I/O Module'),(2590,85,1,432,'Aviom 6416dio Digital I/O Module'),(2591,76,0,432,''),(2592,76,1,432,''),(2593,75,0,433,'The 6416i Input Module provides 16 balanced line-level analog inputs to a Pro64 system. Audio is converted to digital and inserted into the Pro64 A-Net network. Each channel includes a four-position gain switch and three-segment level metering, and adjacent channels can be linked as a stereo pair. Audio thru connections are provided via DB25 multipin connectors on the rear panel.\n\nEach 6416i can be configured to operate within a specified channel/slot range within the Pro64 network, making complex installations easy to configure and manage. Each input channel of a 6416i can be made active and inserted into the network as needed.\n\nThe Pro64 A-Net network supports three ranges of variable sample rates: 44.1/48kHz±, 96kHz±, and 192kHz±. No matter the sample rate, all 16 input channels on the 6416i are available for use. All audio is streamed at 24-bit resolution with no data compression at any time.\n\nIn addition to its audio capabilities, the 6416i also includes the innovative Virtual Data Cables™ for simultaneously distributing up to 14 channels of non-audio control data such as MIDI, RS-232, and GPIO to any device on the Pro64 network. Every Pro64 I/O module comes with its own set of VDC™ ports that can be individually configured.\n\nThe 6416i is ideally suited as an input path for FOH returns in a digital snake, inputs into a Pro16 Monitor Mixing System (ASI module required), or line-level inputs in even the most complex audio distribution network.'),(2594,75,1,433,'The 6416i Input Module provides 16 balanced line-level analog inputs to a Pro64 system. Audio is converted to digital and inserted into the Pro64 A-Net network. Each channel includes a four-position gain switch and three-segment level metering, and adjacent channels can be linked as a stereo pair. Audio thru connections are provided via DB25 multipin connectors on the rear panel.\n\nEach 6416i can be configured to operate within a specified channel/slot range within the Pro64 network, making complex installations easy to configure and manage. Each input channel of a 6416i can be made active and inserted into the network as needed.\n\nThe Pro64 A-Net network supports three ranges of variable sample rates: 44.1/48kHz±, 96kHz±, and 192kHz±. No matter the sample rate, all 16 input channels on the 6416i are available for use. All audio is streamed at 24-bit resolution with no data compression at any time.\n\nIn addition to its audio capabilities, the 6416i also includes the innovative Virtual Data Cables™ for simultaneously distributing up to 14 channels of non-audio control data such as MIDI, RS-232, and GPIO to any device on the Pro64 network. Every Pro64 I/O module comes with its own set of VDC™ ports that can be individually configured.\n\nThe 6416i is ideally suited as an input path for FOH returns in a digital snake, inputs into a Pro16 Monitor Mixing System (ASI module required), or line-level inputs in even the most complex audio distribution network.'),(2595,85,0,433,'Aviom 6416i Line-Level Input Module'),(2596,85,1,433,'Aviom 6416i Line-Level Input Module'),(2597,76,0,433,''),(2598,76,1,433,''),(2599,75,0,434,'6416m Mic Input Module. Remote controllable 16-channel mic preamp for a Pro64 network. Now featuring m-control™ for Yamaha digital consoles.\n\nThe remote-controllable 6416m Mic Input Module provides 16 state-of-the-art mic- level analog inputs to a Pro64 system. Each channel features continuous gain control, +48V phantom power, low cut filter, phase invert, mute, and a network activation button. With a switchable pad per channel, the 6416m also accepts balanced line-level inputs.\n\nAudio settings for each channel can be configured from the front panel or controlled remotely using the optional RCI Remote Control Interface combined with the MCS Mic Control Surface. A single MCS can be used to control all 6416m Mic Input Modules in a Pro64 network or those assigned to a particular Control Group. Sixteen mic preamp presets can be saved in each 6416m.\n\nOn the rear panel, the 6416m features both XLR jacks and DB25 multipin connectors for inputs and passive splits. A-Net network connections use heavy-duty locking EtherCon® connectors.\n\nPro64 A-Net supports three ranges of variable sample rates: 44.1/48kHz±, 96kHz±, and 192kHz±. No matter the sample rate, all 16 input channels on the 6416m are available for use. All audio is streamed at 24-bit resolution with no data compression at any time.\n\nThe 6416m also includes I/O for Aviom\'s Virtual Data Cables™. The VDCs can be used for simultaneously distributing up to 14 channels of non-audio control data to any device on the Pro64 network. The 6416m provides VDC connectors for MIDI In, MIDI Out, RS232, and GPIO.\n\nThe 6416m also features the security of a rear-panel four-pin XLR connector for optional backup DC power.'),(2600,75,1,434,'6416m Mic Input Module. Remote controllable 16-channel mic preamp for a Pro64 network. Now featuring m-control™ for Yamaha digital consoles.\n\nThe remote-controllable 6416m Mic Input Module provides 16 state-of-the-art mic- level analog inputs to a Pro64 system. Each channel features continuous gain control, +48V phantom power, low cut filter, phase invert, mute, and a network activation button. With a switchable pad per channel, the 6416m also accepts balanced line-level inputs.\n\nAudio settings for each channel can be configured from the front panel or controlled remotely using the optional RCI Remote Control Interface combined with the MCS Mic Control Surface. A single MCS can be used to control all 6416m Mic Input Modules in a Pro64 network or those assigned to a particular Control Group. Sixteen mic preamp presets can be saved in each 6416m.\n\nOn the rear panel, the 6416m features both XLR jacks and DB25 multipin connectors for inputs and passive splits. A-Net network connections use heavy-duty locking EtherCon® connectors.\n\nPro64 A-Net supports three ranges of variable sample rates: 44.1/48kHz±, 96kHz±, and 192kHz±. No matter the sample rate, all 16 input channels on the 6416m are available for use. All audio is streamed at 24-bit resolution with no data compression at any time.\n\nThe 6416m also includes I/O for Aviom\'s Virtual Data Cables™. The VDCs can be used for simultaneously distributing up to 14 channels of non-audio control data to any device on the Pro64 network. The 6416m provides VDC connectors for MIDI In, MIDI Out, RS232, and GPIO.\n\nThe 6416m also features the security of a rear-panel four-pin XLR connector for optional backup DC power.'),(2601,85,0,434,'Aviom 6416m Mic Input Module'),(2602,85,1,434,'Aviom 6416m Mic Input Module'),(2603,76,0,434,''),(2604,76,1,434,''),(2605,75,0,435,'6416o Output Module. The 6416o provides 16 balanced mic- or line-level analog outputs from a Pro64 audio network.\n\nThe 6416o Output Module provides 16 balanced mic- or line-level analog outputs from a Pro64 A-Net network. Each channel includes a two-position output level switch (mic or line) and three-segment level metering. Alternate audio outputs are provided via DB25 multipin connectors on the rear panel.\n\nEach 6416o can be configured to operate within a specified channel/slot range within the Pro64 network, making complex installations easy to configure and manage. Each output channel of a 6416o can be made active as needed.\n\nThe Pro64 A-Net network supports three ranges of variable sample rates: 44.1/48kHz±, 96kHz±, and 192kHz±. No matter the sample rate, all 16 output channels on the 6416o are available for use. All audio is streamed at 24-bit resolution with no data compression at any time.\n\nIn addition to its audio capabilities, the 6416o also includes the innovative Virtual Data Cables&trade; for simultaneously distributing up to 14 channels of non-audio control data such as MIDI, RS-232, and GPIO to any device on the Pro64 network. Every Pro64 I/O module comes with its own set of VDC? ports that can be individually configured.\n\nThe 6416o can be used anywhere analog outputs are required: on stage or FOH in a digital snake, in the studio, or in even the most complex audio networks. Adding a digital split to a system is as simple as connecting an additional 6416o.'),(2606,75,1,435,'6416o Output Module. The 6416o provides 16 balanced mic- or line-level analog outputs from a Pro64 audio network.\n\nThe 6416o Output Module provides 16 balanced mic- or line-level analog outputs from a Pro64 A-Net network. Each channel includes a two-position output level switch (mic or line) and three-segment level metering. Alternate audio outputs are provided via DB25 multipin connectors on the rear panel.\n\nEach 6416o can be configured to operate within a specified channel/slot range within the Pro64 network, making complex installations easy to configure and manage. Each output channel of a 6416o can be made active as needed.\n\nThe Pro64 A-Net network supports three ranges of variable sample rates: 44.1/48kHz±, 96kHz±, and 192kHz±. No matter the sample rate, all 16 output channels on the 6416o are available for use. All audio is streamed at 24-bit resolution with no data compression at any time.\n\nIn addition to its audio capabilities, the 6416o also includes the innovative Virtual Data Cables&trade; for simultaneously distributing up to 14 channels of non-audio control data such as MIDI, RS-232, and GPIO to any device on the Pro64 network. Every Pro64 I/O module comes with its own set of VDC? ports that can be individually configured.\n\nThe 6416o can be used anywhere analog outputs are required: on stage or FOH in a digital snake, in the studio, or in even the most complex audio networks. Adding a digital split to a system is as simple as connecting an additional 6416o.'),(2607,85,0,435,'Aviom 6416o Output Module'),(2608,85,1,435,'Aviom 6416o Output Module'),(2609,76,0,435,''),(2610,76,1,435,''),(2611,75,0,436,'<h3>The Aviom A360 Personal Mixer</h3>\nAviom’s A360 Personal Mixer brings new levels of control and customization to personal mixing and is the perfect solution for controlling musicians’ monitors on stage or in the studio. It includes an advanced 36-channel mix engine which can be used to mix up to 16 mono or stereo standard channels plus mono or stereo ambience and the unique Dual Profile Channel™. Channels can be individually selected for each A360 from a network pool of up to 64 channels. The A360 has been designed specifically to enhance the experience of in-ear monitor users and it also works great with headphones in the studio.<br><br>\n\nAs with all Aviom personal mixing products, the A360 offers a truly useful set of features that are easy to understand and use. All mixing features are instantly available—no menus to navigate, no complex programming, no computer required—so customizing and adjusting a mix is fast and intuitive, even in the middle of performing.<br><br>\n\nAnd of course it\'s fully compatible with all Aviom personal mixing systems.<br><br>\n\n<strong>Mix Enhancements</strong><br>\nEach A360 mix channel can host a mono or stereo source and may be adjusted for volume, tone, and reverb. The A360 also includes the innovative Stereo Placement pan-spread control that allows the width of a stereo channel’s image to be controlled independent of its left-right placement in the stereo field, significantly improving the user experience when mixing in stereo for in-ear monitors and headphones.<br><br>\n\nThe A360’s seventeenth mix channel—the Dual Profile Channel™—provides users with instant access to two independent combinations of channel volume, tone, reverb, and stereo placement for a favorite channel. The Dual Profile Channel may be set to mirror one of the 16 standard mix channels or may be used for additional mix content.<br><br>\n\n<strong>Add Ambience</strong><br>\nAmbience can be added to the mix either using the convenient onboard ambient microphone or by using external microphones connected to network audio channels, significantly enhancing the user\'s mix experience and ability to interact with the audience. Regardless of the source of the ambience audio, the A360\'s One-Touch Ambience™ streamlines control of ambience levels during performance, allowing musicians to add or remove ambience with the single touch of a button.<br><br>\n\n<strong>Advanced Output Section</strong><br>\nThe output section of the A360 includes both 1/4-inch and 1/8-inch stereo mix outs, plus a mono XLR output with individual volume control which is perfect for use with subwoofers or bass shaker devices.<br><br>\n\nRegardless of whether you listen with in-ear monitors or headphones, the three-band EQ found in the master output section of the A360 has been designed to optimize the listening experience. In addition to Bass and Treble controls, the unique Enhance control adds punch and brilliance to the overall mix over a carefully selected set of frequencies.<br><br>\n\n<strong>Memory and Data Storage</strong><br>\nEach A360 can store up to twenty mix snapshots—16 saved in the channel button locations plus another four assigned to dedicated Instant Mix Recall buttons. The user\'s current mix is preserved, even across power cycles. A rear panel USB jack is provided for saving and loading mixer profiles as well as for firmware updates.<br><br>\n\n<strong>Power Over Cat-5</strong><br>\nA360 Personal Mixers can be connected in parallel using an A-Net Distributor, allowing DC power to be supplied to the mixers over the Cat-5e cable. The A360 supports Cat-5e cable runs of up to 400 feet (122 meters) between devices, and there is no practical limit to the number of Personal Mixers in a system.<br><br>\n\n<strong>Compatibility</strong><br>\nAll Pro16 Personal Mixers, including the A360, A-16II, and A-16R can be used in any combination when creating a personal mixing system. To get the higher channel count that the Pro16e version of A-Net offers, at least one AN-16/i v.2 Input Module must be included in the personal mixing system.<br><br>\n\nAdding an ASI A-Net Systems Interface to a Pro64 network allows an A360 Personal Mixer to output any 16 channels from a Pro64 digital snake or audio network.'),(2612,75,1,436,'<h3>The Aviom A360 Personal Mixer</h3>\nAviom’s A360 Personal Mixer brings new levels of control and customization to personal mixing and is the perfect solution for controlling musicians’ monitors on stage or in the studio. It includes an advanced 36-channel mix engine which can be used to mix up to 16 mono or stereo standard channels plus mono or stereo ambience and the unique Dual Profile Channel™. Channels can be individually selected for each A360 from a network pool of up to 64 channels. The A360 has been designed specifically to enhance the experience of in-ear monitor users and it also works great with headphones in the studio.<br><br>\n\nAs with all Aviom personal mixing products, the A360 offers a truly useful set of features that are easy to understand and use. All mixing features are instantly available—no menus to navigate, no complex programming, no computer required—so customizing and adjusting a mix is fast and intuitive, even in the middle of performing.<br><br>\n\nAnd of course it\'s fully compatible with all Aviom personal mixing systems.<br><br>\n\n<strong>Mix Enhancements</strong><br>\nEach A360 mix channel can host a mono or stereo source and may be adjusted for volume, tone, and reverb. The A360 also includes the innovative Stereo Placement pan-spread control that allows the width of a stereo channel’s image to be controlled independent of its left-right placement in the stereo field, significantly improving the user experience when mixing in stereo for in-ear monitors and headphones.<br><br>\n\nThe A360’s seventeenth mix channel—the Dual Profile Channel™—provides users with instant access to two independent combinations of channel volume, tone, reverb, and stereo placement for a favorite channel. The Dual Profile Channel may be set to mirror one of the 16 standard mix channels or may be used for additional mix content.<br><br>\n\n<strong>Add Ambience</strong><br>\nAmbience can be added to the mix either using the convenient onboard ambient microphone or by using external microphones connected to network audio channels, significantly enhancing the user\'s mix experience and ability to interact with the audience. Regardless of the source of the ambience audio, the A360\'s One-Touch Ambience™ streamlines control of ambience levels during performance, allowing musicians to add or remove ambience with the single touch of a button.<br><br>\n\n<strong>Advanced Output Section</strong><br>\nThe output section of the A360 includes both 1/4-inch and 1/8-inch stereo mix outs, plus a mono XLR output with individual volume control which is perfect for use with subwoofers or bass shaker devices.<br><br>\n\nRegardless of whether you listen with in-ear monitors or headphones, the three-band EQ found in the master output section of the A360 has been designed to optimize the listening experience. In addition to Bass and Treble controls, the unique Enhance control adds punch and brilliance to the overall mix over a carefully selected set of frequencies.<br><br>\n\n<strong>Memory and Data Storage</strong><br>\nEach A360 can store up to twenty mix snapshots—16 saved in the channel button locations plus another four assigned to dedicated Instant Mix Recall buttons. The user\'s current mix is preserved, even across power cycles. A rear panel USB jack is provided for saving and loading mixer profiles as well as for firmware updates.<br><br>\n\n<strong>Power Over Cat-5</strong><br>\nA360 Personal Mixers can be connected in parallel using an A-Net Distributor, allowing DC power to be supplied to the mixers over the Cat-5e cable. The A360 supports Cat-5e cable runs of up to 400 feet (122 meters) between devices, and there is no practical limit to the number of Personal Mixers in a system.<br><br>\n\n<strong>Compatibility</strong><br>\nAll Pro16 Personal Mixers, including the A360, A-16II, and A-16R can be used in any combination when creating a personal mixing system. To get the higher channel count that the Pro16e version of A-Net offers, at least one AN-16/i v.2 Input Module must be included in the personal mixing system.<br><br>\n\nAdding an ASI A-Net Systems Interface to a Pro64 network allows an A360 Personal Mixer to output any 16 channels from a Pro64 digital snake or audio network.'),(2613,85,0,436,'Aviom A360 Personal Mixer'),(2614,85,1,436,'Aviom A360 Personal Mixer'),(2615,76,0,436,''),(2616,76,1,436,''),(2617,75,0,437,'The AN-16/i converts 16 balanced line-level channels into 24-bit digital audio transmitted via Pro16™ A-Net®.'),(2618,75,1,437,'The AN-16/i converts 16 balanced line-level channels into 24-bit digital audio transmitted via Pro16™ A-Net®.'),(2619,85,0,437,'Aviom An-16/i 16 Channel Line-Level Input Module'),(2620,85,1,437,'Aviom An-16/i 16 Channel Line-Level Input Module'),(2621,76,0,437,''),(2622,76,1,437,''),(2623,75,0,438,'AN-16/o v.4 Output Module. The AN-16/o v.4 provides 16 channels of mic- or line-level outputs from a Pro16® system.\n\nThe AN-16/o v.4 Output Module is a 1U rack-mount 16-channel digital-to-analog converter for Pro16® digital snake and audio distribution systems. Digital audio transmitted to the AN-16/o v.4 via Aviom\'s A-Net® Pro16 digital audio transmission protocol is converted to analog using 24-bit, 48kHz converters. Sixteen balanced outputs are provided on the rear panel via DB25 multipin connectors. The analog outputs can be set (per channel pair) to +24dBu, +18dBu, +4dBu, or mic level.'),(2624,75,1,438,'AN-16/o v.4 Output Module. The AN-16/o v.4 provides 16 channels of mic- or line-level outputs from a Pro16® system.\n\nThe AN-16/o v.4 Output Module is a 1U rack-mount 16-channel digital-to-analog converter for Pro16® digital snake and audio distribution systems. Digital audio transmitted to the AN-16/o v.4 via Aviom\'s A-Net® Pro16 digital audio transmission protocol is converted to analog using 24-bit, 48kHz converters. Sixteen balanced outputs are provided on the rear panel via DB25 multipin connectors. The analog outputs can be set (per channel pair) to +24dBu, +18dBu, +4dBu, or mic level.'),(2625,85,0,438,'Aviom AN-16/o V4 Output Module'),(2626,85,1,438,'Aviom AN-16/o V4 Output Module'),(2627,76,0,438,''),(2628,76,1,438,''),(2629,75,0,439,'AV-M8 Mic Input Module. The AV-M8 Mic Input Module provides 8 mic-level inputs to a Pro16® system.\n\nThe AV-M8 Mic Input Module provides eight mic-level inputs to a Pro16 system. Two channels also include a 20dB switchable pad for line-level inputs. Eight channels of digital audio may also be input via ADAT®, from a second AV-M8 module. The unit may be mounted in a rack or to a table or podium, using the reversible mounting flanges or detachable rack ears.\n\nAnalog audio is input via eight latching 5.0mm Euroblock connectors. Each analog input channel features configuration DIP switches for individually selectable gain settings, +48V phantom power, and low cut filter.\n\nAnalog input channels are routed to Channels 1-8 in the A-Net® stream, while channels input via ADAT become A-Net Channels 9-16. Stereo linking for all eight A-Net channel pairs is supported through an eight-position rear-panel DIP switch.\n\nA-Net connections include A-Net Out and A-Net Expansion, using locking Neutrik® EtherCon® connectors. The A-Net Expansion jack allows up to 32 channels to be carried on a single Cat-5e cable, in either 32x0 or 16x16 configurations. Larger systems (up to 64 channels on a cable) can be built using Aviom\'s AN-16SBR System Bridge. Pro16 A-Net supports Cat-5e cable runs up to 500ft/150m between devices. For installations requiring longer cable runs, single- or multi-mode fiber optics may be utilized, using certain standard third- party media converters.\n\nThe AV-M8 is compatible with all Pro16 Series products.'),(2630,75,1,439,'AV-M8 Mic Input Module. The AV-M8 Mic Input Module provides 8 mic-level inputs to a Pro16® system.\n\nThe AV-M8 Mic Input Module provides eight mic-level inputs to a Pro16 system. Two channels also include a 20dB switchable pad for line-level inputs. Eight channels of digital audio may also be input via ADAT®, from a second AV-M8 module. The unit may be mounted in a rack or to a table or podium, using the reversible mounting flanges or detachable rack ears.\n\nAnalog audio is input via eight latching 5.0mm Euroblock connectors. Each analog input channel features configuration DIP switches for individually selectable gain settings, +48V phantom power, and low cut filter.\n\nAnalog input channels are routed to Channels 1-8 in the A-Net® stream, while channels input via ADAT become A-Net Channels 9-16. Stereo linking for all eight A-Net channel pairs is supported through an eight-position rear-panel DIP switch.\n\nA-Net connections include A-Net Out and A-Net Expansion, using locking Neutrik® EtherCon® connectors. The A-Net Expansion jack allows up to 32 channels to be carried on a single Cat-5e cable, in either 32x0 or 16x16 configurations. Larger systems (up to 64 channels on a cable) can be built using Aviom\'s AN-16SBR System Bridge. Pro16 A-Net supports Cat-5e cable runs up to 500ft/150m between devices. For installations requiring longer cable runs, single- or multi-mode fiber optics may be utilized, using certain standard third- party media converters.\n\nThe AV-M8 is compatible with all Pro16 Series products.'),(2631,85,0,439,'Aviom AV-M8 Mic Input Module'),(2632,85,1,439,'Aviom AV-M8 Mic Input Module'),(2633,76,0,439,''),(2634,76,1,439,''),(2635,75,0,440,'AV-P2 Output Module. The AV-P2 provides two analog outputs from a Pro16® A-Net® digital audio stream.\n\nThe AV-P2 Output Module provides up to two channels of analog outputs from a Pro16 A-Net digital audio stream. The analog output level for each channel is set with front-panel DIP switches.\n\nAV-P2 modules can be connected in any combination of serial or parallel connections, using Pro16\nA-Net Distributors. There is no limit to the number of devices that can be daisy chained, or to the number of parallel splits in a single system.\n\nEach AV-P2 receives a 16-channel A-Net stream originating at a Pro16 input module, console interface card, or Pro64™ audio network (via the ASI A-Net Systems Interface module).\n\nA front-panel rotary switch allows the output to be set to any one of those 16 channels. If the selected channel is part of a stereo pair (set at the input module), the left and right channels are automatically routed to the left and right outputs on the AV-P2. If the selected channel is not part of a stereo pair, the channel\'s audio is routed to both the left and right outputs.\n\nAudio is distributed to the AV-P2 over standard Cat-5e cables, using Aviom\'s A-Net digital audio protocol. A-Net supports plug-and-play installation, real-time distribution with sub-millisecond latency, and long cable runs up to 500ft/150m. Power can be supplied to the AV-P2 with an external DC power supply or over the Cat-5e cable (with an A-Net Distributor). Additionally, Pro16 A-Net audio streams can be transmitted over single- or multi-mode fiber optics using certain standard third-party media converters.\n\nThe AV-P2 has reversible mounting flanges. Two AV-P2 modules can be mounted side by side on a standard 1U rack tray. The AV-P2 is compatible with all Pro16 Series products.'),(2636,75,1,440,'AV-P2 Output Module. The AV-P2 provides two analog outputs from a Pro16® A-Net® digital audio stream.\n\nThe AV-P2 Output Module provides up to two channels of analog outputs from a Pro16 A-Net digital audio stream. The analog output level for each channel is set with front-panel DIP switches.\n\nAV-P2 modules can be connected in any combination of serial or parallel connections, using Pro16\nA-Net Distributors. There is no limit to the number of devices that can be daisy chained, or to the number of parallel splits in a single system.\n\nEach AV-P2 receives a 16-channel A-Net stream originating at a Pro16 input module, console interface card, or Pro64™ audio network (via the ASI A-Net Systems Interface module).\n\nA front-panel rotary switch allows the output to be set to any one of those 16 channels. If the selected channel is part of a stereo pair (set at the input module), the left and right channels are automatically routed to the left and right outputs on the AV-P2. If the selected channel is not part of a stereo pair, the channel\'s audio is routed to both the left and right outputs.\n\nAudio is distributed to the AV-P2 over standard Cat-5e cables, using Aviom\'s A-Net digital audio protocol. A-Net supports plug-and-play installation, real-time distribution with sub-millisecond latency, and long cable runs up to 500ft/150m. Power can be supplied to the AV-P2 with an external DC power supply or over the Cat-5e cable (with an A-Net Distributor). Additionally, Pro16 A-Net audio streams can be transmitted over single- or multi-mode fiber optics using certain standard third-party media converters.\n\nThe AV-P2 has reversible mounting flanges. Two AV-P2 modules can be mounted side by side on a standard 1U rack tray. The AV-P2 is compatible with all Pro16 Series products.'),(2637,85,0,440,'Aviom AV-P2 Output Module'),(2638,85,1,440,'Aviom AV-P2 Output Module'),(2639,76,0,440,''),(2640,76,1,440,''),(2641,75,0,441,'A-16D Pro A-Net Distributor. The A-16D Pro distributes Pro16® A-Net®, plus DC power, to up to eight devices.\n\nEach A-16D Pro accepts one Pro16 A-Net input signal and provides nine parallel outputs, using rugged EtherCon connectors and standard Cat-5e cables. The A-16D Pro provides isolated (floating ground) DC power through the eight A-Net Outs; the ninth output is an unpowered A-Net Thru connector, designed for distributing a copy of the A-Net signal to a second A-Net Distributor or remote location.\n\nThe 2U A-16D Pro eliminates the need to daisy chain Personal Mixers, and simplifies set-up by eliminating the need to connect a power supply to each mixer. Inside the A-16D Pro is Aviom\'s unique power sub- system design, which requires no external power supplies and which virtually eliminates the possibility of introducing hum or ground loops. The A-16D Pro can also be used as a central hub in an audio distribution system or snake, providing outputs to multiple locations or redundant outputs to a single location.\n\nAll connections on the A-16D Pro are on the front panel. A pass-through cable cutout is provided for flexible cable routing. As with all Pro16 Series products, Cat-5e cable runs can be up to 500ft/150m.'),(2642,75,1,441,'A-16D Pro A-Net Distributor. The A-16D Pro distributes Pro16® A-Net®, plus DC power, to up to eight devices.\n\nEach A-16D Pro accepts one Pro16 A-Net input signal and provides nine parallel outputs, using rugged EtherCon connectors and standard Cat-5e cables. The A-16D Pro provides isolated (floating ground) DC power through the eight A-Net Outs; the ninth output is an unpowered A-Net Thru connector, designed for distributing a copy of the A-Net signal to a second A-Net Distributor or remote location.\n\nThe 2U A-16D Pro eliminates the need to daisy chain Personal Mixers, and simplifies set-up by eliminating the need to connect a power supply to each mixer. Inside the A-16D Pro is Aviom\'s unique power sub- system design, which requires no external power supplies and which virtually eliminates the possibility of introducing hum or ground loops. The A-16D Pro can also be used as a central hub in an audio distribution system or snake, providing outputs to multiple locations or redundant outputs to a single location.\n\nAll connections on the A-16D Pro are on the front panel. A pass-through cable cutout is provided for flexible cable routing. As with all Pro16 Series products, Cat-5e cable runs can be up to 500ft/150m.'),(2643,85,0,441,'Aviom A-16D Pro A-Net Distributor'),(2644,85,1,441,'Aviom A-16D Pro A-Net Distributor'),(2645,76,0,441,''),(2646,76,1,441,''),(2647,75,0,442,'<h1>BAE 1023L Mic Pre / EQ 500 Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">A no-compromise, 500-series version of BAE’s 1023 Mic Pre/EQ </span><br/><br/>\nThe BAE<span style=\"background-color: initial;\"> 1023L500 Series Mic Pre / EQ — based on the classic 1023 — takes the preamp and EQ from the 1073 and adds more features and frequencies, all in the compact 500 Series format. The 1023L expands upon the classic 1073 with significantly more frequency options in the high and mid sections, even allowing users to play the mid bell curve directly against the high and low shelves where they overlap.</span>\n<div>\n	<br/>\n</div>\n<div>\n	Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways.<br/><br/>Like all BAE Audio Gear, the 1023L is completely hand-wired in the US using Carnhill (St. Ives) transformers\n</div>\n<br/>\n<h3>BAE 1066DL 500 Series Module features:</h3>\n<ul>\n	<li>High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz.</li>\n	<li>Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz.</li>\n	<li>Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz.</li>\n	<li>High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz.</li>\n	<li>EQ Button: Switches the equaliser on or off</li>\n	<li>Phase Button: 180°</li>\n</ul>\n<div>\n	<br/>\n</div>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	   \"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	   \"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\"  — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	   “I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	 Discography:\n(Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3></h3>\n<h3>Add the classic Neve sound to your 500-series rack with BAE’s 1023L, plus greater frequency control and precision performance. Check out  <a href=\"http://www.rsperackrevolution.com\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">RSPE’s Rack Revolution</a> custom 500-series module builder and get started now, or call or chat with an RSPE representative today.</h3>'),(2648,75,1,442,'<h1>BAE 1023L Mic Pre / EQ 500 Series Module</h1>\n<span style=\"font-size:16px; font-style:italic;\">A no-compromise, 500-series version of BAE’s 1023 Mic Pre/EQ </span><br/><br/>\nThe BAE<span style=\"background-color: initial;\"> 1023L500 Series Mic Pre / EQ — based on the classic 1023 — takes the preamp and EQ from the 1073 and adds more features and frequencies, all in the compact 500 Series format. The 1023L expands upon the classic 1073 with significantly more frequency options in the high and mid sections, even allowing users to play the mid bell curve directly against the high and low shelves where they overlap.</span>\n<div>\n	<br/>\n</div>\n<div>\n	Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways.<br/><br/>Like all BAE Audio Gear, the 1023L is completely hand-wired in the US using Carnhill (St. Ives) transformers\n</div>\n<br/>\n<h3>BAE 1066DL 500 Series Module features:</h3>\n<ul>\n	<li>High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz.</li>\n	<li>Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz.</li>\n	<li>Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz.</li>\n	<li>High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz.</li>\n	<li>EQ Button: Switches the equaliser on or off</li>\n	<li>Phase Button: 180°</li>\n</ul>\n<div>\n	<br/>\n</div>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	   \"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	   \"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\"  — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	   “I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	 Discography:\n(Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3></h3>\n<h3>Add the classic Neve sound to your 500-series rack with BAE’s 1023L, plus greater frequency control and precision performance. Check out  <a href=\"http://www.rsperackrevolution.com\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">RSPE’s Rack Revolution</a> custom 500-series module builder and get started now, or call or chat with an RSPE representative today.</h3>'),(2649,85,0,442,''),(2650,85,1,442,''),(2651,76,0,442,''),(2652,76,1,442,''),(2653,75,0,443,'<h1>BAE 1023 Mic Pre / EQ Rack w/ Power Supply</h1>\nThe BAE 1023 Single Channel Mic Pre / EQ takes the sound of the legendary 1073 and adds more features and frequencies to the mid and high sections of the EQ. The \n<span style=\"background-color: initial;\">1023 features the exact same mic/line preamp as the 1073, but with significantly more frequencies in the mid and high sections.</span>\n<div>\n	<br/>\n</div>\n<span style=\"background-color: initial;\">Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways. Like all BAE Audio Gear, t</span>he 1023 is completely hand-wired in the US using Carnhill (St. Ives) transformers.\n<br/><br/>\n<h3>BAE 1023 Features</h3>\n<ul>\n	<li>High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz.</li>\n	<li>Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz.</li>\n	<li>Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz.</li>\n	<li>High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz.</li>\n	<li>EQ Button: Switches the equaliser on or off</li>\n	<li>Phase Button: 180°</li>\n</ul>\n<br/>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	\"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	\"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\" — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\nAnswering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.<br/><br/>\n<h3>Add the classic analog BAE sound to your studio with the BAE 1023 Mic Pre / EQ. Call or chat with an RSPE representative today.</h3>'),(2654,75,1,443,'<h1>BAE 1023 Mic Pre / EQ Rack w/ Power Supply</h1>\nThe BAE 1023 Single Channel Mic Pre / EQ takes the sound of the legendary 1073 and adds more features and frequencies to the mid and high sections of the EQ. The \n<span style=\"background-color: initial;\">1023 features the exact same mic/line preamp as the 1073, but with significantly more frequencies in the mid and high sections.</span>\n<div>\n	<br/>\n</div>\n<span style=\"background-color: initial;\">Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways. Like all BAE Audio Gear, t</span>he 1023 is completely hand-wired in the US using Carnhill (St. Ives) transformers.\n<br/><br/>\n<h3>BAE 1023 Features</h3>\n<ul>\n	<li>High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz.</li>\n	<li>Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz.</li>\n	<li>Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz.</li>\n	<li>High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz.</li>\n	<li>EQ Button: Switches the equaliser on or off</li>\n	<li>Phase Button: 180°</li>\n</ul>\n<br/>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	\"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	\"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\" — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\nAnswering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.<br/><br/>\n<h3>Add the classic analog BAE sound to your studio with the BAE 1023 Mic Pre / EQ. Call or chat with an RSPE representative today.</h3>'),(2655,85,0,443,'BAE 1023 Mic Pre / EQ Rack w/ Power Supply'),(2656,85,1,443,'BAE 1023 Mic Pre / EQ Rack w/ Power Supply'),(2657,76,0,443,''),(2658,76,1,443,''),(2659,75,0,444,'<h1>BAE 1028 Mic Pre / EQ Rack with Power Supply</h1>\nThe BAE 1028 Mic Pre / EQ takes the sound of the legendary 1073 and adds more features and frequencies to the EQ section. It has the exact same mic/line preamp as the 1073, but with significantly more frequencies in the mid and hi sections. Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways. The 1028 includes the same low pass filter as the 1084, giving it 28 frequencies. The 1084 is completely hand-wired in the US using Carnhill (St. Ives) transformers.\n<br/><br/>\n<h3>BAE 1028 Features</h3>\n<li>High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz</li>\n<li>Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz.</li>\n<li>Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz.</li>\n<li>High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz.</li>\n<li>Low Pass Filter: 18dB per octave slope, switchable between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz.</li>\n<li>EQ Button: Switches the equaliser on or off</li>\n<li>Phase Button: 180°</li>\n<br/>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	\"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	\"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\" — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\nAnswering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.<br/><br/>\n<h3>Add the classic analog BAE sound to your studio with the BAE 1028 Mic Pre / EQ. Call or chat with an RSPE representative today.</h3>'),(2660,75,1,444,'<h1>BAE 1028 Mic Pre / EQ Rack with Power Supply</h1>\nThe BAE 1028 Mic Pre / EQ takes the sound of the legendary 1073 and adds more features and frequencies to the EQ section. It has the exact same mic/line preamp as the 1073, but with significantly more frequencies in the mid and hi sections. Aside from simply offering more frequency settings to play with, these expanded EQ sections also allow you to play the mid bell curve directly against the high and low shelves where they overlap. This capability opens the tone shaping possibilities in very interesting and musical ways. The 1028 includes the same low pass filter as the 1084, giving it 28 frequencies. The 1084 is completely hand-wired in the US using Carnhill (St. Ives) transformers.\n<br/><br/>\n<h3>BAE 1028 Features</h3>\n<li>High Frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz</li>\n<li>Low Frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz & 220Hz.</li>\n<li>Mid Range: +/-12dB or +/-18dB peaking with switchable selectable centre frequencies of 160Hz, 270Hz, 360Hz, 510Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, 8.2kHz, 10kHz.</li>\n<li>High Pass Filter: 18dB per octave slope, switchable between 45Hz, 70Hz, 160Hz & 360Hz.</li>\n<li>Low Pass Filter: 18dB per octave slope, switchable between 6kHz, 8kHz, 10kHz, 14kHz, & 18kHz.</li>\n<li>EQ Button: Switches the equaliser on or off</li>\n<li>Phase Button: 180°</li>\n<br/>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	\"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	\"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\" — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\nAnswering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.<br/><br/>\n<h3>Add the classic analog BAE sound to your studio with the BAE 1028 Mic Pre / EQ. Call or chat with an RSPE representative today.</h3>'),(2661,85,0,444,''),(2662,85,1,444,''),(2663,76,0,444,''),(2664,76,1,444,''),(2665,75,0,445,'<h1>BAE 1032 Mic Pre / EQ Rack with Power Supply</h1>\nThe BAE 1032 Mic Pre / EQ combines the classic preamps of the 1073 with the classic EQ section of the 1081. It\'s specifically designed for \n<span style=\"background-color: initial;\">people loved the EQ portion of the 1081 but wanted an amplifier that was class A. <br/><br/>Along with the passive inductor high-pass filter, the 4-band equalizer provides greater coverage. The high-mid and low-mid frequencies overlap for flexibility in correcting problem frequencies. The 1032 also provides a more comprehensive high frequency shelf up to 24kHz for extended high frequency correction without compromising the midrange.<br/></span><br/>The BAE 1032 uses the same high quality components and manufacturing techniques used in other BAE modules featuring the same Class A transformer-coupled circuits and same modular cards for long-term serviceability. Like all BAE gear, the 1032 is completely hand-wired in the US using Carnhill (St. Ives) transformers.\n<br/><br/>\n<h3>BAE 1032 Features</h3>\n<ul>\n	<li>Inspired by the 1081 EQ points using the same inductor specifications.</li>\n	<li>Class A transformer-coupled.</li>\n	<li>Hand wired, all discrete using modular cards.</li>\n	<li>4-band with HPF.</li>\n	<li>Low and High Mid-band overlapping frequencies.</li>\n	<li>Extended selection for high frequency shelving.</li>\n	<li>High quality Swiss made Elma® rotary switches.</li>\n</ul>\n<br/>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	\"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	\"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\" — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\nAnswering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.<br/><br/>\n<h3>Add the classic analog BAE sound to your studio with the BAE 1032 Mic Pre / EQ. Call or chat with an RSPE representative today.</h3>'),(2666,75,1,445,'<h1>BAE 1032 Mic Pre / EQ Rack with Power Supply</h1>\nThe BAE 1032 Mic Pre / EQ combines the classic preamps of the 1073 with the classic EQ section of the 1081. It\'s specifically designed for \n<span style=\"background-color: initial;\">people loved the EQ portion of the 1081 but wanted an amplifier that was class A. <br/><br/>Along with the passive inductor high-pass filter, the 4-band equalizer provides greater coverage. The high-mid and low-mid frequencies overlap for flexibility in correcting problem frequencies. The 1032 also provides a more comprehensive high frequency shelf up to 24kHz for extended high frequency correction without compromising the midrange.<br/></span><br/>The BAE 1032 uses the same high quality components and manufacturing techniques used in other BAE modules featuring the same Class A transformer-coupled circuits and same modular cards for long-term serviceability. Like all BAE gear, the 1032 is completely hand-wired in the US using Carnhill (St. Ives) transformers.\n<br/><br/>\n<h3>BAE 1032 Features</h3>\n<ul>\n	<li>Inspired by the 1081 EQ points using the same inductor specifications.</li>\n	<li>Class A transformer-coupled.</li>\n	<li>Hand wired, all discrete using modular cards.</li>\n	<li>4-band with HPF.</li>\n	<li>Low and High Mid-band overlapping frequencies.</li>\n	<li>Extended selection for high frequency shelving.</li>\n	<li>High quality Swiss made Elma® rotary switches.</li>\n</ul>\n<br/>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	\"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	\"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\" — \n	<em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	“What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br/><br/>\n</blockquote>\n<blockquote>\n	“I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	“I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	Discography: (Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\nAnswering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.<br/><br/>\n<h3>Add the classic analog BAE sound to your studio with the BAE 1032 Mic Pre / EQ. Call or chat with an RSPE representative today.</h3>'),(2667,85,0,445,''),(2668,85,1,445,''),(2669,76,0,445,''),(2670,76,1,445,''),(2671,75,0,446,'<h1>BAE 1066D Single 19\" 1RU Mic Preamp/EQ with Power Supply</h1>\n<p>\n	<span style=\"font-size:16px; font-style:italic;\" href=\"RSPE Product Description Template.html\" title=\"RSPE Product Description Template\">Hand-wired, 19\", 1U rackmount preamp precisely recreates the character of the Neve™ 1066 mic pre/EQ with additional high-frequency shelves </span>\n</p>\n<p>\n	The BAE 1066D Mic Pre Rackmount is a faithful recreation of its namesake, the Neve 1066, which was originally designed to populate the revered Neve 80 series consoles, such as the 8028 made for Sound City. The precursor of the Neve 1073 and 1081 modules, the Neve1066 shared the same mic/line amplifier circuitry with marginal differences in EQ curves and frequency selection. The original 1066 had a wide shelf at 10kHz; the 1073 had a 12kHz shelf; the 1081 had a 15kHz shelf; and the later 1084 had a 10kHz, 14kHz, and 18kHz shelf, a wider selection of low and midrange frequencies, and a “Q” switch. The idea behind these preamp modules was to populate the Neve 80-series consoles with a selection of 1066, 1073, 1081, or 1084 preamp/EQ modules to provide a wider sonic palette while maintaining uniformity of character. Fast-forward to today, the BAE 1066D adds more high-frequency shelves than the original 1066 (and 1084), giving you an even wider array of creative EQ options backed by authentic, vintage Neve-style sound.\n</p>\n<p>\n	The BAE 1066D Rackmount lets you have a single or \n	<a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Pair-with-Power-Supply-p/bae-1066d-2.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">stereo pair</a> of the 1066D without the requirement of a power rack, such as the BAE 8CR 8-Channel Rack, which holds BAE 10-series modules such as the BAE 1066D Mic Pre/EQ Module and <a href=\"http://www.rspeaudio.com/BAE-1073-EQ-Module-p/bae-1073sm.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1073 Mic Pre/EQ Module</a>.</p>\n<h3>BAE 1066D 19\" Mic Pre/EQ features:</h3>\n<ul>\n	<li>Stunning replica of the classic Neve 1066 in both sound and circuitry</li>\n	<li>The “big iron” console sound of the ’60s and ’70s                    </li>\n	<li>Front-panel DI                                                       </li>\n	<li>Selectable 300/1200 ohm input impedance                              </li>\n	<li>Output level control                                                 </li>\n	<li>Completely hand-wired                                                </li>\n	<li>Carnhill (St. Ives) transformers                                     </li>\n	<li>Offers 4 additional shelving frequencies above 10kHz                 </li>\n	<li>Made in USA                                                          </li>\n</ul>\n<h3>Inside the Box</h3>\n<p>\n	The BAE1066D is completely hand-wired using Carnhill (St. Ives) transformers and has the same mic-line pre-amp as the BAE 1073. However, the 1066D adds a few different frequencies to your pallet. It features a discrete, 3-band EQ with low-, mid- (presence), and high-frequency controls, with hi-pass filter. The shape of frequency curves and the frequencies themselves have been carefully chosen to provide maximum flexibility.\n</p>\n<p>\n	Popular for recording guitar due its unique midrange presence, the BAE 1066D offers four additional high-frequency EQ shelves above the 10kHz shelf of the classic 1066, including 12kHz, 16kHz, 20kHz, and 24kHz. Thanks to the addition of 12kHz shelving EQ, the 1066D gives you the high-frequency advantage of the classic 1073, which should make choosing the 1066D a little easier if you’re going back and forth between the two. (Well, not really, you’ll still want both like we do.)\n</p>\n<p>\n	And speaking of using the 1066 for guitar recording, check out RSPE’s \n	<a href=\"http://www.rspeaudio.com/RSPE_Audio_Interviews_and_Media_a/275.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">interview with Pete Townsend</a>, fast forward to about 6 minutes in to the full interview and find that the 1066 is an integral part of his recording chain!\n</p>\n<h3>Outside the Box</h3>\n<p>\n	The vintage-blue front panel of the BAE 1066D has three dual-concentric knobs for EQ frequency selection and gain, and rotary selectors for LF filter and gain (0 – 80dB). It has 4 rectangular buttons for EQ on/off, phantom power, DI select, and phase reverse. The BAE 1066D Mic Pre Rackmount also has a front-panel, 1/4\" Hi-Z instrument input (DI); input impedance switch that toggles between 300 and 1200 ohms; and an output level control that lets you control hot input signals without the need of a sound-changing pad. The output knob lets you drive the input hotter, say for heavy guitar recording, while controlling output to prevent clipping into a DAW. The rear panel has XLR I/O and power cable connector.\n</p>\n<h3>External 24V PSU</h3>\n<p>\n	The BAE 1066D Mic Preamp/EQ requires the external BAE 24V PSU (not included) to operate. For optimal sound quality, the BAE 24V PSU provides four times the current necessary to power a preamp, and can power up to two BAE rackmount units*. While other rackmount preamps use an internal power supply, BAE chose to go a different route in the form of an external PSU. The advantages of an external PSU are many. To begin with, not having space constraints allows BAE to design the power supply without compromise. Plus, it makes the shielding concerns of integrated power supplies a non-issue. When power supplies are built into the same chassis as the audio circuitry, nearby audio paths are susceptible to nasty magnetic fields radiated from the transformers, which adds noise and hum. Additionally, the preamp’s components are subject to extra heat generated from transformers, regulators, and rectifiers—and as we all know, heat is the enemy of electronics. It causes unwanted changes in operational parameters and premature component failure.\n</p>\n<p>\n	Since the BAE 24V PSU can power up to two BAE units, the BAE 1066D comes with and without power supply in case you already have a BAE 1066D with power supply and wish to add another. (For BAE 1066D without power supply, see \n	<a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Rack-without-Power-Supply-p/bae-1066d-nops.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1066 Single - PSU</a> and <a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Pair-with-Power-Supply-p/bae-1066d-2.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1066D Pair + PSU</a>) </p>\n<h3>BAE 1066D 19\" Mic Pre/EQ front-panel controls:</h3>\n<ul>\n	<li>High frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz        </li>\n	<li>Low frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz, 220Hz                     </li>\n	<li>Midrange: +/-16dB peaking with switchable selectable center frequencies of 700Hz, 1.2kHz, 2.4kHz, 3kHz, 7kHz</li>\n	<li>High-Pass Filter: 18dB per-octave slope, switchable between 45Hz, 70Hz, 160Hz, 360Hz.                       </li>\n	<li>EQ button switches the equalizer on or off                                                                  </li>\n	<li>Phase button: 180º                                                                                          </li>\n	<li>Phantom power button; +48V                                                                                  </li>\n	<li>DI on/off                                                                                                   </li>\n	<li>Input impedance select                                                                                      </li>\n	<li>Output volume                                                                                               </li>\n</ul>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	   \"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	   \"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\"  — \n	<em>Steven Slate Drums</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	   “What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br />\n	<br />\n</blockquote>\n<blockquote>\n	   “I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	   “I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	 Discography:\n(Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br />\n	<br />\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\n<p>\n	Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n	<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.\n</p>\n<br />\n<h3>Add the classic API growl and punch to your recordings with BAE’s single-channel 312A Mic Pre/DI. Call or chat with an RSPE representative today.</h3>'),(2672,75,1,446,'<h1>BAE 1066D Single 19\" 1RU Mic Preamp/EQ with Power Supply</h1>\n<p>\n	<span style=\"font-size:16px; font-style:italic;\" href=\"RSPE Product Description Template.html\" title=\"RSPE Product Description Template\">Hand-wired, 19\", 1U rackmount preamp precisely recreates the character of the Neve™ 1066 mic pre/EQ with additional high-frequency shelves </span>\n</p>\n<p>\n	The BAE 1066D Mic Pre Rackmount is a faithful recreation of its namesake, the Neve 1066, which was originally designed to populate the revered Neve 80 series consoles, such as the 8028 made for Sound City. The precursor of the Neve 1073 and 1081 modules, the Neve1066 shared the same mic/line amplifier circuitry with marginal differences in EQ curves and frequency selection. The original 1066 had a wide shelf at 10kHz; the 1073 had a 12kHz shelf; the 1081 had a 15kHz shelf; and the later 1084 had a 10kHz, 14kHz, and 18kHz shelf, a wider selection of low and midrange frequencies, and a “Q” switch. The idea behind these preamp modules was to populate the Neve 80-series consoles with a selection of 1066, 1073, 1081, or 1084 preamp/EQ modules to provide a wider sonic palette while maintaining uniformity of character. Fast-forward to today, the BAE 1066D adds more high-frequency shelves than the original 1066 (and 1084), giving you an even wider array of creative EQ options backed by authentic, vintage Neve-style sound.\n</p>\n<p>\n	The BAE 1066D Rackmount lets you have a single or \n	<a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Pair-with-Power-Supply-p/bae-1066d-2.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">stereo pair</a> of the 1066D without the requirement of a power rack, such as the BAE 8CR 8-Channel Rack, which holds BAE 10-series modules such as the BAE 1066D Mic Pre/EQ Module and <a href=\"http://www.rspeaudio.com/BAE-1073-EQ-Module-p/bae-1073sm.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1073 Mic Pre/EQ Module</a>.</p>\n<h3>BAE 1066D 19\" Mic Pre/EQ features:</h3>\n<ul>\n	<li>Stunning replica of the classic Neve 1066 in both sound and circuitry</li>\n	<li>The “big iron” console sound of the ’60s and ’70s                    </li>\n	<li>Front-panel DI                                                       </li>\n	<li>Selectable 300/1200 ohm input impedance                              </li>\n	<li>Output level control                                                 </li>\n	<li>Completely hand-wired                                                </li>\n	<li>Carnhill (St. Ives) transformers                                     </li>\n	<li>Offers 4 additional shelving frequencies above 10kHz                 </li>\n	<li>Made in USA                                                          </li>\n</ul>\n<h3>Inside the Box</h3>\n<p>\n	The BAE1066D is completely hand-wired using Carnhill (St. Ives) transformers and has the same mic-line pre-amp as the BAE 1073. However, the 1066D adds a few different frequencies to your pallet. It features a discrete, 3-band EQ with low-, mid- (presence), and high-frequency controls, with hi-pass filter. The shape of frequency curves and the frequencies themselves have been carefully chosen to provide maximum flexibility.\n</p>\n<p>\n	Popular for recording guitar due its unique midrange presence, the BAE 1066D offers four additional high-frequency EQ shelves above the 10kHz shelf of the classic 1066, including 12kHz, 16kHz, 20kHz, and 24kHz. Thanks to the addition of 12kHz shelving EQ, the 1066D gives you the high-frequency advantage of the classic 1073, which should make choosing the 1066D a little easier if you’re going back and forth between the two. (Well, not really, you’ll still want both like we do.)\n</p>\n<p>\n	And speaking of using the 1066 for guitar recording, check out RSPE’s \n	<a href=\"http://www.rspeaudio.com/RSPE_Audio_Interviews_and_Media_a/275.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">interview with Pete Townsend</a>, fast forward to about 6 minutes in to the full interview and find that the 1066 is an integral part of his recording chain!\n</p>\n<h3>Outside the Box</h3>\n<p>\n	The vintage-blue front panel of the BAE 1066D has three dual-concentric knobs for EQ frequency selection and gain, and rotary selectors for LF filter and gain (0 – 80dB). It has 4 rectangular buttons for EQ on/off, phantom power, DI select, and phase reverse. The BAE 1066D Mic Pre Rackmount also has a front-panel, 1/4\" Hi-Z instrument input (DI); input impedance switch that toggles between 300 and 1200 ohms; and an output level control that lets you control hot input signals without the need of a sound-changing pad. The output knob lets you drive the input hotter, say for heavy guitar recording, while controlling output to prevent clipping into a DAW. The rear panel has XLR I/O and power cable connector.\n</p>\n<h3>External 24V PSU</h3>\n<p>\n	The BAE 1066D Mic Preamp/EQ requires the external BAE 24V PSU (not included) to operate. For optimal sound quality, the BAE 24V PSU provides four times the current necessary to power a preamp, and can power up to two BAE rackmount units*. While other rackmount preamps use an internal power supply, BAE chose to go a different route in the form of an external PSU. The advantages of an external PSU are many. To begin with, not having space constraints allows BAE to design the power supply without compromise. Plus, it makes the shielding concerns of integrated power supplies a non-issue. When power supplies are built into the same chassis as the audio circuitry, nearby audio paths are susceptible to nasty magnetic fields radiated from the transformers, which adds noise and hum. Additionally, the preamp’s components are subject to extra heat generated from transformers, regulators, and rectifiers—and as we all know, heat is the enemy of electronics. It causes unwanted changes in operational parameters and premature component failure.\n</p>\n<p>\n	Since the BAE 24V PSU can power up to two BAE units, the BAE 1066D comes with and without power supply in case you already have a BAE 1066D with power supply and wish to add another. (For BAE 1066D without power supply, see \n	<a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Rack-without-Power-Supply-p/bae-1066d-nops.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1066 Single - PSU</a> and <a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Pair-with-Power-Supply-p/bae-1066d-2.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1066D Pair + PSU</a>) </p>\n<h3>BAE 1066D 19\" Mic Pre/EQ front-panel controls:</h3>\n<ul>\n	<li>High frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz        </li>\n	<li>Low frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz, 220Hz                     </li>\n	<li>Midrange: +/-16dB peaking with switchable selectable center frequencies of 700Hz, 1.2kHz, 2.4kHz, 3kHz, 7kHz</li>\n	<li>High-Pass Filter: 18dB per-octave slope, switchable between 45Hz, 70Hz, 160Hz, 360Hz.                       </li>\n	<li>EQ button switches the equalizer on or off                                                                  </li>\n	<li>Phase button: 180º                                                                                          </li>\n	<li>Phantom power button; +48V                                                                                  </li>\n	<li>DI on/off                                                                                                   </li>\n	<li>Input impedance select                                                                                      </li>\n	<li>Output volume                                                                                               </li>\n</ul>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	   \"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — \n	<em>Ross Hogarth, Grammy-winning producer-engineer</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	   \"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\"  — \n	<em>Steven Slate Drums</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	   “What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)\n	<br />\n	<br />\n</blockquote>\n<blockquote>\n	   “I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — \n	<em>Jane Wiedlin, The Go-Go\'s</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	   “I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – \n	<em>Bootsy Collins</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — \n	<em>Andy Kravitz, drummer, producer, engineer</em><br />\n	<br />\n</blockquote>\n<blockquote>\n	 Discography:\n(Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br />\n	<br />\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\n<p>\n	Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out \n	<a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.\n</p>\n<br />\n<h3>Add the classic API growl and punch to your recordings with BAE’s single-channel 312A Mic Pre/DI. Call or chat with an RSPE representative today.</h3>'),(2673,85,0,446,'BAE 1066D 19\" 1RU Rack with Power Supply'),(2674,85,1,446,'BAE 1066D 19\" 1RU Rack with Power Supply'),(2675,76,0,446,''),(2676,76,1,446,''),(2677,75,0,447,'<h1>BAE 1066D 19\" 1RU Mic Preamp/EQ Pair with Power Supply</h1>\n<p>\n	<span style=\"font-size:16px; font-style:italic;\" href=\"RSPE Product Description Template.html\" title=\"RSPE Product Description Template\">Hand-wired, 19\", 1U rackmount preamp precisely recreates the character of the Neve™ 1066 mic pre/EQ with additional high-frequency shelves </span>\n</p>\n<p>\n	If one BAE 1066D 19\" 1RU Mic Preamp/EQ is good, two must be better—especially if you want to track multiple guitar amps or drum overheads. The BAE 1066D Mic Pre Rackmount is a faithful recreation of its namesake, the Neve 1066, which was originally designed to populate the revered Neve 80 series consoles, such as the 8028 made for Sound City. The precursor of the famed Neve 1073 and 1081, the Neve1066 shared the same mic/line amplifier circuitry with marginal differences in EQ curves and frequency selection. The original 1066 had a wide shelf at 10kHz; the 1073 had a 12kHz shelf; the 1081 had a 15kHz shelf; and the later 1084 had a 10kHz, 14kHz, and 18kHz shelf, a wider selection of low and midrange frequencies, and a “Q” switch. The idea behind these preamp modules was to populate the Neve 80-series consoles with a selection of 1066, 1073, 1081, or 1084 preamp/EQ modules to provide a wider sonic palette while maintaining a uniformity of sonic character. Fast-forward to now, the BAE 1066D adds more high-frequency shelves than the original 1066 (and 1084), giving you an even wider array of creative EQ options backed by authentic, vintage Neve-style sound.\n</p>\n<p>\n	The BAE 1066D Rackmount lets you have a single or <a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Pair-with-Power-Supply-p/bae-1066d-2.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">stereo pair</a> of the 1066D without the requirement of a power rack, such as the BAE 8CR 8-Channel Rack, which holds BAE 10-series modules such as the BAE 1066D Mic Pre/EQ Module and <a href=\"http://www.rspeaudio.com/BAE-1073-EQ-Module-p/bae-1073sm.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1073 Mic Pre/EQ Module</a>.<br/><br/>\n</p>\n<h3>BAE 1066D 19\" Mic Pre/EQ features:</h3>\n<ul>\n	<li>Stunning replica of the classic Neve 1066 in both sound and circuitry</li>\n	<li>The “big iron” console sound of the ’60s and ’70s                    </li>\n	<li>Front-panel DI                                                       </li>\n	<li>Selectable 300/1200 ohm input impedance                              </li>\n	<li>Output level control                                                 </li>\n	<li>Completely hand-wired                                                </li>\n	<li>Carnhill (St. Ives) transformers                                     </li>\n	<li>Offers 4 additional shelving frequencies above 10kHz                 </li>\n	<li>Made in USA                                                          </li>\n</ul>\n<h3>Inside the Box</h3>\n<p>\n	The BAE1066D is completely hand-wired using Carnhill (St. Ives) transformers and has the same mic-line pre-amp as the BAE 1073. However, the 1066D adds a few different frequencies to your pallet. It features a discrete, 3-band EQ with low-, mid- (presence), and high-frequency controls, with hi-pass filter. The shape of frequency curves and the frequencies themselves have been carefully chosen to provide maximum flexibility.\n</p>\n<p>\n	Popular for recording guitar due its unique midrange presence, the BAE 1066D offers four additional high-frequency EQ shelves above the 10kHz shelf of the classic 1066, including 12kHz, 16kHz, 20kHz, and 24kHz. Thanks to the addition of 12kHz shelving EQ, the 1066D gives you the high-frequency advantage of the classic 1073, which should make choosing the 1066D a little easier if you’re going back and forth between the two. (Well, not really, you’ll still want both like we do.)\n</p>\n<p>\n	And speaking of using the 1066 for guitar recording, check out RSPE’s <a href=\"http://www.rspeaudio.com/RSPE_Audio_Interviews_and_Media_a/275.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">interview with Pete Townsend</a>, fast forward to about 6 minutes in to the full interview and find that the 1066 is an integral part of his recording chain!\n</p>\n<h3>Outside the Box</h3>\n<p>\n	The vintage-blue front panel of the BAE 1066D has three dual-concentric knobs for EQ frequency selection and gain, and rotary selectors for LF filter and gain (0 – 80dB). It has 4 rectangular buttons for EQ on/off, phantom power, DI select, and phase reverse. The BAE 1066D Mic Pre Rackmount also has a front-panel, 1/4\" Hi-Z instrument input (DI); input impedance switch that toggles between 300 and 1200 ohms; and an output level control that lets you control hot input signals without the need of a sound-changing pad. The output knob lets you drive the input hotter, say for heavy guitar recording, while controlling output to prevent clipping into a DAW. The rear panel has XLR I/O and power cable connector.\n</p>\n<h3>External 24V PSU</h3>\n<p>\n	While other rackmount preamps use an internal power supply, BAE chooses to go a different route in the form of an external PSU. The advantages of an external PSU are many. To begin with, not having space constraints allows BAE to design the power supply without compromise. Plus, it makes the shielding concerns of integrated power supplies a non-issue. When power supplies are built into the same chassis as the audio circuitry, nearby audio paths are susceptible to nasty magnetic fields radiated from the transformers, which adds noise and hum. Additionally, the preamp’s components are subject to extra heat generated from transformers, regulators, and rectifiers—and as we all know, heat is the enemy of electronics. It causes unwanted changes in operational parameters and premature component failure. For optimal sound quality, the BAE 24V PSU provides four times the current necessary to power a preamp, and can power up to two BAE rackmount units. <br/><br/>\n</p>\n<h3>BAE 1066D 19\" Mic Pre/EQ front-panel controls:</h3>\n<ul>\n	<li>High frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz        </li>\n	<li>Low frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz, 220Hz                     </li>\n	<li>Midrange: +/-16dB peaking with switchable selectable center frequencies of 700Hz, 1.2kHz, 2.4kHz, 3kHz, 7kHz</li>\n	<li>High-Pass Filter: 18dB per-octave slope, switchable between 45Hz, 70Hz, 160Hz, 360Hz.                       </li>\n	<li>EQ button switches the equalizer on or off                                                                  </li>\n	<li>Phase button: 180º                                                                                          </li>\n	<li>Phantom power button; +48V                                                                                  </li>\n	<li>DI on/off                                                                                                   </li>\n	<li>Input impedance select                                                                                      </li>\n	<li>Output volume                                                                                               </li>\n</ul>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	   \"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — <em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	   \"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\"  — <em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)<br/><br/>\n</blockquote>\n<blockquote>\n	   “I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — <em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – <em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — <em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	 Discography:\n(Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\n<p>\n	Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out <a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.\n</p>\n<h3>Add the classic Neve sound to your recordings via tracking or passive summing with BAE’s faithful 1066 replica, the BAE 1066D Pair. Call or chat with an RSPE representative today.</h3>'),(2678,75,1,447,'<h1>BAE 1066D 19\" 1RU Mic Preamp/EQ Pair with Power Supply</h1>\n<p>\n	<span style=\"font-size:16px; font-style:italic;\" href=\"RSPE Product Description Template.html\" title=\"RSPE Product Description Template\">Hand-wired, 19\", 1U rackmount preamp precisely recreates the character of the Neve™ 1066 mic pre/EQ with additional high-frequency shelves </span>\n</p>\n<p>\n	If one BAE 1066D 19\" 1RU Mic Preamp/EQ is good, two must be better—especially if you want to track multiple guitar amps or drum overheads. The BAE 1066D Mic Pre Rackmount is a faithful recreation of its namesake, the Neve 1066, which was originally designed to populate the revered Neve 80 series consoles, such as the 8028 made for Sound City. The precursor of the famed Neve 1073 and 1081, the Neve1066 shared the same mic/line amplifier circuitry with marginal differences in EQ curves and frequency selection. The original 1066 had a wide shelf at 10kHz; the 1073 had a 12kHz shelf; the 1081 had a 15kHz shelf; and the later 1084 had a 10kHz, 14kHz, and 18kHz shelf, a wider selection of low and midrange frequencies, and a “Q” switch. The idea behind these preamp modules was to populate the Neve 80-series consoles with a selection of 1066, 1073, 1081, or 1084 preamp/EQ modules to provide a wider sonic palette while maintaining a uniformity of sonic character. Fast-forward to now, the BAE 1066D adds more high-frequency shelves than the original 1066 (and 1084), giving you an even wider array of creative EQ options backed by authentic, vintage Neve-style sound.\n</p>\n<p>\n	The BAE 1066D Rackmount lets you have a single or <a href=\"http://www.rspeaudio.com/BAE-1066D-19-1RU-Pair-with-Power-Supply-p/bae-1066d-2.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">stereo pair</a> of the 1066D without the requirement of a power rack, such as the BAE 8CR 8-Channel Rack, which holds BAE 10-series modules such as the BAE 1066D Mic Pre/EQ Module and <a href=\"http://www.rspeaudio.com/BAE-1073-EQ-Module-p/bae-1073sm.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">BAE 1073 Mic Pre/EQ Module</a>.<br/><br/>\n</p>\n<h3>BAE 1066D 19\" Mic Pre/EQ features:</h3>\n<ul>\n	<li>Stunning replica of the classic Neve 1066 in both sound and circuitry</li>\n	<li>The “big iron” console sound of the ’60s and ’70s                    </li>\n	<li>Front-panel DI                                                       </li>\n	<li>Selectable 300/1200 ohm input impedance                              </li>\n	<li>Output level control                                                 </li>\n	<li>Completely hand-wired                                                </li>\n	<li>Carnhill (St. Ives) transformers                                     </li>\n	<li>Offers 4 additional shelving frequencies above 10kHz                 </li>\n	<li>Made in USA                                                          </li>\n</ul>\n<h3>Inside the Box</h3>\n<p>\n	The BAE1066D is completely hand-wired using Carnhill (St. Ives) transformers and has the same mic-line pre-amp as the BAE 1073. However, the 1066D adds a few different frequencies to your pallet. It features a discrete, 3-band EQ with low-, mid- (presence), and high-frequency controls, with hi-pass filter. The shape of frequency curves and the frequencies themselves have been carefully chosen to provide maximum flexibility.\n</p>\n<p>\n	Popular for recording guitar due its unique midrange presence, the BAE 1066D offers four additional high-frequency EQ shelves above the 10kHz shelf of the classic 1066, including 12kHz, 16kHz, 20kHz, and 24kHz. Thanks to the addition of 12kHz shelving EQ, the 1066D gives you the high-frequency advantage of the classic 1073, which should make choosing the 1066D a little easier if you’re going back and forth between the two. (Well, not really, you’ll still want both like we do.)\n</p>\n<p>\n	And speaking of using the 1066 for guitar recording, check out RSPE’s <a href=\"http://www.rspeaudio.com/RSPE_Audio_Interviews_and_Media_a/275.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">interview with Pete Townsend</a>, fast forward to about 6 minutes in to the full interview and find that the 1066 is an integral part of his recording chain!\n</p>\n<h3>Outside the Box</h3>\n<p>\n	The vintage-blue front panel of the BAE 1066D has three dual-concentric knobs for EQ frequency selection and gain, and rotary selectors for LF filter and gain (0 – 80dB). It has 4 rectangular buttons for EQ on/off, phantom power, DI select, and phase reverse. The BAE 1066D Mic Pre Rackmount also has a front-panel, 1/4\" Hi-Z instrument input (DI); input impedance switch that toggles between 300 and 1200 ohms; and an output level control that lets you control hot input signals without the need of a sound-changing pad. The output knob lets you drive the input hotter, say for heavy guitar recording, while controlling output to prevent clipping into a DAW. The rear panel has XLR I/O and power cable connector.\n</p>\n<h3>External 24V PSU</h3>\n<p>\n	While other rackmount preamps use an internal power supply, BAE chooses to go a different route in the form of an external PSU. The advantages of an external PSU are many. To begin with, not having space constraints allows BAE to design the power supply without compromise. Plus, it makes the shielding concerns of integrated power supplies a non-issue. When power supplies are built into the same chassis as the audio circuitry, nearby audio paths are susceptible to nasty magnetic fields radiated from the transformers, which adds noise and hum. Additionally, the preamp’s components are subject to extra heat generated from transformers, regulators, and rectifiers—and as we all know, heat is the enemy of electronics. It causes unwanted changes in operational parameters and premature component failure. For optimal sound quality, the BAE 24V PSU provides four times the current necessary to power a preamp, and can power up to two BAE rackmount units. <br/><br/>\n</p>\n<h3>BAE 1066D 19\" Mic Pre/EQ front-panel controls:</h3>\n<ul>\n	<li>High frequency: +/-16dB shelving with selectable frequencies of 10kHz, 12kHz, 16kHz, 20kHz and 24kHz        </li>\n	<li>Low frequency: +/-16dB shelving with selectable frequencies of 35Hz, 60Hz, 110Hz, 220Hz                     </li>\n	<li>Midrange: +/-16dB peaking with switchable selectable center frequencies of 700Hz, 1.2kHz, 2.4kHz, 3kHz, 7kHz</li>\n	<li>High-Pass Filter: 18dB per-octave slope, switchable between 45Hz, 70Hz, 160Hz, 360Hz.                       </li>\n	<li>EQ button switches the equalizer on or off                                                                  </li>\n	<li>Phase button: 180º                                                                                          </li>\n	<li>Phantom power button; +48V                                                                                  </li>\n	<li>DI on/off                                                                                                   </li>\n	<li>Input impedance select                                                                                      </li>\n	<li>Output volume                                                                                               </li>\n</ul>\n<h3>Who’s Using BAE:</h3>\n<blockquote>\n	   \"BAE has been an integral part of my record making for many, many years now. I have owned the mic pre\'s, EQ\'s, and racks for years. The dedication to costumer service is something one can count on. With the advent of the Avedis 1122 OpAmp, the classic 2520 opamp was brought forward into the future. Mark has also made a point at looking back at certain designs and his attention to detail shows in the new products that he is working on. I am very happy to announce and toast Mark\'s (Loughman) new ownership in the company. I forecast excellent things to come. — <em>Ross Hogarth, Grammy-winning producer-engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	   \"During the recording of many of the Steven Slate Drums sessions, we used lots of BAE mic pres and equalizers. They made it easy to get some of the best drum sounds I\'ve ever heard.\"  — <em>Steven Slate Drums</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “What all 312a users say about clarity and punch is absolutely true. They are very versatile pre amps and aside from the obvious with guitars, drums, and vocals, I really enjoy using these pre\'s with bass and synth sequences.” Ilan Rubin (NIN, Paramore, Lostprophets)<br/><br/>\n</blockquote>\n<blockquote>\n	   “I love my BAE mic pre-amp. It makes my tracks sound lovelier!” — <em>Jane Wiedlin, The Go-Go\'s</em><br/><br/>\n</blockquote>\n<blockquote>\n	   “I was just screwing around with my BAE 1084 when it hit me, wonder what my Space Bass would sound like in this. I plugged it in and the sound was so pure and natural I thought I was on stage in the ‘Mothership.’ This thing sings with tone, punch, and straight-up good, solid sound that will stand out in a mix with loud drums and guitars.” – <em>Bootsy Collins</em><br/><br/>\n</blockquote>\n<blockquote>\n	“Two thumbs way up! In my opinion, the BAE 1073 and 1084 modules sound every bit as good as the original Neve modules I have used my whole career (we\'ve had blind fold audio \"shoot out\" tests in my vintage Neve room and there is absolutely no difference). Nothing comes as close to my original Neve EQ/mic preamps as BAE products. And in my opinion, BAE products surpass all the competition in build quality; from the point-to-point wiring, to the audio traces on their cards, original St Ives (Carnhill) transformers, nickel plating, impeccable craftsmanship, and wow! —no old dirty switches and pots. (Did I mention they plugged right in to my vintage Neve 8014 frame from 1970 flawlessly!) Plus, Mark and the staff over at BAE are totally professional and a pleasure to deal with.” — <em>Andy Kravitz, drummer, producer, engineer</em><br/><br/>\n</blockquote>\n<blockquote>\n	 Discography:\n(Imogen Heap, Billy Joel, The Rolling Stones, Simon Townshend, Robbie Krieger, Urge Overkill, Lizzy Grant, The Cheeters, Cypress Hill, James Taylor, Los Lobos, Soloman Burke, Joan Osborne, Taj Mahal, Mark Broussard, Norwood Fisher, Shawn Colvin, Hundred Year Flood, and Sting)\n	<br/><br/>\n</blockquote>\n<h3>About BAE (British Audio Engineering)</h3>\n<p>\n	Answering to a higher authority (maintaining the legacy of Mr. Rupert Neve), BAE puts nothing but the very best and their very best into every unit they built. Under the guidance of president/CEO Mark Loughman and Neve guru, Avedis Kifedjian, BAE uses the only highest quality components from the original suppliers, such as Carnhill (formerly St. Ives) and Jensen. All BAE products use discrete electronics and are completely hand-built and wired point-to point (no circuit boards). For more information about BAE, check out <a href=\"http://www.rspeaudio.com/Designers_Perspective_a/286.htm#bae\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">RSPE’s Designer’s Perspective</a> feature and get a first-hand look at the inner workings of BAE.\n</p>\n<h3>Add the classic Neve sound to your recordings via tracking or passive summing with BAE’s faithful 1066 replica, the BAE 1066D Pair. Call or chat with an RSPE representative today.</h3>'),(2679,85,0,447,'BAE 1066D 19\" 1RU (Pair) with Power Supply'),(2680,85,1,447,'BAE 1066D 19\" 1RU (Pair) with Power Supply'),(2681,76,0,447,''),(2682,76,1,447,''),