(10976,75,1,1830,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> 611EQ E Series Module — 500-Series Equalizer</h1>\n<span style=\"font-size:16px; font-style:italic;\">SSL’s famous SL 4000 E console dynamics module for API 500-format power racks </span><br /><br />\nWhile the Solid State Logic E-Series EQ Module reproduces the sonic signature of a classic console from the 80\'s, its sound is still very much alive and in use today. The SSL 611EQ module is a direct descendant of the Solid State Logic SL 4000 E console channel strip, featured on countless recordings from the 1980s to the present. The 611EQ E Series EQ Module is actually two equalizers in one; each based on a channel strip equalizer found on different editions of the console produced between 1981 and 1989. Each EQ type has unique response curves and tonal character. The two aforementioned types of console EQ were differentiated by the color of the knobs on the low-frequency section of the EQ. These became known as “Brown” and “Black.” Both of these legendary EQs are built into the 611EQ E Series EQ Module so you can switch between these two different flavors of EQ loved by generations of professional producers. <br /><br />\n<h3>SSL 611DYN E-Series Dynamics module unique features:</h3>\n<ul>\n	<li>Immortal SSL 4000 E Series circuitry</li>\n	<li>\"Black-242\" and \"Brown-02\" twin EQ design</li>\n	<li>Based on classic 611E console channel strip</li>\n</ul>\n<br />\n<h3>SSL 611DYN E-Series Dynamics module key features:</h3>\n<ul>\n	<li>Versatile 4-band channel EQ</li>\n	<li>Bell curve option on HF and LF</li>\n	<li>Fully parametric LMF and HMF with “Q”</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — SSL 611EQ E Series Equalizer module</h3>\nFormerly only available as an X-Logic module, the 611EQ module was designed to live in an API 500-series rack, such as the API lunchbox or equivalent power rack, and has a nominal input/output level of +4dBu.\n<br /><br />\nThe SSL E Series EQ module is a re-implementation of two of the classic SSL EQ circuits, dating back to the original E Series consoles. The module defaults to the original ‘Brown Knob’ circuit that was standard on all early production E Series consoles but can be switched to emulate the later ‘Black Knob’ circuit.<br /><br />\n<h3>OUTSIDE THE BOX — SSL 611EQ E Series Equalizer Module</h3>\nThe black face front panel of the SSL EQ611EQ has four frequency bands. The low-frequency band is a shelf EQ from 30Hz to 450Hz with ±15dB boost and cut. It also has a switchable bell curve. The low mid-frequency band ranges from 200Hz to 2.5kHz with adjustable Q and ±15dB boost/cut. The high mid-frequency band has the same controls with a frequency range of 600Hz to 7kHz. On the right side of the front panel between the LMF and HMF controls is the EQ In switch and “Black” switch, which changes the 611EQ’s operation from “Brown Knob EQ” to “Black Knob EQ” (see below).  And finally, the 611EQ module’s high-frequency shelf has switchable bell curve, ±15dB boost/cut, and ranges from 1.5kHz to 16kHz.   \n<br /><br />\n<h3>Brown Knob EQ</h3>\nWith the BLK button out, the two parametric mid-band sections feature SSL’s classic logarithmically symmetric design ensuring that the ±3dB up/down points retain the same musical interval from the center frequency regardless of frequency and amplitude settings. The two shelving sections are traditional 6dB/octave designs with an option for a fixed Q parametric response (by way of the BELL button). The ‘02’ EQ, to give it its correct name, was used on countless recordings and mixes in the early eighties.\n<br /><br />\n<h3>Black Knob EQ</h3>\nIn the mid-eighties a new ‘242’ EQ circuit was developed in conjunction with the legendary George Martin for the first SSL console to be installed in AIR studios. The Black Knob EQ, as it became known, featured enhanced cut and boost ranges (±18dB instead of ±15dB) together with a different control law for tighter control of low frequencies.\n<br /><br />\n<h3>SSL EQ history</h3>\nPrior to 1987 SSL used the color of the Low Frequency EQ knob caps to indicate which type of EQ was fitted. All consoles were custom built and could feature different combinations of EQ module. The following color codes apply:\n<br /><br />\n<strong>E-Series BROWN:</strong> The original SSL EQ fitted to all consoles prior to the summer of 1985. Despite the rumors these equalizers only came in one version. The EQ card was called the \'02\'.<br /><br />\n<strong>E Series ORANGE:</strong> The infamous EQP equalizer. This was a variation on the Brown EQ with controls simulating the curves of a valve type EQ. Very few were sold. This card was named the \'132\'.<br /><br />\n<strong>E-Series BLACK:</strong> The last version of the standard E series EQ. It evolved in the early 1980\'s from discussions with many top engineers and proved very popular. The EQ card was called the \'242\'.<br /><br />\n<strong>G-Series:</strong> With the arrival of the G Series console in 1987 the color-coding was abandoned and the classic SSL end cap color scheme used today was adopted. First introduced in 1987 the original G Series EQ introduced Q characteristics, which were proportional to gain settings and had a degree of over shoot when boosting and under shoot when cutting. <br /><br /><br /><br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n<h3>It’s been a long time coming, and now thanks to SSL’s E Series EQ module, the hit-making SSL Black and Brown equalizers are now 500-series compliant. For more information, call or chat with an RSPE representative today. </h3>\n<br />\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_EQ_Module_for_500_Series_Rack_RENT_p/ssl-500eq-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(10977,85,0,1830,'SSL E-Series EQ Module for 500 Series Rack'),(10978,85,1,1830,'SSL E-Series EQ Module for 500 Series Rack'),(10979,76,0,1830,''),(10980,76,1,1830,''),(10981,75,0,1831,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XLogic Alpha Channel</h1><i>Channel Strip with Mic Preamp, EQ, Filter, Limiter, and Variable Harmonic Drive (VHD) Circuit</i><br /><br />The Solid State Logic (SSL) Alpha Channel features the classic combination of mic preamp, filter, EQ, dynamics, and A/D conversion, and draws upon SSL’s sonic legacy to provide an affordable analogue channel strip designed to provide the perfect front end to your DAW.\n<br /><br />\n	The Alpha Channel packs in a sophisticated and versatile collection of features for its size and price; a high-quality mic pre with switched impedance for instrument or line sources, phantom power and phase invert. A VHD circuit for added analogue tone, an Insert for streamlined additional processing, a three band EQ design utilising the classic SSL channel strip EQ sound and with selectable Bell curve for the LF, a High Pass Filter with 40/80/120Hz cutoff frequency selection, a switched lite limiter to prevent digital clipping, a high quality Analogue to Digital audio converter, and an S/PDIF digital output.\n<br /><br />\n<h3>Key Features:</h3>\n<ul style=\"\">\n	<li>Professional ultra-clean mic preamp with Hi Z impedance switch</li><li>VHD (Variable Harmonic Drive) circuit for added analogue tone</li><li>Front Panel Combi XLR mic/line/instrument input</li><li>1/4” jack instrument auto sensing with passive DI type impedance detection and level matching</li><li>High Pass Filter with selectable 40Hz, 80Hz or 120Hz cutoff</li><li>DC Sidechain Link outputs (RCA)</li><li>Built-in professional quality Analogue to Digital conversion</li><li>1/4” analogue out and S/PDIF I/O</li><li>Auto sample rate sensing and self-adjustment</li><li>Three band SSL parametric EQ with mid-frequency Q control and dual LF curves</li><li>Intelligent auto limiting that maximizes recording headroom and avoids DAC clipping</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(10982,75,1,1831,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XLogic Alpha Channel</h1><i>Channel Strip with Mic Preamp, EQ, Filter, Limiter, and Variable Harmonic Drive (VHD) Circuit</i><br /><br />The Solid State Logic (SSL) Alpha Channel features the classic combination of mic preamp, filter, EQ, dynamics, and A/D conversion, and draws upon SSL’s sonic legacy to provide an affordable analogue channel strip designed to provide the perfect front end to your DAW.\n<br /><br />\n	The Alpha Channel packs in a sophisticated and versatile collection of features for its size and price; a high-quality mic pre with switched impedance for instrument or line sources, phantom power and phase invert. A VHD circuit for added analogue tone, an Insert for streamlined additional processing, a three band EQ design utilising the classic SSL channel strip EQ sound and with selectable Bell curve for the LF, a High Pass Filter with 40/80/120Hz cutoff frequency selection, a switched lite limiter to prevent digital clipping, a high quality Analogue to Digital audio converter, and an S/PDIF digital output.\n<br /><br />\n<h3>Key Features:</h3>\n<ul style=\"\">\n	<li>Professional ultra-clean mic preamp with Hi Z impedance switch</li><li>VHD (Variable Harmonic Drive) circuit for added analogue tone</li><li>Front Panel Combi XLR mic/line/instrument input</li><li>1/4” jack instrument auto sensing with passive DI type impedance detection and level matching</li><li>High Pass Filter with selectable 40Hz, 80Hz or 120Hz cutoff</li><li>DC Sidechain Link outputs (RCA)</li><li>Built-in professional quality Analogue to Digital conversion</li><li>1/4” analogue out and S/PDIF I/O</li><li>Auto sample rate sensing and self-adjustment</li><li>Three band SSL parametric EQ with mid-frequency Q control and dual LF curves</li><li>Intelligent auto limiting that maximizes recording headroom and avoids DAC clipping</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(10983,85,0,1831,'SSL XLogic Alpha Channel'),(10984,85,1,1831,'SSL XLogic Alpha Channel'),(10985,76,0,1831,''),(10986,76,1,1831,''),(10987,75,0,1832,'<h1>Solid State Logic (SSL) XLogic Alpha VHD-Pre</h1><i>\n\nFour of SSL\'s acclaimed Variable Harmonic Drive (VHD) Mic Pre\'s in one 19\" rackmounted box.</i><br /><br />The Solid State Logic (SSL) A<span style=\"background-color: initial;\">lpha VHD-Pre offers four of SSL\'s widely acclaimed VHD Pre circuits in compact 1U format. First featured on our flagship Duality console and now the go to circuit for leading engineers worldwide, the VHD Pre is a patented SSL preamp design that can deliver ultra-clean SSL grade recordings but also features a patented \'Variable Harmonic Drive\' circuit which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre\'s give the user ultimate versatility from a studio grade preamp. Whether it\'s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion. VHD delivers a uniquely versatile pallette of rich analogue character that can be applied as a mic pre, instrument DI or line level processing device.</span>\n<br /><br />\n	Each Pre is a simple analogue device with XLR in/out on the back, an instrument level 1/4\" jack on the front panel. Each circuit has a Hi Z switch to accommodate mic, line and instrument level signals, a PAD switch to facilitate use as a line level processing device and 48v phantom power switch. There are three rotary controls: Input Level, VHD and Output Level.\n<br /><br />\n<h3>Key Features:</h3>\n<ul>\n	<li>Ultra-clean SSL preamp with 75dB of gain</li>\n	<li>48V phantom power</li>\n	<li>20dB Pad switches that illuminate to indicate overload</li>\n	<li>Hi Z switches to accommodate mic, line and instrument level signals</li>\n	<li>Four independent Variable Harmonic Drive systems</li>\n	<li>Front panel 1/4\" jack instrument/line level inputs with passive DI type impedance detection and level matching</li>\n	<li>Individual input, output and VHD controls for each section</li>\n	<li>Rear panel XLR mic/line inputs and XLR outputs</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(10988,75,1,1832,'<h1>Solid State Logic (SSL) XLogic Alpha VHD-Pre</h1><i>\n\nFour of SSL\'s acclaimed Variable Harmonic Drive (VHD) Mic Pre\'s in one 19\" rackmounted box.</i><br /><br />The Solid State Logic (SSL) A<span style=\"background-color: initial;\">lpha VHD-Pre offers four of SSL\'s widely acclaimed VHD Pre circuits in compact 1U format. First featured on our flagship Duality console and now the go to circuit for leading engineers worldwide, the VHD Pre is a patented SSL preamp design that can deliver ultra-clean SSL grade recordings but also features a patented \'Variable Harmonic Drive\' circuit which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre\'s give the user ultimate versatility from a studio grade preamp. Whether it\'s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion. VHD delivers a uniquely versatile pallette of rich analogue character that can be applied as a mic pre, instrument DI or line level processing device.</span>\n<br /><br />\n	Each Pre is a simple analogue device with XLR in/out on the back, an instrument level 1/4\" jack on the front panel. Each circuit has a Hi Z switch to accommodate mic, line and instrument level signals, a PAD switch to facilitate use as a line level processing device and 48v phantom power switch. There are three rotary controls: Input Level, VHD and Output Level.\n<br /><br />\n<h3>Key Features:</h3>\n<ul>\n	<li>Ultra-clean SSL preamp with 75dB of gain</li>\n	<li>48V phantom power</li>\n	<li>20dB Pad switches that illuminate to indicate overload</li>\n	<li>Hi Z switches to accommodate mic, line and instrument level signals</li>\n	<li>Four independent Variable Harmonic Drive systems</li>\n	<li>Front panel 1/4\" jack instrument/line level inputs with passive DI type impedance detection and level matching</li>\n	<li>Individual input, output and VHD controls for each section</li>\n	<li>Rear panel XLR mic/line inputs and XLR outputs</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(10989,85,0,1832,'SSL XLogic Alpha VHD-Pre'),(10990,85,1,1832,'SSL XLogic Alpha VHD-Pre'),(10991,76,0,1832,''),(10992,76,1,1832,''),(10993,75,0,1833,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> AWS 924 Delta - Analog Workstation / Recording Console</h1>\n<i>24 Fader SuperAnalogue™ Mixing Console and Control Surface with SSL δelta and DAW Control</i><br /><br />The SSL AWS (Analogue Workstation System) 924 Delta reinvented the professional production console by combining classic SSL SuperAnalogue™ console technology with comprehensive DAW control hardware in a single work surface. The AWS is now used by leading international recording artists, producers and engineers and has shaped expectations for session workflow within today\'s and indeed tomorrows\' production environments. The spring 2015 release of AWS delta saw another significant step in the constant evolutionary development that has characterised its enormously successful life. delta-Control (d-Ctrl) is a completely new analogue console automation platform for SSL studio technology that unites the very best of automation in the analogue console domain with DAW based workflow. All new AWS consoles feature delta technology and console upgrades are available for all preceding models. In October 2016 SSL SSL released an update to the AWS 948 that introduces new channel hardware to provide Stereo Channel Outputs and a new independednt Insert IN/OUT switching system.<br /><br />Designed for mid-scale commercial recording and production facilities, the AWS is available with 16 inputs (AWS 916), 24 inputs (AWS 924) or 48 inputs (AWS 948) within a compact 24 fader frame. The AWS 916 has 16 mic pre\'s, the AWS 924 and 948 have 24 mic pre\'s. The AWS 916 & 924 have mono channel strips and the 948 has stereo/dual mono channel strips that offer a second line level input per channel to provide 48 summing channels. All models deliver pristine SuperAnalogue™ summing, 24 ultra-clean SSL SuperAnalogue mic pre\'s, classic SSL dual curve EQ on every channel, two assignable SSL Dynamics channels, legendary Stereo Bus Compressor, TotalRecall™ and full 5.1 monitoring. In addition to on board classic SSL Automation, all models feature the new d-Ctrl system.<br /><br />The AWS also features Ethernet connectivity for streamlined hardware control over your entire Digital Audio Workstation environment. AWS delivers elegant, ergonomic physical control with dedicated heavy duty DAW transport, V-Pot multifunction encoders with position indicating LED\'s, Digital Scribble Strips, DAW fader mode, global and channel routing control and built-in TFT display for advanced plug-in editing. Project Session Management is kept simple through SSL\'s proprietary Logictivity interface.<br /><br />The AWS is an SSL SuperAnalogue™ console, featuring the audio performance specifications that have established the benchmarks by which other manufacturers are measured. Exceptionally low THD, noise floor & crosstalk levels keep your audio absolutely pristine, while our legendary headroom carries every nuance of your audio and allows engineers to mix \'hotter\' without distortion.<br /> <br />\n<br />\n<h3>AWS 924 Delta Key Features</h3>\n<ul>\n	<li>NEW! Stereo Channel Outputs privde post pan, stereo channel stem recording in a single pass (948 only)</li>\n	<li>NEW! Independent insert IN/OUT switching on In-Line channels \nsimplifies installation and expands the versatility of the Monitor path \n(948 only)\n	</li>\n	<li>NEW! Enhanced Small Screen Signal Flow graphics in the Chan Setup \npage dynamically displays processing order and IN/OUT status on Stereo \nand In-Line channels\n	</li>\n	<li>Combination of <strong>SuperAnalogue™ console</strong> and advanced <strong>DAW controller</strong></li>\n	<li>SSL <strong>SuperAnalogue™ mix bus</strong> provides pristine audio foundations</li>\n	<li>SSL <strong>SuperAnalogue mic pre\'s</strong> provide transparent record path</li>\n	<li>Innovative <strong>Dual Path Channel</strong> with three versatile operating modes (948 only)</li>\n	<li><strong>48 inputs on AWS 948;</strong>\n	<ul>\n		<li>IN-LINE TRACKING = 1 mic + 1 line inputs per channel</li>\n		<li>IN-LINE MIX = 2 x mono line inputs per channel</li>\n		<li>STEREO MIX = 1 x stereo line input per channel</li>\n	</ul>\n	</li>\n	<li><strong>NEW! δelta-Control</strong> advanced integration of console and DAW automation. </li>\n	<li><strong>AWSomation</strong> SSL motorised fader mix automation based on the heritage of G and K series Ultimation</li>\n	<li>Versatile <strong>4 band channel EQ</strong>, assignable <strong>Dynamics</strong> and SSL <strong>Master Bus Compressor</strong></li>\n	<li><strong>4-Band EQ</strong> design with independent E/G curve switching of HF/LF (Stereo on 948 only)</li>\n	<li>5.1 <strong>Surround monitoring</strong> and Monitor calibration including Bass management</li>\n	<li><strong>MIDI over Ethernet multi layer DAW</strong> workstation control</li>\n	<li><strong>Digital Scribble Strips</strong> for console and DAW data</li>\n	<li>Elegant project setup via SSL <strong>Logictivity Remote Browser</strong> and <strong>SD card storage</strong></li>\n	<li>SSL\'s unique trademarked <strong>TOTAL RECALL™</strong> system with <strong>\'TR Autoscan\'</strong></li>\n	<li>Responsible <strong>\'green\'</strong> manufacturing and reduced power consumption</li>\n	<li><strong>Compact 24 fader</strong> frame ideal for small control rooms</li>\n</ul>'),(10994,75,1,1833,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> AWS 924 Delta - Analog Workstation / Recording Console</h1>\n<i>24 Fader SuperAnalogue™ Mixing Console and Control Surface with SSL δelta and DAW Control</i><br /><br />The SSL AWS (Analogue Workstation System) 924 Delta reinvented the professional production console by combining classic SSL SuperAnalogue™ console technology with comprehensive DAW control hardware in a single work surface. The AWS is now used by leading international recording artists, producers and engineers and has shaped expectations for session workflow within today\'s and indeed tomorrows\' production environments. The spring 2015 release of AWS delta saw another significant step in the constant evolutionary development that has characterised its enormously successful life. delta-Control (d-Ctrl) is a completely new analogue console automation platform for SSL studio technology that unites the very best of automation in the analogue console domain with DAW based workflow. All new AWS consoles feature delta technology and console upgrades are available for all preceding models. In October 2016 SSL SSL released an update to the AWS 948 that introduces new channel hardware to provide Stereo Channel Outputs and a new independednt Insert IN/OUT switching system.<br /><br />Designed for mid-scale commercial recording and production facilities, the AWS is available with 16 inputs (AWS 916), 24 inputs (AWS 924) or 48 inputs (AWS 948) within a compact 24 fader frame. The AWS 916 has 16 mic pre\'s, the AWS 924 and 948 have 24 mic pre\'s. The AWS 916 & 924 have mono channel strips and the 948 has stereo/dual mono channel strips that offer a second line level input per channel to provide 48 summing channels. All models deliver pristine SuperAnalogue™ summing, 24 ultra-clean SSL SuperAnalogue mic pre\'s, classic SSL dual curve EQ on every channel, two assignable SSL Dynamics channels, legendary Stereo Bus Compressor, TotalRecall™ and full 5.1 monitoring. In addition to on board classic SSL Automation, all models feature the new d-Ctrl system.<br /><br />The AWS also features Ethernet connectivity for streamlined hardware control over your entire Digital Audio Workstation environment. AWS delivers elegant, ergonomic physical control with dedicated heavy duty DAW transport, V-Pot multifunction encoders with position indicating LED\'s, Digital Scribble Strips, DAW fader mode, global and channel routing control and built-in TFT display for advanced plug-in editing. Project Session Management is kept simple through SSL\'s proprietary Logictivity interface.<br /><br />The AWS is an SSL SuperAnalogue™ console, featuring the audio performance specifications that have established the benchmarks by which other manufacturers are measured. Exceptionally low THD, noise floor & crosstalk levels keep your audio absolutely pristine, while our legendary headroom carries every nuance of your audio and allows engineers to mix \'hotter\' without distortion.<br /> <br />\n<br />\n<h3>AWS 924 Delta Key Features</h3>\n<ul>\n	<li>NEW! Stereo Channel Outputs privde post pan, stereo channel stem recording in a single pass (948 only)</li>\n	<li>NEW! Independent insert IN/OUT switching on In-Line channels \nsimplifies installation and expands the versatility of the Monitor path \n(948 only)\n	</li>\n	<li>NEW! Enhanced Small Screen Signal Flow graphics in the Chan Setup \npage dynamically displays processing order and IN/OUT status on Stereo \nand In-Line channels\n	</li>\n	<li>Combination of <strong>SuperAnalogue™ console</strong> and advanced <strong>DAW controller</strong></li>\n	<li>SSL <strong>SuperAnalogue™ mix bus</strong> provides pristine audio foundations</li>\n	<li>SSL <strong>SuperAnalogue mic pre\'s</strong> provide transparent record path</li>\n	<li>Innovative <strong>Dual Path Channel</strong> with three versatile operating modes (948 only)</li>\n	<li><strong>48 inputs on AWS 948;</strong>\n	<ul>\n		<li>IN-LINE TRACKING = 1 mic + 1 line inputs per channel</li>\n		<li>IN-LINE MIX = 2 x mono line inputs per channel</li>\n		<li>STEREO MIX = 1 x stereo line input per channel</li>\n	</ul>\n	</li>\n	<li><strong>NEW! δelta-Control</strong> advanced integration of console and DAW automation. </li>\n	<li><strong>AWSomation</strong> SSL motorised fader mix automation based on the heritage of G and K series Ultimation</li>\n	<li>Versatile <strong>4 band channel EQ</strong>, assignable <strong>Dynamics</strong> and SSL <strong>Master Bus Compressor</strong></li>\n	<li><strong>4-Band EQ</strong> design with independent E/G curve switching of HF/LF (Stereo on 948 only)</li>\n	<li>5.1 <strong>Surround monitoring</strong> and Monitor calibration including Bass management</li>\n	<li><strong>MIDI over Ethernet multi layer DAW</strong> workstation control</li>\n	<li><strong>Digital Scribble Strips</strong> for console and DAW data</li>\n	<li>Elegant project setup via SSL <strong>Logictivity Remote Browser</strong> and <strong>SD card storage</strong></li>\n	<li>SSL\'s unique trademarked <strong>TOTAL RECALL™</strong> system with <strong>\'TR Autoscan\'</strong></li>\n	<li>Responsible <strong>\'green\'</strong> manufacturing and reduced power consumption</li>\n	<li><strong>Compact 24 fader</strong> frame ideal for small control rooms</li>\n</ul>'),(10995,85,0,1833,'SSL AWS 924 Delta - Analog Recording Console'),(10996,85,1,1833,'SSL AWS 924 Delta - Analog Recording Console'),(10997,76,0,1833,''),(10998,76,1,1833,''),(10999,75,0,1834,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Duality SE Pro-Station - 48 Channel Mixing Console (Used)</h1>\n<i>This beautiful 48 channel console is in near-perfect condition and comes to us from the original (and only) owner\'s private studio. It’s had very light use and has been serviced and updated throughout its life. It was just thoroughly inspected and maintained by SSL\'s professional service team. Currently features SE software, but new Delta software can be added at no extra charge (normally $875). In stock in our Los Angeles showroom.</i><br /><br />\n\nSSL Duality is SSL’s top-of-the-line, large-format console, combining comprehensive DAW control with SSL’s remarkable SuperAnalogue signal path. Duality SE combines technology from SSL’s acclaimed music console, the XL 9000 K Series, along with new design concepts which faithfully recreate the overload characteristics of valve circuitry through the use of the new VHD preamp. It retains all of the sonic benefits of SuperAnalogue™ capacitor-free servo coupled circuitry, then adds variable harmonic colouration on a channel by channel basis, contained within a control surface which should be familiar to any recording engineer who has previously used SSL consoles.<br /><br />\n<h3>Key Features Summary</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Combined large format SSL console and DAW controller</span></li>\n	<li>Legendary SuperAnalogue™ mic preamps and signal processing</li>\n	<li>New VHD™ (Variable Harmonic Drive) preamp stage</li>\n	<li>Comprehensive monitoring up to 5.1 surround with multiple loudspeaker support</li>\n	<li>Direct control of DAW recording, editing and mixing functions from the console surface</li>\n	<li>Flexible signal routing enhanced by the channel ‘Split’ function</li>\n	<li>Logictivity Remote browser for session management</li>\n</ul>\n<br />\n<h3>Duality Pro-Station</h3>\nDuality Pro-Station is a version of Duality that offers an alternative centre section layout. Functionally Pro-Station offers all of the same features and benefits as a standard Duality. The winged layout of the Pro-Station is designed to serve producers and engineers who wish to conduct their DAW session editing/arrangement and audio mixing from a single central position. In many studios a separate dedicated DAW station is located adjacent to the console and the task of operating the DAW for editing and arrangement is separated from the audio mixing process. Duality Pro-station will appeal to producers and engineers who like hands-on DAW operation that combines the recording, editing, arrangement and mixing processes.\n<br /> <br />\nThe shape of the Pro-Station was developed to enable the console centre section to accommodate a 27\" Apple Cinema Display. The display is mounted on an articulated gas lift arm, which enables it to be pulled forward towards the operator, when desired. The result is that the central operating position can resemble a more traditional computer operating configuration for more intensive arrangement and editing work. The screen can then be pushed back out of the way and back out of the sweet spot sound field for mixing.\n<br />\n<ul>\n</ul>'),(11000,75,1,1834,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Duality SE Pro-Station - 48 Channel Mixing Console (Used)</h1>\n<i>This beautiful 48 channel console is in near-perfect condition and comes to us from the original (and only) owner\'s private studio. It’s had very light use and has been serviced and updated throughout its life. It was just thoroughly inspected and maintained by SSL\'s professional service team. Currently features SE software, but new Delta software can be added at no extra charge (normally $875). In stock in our Los Angeles showroom.</i><br /><br />\n\nSSL Duality is SSL’s top-of-the-line, large-format console, combining comprehensive DAW control with SSL’s remarkable SuperAnalogue signal path. Duality SE combines technology from SSL’s acclaimed music console, the XL 9000 K Series, along with new design concepts which faithfully recreate the overload characteristics of valve circuitry through the use of the new VHD preamp. It retains all of the sonic benefits of SuperAnalogue™ capacitor-free servo coupled circuitry, then adds variable harmonic colouration on a channel by channel basis, contained within a control surface which should be familiar to any recording engineer who has previously used SSL consoles.<br /><br />\n<h3>Key Features Summary</h3>\n<ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Combined large format SSL console and DAW controller</span></li>\n	<li>Legendary SuperAnalogue™ mic preamps and signal processing</li>\n	<li>New VHD™ (Variable Harmonic Drive) preamp stage</li>\n	<li>Comprehensive monitoring up to 5.1 surround with multiple loudspeaker support</li>\n	<li>Direct control of DAW recording, editing and mixing functions from the console surface</li>\n	<li>Flexible signal routing enhanced by the channel ‘Split’ function</li>\n	<li>Logictivity Remote browser for session management</li>\n</ul>\n<br />\n<h3>Duality Pro-Station</h3>\nDuality Pro-Station is a version of Duality that offers an alternative centre section layout. Functionally Pro-Station offers all of the same features and benefits as a standard Duality. The winged layout of the Pro-Station is designed to serve producers and engineers who wish to conduct their DAW session editing/arrangement and audio mixing from a single central position. In many studios a separate dedicated DAW station is located adjacent to the console and the task of operating the DAW for editing and arrangement is separated from the audio mixing process. Duality Pro-station will appeal to producers and engineers who like hands-on DAW operation that combines the recording, editing, arrangement and mixing processes.\n<br /> <br />\nThe shape of the Pro-Station was developed to enable the console centre section to accommodate a 27\" Apple Cinema Display. The display is mounted on an articulated gas lift arm, which enables it to be pulled forward towards the operator, when desired. The result is that the central operating position can resemble a more traditional computer operating configuration for more intensive arrangement and editing work. The screen can then be pushed back out of the way and back out of the sweet spot sound field for mixing.\n<br />\n<ul>\n</ul>'),(11001,85,0,1834,'SSL Duality SE Pro-Station - 48 Channel Mixing Console (Used)'),(11002,85,1,1834,'SSL Duality SE Pro-Station - 48 Channel Mixing Console (Used)'),(11003,76,0,1834,''),(11004,76,1,1834,''),(11005,75,0,1835,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> E Series Dynamics Module — 500-Series Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">SSL’s famous SL 4000 E console dynamics module for API 500-format power racks </span><br /><br />\nUp until recently, if you wanted the sound of the SSL E Series Dynamics module without popping for a full SL 4000 E desk, you needed <a href=\"http://www.rspeaudio.com/SearchResults.asp?searching=Y&sort=7&search=x-rack&show=15&page=1&brand=SSL \" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">SSL’s X-Rack</a> to make that happen. The SSL 611DYN brings you the same sound and function in a 500-series form factor. To accurately reproduce the sound of the SL 4000 E console, heard on hit records throughout the ’80s, the SSL 611DYN E Series Dynamics Module has the same circuitry and key components as the 611E console channel strip. Both a compressor/limiter and expander/gate, the gain element of the E Series Dynamics Module is is an all-discrete design identical to the Class-A VCA chip used in the original unit. Along with a true RMS converter in the sidechain, the Series E Dynamics compressor has switching options to defeat the over-easy curve for a linear release instead of the more usual logarithmic curve. The result is a compressor with three voices, each with its own distinct musical character.<br /><br />\n<h3>SSL 611DYN E-Series Dynamics module unique features:</h3>\n<ul>\n	<li>Based on classic 611E console channel strip compressor</li>\n	<li>Immortal SSL 4000 Series circuitry</li>\n</ul>\n<br />\n<h3>SSL 611DYN E-Series Dynamics module key features:</h3>\n<ul>\n	<li>Operates as a compressor/limiter and expander/gate</li>\n	<li>Switchable compression curve options</li>\n	<li>Class A VCA replication</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — SSL 611DYN E Series Dynamics module</h3>\nThe 611DYN module is designed specifically for API 500-series power racks, such as the API lunchbox® or equivalent. The nominal input/output level of the E Series Dynamics module is +4dBu.\n<br /><br />\nThe SSL E Series Dynamics module comprises a compressor/limiter and an expander/gate, the design of which returns faithfully to the circuit and key components that defined the sound of the original SSL E Series channel strip. A true RMS converter is used in the sidechain, while the gain element is an all-discrete design identical to the Class A VCA chip used in the original.<br /><br />\nThe compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voicings, all of which contributed to the many classic records tracked and mixed on early E Series consoles.<br /><br />\nAs well as replicating the feel of the classic E Series dynamics, this module provides, with the exception of access to a  bus, the same facilities as the SSL X-Rack XR418 E Series Dynamics module.<br /><br />\n<h3>OUTSIDE THE BOX — SSL 611DYN E Series Dynamics Module\n</h3>\n<h3>Compressor/Limiter controls and functions:</h3>\n<strong>Ratio:</strong> When turned to 1:1, the compressor/limiter section is inactive. Turning the control clockwise increases the compression ratio, giving a true limiter at the fully clockwise position. The compressor normally has an “over-easy” characteristic pressing the “slope” button alongside the ratio control replaces over-easy with a ‘hard knee’ characteristic, providing an alternative for some instruments.<br /><br />\n<strong>Threshold:</strong> Whenever a signal exceeds the level set by this control, the compressor will start to act at the ratio set by the ratio control. The threshold and ratio controls also provide automatic make-up gain, so as you lower the threshold and introduce more compression, the output level is increased, maintaining a steady output level regardless of the amount of compression.<br /><br />\n<strong>LIN REL:</strong> Changes the release curve from logarithmic to linear. This also raises the threshold by 6dB.<br /><br />\n<strong>FAST ATT:</strong> Provides a faster attack time (3mS for 20dB gain reduction). When turned off, the attack time is slower and less aggressive (30mS for 20dB gain reduction). Release sets the time-constant (speed) with which the compressor returns to normal gain settings once the signal has passed its maximum.<br /><br />\n<h3>Gate/Expander controls and functions:</h3>\nThe gate/expander section can act as a 20:1 Gate or as a 2:1 Expander when the EXP button is pressed.\n<br /><br />\n<strong>Range:</strong> Determines the depth of gating or expansion. When turned fully anti-clockwise, this section is inactive. When turned fully clockwise, a gate depth or range of 40dB can be obtained.<br /><br />\n<strong>Threshold:</strong> Determines the level at which the gate opens or the level below which gain reduction begins (EXP selected), adjustable from +4dBu to –26dBu. Variable hysteresis is incorporated in the threshold circuitry, which increases as the threshold is lowered. This is very useful in music recording as it allows instruments to decay below the open threshold before gating or expansion takes place.<br /><br />\n<strong>FAST ATT:</strong> Normally, a controlled linear attack time of 1.5ms per 40dB is provided. Press this button to select a fast attack time (100μs per 40dB). The attack time is the time taken for the Gate/Expander to ‘open’ once the signal level is above the threshold. When gating signals with a steep rising edge, such as drums, a slow attack may effectively mask the initial ‘THWACK’, so you should be aware of this when selecting the appropriate attack time.<br /><br />\n<strong>Release:</strong> This determines the time constant (speed), variable from 0.1 to 4 seconds, at which the Gate/Expander reduces the signal level once it has passed below the threshold. Note that this control interacts with the RANGE control.<br /><br />\n<h3>About The SL 4000 E Console</h3>\nIn late 1979 the introduction of the Solid State Logic 4000 E Master Studio System forever changed how records would be recorded and mixed. Within less than three years*, every major studio worldwide featured at a least one room with an SSL E Series console. A new generation of producer-engineers could now work on projects on a global basis with their console of choice simply by carrying a computer disk containing all the session data from studio to studio. \n<br /><br />\nThe success of the \'E Series\' sound was born out by the rapid change in drum sounds that occurred on recordings from the ’80s on, all of which took advantage of the compressors and gates in every channel. When used with the sidechain trigger options, rhythm tracks literally jumped out of the speakers. So much so, that the all the early manufacturers of digital reverbs attempted emulations of the classic SSL analog “gated ambience mic” drum sound.<br /><br />\nThe SSL E Series EQ also played a major role in the aggressive guitar sounds of the post-punk era with ranges that immediately matched the key frequencies bands of miked guitar amps. The versatility of the processing received further positive critical endorsements as established European Broadcasters installed SSL consoles in their prestigious classical music studios and concert halls.<br /><br />\n*In 1981, the SL 4000 E was awarded the prestigious UK Design Council Award, having revolutionized studio management with Total Recall. Later that same year, SSL received its first Queen\'s Award for Export Achievement. Through the 1980\'s SSL continued to expand its range of products, establishing itself as the premier expert in audio technology for the music, film and broadcast industries.<br /><br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n<h3>No longer limited to the X-Logic X-Rack, the SSL 611DYN E Series Dynamics modules brings the same sound and functionality to any and all welcoming 500-series power racks. For more information, call or chat with an RSPE representative today. </h3>\n<br />\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_Dynamics_Module_for_500_Series_RENT_p/ssl-500comp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(11006,75,1,1835,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> E Series Dynamics Module — 500-Series Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">SSL’s famous SL 4000 E console dynamics module for API 500-format power racks </span><br /><br />\nUp until recently, if you wanted the sound of the SSL E Series Dynamics module without popping for a full SL 4000 E desk, you needed <a href=\"http://www.rspeaudio.com/SearchResults.asp?searching=Y&sort=7&search=x-rack&show=15&page=1&brand=SSL \" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">SSL’s X-Rack</a> to make that happen. The SSL 611DYN brings you the same sound and function in a 500-series form factor. To accurately reproduce the sound of the SL 4000 E console, heard on hit records throughout the ’80s, the SSL 611DYN E Series Dynamics Module has the same circuitry and key components as the 611E console channel strip. Both a compressor/limiter and expander/gate, the gain element of the E Series Dynamics Module is is an all-discrete design identical to the Class-A VCA chip used in the original unit. Along with a true RMS converter in the sidechain, the Series E Dynamics compressor has switching options to defeat the over-easy curve for a linear release instead of the more usual logarithmic curve. The result is a compressor with three voices, each with its own distinct musical character.<br /><br />\n<h3>SSL 611DYN E-Series Dynamics module unique features:</h3>\n<ul>\n	<li>Based on classic 611E console channel strip compressor</li>\n	<li>Immortal SSL 4000 Series circuitry</li>\n</ul>\n<br />\n<h3>SSL 611DYN E-Series Dynamics module key features:</h3>\n<ul>\n	<li>Operates as a compressor/limiter and expander/gate</li>\n	<li>Switchable compression curve options</li>\n	<li>Class A VCA replication</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — SSL 611DYN E Series Dynamics module</h3>\nThe 611DYN module is designed specifically for API 500-series power racks, such as the API lunchbox® or equivalent. The nominal input/output level of the E Series Dynamics module is +4dBu.\n<br /><br />\nThe SSL E Series Dynamics module comprises a compressor/limiter and an expander/gate, the design of which returns faithfully to the circuit and key components that defined the sound of the original SSL E Series channel strip. A true RMS converter is used in the sidechain, while the gain element is an all-discrete design identical to the Class A VCA chip used in the original.<br /><br />\nThe compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voicings, all of which contributed to the many classic records tracked and mixed on early E Series consoles.<br /><br />\nAs well as replicating the feel of the classic E Series dynamics, this module provides, with the exception of access to a  bus, the same facilities as the SSL X-Rack XR418 E Series Dynamics module.<br /><br />\n<h3>OUTSIDE THE BOX — SSL 611DYN E Series Dynamics Module\n</h3>\n<h3>Compressor/Limiter controls and functions:</h3>\n<strong>Ratio:</strong> When turned to 1:1, the compressor/limiter section is inactive. Turning the control clockwise increases the compression ratio, giving a true limiter at the fully clockwise position. The compressor normally has an “over-easy” characteristic pressing the “slope” button alongside the ratio control replaces over-easy with a ‘hard knee’ characteristic, providing an alternative for some instruments.<br /><br />\n<strong>Threshold:</strong> Whenever a signal exceeds the level set by this control, the compressor will start to act at the ratio set by the ratio control. The threshold and ratio controls also provide automatic make-up gain, so as you lower the threshold and introduce more compression, the output level is increased, maintaining a steady output level regardless of the amount of compression.<br /><br />\n<strong>LIN REL:</strong> Changes the release curve from logarithmic to linear. This also raises the threshold by 6dB.<br /><br />\n<strong>FAST ATT:</strong> Provides a faster attack time (3mS for 20dB gain reduction). When turned off, the attack time is slower and less aggressive (30mS for 20dB gain reduction). Release sets the time-constant (speed) with which the compressor returns to normal gain settings once the signal has passed its maximum.<br /><br />\n<h3>Gate/Expander controls and functions:</h3>\nThe gate/expander section can act as a 20:1 Gate or as a 2:1 Expander when the EXP button is pressed.\n<br /><br />\n<strong>Range:</strong> Determines the depth of gating or expansion. When turned fully anti-clockwise, this section is inactive. When turned fully clockwise, a gate depth or range of 40dB can be obtained.<br /><br />\n<strong>Threshold:</strong> Determines the level at which the gate opens or the level below which gain reduction begins (EXP selected), adjustable from +4dBu to –26dBu. Variable hysteresis is incorporated in the threshold circuitry, which increases as the threshold is lowered. This is very useful in music recording as it allows instruments to decay below the open threshold before gating or expansion takes place.<br /><br />\n<strong>FAST ATT:</strong> Normally, a controlled linear attack time of 1.5ms per 40dB is provided. Press this button to select a fast attack time (100μs per 40dB). The attack time is the time taken for the Gate/Expander to ‘open’ once the signal level is above the threshold. When gating signals with a steep rising edge, such as drums, a slow attack may effectively mask the initial ‘THWACK’, so you should be aware of this when selecting the appropriate attack time.<br /><br />\n<strong>Release:</strong> This determines the time constant (speed), variable from 0.1 to 4 seconds, at which the Gate/Expander reduces the signal level once it has passed below the threshold. Note that this control interacts with the RANGE control.<br /><br />\n<h3>About The SL 4000 E Console</h3>\nIn late 1979 the introduction of the Solid State Logic 4000 E Master Studio System forever changed how records would be recorded and mixed. Within less than three years*, every major studio worldwide featured at a least one room with an SSL E Series console. A new generation of producer-engineers could now work on projects on a global basis with their console of choice simply by carrying a computer disk containing all the session data from studio to studio. \n<br /><br />\nThe success of the \'E Series\' sound was born out by the rapid change in drum sounds that occurred on recordings from the ’80s on, all of which took advantage of the compressors and gates in every channel. When used with the sidechain trigger options, rhythm tracks literally jumped out of the speakers. So much so, that the all the early manufacturers of digital reverbs attempted emulations of the classic SSL analog “gated ambience mic” drum sound.<br /><br />\nThe SSL E Series EQ also played a major role in the aggressive guitar sounds of the post-punk era with ranges that immediately matched the key frequencies bands of miked guitar amps. The versatility of the processing received further positive critical endorsements as established European Broadcasters installed SSL consoles in their prestigious classical music studios and concert halls.<br /><br />\n*In 1981, the SL 4000 E was awarded the prestigious UK Design Council Award, having revolutionized studio management with Total Recall. Later that same year, SSL received its first Queen\'s Award for Export Achievement. Through the 1980\'s SSL continued to expand its range of products, establishing itself as the premier expert in audio technology for the music, film and broadcast industries.<br /><br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n<h3>No longer limited to the X-Logic X-Rack, the SSL 611DYN E Series Dynamics modules brings the same sound and functionality to any and all welcoming 500-series power racks. For more information, call or chat with an RSPE representative today. </h3>\n<br />\n<br />This product is also available as part of the RSPE Demo 4 Free & Rental Program, <span class=\"colors_productprice\" style=\"font-weight: bold; text-decoration: underline;\"><a href=\"http://www.rspeaudio.com/SSL_E_Series_Dynamics_Module_for_500_Series_RENT_p/ssl-500comp-rent.htm\" target=\"_blank\" class=\"colors_productprice\">click here</a></span> to see the rental product page.'),(11007,85,0,1835,'SSL E-Series Compressor Module for 500 Series Rack'),(11008,85,1,1835,'SSL E-Series Compressor Module for 500 Series Rack'),(11009,76,0,1835,''),(11010,76,1,1835,''),(11011,75,0,1836,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Fusion Analog Stereo Processor</h1>\n<i>Add the detail , warmth and finesse of true analog sound to your mixes with SSL Fusion!</i>\nSSL Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces five completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide.\n<br /><br />\nThe SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus. Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.\n<br /><br />\nFusion features five analogue processors that can be used discretely or combined:<br /><br />\n\n\n<h3>SSL Fusion Vintage Drive</h3>\nVintage Drive - is a unique non-linear harmonic enhancement circuit that brings cohesion and strength to your mix. Drive and Density controls interact to produce harmonic saturation and soft compression derived from overloading an analogue circuit. It can be used lightly for subtle thickening saturation or driven hard for more extreme distortion.<br /><br />\n\n<h3>SSL Fusion Violet EQ</h3>\nThe SSL Violet EQ - an all-new minimum phase-shift, two-band shelving EQ. The first new SSL analogue EQ circuit for more than 25 years draws on the SSL legacy of carefully selected frequencies and response curves to create a musical and intuitive EQ designed to quickly dial in low-end weight and high-end sheen. High and Low frequency circuits each offer four switched frequency points and +/-9dB attenuation.\n<br /><br />\n<h3>SSL Fusion HF Compressor</h3>\nA new High Frequency Compressor delivers the distinctive sound of high frequency rounding in the analogue domain. A compressor that effects high frequencies only, optimised for smooth and transparent harshness reduction and a tape-like high-frequency roll off – great for taming brittle high frequency fizz.\n<br /><br />\n<h3>SSL Fusion Stereo-Image</h3>\nA new Stereo Image enhancer provides a true analogue Mid-Side circuit that manipulates the Side signal, allowing for widening and spatial manipulation of the stereo field.\n<br /><br />\n<h3>SSL Fusion Transformer</h3>\nA switched, custom-designed SSL Transformer circuit introduces subtle low-frequency saturation, alongside a high-frequency phase-shift. The result is a simultaneous thickening of the low-end and an added sparkle to the high-end.<br /><br /><ul>\n</ul>\n\n<h3>Designed for today’s hybrid studio</h3>\nSSL has also always been known for clever connectivity and features that streamline and accelerate production workflow. Fusion fits right in with a collection of workflow enhancing features including: +/-12dB Input and Output Trim controls, an Input overload LED, large peak-hold metering, a front-end 3rd order High Pass Filter with three selectable cut off frequencies, and tri-colour status indicators for the Vintage Drive and HF Comp sections. A set of XLR connections can be used either as a Stereo Insert for stereo mix bus processing or switched to function as a Mid-Side (MS) circuit enabling separate compressors or EQ to be applied to the middle (centre) and sides of a stereo signal. In Stereo Insert mode the insert point can be switched to pre-Violet EQ, when in MS mode the insert can be switched to pre-Stereo Image controls. Input and Output connections are via XLR.<br /><br />'),(11012,75,1,1836,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Fusion Analog Stereo Processor</h1>\n<i>Add the detail , warmth and finesse of true analog sound to your mixes with SSL Fusion!</i>\nSSL Fusion is an all-analogue 2U stereo outboard processor created for the modern hybrid studio. Fusion introduces five completely new analogue colouration tools designed to bring the perfect combination of added tonal character, weight and space to your mix bus or stereo stems, with the detail, warmth and finesse that only real analogue circuits can provide.\n<br /><br />\nThe SSL sonic legacy is built upon a much-emulated collection of analogue audio processing tools that have featured in generations of studio consoles; pristine mic pre’s, classic Channel EQ & Dynamics, the legendary Stereo Bus Compressor, the Listen Mic Compressor, and the unique SSL summing bus. Fusion takes SSL into a new era with the introduction of a suite of new analogue processing tools that offer exceptional tonal character and versatility. Fusion expands the processing palette for hybrid studio owners and is a superb partner for the SSL Stereo Bus Compressor.\n<br /><br />\nFusion features five analogue processors that can be used discretely or combined:<br /><br />\n\n\n<h3>SSL Fusion Vintage Drive</h3>\nVintage Drive - is a unique non-linear harmonic enhancement circuit that brings cohesion and strength to your mix. Drive and Density controls interact to produce harmonic saturation and soft compression derived from overloading an analogue circuit. It can be used lightly for subtle thickening saturation or driven hard for more extreme distortion.<br /><br />\n\n<h3>SSL Fusion Violet EQ</h3>\nThe SSL Violet EQ - an all-new minimum phase-shift, two-band shelving EQ. The first new SSL analogue EQ circuit for more than 25 years draws on the SSL legacy of carefully selected frequencies and response curves to create a musical and intuitive EQ designed to quickly dial in low-end weight and high-end sheen. High and Low frequency circuits each offer four switched frequency points and +/-9dB attenuation.\n<br /><br />\n<h3>SSL Fusion HF Compressor</h3>\nA new High Frequency Compressor delivers the distinctive sound of high frequency rounding in the analogue domain. A compressor that effects high frequencies only, optimised for smooth and transparent harshness reduction and a tape-like high-frequency roll off – great for taming brittle high frequency fizz.\n<br /><br />\n<h3>SSL Fusion Stereo-Image</h3>\nA new Stereo Image enhancer provides a true analogue Mid-Side circuit that manipulates the Side signal, allowing for widening and spatial manipulation of the stereo field.\n<br /><br />\n<h3>SSL Fusion Transformer</h3>\nA switched, custom-designed SSL Transformer circuit introduces subtle low-frequency saturation, alongside a high-frequency phase-shift. The result is a simultaneous thickening of the low-end and an added sparkle to the high-end.<br /><br /><ul>\n</ul>\n\n<h3>Designed for today’s hybrid studio</h3>\nSSL has also always been known for clever connectivity and features that streamline and accelerate production workflow. Fusion fits right in with a collection of workflow enhancing features including: +/-12dB Input and Output Trim controls, an Input overload LED, large peak-hold metering, a front-end 3rd order High Pass Filter with three selectable cut off frequencies, and tri-colour status indicators for the Vintage Drive and HF Comp sections. A set of XLR connections can be used either as a Stereo Insert for stereo mix bus processing or switched to function as a Mid-Side (MS) circuit enabling separate compressors or EQ to be applied to the middle (centre) and sides of a stereo signal. In Stereo Insert mode the insert point can be switched to pre-Violet EQ, when in MS mode the insert can be switched to pre-Stereo Image controls. Input and Output connections are via XLR.<br /><br />'),(11013,85,0,1836,'SSL Fusion Analog Stereo Processor'),(11014,85,1,1836,'SSL Fusion Analog Stereo Processor'),(11015,76,0,1836,''),(11016,76,1,1836,''),(11017,75,0,1837,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XLogic G Series Compressor — Stereo Bus Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Classic SSL G-Series compressor updated with SSL’s ultra transparent SuperAnalogue™ circuitry </span><br /><br />\nThe SSL G Series console compressor has provided the audio glue for more mixes than nearly any other stereo bus compressor in recording history. Combining the classic design elements of the SL 4000 G Series center console compressor with SSL’s ultra-transparent SuperAnalogue circuitry introduced on the SL 9000J console, the 1U rackmount SSL XLogic G Series Compressor provides the dual benefits of a universally acclaimed classic compressor and spectacular audio performance. If you’ve been looking for a way to add size, power, and punch to your mixes without artifacts or compromising sonic integrity, clear a space on your 2-bus for the XLogic G Series Compressor by Solid State Logic. <br /><br />\n<h3>Solid State Logic XLogic G-Series Compressor unique features:</h3>\n<ul>\n	<li>Legendary SSL G Series stereo bus compressor</li>\n	<li>Ultra transparent DC-coupled SuperAnalogue topology</li>\n	<li>Auto fade with rate control automatic linear fade in/out control</li>\n	<li>Remote connector for remote operation of the auto fade function</li>\n</ul>\n<br />\n<h3>Solid State Logic XLogic G-Series Compressor key features:</h3>\n<ul>\n	<li>Gain reduction meter as fitted to the classic SSL console range</li>\n	<li>External side chain source select</li>\n	<li>Balanced XLR I/O</li>\n	<li>Universal power supply</li>\n	<li>Hardwire bypass </li>\n</ul>\n<a href=\"http://www.rspeaudio.com/v/sslcompressor.html\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/virtual-ssl.png\" alt=\"\" /></a><br />RSPE Audio Solutions’ <a href=\"http://www.rspeaudio.com/v/sslcompressor.html\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Virtual SSL Bus Compressor</a>, created in collaboration with Solid State Logic, gives you the opportunity to A/B the SSL G-Series Bus Compressor while adding punch to drums and “gluing a mix,” which it has done on countless hit records for decades. <br />\n<h3></h3>\n<h3>INSIDE THE BOX — SSL XLogic G Series Compressor</h3>\n<h3>SuperAnalogue design philosophy </h3>\nFirst featured in the SL 9000J console, the SuperAnalogue technology found in the XLogic G Series Compressor is a design philosophy that incorporates DC-coupled circuitry implemented in modern surface-mount technology. SSL SuperAnalogue processors have extraordinarily transparent audio path with flat, ultra-wide frequency response, extremely low distortion, and an almost immeasurable noise floor. SuperAnalogue provides a bandwidth greater than 192kHz recorders and a dynamic range well beyond that of 24-bit A-D converters. SuperAnalogue circuits are designed to be the fastest-acting, most tonally accurate audio circuits available. Perhaps the most unique capability of SuperAnalogue processors is the ability to null two units just shy of 100%—something that is very difficult to achieve with analog circuitry. The same technology, circuit design, and components from SSL analog consoles have been the foundation of the XL 9000K, AWS 900+, and Duality recording consoles, and are used in the XLogic outboard processor range. \n<br /><br />\n<h3>Origins of the G Series Stereo Bus Compressor</h3>\nSolid State Logic’s SL 4000 console was a landmark in recording desks, since it was the first console to incorporate dynamics processing in every channel and a master compressor in the console center section. Thanks to the console’s ability to patch into the SL 4000\'s center compressor and control its sidechain from an internal sub-mix, engineers used found its unique compression characteristics to be amazingly useful on instruments such as piano and drums, and most particularly for its mix finalizing capabilities. The G Series center console compressor became an indispensible studio tool, but since it was only available on SSL consoles, demand arose by engineers and producers for a rackmount version. SSL responded and a legendary piece of outboard gear was born.\n<br /><br />\nThe XLogic G Series Compressor is the latest version of the SL 4000 center console compressor, using the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides improved audio performance, while retaining the dynamics characteristics that have provided numerous hit mixes for the world\'s best audio engineers.<br /><br />\n<h3>The SL 4000 G console</h3>\nThe Solid State Logic SL 4000 G Series is the world\'s most successful studio production console. Used by top mixers such as Michael Brauer and the Lord Alge brothers, its reputation is built upon SSL\'s design excellence, advanced electronic engineering and a sound quality that has produced hundreds of best selling recordings. A key element in the sound of many of these recordings is punch and drive of the mixes created by the classic G-Series center section compressor.\n<br /><br />\n<h3>OUTSIDE THE BOX — SSL XLogic G Series Compressor  </h3>\nA model of elegant simplicity, the front panel of the XLogic G Series Compressor has the following controls and settings: \n<br /><br />\n<strong>Gain reduction meter:</strong> featuring the same design and look of the center section compressor on the classic SSL analog consoles, the meter of the Xlogic G Series Compressor is calibrated from 0 – 20dB in 4dB intervals.<br /><br />\n<strong>Threshold:</strong> Sets operating point for the compressor’s knee and is continuously variable from -15dB to +15dB.<br /><br />\n<strong>Attack:</strong> Six switchable settings: 0.1ms, 0.3ms, 1ms, 10ms, and 30ms. <br /><br />\n<strong>Ratio:</strong> Three switchable ranges 2:1, 4:1, and 10:1.<br /><br />\n<strong>Release:</strong> Release has five settings, 0.1s, 0.3s, 0.6s, 1.2s, and Auto. If auto is selected, release is dependent on the duration of the signal peak.<br /><br />\n<strong>Make-up:</strong> Make-up gain is continuously variable from -5dB - +15dB. <br /><br />\n<strong>Compressor In:</strong> A bypass button that switches the compressor in circuit and out. Bypass is hardwired to the G Series compressor’s output.  <br /><br />\n<strong>External Sidechain:</strong> This button selects the rear-panel “Key Input” as the sidechain source for the compressor. Sidechain opens up the possibility to use the unit as a ducker for audio-follow applications or with and external EQ as a de-esser. <br /><br />\n<strong>Auto Fade:</strong> provides an automatic fadeout set by the rate control. When the switch is released, the stereo signal automatically fades up over the set time. <br /><br />\n<strong>Rate:</strong> Used in conjunction with Auto Fade, the Rate control sets auto fade duration variable from 1 to 60 seconds<br /><br />\n<h3>Rear-panel connectors:</h3>\nXLogic G Series Compressor rear panel has a Remote 9-pin D-Sub connector that allows connection of external meter and auto fade switch; Key Input, an external XLR sidechain connector; and left- and right-channel XLRM and XLRF connectors. The G Series Compressor also has a universal power supply (110V, 120V, 230V, 240V) with IEC connector for global use. \n<br /><br />\n<h3>An essential mixing tool that never goes out of style, an SSL XLogic G Series Compressor belongs on your mix bus. For more information, call or chat with your RSPE representative today.</h3>'),(11018,75,1,1837,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XLogic G Series Compressor — Stereo Bus Compressor</h1>\n<span style=\"font-size:16px; font-style:italic;\">Classic SSL G-Series compressor updated with SSL’s ultra transparent SuperAnalogue™ circuitry </span><br /><br />\nThe SSL G Series console compressor has provided the audio glue for more mixes than nearly any other stereo bus compressor in recording history. Combining the classic design elements of the SL 4000 G Series center console compressor with SSL’s ultra-transparent SuperAnalogue circuitry introduced on the SL 9000J console, the 1U rackmount SSL XLogic G Series Compressor provides the dual benefits of a universally acclaimed classic compressor and spectacular audio performance. If you’ve been looking for a way to add size, power, and punch to your mixes without artifacts or compromising sonic integrity, clear a space on your 2-bus for the XLogic G Series Compressor by Solid State Logic. <br /><br />\n<h3>Solid State Logic XLogic G-Series Compressor unique features:</h3>\n<ul>\n	<li>Legendary SSL G Series stereo bus compressor</li>\n	<li>Ultra transparent DC-coupled SuperAnalogue topology</li>\n	<li>Auto fade with rate control automatic linear fade in/out control</li>\n	<li>Remote connector for remote operation of the auto fade function</li>\n</ul>\n<br />\n<h3>Solid State Logic XLogic G-Series Compressor key features:</h3>\n<ul>\n	<li>Gain reduction meter as fitted to the classic SSL console range</li>\n	<li>External side chain source select</li>\n	<li>Balanced XLR I/O</li>\n	<li>Universal power supply</li>\n	<li>Hardwire bypass </li>\n</ul>\n<a href=\"http://www.rspeaudio.com/v/sslcompressor.html\" target=\"_blank\"><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/virtual-ssl.png\" alt=\"\" /></a><br />RSPE Audio Solutions’ <a href=\"http://www.rspeaudio.com/v/sslcompressor.html\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">Virtual SSL Bus Compressor</a>, created in collaboration with Solid State Logic, gives you the opportunity to A/B the SSL G-Series Bus Compressor while adding punch to drums and “gluing a mix,” which it has done on countless hit records for decades. <br />\n<h3></h3>\n<h3>INSIDE THE BOX — SSL XLogic G Series Compressor</h3>\n<h3>SuperAnalogue design philosophy </h3>\nFirst featured in the SL 9000J console, the SuperAnalogue technology found in the XLogic G Series Compressor is a design philosophy that incorporates DC-coupled circuitry implemented in modern surface-mount technology. SSL SuperAnalogue processors have extraordinarily transparent audio path with flat, ultra-wide frequency response, extremely low distortion, and an almost immeasurable noise floor. SuperAnalogue provides a bandwidth greater than 192kHz recorders and a dynamic range well beyond that of 24-bit A-D converters. SuperAnalogue circuits are designed to be the fastest-acting, most tonally accurate audio circuits available. Perhaps the most unique capability of SuperAnalogue processors is the ability to null two units just shy of 100%—something that is very difficult to achieve with analog circuitry. The same technology, circuit design, and components from SSL analog consoles have been the foundation of the XL 9000K, AWS 900+, and Duality recording consoles, and are used in the XLogic outboard processor range. \n<br /><br />\n<h3>Origins of the G Series Stereo Bus Compressor</h3>\nSolid State Logic’s SL 4000 console was a landmark in recording desks, since it was the first console to incorporate dynamics processing in every channel and a master compressor in the console center section. Thanks to the console’s ability to patch into the SL 4000\'s center compressor and control its sidechain from an internal sub-mix, engineers used found its unique compression characteristics to be amazingly useful on instruments such as piano and drums, and most particularly for its mix finalizing capabilities. The G Series center console compressor became an indispensible studio tool, but since it was only available on SSL consoles, demand arose by engineers and producers for a rackmount version. SSL responded and a legendary piece of outboard gear was born.\n<br /><br />\nThe XLogic G Series Compressor is the latest version of the SL 4000 center console compressor, using the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides improved audio performance, while retaining the dynamics characteristics that have provided numerous hit mixes for the world\'s best audio engineers.<br /><br />\n<h3>The SL 4000 G console</h3>\nThe Solid State Logic SL 4000 G Series is the world\'s most successful studio production console. Used by top mixers such as Michael Brauer and the Lord Alge brothers, its reputation is built upon SSL\'s design excellence, advanced electronic engineering and a sound quality that has produced hundreds of best selling recordings. A key element in the sound of many of these recordings is punch and drive of the mixes created by the classic G-Series center section compressor.\n<br /><br />\n<h3>OUTSIDE THE BOX — SSL XLogic G Series Compressor  </h3>\nA model of elegant simplicity, the front panel of the XLogic G Series Compressor has the following controls and settings: \n<br /><br />\n<strong>Gain reduction meter:</strong> featuring the same design and look of the center section compressor on the classic SSL analog consoles, the meter of the Xlogic G Series Compressor is calibrated from 0 – 20dB in 4dB intervals.<br /><br />\n<strong>Threshold:</strong> Sets operating point for the compressor’s knee and is continuously variable from -15dB to +15dB.<br /><br />\n<strong>Attack:</strong> Six switchable settings: 0.1ms, 0.3ms, 1ms, 10ms, and 30ms. <br /><br />\n<strong>Ratio:</strong> Three switchable ranges 2:1, 4:1, and 10:1.<br /><br />\n<strong>Release:</strong> Release has five settings, 0.1s, 0.3s, 0.6s, 1.2s, and Auto. If auto is selected, release is dependent on the duration of the signal peak.<br /><br />\n<strong>Make-up:</strong> Make-up gain is continuously variable from -5dB - +15dB. <br /><br />\n<strong>Compressor In:</strong> A bypass button that switches the compressor in circuit and out. Bypass is hardwired to the G Series compressor’s output.  <br /><br />\n<strong>External Sidechain:</strong> This button selects the rear-panel “Key Input” as the sidechain source for the compressor. Sidechain opens up the possibility to use the unit as a ducker for audio-follow applications or with and external EQ as a de-esser. <br /><br />\n<strong>Auto Fade:</strong> provides an automatic fadeout set by the rate control. When the switch is released, the stereo signal automatically fades up over the set time. <br /><br />\n<strong>Rate:</strong> Used in conjunction with Auto Fade, the Rate control sets auto fade duration variable from 1 to 60 seconds<br /><br />\n<h3>Rear-panel connectors:</h3>\nXLogic G Series Compressor rear panel has a Remote 9-pin D-Sub connector that allows connection of external meter and auto fade switch; Key Input, an external XLR sidechain connector; and left- and right-channel XLRM and XLRF connectors. The G Series Compressor also has a universal power supply (110V, 120V, 230V, 240V) with IEC connector for global use. \n<br /><br />\n<h3>An essential mixing tool that never goes out of style, an SSL XLogic G Series Compressor belongs on your mix bus. For more information, call or chat with your RSPE representative today.</h3>'),(11019,85,0,1837,'SSL XLogic G Series Compressor'),(11020,85,1,1837,'SSL XLogic G Series Compressor'),(11021,76,0,1837,''),(11022,76,1,1837,''),(11023,75,0,1838,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> LMC+ 500 Series Listen Mic Compressor and Filter</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The classic SSL Listen Mic Compressor with an added creative twist in the compact 500 Series format.</span><br /><br />\nThe LMC+ 500 Series Module brings a new and significantly enhanced version of the \nclassic SSL Listen Mic Compressor to 500 format racks. This famous \nprocessor from the legendary SL4000E console was the secret weapon in \nmany producers sonic arsenal of recording techniques. Originally \ndesigned to prevent overloading the return feed from a studio \ncommunications mic, its fixed attack and release curves were eminently \nsuitable for use on ambient drums mics. This all-new version includes a \npair of classic SSL High Pass and Low Pass filters to allow targeting of\n a specific frequency range, a filters to compressor side chain option \nand a wet/dry blend control. Two additional superb new tools are added \nto give the LMC+ a distinctive sonic twist; a \'Scoop\' button that phase \ninverts the wet signal, as well as a unique \'Split\' button that engages a\n bandpass subtraction mode. Used together and separately and in \nconjunction with the filters and sidechain, the new controls give LMC+ a\n distinctive tonal edge with a range of creative possibilities.\n<br /><br />\n<h3>SSL LMC+ unique features:</h3>\n<ul>\n	<li>Enhanced version of the classic SSL Listen Mic Compressor</li>\n	<li>from the legendary SL4000E console</li>\n	<li>Fixed attack and release curves ideal for use on ambient drums mics</li>\n	<li>SSL High Pass and Low Pass filters</li>\n	<li>Filters to compressor side chain feature</li>\n	<li>Wet/dry blend control</li>\n	<li>\'Scoop\' button that phase inverts the wet signal</li>\n	<li>\'Split\'button engages a bandpass subtraction mode</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>,\n a virtual 500-series rack builder that lets you custom-configure the \nperfect 500-series lunchbox for your studio, DAW, or mobile recording \nrig. RSPE carries every 500-series module imaginable, including mic \npreamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio \nSolutions be the first to welcome you to Earth! Most of the hit records \nfrom the last 30 years were mixed on SSL. Solid State Logic’s automated \nlarge-format consoles quickly became a driving force in the music after \nthey first arrived on the scene in 1977. To this day, mixers such as Bob\n Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G\n Series consoles as the centerpiece of their mixing tools, which means \neverybody who’s anybody in rock and pop music over the last 35 years has\n SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production \nsystems, Solid State Logic has evolved to become the world’s leading \nmanufacturer of analog and digital audio consoles and provider of \ncreative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational \ntoday, the excellence of SSL consoles is universally recognized for \nunrivalled sonic quality, superb ergonomics, outstanding automation and \nan international support infrastructure second to none.\n<br /><br />\n<h3>SSL LMC+ Module for 500 format rack modules brings the same sound \nand functionality to any and all welcoming 500-series power racks. For \nmore information, call or chat with an RSPE representative today.\n</h3>'),(11024,75,1,1838,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> LMC+ 500 Series Listen Mic Compressor and Filter</h1>\n<span style=\"font-size: 16px; font-style: italic;\">The classic SSL Listen Mic Compressor with an added creative twist in the compact 500 Series format.</span><br /><br />\nThe LMC+ 500 Series Module brings a new and significantly enhanced version of the \nclassic SSL Listen Mic Compressor to 500 format racks. This famous \nprocessor from the legendary SL4000E console was the secret weapon in \nmany producers sonic arsenal of recording techniques. Originally \ndesigned to prevent overloading the return feed from a studio \ncommunications mic, its fixed attack and release curves were eminently \nsuitable for use on ambient drums mics. This all-new version includes a \npair of classic SSL High Pass and Low Pass filters to allow targeting of\n a specific frequency range, a filters to compressor side chain option \nand a wet/dry blend control. Two additional superb new tools are added \nto give the LMC+ a distinctive sonic twist; a \'Scoop\' button that phase \ninverts the wet signal, as well as a unique \'Split\' button that engages a\n bandpass subtraction mode. Used together and separately and in \nconjunction with the filters and sidechain, the new controls give LMC+ a\n distinctive tonal edge with a range of creative possibilities.\n<br /><br />\n<h3>SSL LMC+ unique features:</h3>\n<ul>\n	<li>Enhanced version of the classic SSL Listen Mic Compressor</li>\n	<li>from the legendary SL4000E console</li>\n	<li>Fixed attack and release curves ideal for use on ambient drums mics</li>\n	<li>SSL High Pass and Low Pass filters</li>\n	<li>Filters to compressor side chain feature</li>\n	<li>Wet/dry blend control</li>\n	<li>\'Scoop\' button that phase inverts the wet signal</li>\n	<li>\'Split\'button engages a bandpass subtraction mode</li>\n</ul>\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>,\n a virtual 500-series rack builder that lets you custom-configure the \nperfect 500-series lunchbox for your studio, DAW, or mobile recording \nrig. RSPE carries every 500-series module imaginable, including mic \npreamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio \nSolutions be the first to welcome you to Earth! Most of the hit records \nfrom the last 30 years were mixed on SSL. Solid State Logic’s automated \nlarge-format consoles quickly became a driving force in the music after \nthey first arrived on the scene in 1977. To this day, mixers such as Bob\n Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G\n Series consoles as the centerpiece of their mixing tools, which means \neverybody who’s anybody in rock and pop music over the last 35 years has\n SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production \nsystems, Solid State Logic has evolved to become the world’s leading \nmanufacturer of analog and digital audio consoles and provider of \ncreative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational \ntoday, the excellence of SSL consoles is universally recognized for \nunrivalled sonic quality, superb ergonomics, outstanding automation and \nan international support infrastructure second to none.\n<br /><br />\n<h3>SSL LMC+ Module for 500 format rack modules brings the same sound \nand functionality to any and all welcoming 500-series power racks. For \nmore information, call or chat with an RSPE representative today.\n</h3>'),(11025,85,0,1838,'SSL LMC+ 500 Series Listen Mic Compressor and Filter'),(11026,85,1,1838,'SSL LMC+ 500 Series Listen Mic Compressor and Filter'),(11027,76,0,1838,''),(11028,76,1,1838,''),(11029,75,0,1839,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Matrix 2 Superanalogue Mixing Console</h1>\nMatrix2 is the ideal console/controller for your hybrid production studio. It is the most elegant solution available today for those who wish to incorporate the sonic advantages of SSL summing and a collection of boutique analogue mic pre\'s & processors into their DAW centred studio workflow. The analogue side of Matrix2 combines: a 40 input SuperAnalogue™ summing mixer, fully featured Monitor Switching & Talkback and an in-built \'Insert Router\' which enables individual or chains of analogue outboard processors to be inserted quickly and easily. The 16 + 1 fader hardware control surface swaps with a single button push from control over the analogue console signal path to functioning as a comprehensive multi-layer DAW control surface.\n<br /><br />\nDesigned to be at the heart of your everyday creative process, Matrix is built to meticulous SSL hardware standards, to withstand even the most intensive studio use. Fully equipped to partner your monitors, workstations and outboard gear, Matrix lets you shape your project studio around the way you work.<br /><br />\n<h3>Matrix 2 Key Features</h3>\n<strong>40 input SuperAnalogue™ summing console:</strong>\n<ul>\n	<li>16 analogue line channels with two inputs per channel                                                    </li>\n	<li>32 x 16 x 16 \'Insert Router\' for up to 16 external hardware processing devices                           </li>\n	<li>Hardware processors can be inserted via console controls or cross platform drag and drop software browser</li>\n	<li>Hardware processors can be inserted individually or as \'chains\'                                          </li>\n	<li>Stereo Aux Send and 4 x Mono Sends per channel                                                           </li>\n	<li>4 Stereo Returns with full stereo mix bus routing                                                        </li>\n	<li>Dual Stereo Mix Busses with summing Inserts and reassign                                                 </li>\n	<li>Artist Monitor output with independent EQ and monitor source selection                                   </li>\n	<li>\'In Line\' DAW monitoring with \'SuperCue\' headphone mode                                                  </li>\n	<li>Stereo or 5.1 External Monitor inputs                                                                    </li>\n	<li>Stereo or 5.1 EXT monitoring outputs with independent Main and Mini monitor control                      </li>\n	<li>5.1 Monitor card available as an upgrade for Matrix V1 owners: here.                                     </li>\n	<li>Stereo digital I/O (S/PDIF, AES/EBU) with SSL converter technology                                       </li>\n	<li>iJack front panel Monitor input                                                                          </li>\n	<li>Heavy duty external PSU                                                                                  </li>\n</ul>\n<strong>Ergonomically advanced hybrid hardware control surface:</strong>\n<ul>\n	<li>Single button push flips control between the analogue signal path and DAW software </li>\n	<li>Multi-layer control of up to four DAW\'s simultaneously                             </li>\n	<li>Digital scribble strips for constant visual feedback                               </li>\n	<li>16 channel strips each with motorised fader and assignable rotary encoder          </li>\n	<li>Additional motorised \'Focus\' fader for simultaneous DAW/Console control            </li>\n	<li>Fader-linking for analogue channels                                                </li>\n	<li>Programmable hardware buttons for sending of standard USB keyboard commands        </li>\n	<li>Total Recall for analogue console controls                                         </li>\n	<li>General purpose MIDI controller mode                                               </li>\n	<li>A-FADA or MIDI Fader automation                                                    </li>\n	<li>Ethernet MIDI connectivity                                                         </li>\n</ul>\n<strong>Cross platform \'Logictivity\' remote browser interface:</strong>\n<ul>\n	<li>Intuitive cross platform remote browser for system configuration and project management            </li>\n	<li>Simple drag and drop insert router page for configuring hardware device chains and loading inserts </li>\n</ul>\n<h3>Integrate your analogue outboard</h3>\nImagine being able to access your favourite combinations of analogue outboard equipment and apply them to your project without ever leaving the console.\n<br /><br />\nThe Matrix2 Insert Router is like having a supremely versatile and controllable patch bay built into the console. You physically connect up to 16 hardware devices to the 16 insert points on the console (using rear panel standard D-Sub connections) but unlike a traditional console you are able to select which of these devices are applied to which console channels \'on the fly\'. The system even lets you build \'chains\' of processors so that you can immediately recall and insert a favourite combination of mic pre, EQ and Dynamics... or instantly swap individual processors within the chain... or instantly change the process order of the chain...without leaving the console. With Matrix2 Devices and chains can either be created and inserted using hardware buttons on the console surface or a simple drag and drop software interface running on a computer. Matrix2 is the closest thing you will find to using hardware devices like software plug-ins within you DAW. The workflow of the Insert Router may feel like software but the signal path is 100% SSL SuperAnalogue™ hardware.<br /><br />\n<strong>Features</strong>\n<ul>\n	<li>Integrated 32x16x16 Insert Router routing - Say goodbye to complicated external patch bays             </li>\n	<li>Analogue plug-ins - Insert your analogue outboard gear at the click of a mouse or at the push of a button. </li>\n	<li>Save FX chains and set-ups - Fast configuration and recall of your outboard chains                         </li>\n</ul>\n<h3>Control your DAW</h3>\nAt the heart of your studio, Matrix2 reaches out to give comprehensive control over your DAW environment, reinstating the console to its role as creative hub.\n<br /><br />\nWith HUI or MCU modes, the 16 motorised faders and channel controls provide complete hands-on control over your DAW mixer, allowing you to enjoy mixing on a tactile, fully-featured control surface. Additionally, Matrix2 gives you access to transport & navigation functions, plug-in & virtual instrument parameters, and essential DAW commands, allowing you to work quickly and easily using just the console surface.<br /><br />\nFor crucial track adjustment, our unique \'Focus Fader\' mode enables the Master Fader (and accompanying V-Pot) to control any channel within your DAW environment that is not part of the currently selected DAW layer, perfect for time saving in mixdown.<br /><br />\n<strong>Features</strong>\n<ul>\n	<li>16+1 fader controller & channel controls - Console control over DAW fader, pan and send levels         </li>\nEthernet DAW connection - Avoids multiple cables and additional interface boxes                            \nPlug-in & virtual instrument control - Map plug-in parameters to faders, V-pots etc. via MIDI              \nWork freely in Pro Tools, Logic, Cubase/Nuendo, Live or Studio One - your choice.                          \nProgrammable soft-keys for DAW shortcuts - Rapid access to essential DAW commands (up to 350 per DAW layer)\nFull DAW transport control - Punch-friendly controls and navigation wheel\n</ul>\n<h3>Mixing and Monitoring</h3>\nAlongside its integration of your analogue and digital equipment, Matrix2 is a first-class SSL mixer drawing on our 30 years of analogue console design. The essential functions of recording and mixing; routing, level measurement and monitoring are organized and arranged to make everything available at your fingertips to streamline the entire recording and mixing process.\n<br /><br />\nMatrix2 analogue architecture provides 32 channel inputs (each of the 16 channel strips has main and alt inputs). Each of the 16 channels has a direct output designed to be used primarily as a DAW record output. There are two Stereo Mix Busses and four Stereo Aux Returns with full stereo mix bus routing bring the total available inputs to mix to 40.<br /><br />\nPowerful monitoring is a central feature of Matrix with independent Main and Mini monitor outputs, Artist Monitor output with independent EQ & source selection and three External Monitor inputs with source summing.<br /><br />\n<strong>Features</strong>\n<ul>\n	<li>16 SuperAnalogue™ channels - Each with two inputs per channel, a dedicated Channel Output, Stereo Aux Send and four mono Aux Sends</li>\n	<li>DAW automation control of Matrix - Motorised fader automation from your DAW via MIDI                                              </li>\n	<li>Dual Stereo Mix Busses - With summing inserts and reassign                                                                        </li>\n	<li>4 Stereo Returns - With full stereo mix bus routing                                                                               </li>\n	<li>DAW Monitor mode - Allows \'zero-latency\' monitoring/recording                                                                     </li>\n	<li>Stereo or 5.1. monitoring - With Main and Mini Outputs                                                                            </li>\n	<li>Artist Monitor section - With independent EQ                                                                                      </li>\n	<li>3 External Monitor inputs - With source summing                                                                                   </li>\n	<li>iJack monitor input - 3.5mm stereo front panel monitor input</li>\n</ul>'),(11030,75,1,1839,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Matrix 2 Superanalogue Mixing Console</h1>\nMatrix2 is the ideal console/controller for your hybrid production studio. It is the most elegant solution available today for those who wish to incorporate the sonic advantages of SSL summing and a collection of boutique analogue mic pre\'s & processors into their DAW centred studio workflow. The analogue side of Matrix2 combines: a 40 input SuperAnalogue™ summing mixer, fully featured Monitor Switching & Talkback and an in-built \'Insert Router\' which enables individual or chains of analogue outboard processors to be inserted quickly and easily. The 16 + 1 fader hardware control surface swaps with a single button push from control over the analogue console signal path to functioning as a comprehensive multi-layer DAW control surface.\n<br /><br />\nDesigned to be at the heart of your everyday creative process, Matrix is built to meticulous SSL hardware standards, to withstand even the most intensive studio use. Fully equipped to partner your monitors, workstations and outboard gear, Matrix lets you shape your project studio around the way you work.<br /><br />\n<h3>Matrix 2 Key Features</h3>\n<strong>40 input SuperAnalogue™ summing console:</strong>\n<ul>\n	<li>16 analogue line channels with two inputs per channel                                                    </li>\n	<li>32 x 16 x 16 \'Insert Router\' for up to 16 external hardware processing devices                           </li>\n	<li>Hardware processors can be inserted via console controls or cross platform drag and drop software browser</li>\n	<li>Hardware processors can be inserted individually or as \'chains\'                                          </li>\n	<li>Stereo Aux Send and 4 x Mono Sends per channel                                                           </li>\n	<li>4 Stereo Returns with full stereo mix bus routing                                                        </li>\n	<li>Dual Stereo Mix Busses with summing Inserts and reassign                                                 </li>\n	<li>Artist Monitor output with independent EQ and monitor source selection                                   </li>\n	<li>\'In Line\' DAW monitoring with \'SuperCue\' headphone mode                                                  </li>\n	<li>Stereo or 5.1 External Monitor inputs                                                                    </li>\n	<li>Stereo or 5.1 EXT monitoring outputs with independent Main and Mini monitor control                      </li>\n	<li>5.1 Monitor card available as an upgrade for Matrix V1 owners: here.                                     </li>\n	<li>Stereo digital I/O (S/PDIF, AES/EBU) with SSL converter technology                                       </li>\n	<li>iJack front panel Monitor input                                                                          </li>\n	<li>Heavy duty external PSU                                                                                  </li>\n</ul>\n<strong>Ergonomically advanced hybrid hardware control surface:</strong>\n<ul>\n	<li>Single button push flips control between the analogue signal path and DAW software </li>\n	<li>Multi-layer control of up to four DAW\'s simultaneously                             </li>\n	<li>Digital scribble strips for constant visual feedback                               </li>\n	<li>16 channel strips each with motorised fader and assignable rotary encoder          </li>\n	<li>Additional motorised \'Focus\' fader for simultaneous DAW/Console control            </li>\n	<li>Fader-linking for analogue channels                                                </li>\n	<li>Programmable hardware buttons for sending of standard USB keyboard commands        </li>\n	<li>Total Recall for analogue console controls                                         </li>\n	<li>General purpose MIDI controller mode                                               </li>\n	<li>A-FADA or MIDI Fader automation                                                    </li>\n	<li>Ethernet MIDI connectivity                                                         </li>\n</ul>\n<strong>Cross platform \'Logictivity\' remote browser interface:</strong>\n<ul>\n	<li>Intuitive cross platform remote browser for system configuration and project management            </li>\n	<li>Simple drag and drop insert router page for configuring hardware device chains and loading inserts </li>\n</ul>\n<h3>Integrate your analogue outboard</h3>\nImagine being able to access your favourite combinations of analogue outboard equipment and apply them to your project without ever leaving the console.\n<br /><br />\nThe Matrix2 Insert Router is like having a supremely versatile and controllable patch bay built into the console. You physically connect up to 16 hardware devices to the 16 insert points on the console (using rear panel standard D-Sub connections) but unlike a traditional console you are able to select which of these devices are applied to which console channels \'on the fly\'. The system even lets you build \'chains\' of processors so that you can immediately recall and insert a favourite combination of mic pre, EQ and Dynamics... or instantly swap individual processors within the chain... or instantly change the process order of the chain...without leaving the console. With Matrix2 Devices and chains can either be created and inserted using hardware buttons on the console surface or a simple drag and drop software interface running on a computer. Matrix2 is the closest thing you will find to using hardware devices like software plug-ins within you DAW. The workflow of the Insert Router may feel like software but the signal path is 100% SSL SuperAnalogue™ hardware.<br /><br />\n<strong>Features</strong>\n<ul>\n	<li>Integrated 32x16x16 Insert Router routing - Say goodbye to complicated external patch bays             </li>\n	<li>Analogue plug-ins - Insert your analogue outboard gear at the click of a mouse or at the push of a button. </li>\n	<li>Save FX chains and set-ups - Fast configuration and recall of your outboard chains                         </li>\n</ul>\n<h3>Control your DAW</h3>\nAt the heart of your studio, Matrix2 reaches out to give comprehensive control over your DAW environment, reinstating the console to its role as creative hub.\n<br /><br />\nWith HUI or MCU modes, the 16 motorised faders and channel controls provide complete hands-on control over your DAW mixer, allowing you to enjoy mixing on a tactile, fully-featured control surface. Additionally, Matrix2 gives you access to transport & navigation functions, plug-in & virtual instrument parameters, and essential DAW commands, allowing you to work quickly and easily using just the console surface.<br /><br />\nFor crucial track adjustment, our unique \'Focus Fader\' mode enables the Master Fader (and accompanying V-Pot) to control any channel within your DAW environment that is not part of the currently selected DAW layer, perfect for time saving in mixdown.<br /><br />\n<strong>Features</strong>\n<ul>\n	<li>16+1 fader controller & channel controls - Console control over DAW fader, pan and send levels         </li>\nEthernet DAW connection - Avoids multiple cables and additional interface boxes                            \nPlug-in & virtual instrument control - Map plug-in parameters to faders, V-pots etc. via MIDI              \nWork freely in Pro Tools, Logic, Cubase/Nuendo, Live or Studio One - your choice.                          \nProgrammable soft-keys for DAW shortcuts - Rapid access to essential DAW commands (up to 350 per DAW layer)\nFull DAW transport control - Punch-friendly controls and navigation wheel\n</ul>\n<h3>Mixing and Monitoring</h3>\nAlongside its integration of your analogue and digital equipment, Matrix2 is a first-class SSL mixer drawing on our 30 years of analogue console design. The essential functions of recording and mixing; routing, level measurement and monitoring are organized and arranged to make everything available at your fingertips to streamline the entire recording and mixing process.\n<br /><br />\nMatrix2 analogue architecture provides 32 channel inputs (each of the 16 channel strips has main and alt inputs). Each of the 16 channels has a direct output designed to be used primarily as a DAW record output. There are two Stereo Mix Busses and four Stereo Aux Returns with full stereo mix bus routing bring the total available inputs to mix to 40.<br /><br />\nPowerful monitoring is a central feature of Matrix with independent Main and Mini monitor outputs, Artist Monitor output with independent EQ & source selection and three External Monitor inputs with source summing.<br /><br />\n<strong>Features</strong>\n<ul>\n	<li>16 SuperAnalogue™ channels - Each with two inputs per channel, a dedicated Channel Output, Stereo Aux Send and four mono Aux Sends</li>\n	<li>DAW automation control of Matrix - Motorised fader automation from your DAW via MIDI                                              </li>\n	<li>Dual Stereo Mix Busses - With summing inserts and reassign                                                                        </li>\n	<li>4 Stereo Returns - With full stereo mix bus routing                                                                               </li>\n	<li>DAW Monitor mode - Allows \'zero-latency\' monitoring/recording                                                                     </li>\n	<li>Stereo or 5.1. monitoring - With Main and Mini Outputs                                                                            </li>\n	<li>Artist Monitor section - With independent EQ                                                                                      </li>\n	<li>3 External Monitor inputs - With source summing                                                                                   </li>\n	<li>iJack monitor input - 3.5mm stereo front panel monitor input</li>\n</ul>'),(11031,85,0,1839,'SSL Matrix 2 SuperAnalogue 16-Channel Mixing Console'),(11032,85,1,1839,'SSL Matrix 2 SuperAnalogue 16-Channel Mixing Console'),(11033,76,0,1839,''),(11034,76,1,1839,''),(11035,75,0,1840,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Nucleus2 Dark - 16 Fader DAW Controller</h1>\n<i>16 Fader DAW Controller with SuperAnologue Monitoring, 2-channels of SSL Mic Pres, Dante I/O, and Talkback.</i><br /><br />Solid State Logis (SSL) Nucleus2 is a unique proposition for the professional project studio with a perfect blend of advanced DAW control, transparent SuperAnalogueTM monitoring with talkback, SSL console grade mic pres, pro quality Dante audio interface and bundled SSL Duende Native plug-ins. There is no other product available which offers the professional producer all of these elements, with benchmark audio performance and elegant ergonomics. Not only is it unique but Nucleus2 is also outstanding value; these elements bought separately would cost more and deliver a less elegant solution.<br /><br />Nucleus2 is a compact, portable desktop unit that creates a comfortable, efficient, hands on operating environment for DAW based Music and Film/TV Post production. It provides everything you need to record and monitor audio and to control your DAW quickly and efficiently without resorting to your mouse. Nucleus2 streamlines your workflow and helps you focus on your sound, not your screen.<br /><br />\n\nNucleus2 offers a unique combination of audio capabilities. At its foundation is a SSL SuperAnalogueTM signal path providing benchmark audio quality monitor output to “main” and “alternate’ speaker sets via +4dBu connections. A high quality 2+2 Ch Dante audio interface provides a record and playback path for your DAW or connectivity to a wider Dante IP audio network. Two Combi XLR mic/line/instrument level inputs can feed the audio interface and the monitor outputs simultaneously. Digital I/O via S/PDIF feeds the AD/DA of the audio interface (pre insert) enabling both a \"digital to DAW\" record path and a \"mic/line/instrument to digital\" output path. The Digital input can use Ch 3&4 of the audio interface so can be recorded to separate channels in your DAW in parallel to the incoming analogue mic/line/instrument inputs. A wet/dry control enables balancing of analogue (and digital) input and DAW playback for zero latency record monitoring. With Nucleus2 we have added a talkback input that feeds the headphones, and triggers a switchable -20dB DIM in the monitor outputs. This input has an adjustable gain, and can be switched to feed input 2 of the Dante soundcard for remote communications over the network. The Nucleus2 mic pre\'s are SSL SuperAnalogue Mic Pre\'s, identical to those used on SSL Duality and AWS consoles and our X-Rack system giving Nucleus2 a professional standard transparent mic record path. The mic inputs have 80Hz High Pass Filters, Polarity Reverse and Phantom Power. A pair of insert send/return connections for incorporation of external analogue processing or effects default to the mic/line/instrument inputs but can be moved across to DAW playback for mixdown. An additional \"external\" stereo analogue input provides a transparent SuperAnalogue monitor path for another audio interface, or any other analogue device. There is an accurate analogue output level meter. A stereo minijack connection makes monitoring from an iPod or any other portable audio device straightforward. Two headphone outputs complete the monitoring options.<br /><br />Nucleus2 DAW Control is based on the concepts developed for the SSL Matrix. Up to 3 different DAWs can be connected simultaneously and you can switch between them with a single button push. Nucleus2 uses either HUI or MCU protocols ensuring compatibility with all leading DAW applications including Pro Tools, Logic and Cubase/Nuendo and can transmit MIDI CC data. Nucleus2 provides a complete set of dedicated and assignable hardware controls that is easily customised to suit individual user preferences, for all major DAW and plug-in parameters. Two banks of eight channels each provide; 100mm motorised Faders, fully user definable soft keys and V-Pots, dedicated Select/Solo/Cut buttons and 10 point channel level meters. The Nucleus2 centre section DAW controls provide; large heavy duty transport buttons, a high quality jog/shuttle wheel, bank/channel/ layer selection & navigation/global DAW parameter selection and additional USB keyboard emulation buttons. Bright LCD Digital Scribble Strips, DAW audio level meters, self illuminating buttons and LED status indicators ensure excellent visual feedback even in low light conditions. System configuration is via a remote \"SSL Logictivity\" browser, which allows differing control profile sets to be stored and recalled. It is here that the user defines exactly how the Nucleus2 behaves.<br /><br />Nucleus2 connects to your computer via high speed Ethernet for DAW control and Dante Audio. It also features a USB connection and appears to your host computer as a standard keyboard enabling key command emulation. There are three USB ports on the back which operate as a USB hub. A standard jack footswitch connection is also included and there is also an SD card slot for Profile storage. Configuration and mapping of Key commands and DAW Commands is via a remote \"SSL Logicitivity\" browser, which allows differing control profile sets to be stored and recalled.<br /><br />We could have stopped there but because we can, we chose to endow Nucleus2 with one final killer feature; it includes the Duende Native Essentials Bundle. This includes the new Duende Native versions of the SSL Channel EQ & Dynamics and Stereo Bus Compressor VST/AU/AAX plug-ins. The EQ & Dynamics Channel is the classic SSL Console Channel Strip with 4 band parametric EQ, Compressor/Expander/Gate, High Pass and Low Pass filters. The Duende Native Bus Compressor is the sound of the classic SSL Stereo Bus Compressor from the 1980\'s G Series analogue console delivered in plug-in form.<br /><br />Since its release in 2010, Nucleus has won TEC’s, Sound on Sound and MIPA awards, and we now reveal the next step – a Nucleus for the world of Audio over IP.<br /><br />\n\n<h3>Nucleus2 Unique Features</h3>\n<ul>\n	<li>Ethernet connected DAW Controller for professional project studios</li>\n	<li>Compatible with ProTools, Logic, Cubase/Nuendo and all major DAW applications</li>\n	<li>Switch between 3 connected DAW\'s with a single button press</li>\n	<li>Two banks of 8 channel controls plus centre section controls</li>\n	<li>Touch sensitive 100mm motorised faders</li>\n	<li>Digital Scribble Strips with assignable V-Pots and soft keys</li>\n	<li>Completely user customisable DAW & Key Command mapping</li>\n	<li>Remote Logictivity Browser for effortless configuration</li>\n	<li>SD card for non volatile project storage</li>\n	<li>Large heavy duty transport buttons and high quality jog/shuttle wheel</li>\n	<li>Excellent visual feedback via self illuminating buttons, LED\'s and DAW Level Metering</li>\n	<li>A unique audio nerve centre for your project studio</li>\n	<li>Benchmark SuperAnalogueTM quality output to 2 stereo sets of +4dBu monitor outputs</li>\n	<li>High quality Dante audio interface (44.1kHz – 96kHz, 24 Bit) over ethernet</li>\n	<li>Two Combi XLR mic/line/instrument level inputs to audio interface and monitor outputs</li>\n	<li>Digital S/PDIF I/O to the AD/DA of the audio interface</li>\n	<li>Zero latency Rec monitoring with wet/dry control to balance input and DAW playback</li>\n	<li>SSL SuperAnalogueTM Mic Pre\'s, identical to those used on SSL Duality and AWS consoles</li>\n	<li>Mic inputs have 80Hz High Pass Filters, Phase Reverse and Phantom Power</li>\n	<li>Insert send/return connections switched between inputs and DAW playback for mixdown</li>\n	<li>Additional \"external\" SuperAnalogueTM input monitor path for another audio interface</li>\n	<li>Talkback input path with switchable -20dB monitor DIM and adjustable gain. Can be switched to feed input 2 of the Dante soundcard for remote comms over the network</li>\n	<li>Two headphone outputs and one iJack monitor input</li>\n	<li>Standard 1/4\" Jack footswitch connection</li>\n	<li>Three USB sockets for use as a 3 port USB hub</li>\n	<li>Dual Ethernet ports for incorporating additional Dante devices into your studio</li>\n</ul>\n<br />\n\n<h3>Add true SuperAnologue sound to your digital studio with the SSL Nucleus 2.</h3>'),(11036,75,1,1840,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Nucleus2 Dark - 16 Fader DAW Controller</h1>\n<i>16 Fader DAW Controller with SuperAnologue Monitoring, 2-channels of SSL Mic Pres, Dante I/O, and Talkback.</i><br /><br />Solid State Logis (SSL) Nucleus2 is a unique proposition for the professional project studio with a perfect blend of advanced DAW control, transparent SuperAnalogueTM monitoring with talkback, SSL console grade mic pres, pro quality Dante audio interface and bundled SSL Duende Native plug-ins. There is no other product available which offers the professional producer all of these elements, with benchmark audio performance and elegant ergonomics. Not only is it unique but Nucleus2 is also outstanding value; these elements bought separately would cost more and deliver a less elegant solution.<br /><br />Nucleus2 is a compact, portable desktop unit that creates a comfortable, efficient, hands on operating environment for DAW based Music and Film/TV Post production. It provides everything you need to record and monitor audio and to control your DAW quickly and efficiently without resorting to your mouse. Nucleus2 streamlines your workflow and helps you focus on your sound, not your screen.<br /><br />\n\nNucleus2 offers a unique combination of audio capabilities. At its foundation is a SSL SuperAnalogueTM signal path providing benchmark audio quality monitor output to “main” and “alternate’ speaker sets via +4dBu connections. A high quality 2+2 Ch Dante audio interface provides a record and playback path for your DAW or connectivity to a wider Dante IP audio network. Two Combi XLR mic/line/instrument level inputs can feed the audio interface and the monitor outputs simultaneously. Digital I/O via S/PDIF feeds the AD/DA of the audio interface (pre insert) enabling both a \"digital to DAW\" record path and a \"mic/line/instrument to digital\" output path. The Digital input can use Ch 3&4 of the audio interface so can be recorded to separate channels in your DAW in parallel to the incoming analogue mic/line/instrument inputs. A wet/dry control enables balancing of analogue (and digital) input and DAW playback for zero latency record monitoring. With Nucleus2 we have added a talkback input that feeds the headphones, and triggers a switchable -20dB DIM in the monitor outputs. This input has an adjustable gain, and can be switched to feed input 2 of the Dante soundcard for remote communications over the network. The Nucleus2 mic pre\'s are SSL SuperAnalogue Mic Pre\'s, identical to those used on SSL Duality and AWS consoles and our X-Rack system giving Nucleus2 a professional standard transparent mic record path. The mic inputs have 80Hz High Pass Filters, Polarity Reverse and Phantom Power. A pair of insert send/return connections for incorporation of external analogue processing or effects default to the mic/line/instrument inputs but can be moved across to DAW playback for mixdown. An additional \"external\" stereo analogue input provides a transparent SuperAnalogue monitor path for another audio interface, or any other analogue device. There is an accurate analogue output level meter. A stereo minijack connection makes monitoring from an iPod or any other portable audio device straightforward. Two headphone outputs complete the monitoring options.<br /><br />Nucleus2 DAW Control is based on the concepts developed for the SSL Matrix. Up to 3 different DAWs can be connected simultaneously and you can switch between them with a single button push. Nucleus2 uses either HUI or MCU protocols ensuring compatibility with all leading DAW applications including Pro Tools, Logic and Cubase/Nuendo and can transmit MIDI CC data. Nucleus2 provides a complete set of dedicated and assignable hardware controls that is easily customised to suit individual user preferences, for all major DAW and plug-in parameters. Two banks of eight channels each provide; 100mm motorised Faders, fully user definable soft keys and V-Pots, dedicated Select/Solo/Cut buttons and 10 point channel level meters. The Nucleus2 centre section DAW controls provide; large heavy duty transport buttons, a high quality jog/shuttle wheel, bank/channel/ layer selection & navigation/global DAW parameter selection and additional USB keyboard emulation buttons. Bright LCD Digital Scribble Strips, DAW audio level meters, self illuminating buttons and LED status indicators ensure excellent visual feedback even in low light conditions. System configuration is via a remote \"SSL Logictivity\" browser, which allows differing control profile sets to be stored and recalled. It is here that the user defines exactly how the Nucleus2 behaves.<br /><br />Nucleus2 connects to your computer via high speed Ethernet for DAW control and Dante Audio. It also features a USB connection and appears to your host computer as a standard keyboard enabling key command emulation. There are three USB ports on the back which operate as a USB hub. A standard jack footswitch connection is also included and there is also an SD card slot for Profile storage. Configuration and mapping of Key commands and DAW Commands is via a remote \"SSL Logicitivity\" browser, which allows differing control profile sets to be stored and recalled.<br /><br />We could have stopped there but because we can, we chose to endow Nucleus2 with one final killer feature; it includes the Duende Native Essentials Bundle. This includes the new Duende Native versions of the SSL Channel EQ & Dynamics and Stereo Bus Compressor VST/AU/AAX plug-ins. The EQ & Dynamics Channel is the classic SSL Console Channel Strip with 4 band parametric EQ, Compressor/Expander/Gate, High Pass and Low Pass filters. The Duende Native Bus Compressor is the sound of the classic SSL Stereo Bus Compressor from the 1980\'s G Series analogue console delivered in plug-in form.<br /><br />Since its release in 2010, Nucleus has won TEC’s, Sound on Sound and MIPA awards, and we now reveal the next step – a Nucleus for the world of Audio over IP.<br /><br />\n\n<h3>Nucleus2 Unique Features</h3>\n<ul>\n	<li>Ethernet connected DAW Controller for professional project studios</li>\n	<li>Compatible with ProTools, Logic, Cubase/Nuendo and all major DAW applications</li>\n	<li>Switch between 3 connected DAW\'s with a single button press</li>\n	<li>Two banks of 8 channel controls plus centre section controls</li>\n	<li>Touch sensitive 100mm motorised faders</li>\n	<li>Digital Scribble Strips with assignable V-Pots and soft keys</li>\n	<li>Completely user customisable DAW & Key Command mapping</li>\n	<li>Remote Logictivity Browser for effortless configuration</li>\n	<li>SD card for non volatile project storage</li>\n	<li>Large heavy duty transport buttons and high quality jog/shuttle wheel</li>\n	<li>Excellent visual feedback via self illuminating buttons, LED\'s and DAW Level Metering</li>\n	<li>A unique audio nerve centre for your project studio</li>\n	<li>Benchmark SuperAnalogueTM quality output to 2 stereo sets of +4dBu monitor outputs</li>\n	<li>High quality Dante audio interface (44.1kHz – 96kHz, 24 Bit) over ethernet</li>\n	<li>Two Combi XLR mic/line/instrument level inputs to audio interface and monitor outputs</li>\n	<li>Digital S/PDIF I/O to the AD/DA of the audio interface</li>\n	<li>Zero latency Rec monitoring with wet/dry control to balance input and DAW playback</li>\n	<li>SSL SuperAnalogueTM Mic Pre\'s, identical to those used on SSL Duality and AWS consoles</li>\n	<li>Mic inputs have 80Hz High Pass Filters, Phase Reverse and Phantom Power</li>\n	<li>Insert send/return connections switched between inputs and DAW playback for mixdown</li>\n	<li>Additional \"external\" SuperAnalogueTM input monitor path for another audio interface</li>\n	<li>Talkback input path with switchable -20dB monitor DIM and adjustable gain. Can be switched to feed input 2 of the Dante soundcard for remote comms over the network</li>\n	<li>Two headphone outputs and one iJack monitor input</li>\n	<li>Standard 1/4\" Jack footswitch connection</li>\n	<li>Three USB sockets for use as a 3 port USB hub</li>\n	<li>Dual Ethernet ports for incorporating additional Dante devices into your studio</li>\n</ul>\n<br />\n\n<h3>Add true SuperAnologue sound to your digital studio with the SSL Nucleus 2.</h3>'),(11037,85,0,1840,'SSL Nucleus 2 Dark - 16 Fader DAW Controller'),(11038,85,1,1840,'SSL Nucleus 2 Dark - 16 Fader DAW Controller'),(11039,76,0,1840,''),(11040,76,1,1840,''),(11041,75,0,1841,'<span id=\"product_description\" itemprop=\"description\">\n<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Nucleus 2 Light - 16 Fader DAW Controller </h1>\n<span style=\"font-size: 16px; font-style: italic;\">16 Fader DAW Controller with SuperAnologue Monitoring, 2-channels of SSL Mic Pres, Dante I/O, and Talkback.</span><br /><br />\nNucleus2 is a unique proposition for the professional project studio with a perfect blend of advanced DAW control, transparent SuperAnalogueTM monitoring with talkback, SSL console grade mic pres, pro quality Dante audio interface and bundled SSL Duende Native plug-ins. There is no other product available which offers the professional producer all of these elements, with benchmark audio performance and elegant ergonomics. Not only is it unique but Nucleus2 is also outstanding value; these elements bought separately would cost more and deliver a less elegant solution.<br /><br />Nucleus2 is a compact, portable desktop unit that creates a comfortable, efficient, hands on operating environment for DAW based Music and Film/TV Post production. It provides everything you need to record and monitor audio and to control your DAW quickly and efficiently without resorting to your mouse. Nucleus2 streamlines your workflow and helps you focus on your sound, not your screen.<br /><br />Nucleus2 offers a unique combination of audio capabilities. At its foundation is a SSL SuperAnalogueTM signal path providing benchmark audio quality monitor output to “main” and “alternate’ speaker sets via +4dBu connections. A high quality 2+2 Ch Dante audio interface provides a record and playback path for your DAW or connectivity to a wider Dante IP audio network. Two Combi XLR mic/line/instrument level inputs can feed the audio interface and the monitor outputs simultaneously. Digital I/O via S/PDIF feeds the AD/DA of the audio interface (pre insert) enabling both a \"digital to DAW\" record path and a \"mic/line/instrument to digital\" output path. The Digital input can use Ch 3&4 of the audio interface so can be recorded to separate channels in your DAW in parallel to the incoming analogue mic/line/instrument inputs. A wet/dry control enables balancing of analogue (and digital) input and DAW playback for zero latency record monitoring. With Nucleus2 we have added a talkback input that feeds the headphones, and triggers a switchable -20dB DIM in the monitor outputs. This input has an adjustable gain, and can be switched to feed input 2 of the Dante soundcard for remote communications over the network. The Nucleus2 mic pre\'s are SSL SuperAnalogue Mic Pre\'s, identical to those used on SSL Duality and AWS consoles and our X-Rack system giving Nucleus2 a professional standard transparent mic record path. The mic inputs have 80Hz High Pass Filters, Polarity Reverse and Phantom Power. A pair of insert send/return connections for incorporation of external analogue processing or effects default to the mic/line/instrument inputs but can be moved across to DAW playback for mixdown. An additional \"external\" stereo analogue input provides a transparent SuperAnalogue monitor path for another audio interface, or any other analogue device. There is an accurate analogue output level meter. A stereo minijack connection makes monitoring from an iPod or any other portable audio device straightforward. Two headphone outputs complete the monitoring options.<br /><br />Nucleus2 DAW Control is based on the concepts developed for the SSL Matrix. Up to 3 different DAWs can be connected simultaneously and you can switch between them with a single button push. Nucleus2 uses either HUI or MCU protocols ensuring compatibility with all leading DAW applications including Pro Tools, Logic and Cubase/Nuendo and can transmit MIDI CC data. Nucleus2 provides a complete set of dedicated and assignable hardware controls that is easily customised to suit individual user preferences, for all major DAW and plug-in parameters. Two banks of eight channels each provide; 100mm motorised Faders, fully user definable soft keys and V-Pots, dedicated Select/Solo/Cut buttons and 10 point channel level meters. The Nucleus2 centre section DAW controls provide; large heavy duty transport buttons, a high quality jog/shuttle wheel, bank/channel/ layer selection & navigation/global DAW parameter selection and additional USB keyboard emulation buttons. Bright LCD Digital Scribble Strips, DAW audio level meters, self illuminating buttons and LED status indicators ensure excellent visual feedback even in low light conditions. System configuration is via a remote \"SSL Logictivity\" browser, which allows differing control profile sets to be stored and recalled. It is here that the user defines exactly how the Nucleus2 behaves.<br /><br />Nucleus2 connects to your computer via high speed Ethernet for DAW control and Dante Audio. It also features a USB connection and appears to your host computer as a standard keyboard enabling key command emulation. There are three USB ports on the back which operate as a USB hub. A standard jack footswitch connection is also included and there is also an SD card slot for Profile storage. Configuration and mapping of Key commands and DAW Commands is via a remote \"SSL Logicitivity\" browser, which allows differing control profile sets to be stored and recalled.<br /><br />We could have stopped there but because we can, we chose to endow Nucleus2 with one final killer feature; it includes the Duende Native Essentials Bundle. This includes the new Duende Native versions of the SSL Channel EQ & Dynamics and Stereo Bus Compressor VST/AU/AAX plug-ins. The EQ & Dynamics Channel is the classic SSL Console Channel Strip with 4 band parametric EQ, Compressor/Expander/Gate, High Pass and Low Pass filters. The Duende Native Bus Compressor is the sound of the classic SSL Stereo Bus Compressor from the 1980\'s G Series analogue console delivered in plug-in form.<br /><br />Since its release in 2010, Nucleus has won TEC’s, Sound on Sound and MIPA awards, and we now reveal the next step – a Nucleus for the world of Audio over IP.<br /><br />\n<h3>Nucleus2 Unique Features</h3>\n<ul>\n	<li>Ethernet connected DAW Controller for professional project studios</li>\n	<li>Compatible with ProTools, Logic, Cubase/Nuendo and all major DAW applications</li>\n	<li>Switch between 3 connected DAW\'s with a single button press</li>\n	<li>Two banks of 8 channel controls plus centre section controls</li>\n	<li>Touch sensitive 100mm motorised faders</li>\n	<li>Digital Scribble Strips with assignable V-Pots and soft keys</li>\n	<li>Completely user customisable DAW & Key Command mapping</li>\n	<li>Remote Logictivity Browser for effortless configuration</li>\n	<li>SD card for non volatile project storage</li>\n	<li>Large heavy duty transport buttons and high quality jog/shuttle wheel</li>\n	<li>Excellent visual feedback via self illuminating buttons, LED\'s and DAW Level Metering</li>\n	<li>A unique audio nerve centre for your project studio</li>\n	<li>Benchmark SuperAnalogueTM quality output to 2 stereo sets of +4dBu monitor outputs</li>\n	<li>High quality Dante audio interface (44.1kHz – 96kHz, 24 Bit) over ethernet</li>\n	<li>Two Combi XLR mic/line/instrument level inputs to audio interface and monitor outputs</li>\n	<li>Digital S/PDIF I/O to the AD/DA of the audio interface</li>\n	<li>Zero latency Rec monitoring with wet/dry control to balance input and DAW playback</li>\n	<li>SSL SuperAnalogueTM Mic Pre\'s, identical to those used on SSL Duality and AWS consoles</li>\n	<li>Mic inputs have 80Hz High Pass Filters, Phase Reverse and Phantom Power</li>\n	<li>Insert send/return connections switched between inputs and DAW playback for mixdown</li>\n	<li>Additional \"external\" SuperAnalogueTM input monitor path for another audio interface</li>\n	<li>Talkback input path with switchable -20dB monitor DIM and adjustable\n gain. Can be switched to feed input 2 of the Dante soundcard for remote\n comms over the network\n	</li>\n	<li>Two headphone outputs and one iJack monitor input</li>\n	<li>Standard 1/4\" Jack footswitch connection</li>\n	<li>Three USB sockets for use as a 3 port USB hub</li>\n	<li>Dual Ethernet ports for incorporating additional Dante devices into your studio</li>\n</ul>\n<br /></span><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\">\n<h3>Add true SuperAnologue sound to your digital studio with the SSL Nucleus 2.</h3>\n</span></span>'),(11042,75,1,1841,'<span id=\"product_description\" itemprop=\"description\">\n<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Nucleus 2 Light - 16 Fader DAW Controller </h1>\n<span style=\"font-size: 16px; font-style: italic;\">16 Fader DAW Controller with SuperAnologue Monitoring, 2-channels of SSL Mic Pres, Dante I/O, and Talkback.</span><br /><br />\nNucleus2 is a unique proposition for the professional project studio with a perfect blend of advanced DAW control, transparent SuperAnalogueTM monitoring with talkback, SSL console grade mic pres, pro quality Dante audio interface and bundled SSL Duende Native plug-ins. There is no other product available which offers the professional producer all of these elements, with benchmark audio performance and elegant ergonomics. Not only is it unique but Nucleus2 is also outstanding value; these elements bought separately would cost more and deliver a less elegant solution.<br /><br />Nucleus2 is a compact, portable desktop unit that creates a comfortable, efficient, hands on operating environment for DAW based Music and Film/TV Post production. It provides everything you need to record and monitor audio and to control your DAW quickly and efficiently without resorting to your mouse. Nucleus2 streamlines your workflow and helps you focus on your sound, not your screen.<br /><br />Nucleus2 offers a unique combination of audio capabilities. At its foundation is a SSL SuperAnalogueTM signal path providing benchmark audio quality monitor output to “main” and “alternate’ speaker sets via +4dBu connections. A high quality 2+2 Ch Dante audio interface provides a record and playback path for your DAW or connectivity to a wider Dante IP audio network. Two Combi XLR mic/line/instrument level inputs can feed the audio interface and the monitor outputs simultaneously. Digital I/O via S/PDIF feeds the AD/DA of the audio interface (pre insert) enabling both a \"digital to DAW\" record path and a \"mic/line/instrument to digital\" output path. The Digital input can use Ch 3&4 of the audio interface so can be recorded to separate channels in your DAW in parallel to the incoming analogue mic/line/instrument inputs. A wet/dry control enables balancing of analogue (and digital) input and DAW playback for zero latency record monitoring. With Nucleus2 we have added a talkback input that feeds the headphones, and triggers a switchable -20dB DIM in the monitor outputs. This input has an adjustable gain, and can be switched to feed input 2 of the Dante soundcard for remote communications over the network. The Nucleus2 mic pre\'s are SSL SuperAnalogue Mic Pre\'s, identical to those used on SSL Duality and AWS consoles and our X-Rack system giving Nucleus2 a professional standard transparent mic record path. The mic inputs have 80Hz High Pass Filters, Polarity Reverse and Phantom Power. A pair of insert send/return connections for incorporation of external analogue processing or effects default to the mic/line/instrument inputs but can be moved across to DAW playback for mixdown. An additional \"external\" stereo analogue input provides a transparent SuperAnalogue monitor path for another audio interface, or any other analogue device. There is an accurate analogue output level meter. A stereo minijack connection makes monitoring from an iPod or any other portable audio device straightforward. Two headphone outputs complete the monitoring options.<br /><br />Nucleus2 DAW Control is based on the concepts developed for the SSL Matrix. Up to 3 different DAWs can be connected simultaneously and you can switch between them with a single button push. Nucleus2 uses either HUI or MCU protocols ensuring compatibility with all leading DAW applications including Pro Tools, Logic and Cubase/Nuendo and can transmit MIDI CC data. Nucleus2 provides a complete set of dedicated and assignable hardware controls that is easily customised to suit individual user preferences, for all major DAW and plug-in parameters. Two banks of eight channels each provide; 100mm motorised Faders, fully user definable soft keys and V-Pots, dedicated Select/Solo/Cut buttons and 10 point channel level meters. The Nucleus2 centre section DAW controls provide; large heavy duty transport buttons, a high quality jog/shuttle wheel, bank/channel/ layer selection & navigation/global DAW parameter selection and additional USB keyboard emulation buttons. Bright LCD Digital Scribble Strips, DAW audio level meters, self illuminating buttons and LED status indicators ensure excellent visual feedback even in low light conditions. System configuration is via a remote \"SSL Logictivity\" browser, which allows differing control profile sets to be stored and recalled. It is here that the user defines exactly how the Nucleus2 behaves.<br /><br />Nucleus2 connects to your computer via high speed Ethernet for DAW control and Dante Audio. It also features a USB connection and appears to your host computer as a standard keyboard enabling key command emulation. There are three USB ports on the back which operate as a USB hub. A standard jack footswitch connection is also included and there is also an SD card slot for Profile storage. Configuration and mapping of Key commands and DAW Commands is via a remote \"SSL Logicitivity\" browser, which allows differing control profile sets to be stored and recalled.<br /><br />We could have stopped there but because we can, we chose to endow Nucleus2 with one final killer feature; it includes the Duende Native Essentials Bundle. This includes the new Duende Native versions of the SSL Channel EQ & Dynamics and Stereo Bus Compressor VST/AU/AAX plug-ins. The EQ & Dynamics Channel is the classic SSL Console Channel Strip with 4 band parametric EQ, Compressor/Expander/Gate, High Pass and Low Pass filters. The Duende Native Bus Compressor is the sound of the classic SSL Stereo Bus Compressor from the 1980\'s G Series analogue console delivered in plug-in form.<br /><br />Since its release in 2010, Nucleus has won TEC’s, Sound on Sound and MIPA awards, and we now reveal the next step – a Nucleus for the world of Audio over IP.<br /><br />\n<h3>Nucleus2 Unique Features</h3>\n<ul>\n	<li>Ethernet connected DAW Controller for professional project studios</li>\n	<li>Compatible with ProTools, Logic, Cubase/Nuendo and all major DAW applications</li>\n	<li>Switch between 3 connected DAW\'s with a single button press</li>\n	<li>Two banks of 8 channel controls plus centre section controls</li>\n	<li>Touch sensitive 100mm motorised faders</li>\n	<li>Digital Scribble Strips with assignable V-Pots and soft keys</li>\n	<li>Completely user customisable DAW & Key Command mapping</li>\n	<li>Remote Logictivity Browser for effortless configuration</li>\n	<li>SD card for non volatile project storage</li>\n	<li>Large heavy duty transport buttons and high quality jog/shuttle wheel</li>\n	<li>Excellent visual feedback via self illuminating buttons, LED\'s and DAW Level Metering</li>\n	<li>A unique audio nerve centre for your project studio</li>\n	<li>Benchmark SuperAnalogueTM quality output to 2 stereo sets of +4dBu monitor outputs</li>\n	<li>High quality Dante audio interface (44.1kHz – 96kHz, 24 Bit) over ethernet</li>\n	<li>Two Combi XLR mic/line/instrument level inputs to audio interface and monitor outputs</li>\n	<li>Digital S/PDIF I/O to the AD/DA of the audio interface</li>\n	<li>Zero latency Rec monitoring with wet/dry control to balance input and DAW playback</li>\n	<li>SSL SuperAnalogueTM Mic Pre\'s, identical to those used on SSL Duality and AWS consoles</li>\n	<li>Mic inputs have 80Hz High Pass Filters, Phase Reverse and Phantom Power</li>\n	<li>Insert send/return connections switched between inputs and DAW playback for mixdown</li>\n	<li>Additional \"external\" SuperAnalogueTM input monitor path for another audio interface</li>\n	<li>Talkback input path with switchable -20dB monitor DIM and adjustable\n gain. Can be switched to feed input 2 of the Dante soundcard for remote\n comms over the network\n	</li>\n	<li>Two headphone outputs and one iJack monitor input</li>\n	<li>Standard 1/4\" Jack footswitch connection</li>\n	<li>Three USB sockets for use as a 3 port USB hub</li>\n	<li>Dual Ethernet ports for incorporating additional Dante devices into your studio</li>\n</ul>\n<br /></span><br /><span id=\"product_description\" itemprop=\"description\"><span id=\"product_description\" itemprop=\"description\">\n<h3>Add true SuperAnologue sound to your digital studio with the SSL Nucleus 2.</h3>\n</span></span>'),(11043,85,0,1841,''),(11044,85,1,1841,''),(11045,76,0,1841,''),(11046,76,1,1841,''),(11047,75,0,1842,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic </span>ORIGIN 32-Channel Analog Mixing Console</h1>\n<i>32-channel/16-bus console all-analog mixing console featuring the famous SSL E-Series EQ and SSL Bus Compressor, brand new PureDrive Mic-Pre, and new DAW control features providing the perfect partner for a modern DAW-driven hybrid production studio.</i><br /><br />\nSSL ORIGIN is a 32-channel, purely analogue in-line mixing console featuring the legendary E-Series EQ and SSL Bus Compressor with brand new PureDrive Mic-Pre, environmentally friendly power handling and a host of hybrid workflow enhancements. ORIGIN provides the perfect partner for a modern DAW-driven production studio. <br /><br />\nFeaturing 16+2 buses, E-Series EQ and the classic SSL Bus Compressor, ORIGIN breathes new life into a design classic across the whole console. The new PureDrive™ mic pre inherits the clarity and purity of previous SSL mic pre designs, with the ability to switch character to a warm, harmonically-rich and driven tone that varies with mic pre gain.\nThe new mix bus and mix amp architecture delivers an amazingly low noise floor along with huge headroom. The result is a mix bus that retains the classic SSL sound, whilst bringing the breadth and space to mixes that engineers and producers love from analogue summing.\n<br /><br />\nBalanced insert points per channel path (both large and small fader), dedicated channel direct outputs, stem-ready 0dB fader bypass switches, plus a new configurable centre section, make ORIGIN an ideal way of adding console workflow to a modern production studio.<br /><br />\nThe adjustable centre section features 12U of rack space, allowing the modular 6U master tile to be repositioned to create space for software controllers, a computer keyboard or additional outboard processing. The meter bridge can also be lowered into the centre section, enabling a screen to be positioned so all your production software can be viewed just where you need it.\n<br />\n<br />\n<h3>SSL ORIGIN Key Features</h3>\n<ul>\n	<li>32-channel analogue in-line design</li>\n	<li>High quality 100mm large and 60mm small fader on every channel</li>\n	<li>16+2 buses</li>\n	<li>4x Monitor outputs</li>\n	<li>3x Foldback outputs</li>\n	<li>Acclaimed SSL E-Series four band parametric channel EQ</li>\n	<li>Sweepable HPF on every channel</li>\n	<li>Classic SSL Bus Compressor with side-chain access, HP filter and insert point</li>\n	<li>Dedicated channel direct outputs</li>\n	<li>New PureDrive Mic pre & drive circuit</li>\n	<li>New mix bus and mix amp architecture - delivers ultra-low noise floor and huge headroom</li>\n	<li>Balanced Insert Point per Large Fader and Small Fader Channel Paths</li>\n	<li>Stem-ready 0dB fader bypass switch</li>\n	<li>Unique power management tools deliver ultimate reliability and low running costs</li>\n	<li>Freelance engineer friendly</li>\n	<li>Adjustable centre section features 12U of rack space for:</li>\n	<ul>\n		<li>Software controllers</li>\n		<li>Computer keyboard and accessories</li>\n		<li>Additional hardware processing</li>\n		<li>Drop down meter bridge</li>\n	</ul>\n</ul>\n<br />\n<h3>Analogue Layout Hybrid Workflow</h3>\nA unique and innovative modular centre section allow ORIGIN to adapt to different applications and priorities, whether being used as a purely tracking console with additional boutique analogue additions to the 19” rack centre section, or a very digital/analogue hybrid approach with screens and controllers easily reached from the centre of the console.\n<br /><br />\n<h3>E-Series \'242\' EQ</h3>\nThe E-Series \'242\' EQ was probably the most popular EQ from the SL 4000 series console range, and it\'s back for ORIGIN, which uses this iconic SSL design for it\'s channel EQ.\n<br /><br />\nORIGIN features the acclaimed E-Series four-band parametric EQ on each of its 32-channels, with variable Cut/Boost per band, HF and LF Bell/Shelf switches, independent sweepable HPF on every channel and unmistakable \'242\' style growl and deep low end.\n<br /><br />\n<h3>SSL Bus Compressor</h3>\nThe legend has been updated. The classic SSL Bus Compressor is a fundamental feature of SSL Master Control tiles, and see\'s a number of enhancements in ORIGIN. Offering new compression ratios, insert return and built-in side chain filter, the legendary mix bus glue (and punch) is ready for even the most modern of productions.\n<br /><br />\n<h3>PureDrive™</h3>\nORIGIN features a completely new microphone pre-amplifier design that inherits the clarity and purity of previous SSL mic pre\'s, with the added flexibility of switching character to a warm, harmonically-rich and driven tone that varies with gain. The ideal solution to \'perfect\' digital system and hybrid workflow.\n<br /><br />\nPureDrive™ is a new discrete transistor mic-pre based around modern FET components. The result is an ultra-clean, ultra-low noise pre amp, that is fast and offers stunning resolution when in \'Pure\' mode. Hit the switch and the \'Drive\' circuit is engaged, adding gain dependent non-linear harmonic saturation.\n<br /><br />'),(11048,75,1,1842,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic </span>ORIGIN 32-Channel Analog Mixing Console</h1>\n<i>32-channel/16-bus console all-analog mixing console featuring the famous SSL E-Series EQ and SSL Bus Compressor, brand new PureDrive Mic-Pre, and new DAW control features providing the perfect partner for a modern DAW-driven hybrid production studio.</i><br /><br />\nSSL ORIGIN is a 32-channel, purely analogue in-line mixing console featuring the legendary E-Series EQ and SSL Bus Compressor with brand new PureDrive Mic-Pre, environmentally friendly power handling and a host of hybrid workflow enhancements. ORIGIN provides the perfect partner for a modern DAW-driven production studio. <br /><br />\nFeaturing 16+2 buses, E-Series EQ and the classic SSL Bus Compressor, ORIGIN breathes new life into a design classic across the whole console. The new PureDrive™ mic pre inherits the clarity and purity of previous SSL mic pre designs, with the ability to switch character to a warm, harmonically-rich and driven tone that varies with mic pre gain.\nThe new mix bus and mix amp architecture delivers an amazingly low noise floor along with huge headroom. The result is a mix bus that retains the classic SSL sound, whilst bringing the breadth and space to mixes that engineers and producers love from analogue summing.\n<br /><br />\nBalanced insert points per channel path (both large and small fader), dedicated channel direct outputs, stem-ready 0dB fader bypass switches, plus a new configurable centre section, make ORIGIN an ideal way of adding console workflow to a modern production studio.<br /><br />\nThe adjustable centre section features 12U of rack space, allowing the modular 6U master tile to be repositioned to create space for software controllers, a computer keyboard or additional outboard processing. The meter bridge can also be lowered into the centre section, enabling a screen to be positioned so all your production software can be viewed just where you need it.\n<br />\n<br />\n<h3>SSL ORIGIN Key Features</h3>\n<ul>\n	<li>32-channel analogue in-line design</li>\n	<li>High quality 100mm large and 60mm small fader on every channel</li>\n	<li>16+2 buses</li>\n	<li>4x Monitor outputs</li>\n	<li>3x Foldback outputs</li>\n	<li>Acclaimed SSL E-Series four band parametric channel EQ</li>\n	<li>Sweepable HPF on every channel</li>\n	<li>Classic SSL Bus Compressor with side-chain access, HP filter and insert point</li>\n	<li>Dedicated channel direct outputs</li>\n	<li>New PureDrive Mic pre & drive circuit</li>\n	<li>New mix bus and mix amp architecture - delivers ultra-low noise floor and huge headroom</li>\n	<li>Balanced Insert Point per Large Fader and Small Fader Channel Paths</li>\n	<li>Stem-ready 0dB fader bypass switch</li>\n	<li>Unique power management tools deliver ultimate reliability and low running costs</li>\n	<li>Freelance engineer friendly</li>\n	<li>Adjustable centre section features 12U of rack space for:</li>\n	<ul>\n		<li>Software controllers</li>\n		<li>Computer keyboard and accessories</li>\n		<li>Additional hardware processing</li>\n		<li>Drop down meter bridge</li>\n	</ul>\n</ul>\n<br />\n<h3>Analogue Layout Hybrid Workflow</h3>\nA unique and innovative modular centre section allow ORIGIN to adapt to different applications and priorities, whether being used as a purely tracking console with additional boutique analogue additions to the 19” rack centre section, or a very digital/analogue hybrid approach with screens and controllers easily reached from the centre of the console.\n<br /><br />\n<h3>E-Series \'242\' EQ</h3>\nThe E-Series \'242\' EQ was probably the most popular EQ from the SL 4000 series console range, and it\'s back for ORIGIN, which uses this iconic SSL design for it\'s channel EQ.\n<br /><br />\nORIGIN features the acclaimed E-Series four-band parametric EQ on each of its 32-channels, with variable Cut/Boost per band, HF and LF Bell/Shelf switches, independent sweepable HPF on every channel and unmistakable \'242\' style growl and deep low end.\n<br /><br />\n<h3>SSL Bus Compressor</h3>\nThe legend has been updated. The classic SSL Bus Compressor is a fundamental feature of SSL Master Control tiles, and see\'s a number of enhancements in ORIGIN. Offering new compression ratios, insert return and built-in side chain filter, the legendary mix bus glue (and punch) is ready for even the most modern of productions.\n<br /><br />\n<h3>PureDrive™</h3>\nORIGIN features a completely new microphone pre-amplifier design that inherits the clarity and purity of previous SSL mic pre\'s, with the added flexibility of switching character to a warm, harmonically-rich and driven tone that varies with gain. The ideal solution to \'perfect\' digital system and hybrid workflow.\n<br /><br />\nPureDrive™ is a new discrete transistor mic-pre based around modern FET components. The result is an ultra-clean, ultra-low noise pre amp, that is fast and offers stunning resolution when in \'Pure\' mode. Hit the switch and the \'Drive\' circuit is engaged, adding gain dependent non-linear harmonic saturation.\n<br /><br />'),(11049,85,0,1842,'SSL ORIGIN 32-Channel Analog Mixing Console'),(11050,85,1,1842,'SSL ORIGIN 32-Channel Analog Mixing Console'),(11051,76,0,1842,''),(11052,76,1,1842,''),(11053,75,0,1843,'<h1>Solid State Logic (SSL) Sigma Delta Remote Controlled Analog Mix Engine</h1><i>\n\n\nSuperAnalogue Summing Mixer with full synchronized control via the Sigma Remote Control Application and Delta-Control DAW plug-ins.</i><br /><br />The Solid State Logic (SSL) Sigma δelta seamlessly brings the analogue joy of mixing on an SSL console into your DAW dominated workflow. Using MDAC technology unique to SSL, Sigma takes the SuperAnalogueTM mix buss from SSL\'s Duality and AWS consoles and delivers it in a 2U rack design, with complete remote control of the analogue signal path, using either a hardware control surface and/or a simple Remote Control Application, and/or directly from your DAW using the innovative SSL δelta-Control (δ-Ctrl) plug-in. Now anyone who can drive a DAW can mix on an SSL.\n<br /><br />\n	Consistent feedback from the world\'s leading producers demonstrates that analogue summing still brings a record together in a special way that no emulation plug-in can match. Sigma δelta and SSL\'s no-compromise approach to designing audio circuits, delivers summing with an extended low-end frequency response, wide stereo imaging, clarity, depth and detail. When it comes to sonic tone and character many leading engineers state that a significant part of their \'sound\' is the magic that happens when you drive the analogue mix buss of a console a little too hard...that delicate cohesive distortion only a pushed analogue mix buss brings their mixes. This is exactly the case with Sigma. It is at its best when pushed to that \"sweet spot\", to the point where it yields that extra sonic dimension which has always been part of the legendary SSL sound.\n<br /><br />\n	Sigma δelta combines its true analogue tone and depth with complete integration into a DAW dominated workflow. In today\'s commercial environment, fast turnaround of productions, with multiple mix tweaks and revisions, engineers and producers depend upon instant recall of all their settings. Sigma meets this demand. As Sigma\'s levels are driven from your DAW, the mix recalls instantly upon session load. Furthermore, every setting on Sigma itself (mix buss routing, monitoring section and settings) can be saved and recalled at the click of a button.\n<br /><br />\n	Sigma’s versatile dual mix buss, individual direct output and insert architecture also provides a streamlined means of applying analogue signal processing within your DAW workflow and simplifies printing processed material back to your DAW.\n<br /><br />\n	Sigma δelta also features a dual output studio monitor and headphone switcher and talkback system which is completely remote controllable. Sigma is setup from a cross platform Remote App that offers full standalone control of Sigma δelta. Running on a Mac, PC, or iOS tablet the app also performs as a superb remote control for the monitor switcher/talkback.\n<br /><br />\n	Sigma Delta offers integration into multiple studio workflows and setups. Sigma Delta plug-ins provide streamlined implementation with Eucon enabled control surfaces such as Avid® S3, S6 and Artist series or the Pro Tools Control app. Sigma Delta’s plug-in parameters map across Eucon control surfaces via the Insert editor, meaning that users can easily move between controlling their summed Sigma mix and their DAW session from the same surface.\n<br /><br />\n	The Sigma δelta mix engine can also be controlled from any SSL MCU-compatible control surface. Sigma’s MCU control requires no DAW software to be active, it simply requires the Sigma Remote to be running and a SSL control surface to be connected via a Network cable to the same DHCP server or router that Sigma is connected to. The Nucleus/Sigma fusion becomes a fully integrated 32 into 4 automated line mixer, with full monitoring and talkback capabilities. Sigma can also be used in combination with Duality, AWS and Matrix to add additional automated mixing capacity. Inserting Sigma δelta across the insert points of an XL desk, instantly adds automation to the console.\n<br /><br />\n<h3>SSL Sigma Delta Key Features</h3>\n<ul>\n	<li>Works with major DAWs including Pro Tools, Logic, Cubase, Nuendo and Ableton Live</li>\n	<li>Eucon enabled control of Sigma Delta plug-ins via control surfaces such as Avid ® S3, S6 and Artist series or the Pro Tools Control app</li>\n	<li>6 flexible channels individually switchable between stereo or mono for up to 32 channels at mixdown</li>\n	<li>Advanced δelta-Control automation driven SSL SuperAnalogue™ mix engine</li>\n	<li>2 stereo mix busses with individual stereo insert points</li>\n	<li>SSL MCU Control of Sigma Delta via dedicated Nucleus profile</li>\n	<li>Independent Main and Alternate Monitor outputs</li>\n	<li>Direct outputs on all channelsTalkback facility with adjustable Dim level</li>\n	<li>Intuitive cross platform Remote Control app</li>\n	<li>High speed ‘Logictivity Control’ via single Ethernet cable</li>\n</ul>'),(11054,75,1,1843,'<h1>Solid State Logic (SSL) Sigma Delta Remote Controlled Analog Mix Engine</h1><i>\n\n\nSuperAnalogue Summing Mixer with full synchronized control via the Sigma Remote Control Application and Delta-Control DAW plug-ins.</i><br /><br />The Solid State Logic (SSL) Sigma δelta seamlessly brings the analogue joy of mixing on an SSL console into your DAW dominated workflow. Using MDAC technology unique to SSL, Sigma takes the SuperAnalogueTM mix buss from SSL\'s Duality and AWS consoles and delivers it in a 2U rack design, with complete remote control of the analogue signal path, using either a hardware control surface and/or a simple Remote Control Application, and/or directly from your DAW using the innovative SSL δelta-Control (δ-Ctrl) plug-in. Now anyone who can drive a DAW can mix on an SSL.\n<br /><br />\n	Consistent feedback from the world\'s leading producers demonstrates that analogue summing still brings a record together in a special way that no emulation plug-in can match. Sigma δelta and SSL\'s no-compromise approach to designing audio circuits, delivers summing with an extended low-end frequency response, wide stereo imaging, clarity, depth and detail. When it comes to sonic tone and character many leading engineers state that a significant part of their \'sound\' is the magic that happens when you drive the analogue mix buss of a console a little too hard...that delicate cohesive distortion only a pushed analogue mix buss brings their mixes. This is exactly the case with Sigma. It is at its best when pushed to that \"sweet spot\", to the point where it yields that extra sonic dimension which has always been part of the legendary SSL sound.\n<br /><br />\n	Sigma δelta combines its true analogue tone and depth with complete integration into a DAW dominated workflow. In today\'s commercial environment, fast turnaround of productions, with multiple mix tweaks and revisions, engineers and producers depend upon instant recall of all their settings. Sigma meets this demand. As Sigma\'s levels are driven from your DAW, the mix recalls instantly upon session load. Furthermore, every setting on Sigma itself (mix buss routing, monitoring section and settings) can be saved and recalled at the click of a button.\n<br /><br />\n	Sigma’s versatile dual mix buss, individual direct output and insert architecture also provides a streamlined means of applying analogue signal processing within your DAW workflow and simplifies printing processed material back to your DAW.\n<br /><br />\n	Sigma δelta also features a dual output studio monitor and headphone switcher and talkback system which is completely remote controllable. Sigma is setup from a cross platform Remote App that offers full standalone control of Sigma δelta. Running on a Mac, PC, or iOS tablet the app also performs as a superb remote control for the monitor switcher/talkback.\n<br /><br />\n	Sigma Delta offers integration into multiple studio workflows and setups. Sigma Delta plug-ins provide streamlined implementation with Eucon enabled control surfaces such as Avid® S3, S6 and Artist series or the Pro Tools Control app. Sigma Delta’s plug-in parameters map across Eucon control surfaces via the Insert editor, meaning that users can easily move between controlling their summed Sigma mix and their DAW session from the same surface.\n<br /><br />\n	The Sigma δelta mix engine can also be controlled from any SSL MCU-compatible control surface. Sigma’s MCU control requires no DAW software to be active, it simply requires the Sigma Remote to be running and a SSL control surface to be connected via a Network cable to the same DHCP server or router that Sigma is connected to. The Nucleus/Sigma fusion becomes a fully integrated 32 into 4 automated line mixer, with full monitoring and talkback capabilities. Sigma can also be used in combination with Duality, AWS and Matrix to add additional automated mixing capacity. Inserting Sigma δelta across the insert points of an XL desk, instantly adds automation to the console.\n<br /><br />\n<h3>SSL Sigma Delta Key Features</h3>\n<ul>\n	<li>Works with major DAWs including Pro Tools, Logic, Cubase, Nuendo and Ableton Live</li>\n	<li>Eucon enabled control of Sigma Delta plug-ins via control surfaces such as Avid ® S3, S6 and Artist series or the Pro Tools Control app</li>\n	<li>6 flexible channels individually switchable between stereo or mono for up to 32 channels at mixdown</li>\n	<li>Advanced δelta-Control automation driven SSL SuperAnalogue™ mix engine</li>\n	<li>2 stereo mix busses with individual stereo insert points</li>\n	<li>SSL MCU Control of Sigma Delta via dedicated Nucleus profile</li>\n	<li>Independent Main and Alternate Monitor outputs</li>\n	<li>Direct outputs on all channelsTalkback facility with adjustable Dim level</li>\n	<li>Intuitive cross platform Remote Control app</li>\n	<li>High speed ‘Logictivity Control’ via single Ethernet cable</li>\n</ul>'),(11055,85,0,1843,'Solid State Logic (SSL) Sigma Delta Remote Controlled Analog Mix Engine'),(11056,85,1,1843,'Solid State Logic (SSL) Sigma Delta Remote Controlled Analog Mix Engine'),(11057,76,0,1843,''),(11058,76,1,1843,''),(11059,75,0,1844,'<h1>Solid State Logic (SSL) SiX Analog Desktop Mixer</h1><i>\nAuthentic SSL analog sound in a compact desktop mixer featuring 2 SuperAnalogue mic pres, 2 stereo line level inputs and legendary G-Series Bus Compressor</i><br /><br />The Solid State Logic (SSL) SiX is a condensed professional console for use in the studio, in post-production, on stage, and for podcasting. SiX offers classic SSL analog console sound and an impressive set of features in a format that is small enough to stick in a bag and go. SiX may be small but it offers the true SSL console sound; two recording channels with SuperAnalogueTM mic pres, two band EQ, an essential one knob version of the classic SSL Channel Compressor, a new two-band Channel EQ, inserts and 100mm faders. There is a two-knob version of the legendary G-Series Bus Compressor on the main mix bus and the unique Listen Mic Compressor on the Talkback. In mixdown mode it is a very capable twelve channel summing system that offers analogue detail, depth and width to your mixes.<br /><br />\n<h3>SSL SiX Key Features</h3>\nA fully professional condensed console for use in the studio, in post-production, on stage, and for podcasting.\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Benchmark SuperAnalogue™ audio performance - </b>Ultra low noise : ultra-low distortion : pristine sound</li>\n	<li><b>Stunning Record Path </b>- Two SSL console grade SuperAnalogue mic pre’s</li>\n	<li><b>Classic SSL Channel Processing </b>- Essential versions of SSL Channel EQ and Dynamics</li>\n	<li><b>The unique Listen Mic Compressor </b>- Nothing slams drums quite like it!</li>\n	<li><b>Professional Routing & Monitoring</b> - The hidden versatility of truly professional features</li>\n	<li><b>12 Input Summing at Mixdown</b> - 12 line level inputs with channel and Master Bus inserts</li>\n	<li><b>Legendary Master Bus Compressor</b> - An essential version of the incredible SSL legacy</li>\n	<li><b>Completely balanced signal path</b> - Everything except the headphone jack is fully balanced</li>\n</ul>\n<br />\n<h3>True SuperAnalogue™ Sound</h3>\nSiX is an SSL SuperAnalogue™ design – it gives you the sonic signature of a large format SSL console on your desktop or in your backpack. Its signal path is fully balanced from front to back on everything except the headphone output. It delivers pristine, detailed audio with wide dynamic range, ultra-low noise, ultra-low distortion and superb imaging. If you want to know more about the technical reasons why SSL mixers sound so good read our Lifting The Veil document.\n<br /><br />\n<h3>Two Recording Channel Strips featuring SuperAnalogue Mic Preamps</h3>\nSiX has two mono channels with SSL SuperAnalogue™ Mic’ Pre’s; these are transparent, fast and have a much wider available gain range than you would typically get on a compact desktop mixer – 66dB of gain compared to the more typical mid-40s or 50dB found in desktop mixers. They have phantom power, 75Hz high pass filter and an independent line-level input which can be switched to instrument level input with high impedance.\n<br /><br />\nMoving down the channel strip we have a brand-new one knob compressor circuit. This design is based on and has the same sound as the classic SSL feed-forward Channel Compressor circuit. It has a program-dependent attack time, a fixed release time and fixed ratio. Simply adjust the threshold, watch the traffic lights flash to see how much compression is happening and rely on the circuit to automatically adjust gain to match input levels. This is a cool-sounding circuit that makes it simple to dial in a consistent level and get signals sitting right in the sweet spot.<br /><br />\nBoth mono channels have a new two-band SSL EQ that may be independently switched between shelf and bell curves, with different centre frequencies for each type. This approach draws upon the SSL design legacy of specifying response curves and centre frequencies for channel EQ that are immediately intuitively pleasing in their response; these curves and frequencies were selected by our team as the most “musically useful” for a wide range of sources.<br /><br />\nSiX has 100mm faders. We spent some time working on alternate fader tapers and settled on a law that gave us the most control over the most useable gain range, making on-stage level control far easier than it would be with a rotary or a 60mm fader as found on other compact mixers.<br /><br />\nEach channel has a fully balanced insert point for integrating other signal processors which is after the EQ and Compressor circuits, and like all SSLs the insert send is always active – meaning you can use this as a “dry” record send to your DAW if required.<br /><br />\nAt the bottom of the mono channels we have an ALTernate input switch which can source 2 extra mono channels from a connector on the rear of the console which can be used at mixdown.<br /><br />\n<h3>Two Stereo Line Level Inputs</h3>\nSiX has two stereo input channels with -10/+20 dB trim for line sources such as synthesisers, drum machines, output from soundcards etc. These have their own balance controls and 100mm faders. If only the Left input of a stereo channel is connected (and the right left free) the channel will automatically switch to mono, panned centre.\n<br /><br />\nWhile SiX might be small it can handle a lot of inputs at mix-down! Using the two mono input and the two stereo input channels gives SiX its name, but we also have two stereo EXTernal inputs (with volume controls in the master section) which can be sent to the mix bus. Include the ALT inputs and we have up to 12 channels that can be summed into the main mix bus.<br /><br />\n<h3>G-Series Bus Compressor</h3>\nSiX has a G Series Bus Compressor on the main mix bus. This uses the same circuit design as the legendary SSL Bus Compressor from our larger consoles but with a fixed ratio, attack, and release settings and a more modern quad-VCA chip. The simplified controls make it very easy to get that SSL glue and snap on whatever you push through your master bus. SiX also has a set of inserts on the main mix bus that can be used to bring external processing tools (like SSL Fusion) to your mixdown.\n<br /><br />\n<h3>Professional Routing</h3>\nSiX has a collection of professional routing & monitoring features taken directly from our large format console heritage. It has two Stereo Cue buses (with level and pan controls) for individual artist foldback mixes. The Master Section has main and alternate monitor outputs with a proper monitor source matrix, as well as mono check, dim and cut. The fader channels all have proper PFL and a Mute button that routes the muted signal to a ‘Bus B’. Bus B can be used as a convenient DAW record send but it can also be routed to the monitor matrix. This means that the muted signal can be monitored without it feeding the main mix bus and then switched in to the main mix with the Mute button – perfect for live webcasting because a remote feed can be monitored ‘offline’ and punched in to the broadcast feed. There is a talkback mic’ input with phantom power and SSL’s unique, crunchy Listen Mic Compressor, which of course also serves as a unique processing tool that delivers that classic 1980’s slammed drums sound.\n<br /><br />'),(11060,75,1,1844,'<h1>Solid State Logic (SSL) SiX Analog Desktop Mixer</h1><i>\nAuthentic SSL analog sound in a compact desktop mixer featuring 2 SuperAnalogue mic pres, 2 stereo line level inputs and legendary G-Series Bus Compressor</i><br /><br />The Solid State Logic (SSL) SiX is a condensed professional console for use in the studio, in post-production, on stage, and for podcasting. SiX offers classic SSL analog console sound and an impressive set of features in a format that is small enough to stick in a bag and go. SiX may be small but it offers the true SSL console sound; two recording channels with SuperAnalogueTM mic pres, two band EQ, an essential one knob version of the classic SSL Channel Compressor, a new two-band Channel EQ, inserts and 100mm faders. There is a two-knob version of the legendary G-Series Bus Compressor on the main mix bus and the unique Listen Mic Compressor on the Talkback. In mixdown mode it is a very capable twelve channel summing system that offers analogue detail, depth and width to your mixes.<br /><br />\n<h3>SSL SiX Key Features</h3>\nA fully professional condensed console for use in the studio, in post-production, on stage, and for podcasting.\n<ul>\n	<li><b style=\"background-color: initial; letter-spacing: 0px;\">Benchmark SuperAnalogue™ audio performance - </b>Ultra low noise : ultra-low distortion : pristine sound</li>\n	<li><b>Stunning Record Path </b>- Two SSL console grade SuperAnalogue mic pre’s</li>\n	<li><b>Classic SSL Channel Processing </b>- Essential versions of SSL Channel EQ and Dynamics</li>\n	<li><b>The unique Listen Mic Compressor </b>- Nothing slams drums quite like it!</li>\n	<li><b>Professional Routing & Monitoring</b> - The hidden versatility of truly professional features</li>\n	<li><b>12 Input Summing at Mixdown</b> - 12 line level inputs with channel and Master Bus inserts</li>\n	<li><b>Legendary Master Bus Compressor</b> - An essential version of the incredible SSL legacy</li>\n	<li><b>Completely balanced signal path</b> - Everything except the headphone jack is fully balanced</li>\n</ul>\n<br />\n<h3>True SuperAnalogue™ Sound</h3>\nSiX is an SSL SuperAnalogue™ design – it gives you the sonic signature of a large format SSL console on your desktop or in your backpack. Its signal path is fully balanced from front to back on everything except the headphone output. It delivers pristine, detailed audio with wide dynamic range, ultra-low noise, ultra-low distortion and superb imaging. If you want to know more about the technical reasons why SSL mixers sound so good read our Lifting The Veil document.\n<br /><br />\n<h3>Two Recording Channel Strips featuring SuperAnalogue Mic Preamps</h3>\nSiX has two mono channels with SSL SuperAnalogue™ Mic’ Pre’s; these are transparent, fast and have a much wider available gain range than you would typically get on a compact desktop mixer – 66dB of gain compared to the more typical mid-40s or 50dB found in desktop mixers. They have phantom power, 75Hz high pass filter and an independent line-level input which can be switched to instrument level input with high impedance.\n<br /><br />\nMoving down the channel strip we have a brand-new one knob compressor circuit. This design is based on and has the same sound as the classic SSL feed-forward Channel Compressor circuit. It has a program-dependent attack time, a fixed release time and fixed ratio. Simply adjust the threshold, watch the traffic lights flash to see how much compression is happening and rely on the circuit to automatically adjust gain to match input levels. This is a cool-sounding circuit that makes it simple to dial in a consistent level and get signals sitting right in the sweet spot.<br /><br />\nBoth mono channels have a new two-band SSL EQ that may be independently switched between shelf and bell curves, with different centre frequencies for each type. This approach draws upon the SSL design legacy of specifying response curves and centre frequencies for channel EQ that are immediately intuitively pleasing in their response; these curves and frequencies were selected by our team as the most “musically useful” for a wide range of sources.<br /><br />\nSiX has 100mm faders. We spent some time working on alternate fader tapers and settled on a law that gave us the most control over the most useable gain range, making on-stage level control far easier than it would be with a rotary or a 60mm fader as found on other compact mixers.<br /><br />\nEach channel has a fully balanced insert point for integrating other signal processors which is after the EQ and Compressor circuits, and like all SSLs the insert send is always active – meaning you can use this as a “dry” record send to your DAW if required.<br /><br />\nAt the bottom of the mono channels we have an ALTernate input switch which can source 2 extra mono channels from a connector on the rear of the console which can be used at mixdown.<br /><br />\n<h3>Two Stereo Line Level Inputs</h3>\nSiX has two stereo input channels with -10/+20 dB trim for line sources such as synthesisers, drum machines, output from soundcards etc. These have their own balance controls and 100mm faders. If only the Left input of a stereo channel is connected (and the right left free) the channel will automatically switch to mono, panned centre.\n<br /><br />\nWhile SiX might be small it can handle a lot of inputs at mix-down! Using the two mono input and the two stereo input channels gives SiX its name, but we also have two stereo EXTernal inputs (with volume controls in the master section) which can be sent to the mix bus. Include the ALT inputs and we have up to 12 channels that can be summed into the main mix bus.<br /><br />\n<h3>G-Series Bus Compressor</h3>\nSiX has a G Series Bus Compressor on the main mix bus. This uses the same circuit design as the legendary SSL Bus Compressor from our larger consoles but with a fixed ratio, attack, and release settings and a more modern quad-VCA chip. The simplified controls make it very easy to get that SSL glue and snap on whatever you push through your master bus. SiX also has a set of inserts on the main mix bus that can be used to bring external processing tools (like SSL Fusion) to your mixdown.\n<br /><br />\n<h3>Professional Routing</h3>\nSiX has a collection of professional routing & monitoring features taken directly from our large format console heritage. It has two Stereo Cue buses (with level and pan controls) for individual artist foldback mixes. The Master Section has main and alternate monitor outputs with a proper monitor source matrix, as well as mono check, dim and cut. The fader channels all have proper PFL and a Mute button that routes the muted signal to a ‘Bus B’. Bus B can be used as a convenient DAW record send but it can also be routed to the monitor matrix. This means that the muted signal can be monitored without it feeding the main mix bus and then switched in to the main mix with the Mute button – perfect for live webcasting because a remote feed can be monitored ‘offline’ and punched in to the broadcast feed. There is a talkback mic’ input with phantom power and SSL’s unique, crunchy Listen Mic Compressor, which of course also serves as a unique processing tool that delivers that classic 1980’s slammed drums sound.\n<br /><br />'),(11061,85,0,1844,'Solid State Logic (SSL) SiX Analog Desktop Mixer'),(11062,85,1,1844,'Solid State Logic (SSL) SiX Analog Desktop Mixer'),(11063,76,0,1844,''),(11064,76,1,1844,''),(11065,75,0,1845,'<h1>Solid State Logic SSL 2 - 2-In / 2-Out USB Audio Interface</h1>\n<i>SSL analogue sound for the Masses. SSL 2 is a portable 2x2 USB audio Interface with 2 Mic Pres and 4k Legacy mode for instant 4000-series analogue color.</i><br /><br />The Solid State Logic SSL 2 is a  2-In / 2-Out USB 2.0, bus-powered audio interface, but it is much more than just an interface, it is the center of your new Solid State Logic studio. The SSL 2 has 2 input channels for recording and balanced monitor outputs for connecting to your monitors. It also has Class-leading mic preamps, Legacy 4K analogue enhancement, studio-quality monitoring and the incredible SSL Production Pack software bundle.  SSL have been designing cutting-edge mixing consoles and processing tools for the world\'s finest recording studios for over four decades. Now you get all that hit-making know-how in your own personal studio.<br /><br />\n<h3>Key Features:</h3>\n<ul>\n	<li>2-In / 2-Out USB Audio Interface</li>\n	<li>2 x SSL-designed microphone preamps with unrivaled noise performance and gain range for a USB-powered device</li>\n	<li>Legacy 4K - analogue colour enhancement for any input source, inspired by classic SSL consoles</li>\n	<li>Professional, high-current grade headphone output, with plenty of power</li>\n	<li>24-bit / 192 kHz AD/DA AKM Converters - capture and hear all the detail of your creations</li>\n	<li>Easy-to-use Monitor Mix Control for critical low-latency monitoring tasks</li>\n	<li>Balanced monitor outputs, with stunning dynamic range </li>\n	<li>USB 2.0, bus-powered audio interface for Mac/PC - no power supply required</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. \n<br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivaled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(11066,75,1,1845,'<h1>Solid State Logic SSL 2 - 2-In / 2-Out USB Audio Interface</h1>\n<i>SSL analogue sound for the Masses. SSL 2 is a portable 2x2 USB audio Interface with 2 Mic Pres and 4k Legacy mode for instant 4000-series analogue color.</i><br /><br />The Solid State Logic SSL 2 is a  2-In / 2-Out USB 2.0, bus-powered audio interface, but it is much more than just an interface, it is the center of your new Solid State Logic studio. The SSL 2 has 2 input channels for recording and balanced monitor outputs for connecting to your monitors. It also has Class-leading mic preamps, Legacy 4K analogue enhancement, studio-quality monitoring and the incredible SSL Production Pack software bundle.  SSL have been designing cutting-edge mixing consoles and processing tools for the world\'s finest recording studios for over four decades. Now you get all that hit-making know-how in your own personal studio.<br /><br />\n<h3>Key Features:</h3>\n<ul>\n	<li>2-In / 2-Out USB Audio Interface</li>\n	<li>2 x SSL-designed microphone preamps with unrivaled noise performance and gain range for a USB-powered device</li>\n	<li>Legacy 4K - analogue colour enhancement for any input source, inspired by classic SSL consoles</li>\n	<li>Professional, high-current grade headphone output, with plenty of power</li>\n	<li>24-bit / 192 kHz AD/DA AKM Converters - capture and hear all the detail of your creations</li>\n	<li>Easy-to-use Monitor Mix Control for critical low-latency monitoring tasks</li>\n	<li>Balanced monitor outputs, with stunning dynamic range </li>\n	<li>USB 2.0, bus-powered audio interface for Mac/PC - no power supply required</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. \n<br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivaled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(11067,85,0,1845,'Solid State Logic SSL 2 - 2-In / 2-Out USB Audio Interface'),(11068,85,1,1845,'Solid State Logic SSL 2 - 2-In / 2-Out USB Audio Interface'),(11069,76,0,1845,''),(11070,76,1,1845,''),(11071,75,0,1846,'<h1>Solid State Logic SSL 2+ - 2-In / 4-Out USB Audio Interface</h1>\n<i>SSL analogue sound for the Masses. SSL 2+ is a portable 2x4 USB audio Interface with 2 Mic Pres and 4k Legacy mode for instant 4000-series analogue color.</i><br /><br />\n\nThe Solid State Logic SSL 2+ is a  2-In / 4-Out USB 2.0, bus-powered audio interface, but it is much more than just an interface, it is the center of your new Solid State Logic studio. The SSL 2 has 2 input channels for recording and balanced monitor outputs for connecting to your monitors. It also has Class-leading mic preamps, Legacy 4K analogue enhancement, studio-quality monitoring and the incredible SSL Production Pack software bundle.  SSL have been designing cutting-edge mixing consoles and processing tools for the world\'s finest recording studios for over four decades. Now you get all that hit-making know-how in your own personal studio.<br /><br />The SSL 2+ gives you \'that little bit more\', with an additional professional high-current headphone output, complete with independent level control, making it perfect for when you are recording with another person. Furthermore, this additional headphone output can be set up in a way that allows the other person to have a different headphone mix. SSL 2+ also features unbalanced outputs for easy connection to DJ mixers and finally, it has traditional 5-Pin DIN MIDI input and MIDI outputs, for connecting to drum modules or keyboards.<br /><br />\n\n<h3>Key Features:</h3>\n<ul>\n	<li>2-In/4-Out USB Audio Interface\n	</li>\n	<li>2 x SSL-designed microphone preamps with unrivaled noise performance and gain range for a USB-powered device</li>\n	<li>Legacy 4K - analogue color enhancement for any input source, inspired by classic SSL consoles</li>\n	<li>2 x Professional, high-current grade headphone outputs, with plenty of power and the ability to create a second independent headphone mix for the 2nd performer</li>\n	<li>24-bit / 192 kHz AD/DA AKM Converters - capture and hear all the detail of your creations</li>\n	<li>Easy-to-use Monitor Mix Control for critical low-latency monitoring tasks</li>\n	<li>Balanced monitor outputs, with stunning dynamic range</li>\n	<li>Additional unbalanced RCA outputs for easy connection to DJ Mixers</li>\n	<li>MIDI I/O</li>\n	<li>USB 2.0, bus-powered audio interface for Mac/PC - no power supply required</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. \n<br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivaled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(11072,75,1,1846,'<h1>Solid State Logic SSL 2+ - 2-In / 4-Out USB Audio Interface</h1>\n<i>SSL analogue sound for the Masses. SSL 2+ is a portable 2x4 USB audio Interface with 2 Mic Pres and 4k Legacy mode for instant 4000-series analogue color.</i><br /><br />\n\nThe Solid State Logic SSL 2+ is a  2-In / 4-Out USB 2.0, bus-powered audio interface, but it is much more than just an interface, it is the center of your new Solid State Logic studio. The SSL 2 has 2 input channels for recording and balanced monitor outputs for connecting to your monitors. It also has Class-leading mic preamps, Legacy 4K analogue enhancement, studio-quality monitoring and the incredible SSL Production Pack software bundle.  SSL have been designing cutting-edge mixing consoles and processing tools for the world\'s finest recording studios for over four decades. Now you get all that hit-making know-how in your own personal studio.<br /><br />The SSL 2+ gives you \'that little bit more\', with an additional professional high-current headphone output, complete with independent level control, making it perfect for when you are recording with another person. Furthermore, this additional headphone output can be set up in a way that allows the other person to have a different headphone mix. SSL 2+ also features unbalanced outputs for easy connection to DJ mixers and finally, it has traditional 5-Pin DIN MIDI input and MIDI outputs, for connecting to drum modules or keyboards.<br /><br />\n\n<h3>Key Features:</h3>\n<ul>\n	<li>2-In/4-Out USB Audio Interface\n	</li>\n	<li>2 x SSL-designed microphone preamps with unrivaled noise performance and gain range for a USB-powered device</li>\n	<li>Legacy 4K - analogue color enhancement for any input source, inspired by classic SSL consoles</li>\n	<li>2 x Professional, high-current grade headphone outputs, with plenty of power and the ability to create a second independent headphone mix for the 2nd performer</li>\n	<li>24-bit / 192 kHz AD/DA AKM Converters - capture and hear all the detail of your creations</li>\n	<li>Easy-to-use Monitor Mix Control for critical low-latency monitoring tasks</li>\n	<li>Balanced monitor outputs, with stunning dynamic range</li>\n	<li>Additional unbalanced RCA outputs for easy connection to DJ Mixers</li>\n	<li>MIDI I/O</li>\n	<li>USB 2.0, bus-powered audio interface for Mac/PC - no power supply required</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. \n<br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivaled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(11073,85,0,1846,'Solid State Logic SSL 2+ - 2-In / 4-Out USB Audio Interface'),(11074,85,1,1846,'Solid State Logic SSL 2+ - 2-In / 4-Out USB Audio Interface'),(11075,76,0,1846,''),(11076,76,1,1846,''),(11077,75,0,1847,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Stereo Bus Compressor — 500-Series Compressor </h1>\n<span style=\"font-size:16px; font-style:italic;\">SSL’s mix-gluing G-Series console center-section compressor module for API 500-format power racks </span><br /><br />\nWhile a relatively simple design, the original SSL G Series center-console Stereo Bus Compressor had an uncanny ability to bring out size, cohesiveness, and punch in a mix without compromising clarity. In fact, the industry term, “audio glue” came from the use of the SSL G Series console stereo bus compressor. More amazingly was Stereo Bus Compressor’s auto-release, which seemed to ‘read your mix’s mind’ and provide just the right response for nearly any program material thrown at it. That’s why to this day top mixers will not compress a stereo bus without their trusty SSL Stereo Bus Compressor. A key element of the SSL sound, the Stereo Bus Compressor is featured on countless classic recordings. And now the availability of the SSL Stereo Bus Compressor in a module for the 500-format makes this essential audio production tool available to anyone with an empty Lunchbox (or other 500-series power rack) who’s hungry for signature SSL stereo bus compression on their 2-bus. <br /><br />\n<h3>SSL Stereo Bus Compressor 500-series module unique features:</h3>\n<ul>\n	<li>Legendary sonic character of SSL Stereo Bus Compression</li>\n</ul>\n<br />\n<h3>SSL Stereo Bus Compressor 500-series module key features:</h3>\n<ul>\n	<li>Six ratio settings ranging from 1.5:1 to 20:1</li>\n	<li>Five release settings and auto-release function</li>\n</ul>\n<div><br /></div>\n<h3>INSIDE THE BOX — SSL Stereo Bus Compressor 500-Series Module</h3>\nThe SL 4000 console was the first console to incorporate dynamics processing in every channel and a master compressor in the console center section.\n<br /><br />\nThe ability to patch into the SL 4000\'s center compressor and control its sidechain from an internal sub-mix, allowed engineers to discover the amazingly unique qualities of this compressor for use on instruments such as piano and drums, as well as its classic mix finalizing capabilities. This versatility created the demand for a rack mount equivalent and a legendary piece of outboard gear was born.<br /><br />\nThe SSL Stereo Bus Compressor uses the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides improved audio performance, while retaining the dynamics characteristics that have provided numerous hit mixes for the world\'s best audio engineers.<br /><br />\nThanks to the 500-series version of the SSL Stereo Bus Compressor, you can have this essential studio tool without having to buy a G Series Console. <br /><br />\n<h3>OUTSIDE THE BOX — SSL Stereo Bus Compressor 500-Series Module</h3>\nLike it’s design, the front panel of the SSL Stereo Bus Compress module is simplicity itself. At the top of the unit as gain reduction meter, which ranges from 0 – 20dB. Beneath the meter one the left is Threshold (-20dB - +20dB); Attack, which ranges from .1ms to 30ms; and ratio with six settings: 1.5:1, 2:1, 3:1, 4”1, 5:1, and 10:1. On the right side of the Stereo Bus Compressor is a bypass switch (IN), gain makeup, and release, with a range of .1s, .2s, .3s, .4s, .8s, 1.6s, and Auto, which, as mentioned above, works on just about any program material. \n<br /><br />\n<h3>About the SSL G Series Console</h3>\nThe Solid State Logic SL 4000 G Series is the world\'s most successful studio production console. Its reputation is built upon SSL\'s design excellence, advanced electronic engineering, and a sound quality that has produced hundreds of best-selling recordings. A key element in the sound of many of these recordings is punch and drive of the mixes created by the classic G-Series center section compressor.\n<br /><br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n<h3>The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today. </h3><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(11078,75,1,1847,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> Stereo Bus Compressor — 500-Series Compressor </h1>\n<span style=\"font-size:16px; font-style:italic;\">SSL’s mix-gluing G-Series console center-section compressor module for API 500-format power racks </span><br /><br />\nWhile a relatively simple design, the original SSL G Series center-console Stereo Bus Compressor had an uncanny ability to bring out size, cohesiveness, and punch in a mix without compromising clarity. In fact, the industry term, “audio glue” came from the use of the SSL G Series console stereo bus compressor. More amazingly was Stereo Bus Compressor’s auto-release, which seemed to ‘read your mix’s mind’ and provide just the right response for nearly any program material thrown at it. That’s why to this day top mixers will not compress a stereo bus without their trusty SSL Stereo Bus Compressor. A key element of the SSL sound, the Stereo Bus Compressor is featured on countless classic recordings. And now the availability of the SSL Stereo Bus Compressor in a module for the 500-format makes this essential audio production tool available to anyone with an empty Lunchbox (or other 500-series power rack) who’s hungry for signature SSL stereo bus compression on their 2-bus. <br /><br />\n<h3>SSL Stereo Bus Compressor 500-series module unique features:</h3>\n<ul>\n	<li>Legendary sonic character of SSL Stereo Bus Compression</li>\n</ul>\n<br />\n<h3>SSL Stereo Bus Compressor 500-series module key features:</h3>\n<ul>\n	<li>Six ratio settings ranging from 1.5:1 to 20:1</li>\n	<li>Five release settings and auto-release function</li>\n</ul>\n<div><br /></div>\n<h3>INSIDE THE BOX — SSL Stereo Bus Compressor 500-Series Module</h3>\nThe SL 4000 console was the first console to incorporate dynamics processing in every channel and a master compressor in the console center section.\n<br /><br />\nThe ability to patch into the SL 4000\'s center compressor and control its sidechain from an internal sub-mix, allowed engineers to discover the amazingly unique qualities of this compressor for use on instruments such as piano and drums, as well as its classic mix finalizing capabilities. This versatility created the demand for a rack mount equivalent and a legendary piece of outboard gear was born.<br /><br />\nThe SSL Stereo Bus Compressor uses the same classic twin VCA design as its console counterpart. Combined with improved input and output circuitry, this new unit provides improved audio performance, while retaining the dynamics characteristics that have provided numerous hit mixes for the world\'s best audio engineers.<br /><br />\nThanks to the 500-series version of the SSL Stereo Bus Compressor, you can have this essential studio tool without having to buy a G Series Console. <br /><br />\n<h3>OUTSIDE THE BOX — SSL Stereo Bus Compressor 500-Series Module</h3>\nLike it’s design, the front panel of the SSL Stereo Bus Compress module is simplicity itself. At the top of the unit as gain reduction meter, which ranges from 0 – 20dB. Beneath the meter one the left is Threshold (-20dB - +20dB); Attack, which ranges from .1ms to 30ms; and ratio with six settings: 1.5:1, 2:1, 3:1, 4”1, 5:1, and 10:1. On the right side of the Stereo Bus Compressor is a bypass switch (IN), gain makeup, and release, with a range of .1s, .2s, .3s, .4s, .8s, 1.6s, and Auto, which, as mentioned above, works on just about any program material. \n<br /><br />\n<h3>About the SSL G Series Console</h3>\nThe Solid State Logic SL 4000 G Series is the world\'s most successful studio production console. Its reputation is built upon SSL\'s design excellence, advanced electronic engineering, and a sound quality that has produced hundreds of best-selling recordings. A key element in the sound of many of these recordings is punch and drive of the mixes created by the classic G-Series center section compressor.\n<br /><br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.\n<br /><br />\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n<h3>The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today. </h3><div><a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" /><img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a></div><p style=\"letter-spacing: normal;\">Don’t forget to check out <a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.</p>'),(11079,85,0,1847,'SSL G-Series Stereo Buss Compressor for 500 Series'),(11080,85,1,1847,'SSL G-Series Stereo Buss Compressor for 500 Series'),(11081,76,0,1847,''),(11082,76,1,1847,''),(11083,75,0,1848,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> UF8 - Advanced DAW Controller</h1>\n<i>Solid State Logic UF8 Advanced DAW Control Surface accelerates creativity with intelligent studio production ergonomics</i><br /><br />Solid State Logic (SSL) UF8 controller is a scalable control surface offering all the essential DAW control commands you need at your fingertips, with room to add USB keyboard shortcuts to suit your own workflow. The UF8 control surface features 8 high-quality, fully-motorised faders and 8 touch-sensitive channel encoders, together with 8 high-quality colour LCD TFT displays for clear visual feedback. A large multi-purpose master encoder allows navigation of DAW sessions, track scrolling and mouse wheel emulation to get hands-on controlling plug-ins. Signature SSL workflow and ergonomics developed from a 40+ year legacy in production innovation have never been more accessible.<br /><br />UF8 is SSL’s latest studio controller, designed for today’s DAW-based production workflows and ultra fast turn-around times. An expandable 8-channel advanced DAW controller, UF8 connects engineers, producers and artists directly to the creative process, offering absolute command of their workflowand significantly accelerating the speed of audio production and content creation <br /><br /><h3>Not all controllers are equal</h3><span>Solid State Logic (SSL) UF8 controller</span> is the culmination of SSL’s 40+ year legacy of mastering production workflowsand studio ergonomics built into generations of classic SSL consoles.This depth of understanding of studio production, combined with decades of engineering excellence, delivers a premium finish tactile USB controller that distills SSL workflow and quality.<br /><br /><span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold; background-color: initial;\">Advanced workflow</span><br /><span>Solid State Logic (SSL) UF8 controller </span>UF8 offers intuitive features that are developed from a true understanding of production workflow. Take ultimate control with simultaneous access to multiple DAW sessions, and precise navigation with a multi-purpose Master Encoder for DAW timeline access, track banking and mouse wheel emulation. \'Dual-purpose Selection Keys permit rapid access to select functions as well as solo and mute clearing in Pro Tools and Logic Pro. New CHANNEL and PLUG-IN control modes provide enhanced workflows for those using UF8 with Pro Tools,with easy access to sends and plug-ins without slowing down your creativity.<br /><br /><h3>Configurability</h3>Each SSL UF8 control surface comes equipped with 43 assignable user keys set across 5 configurable banks, allowing users to configure their essential keyboard shortcuts and macros for total session control. Add multiple controllers to create your unique mixing system; build your perfect 16-24 channel music creation hub, or connect 4 UF8’s within a single system to create a 32-channel controller ideal for large post production or mixing sessions. Multiple UF8s can be chained together using the THRU port and provide a safe place for iLok storage. For perfect positioning, each UF8 includes an adjustable stand allowing for six different angles of elevation for user defined placement. 19” rack mount kits are also available for installation into an ORIGIN console center section or other 19” studio racking. <br /><br /><h3>360°Control</h3>SSL’s new360°software application provides fast configuration and admin control of your UF8. With an expanded system, ‘drag-n-drop’ configuration gives quick and dynamic access to each individual controller set up.Customise workflows and defineup to 3 different DAW layers for simultaneous session control, with all changes managed without getting in the way of your productivity.<br /><br /><br />\n\n<h3>UF8 Key Features</h3><ul><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\">8 motorised, touch sensitive faders.</span></li><li><span style=\"letter-spacing: 0px; color: rgb(48, 56, 71); background-color: initial;\"> 8+1 rotary encoders with push.</span><span style=\"letter-spacing: 0px; color: rgb(48, 56, 71); background-color: initial;\"> </span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\">8 x TFT LCD hi-res displays.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Backlit RGB soft-feel rubber buttons.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> All metal enclosure, finished with a brushed, anodised top plate.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Expandable - Connect up to 4 UF8s to create a 32-Channel DAW Controller.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Works with the following major DAWs: Avid Pro Tools / Apple Logic Pro X / Steinberg Cubase and Nuendo / Presonus Studio One / Ableton Live.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Up to 3 different DAWs can be connected simultaneously.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> DAW communication via HUI for Pro Tools. SSL software provides further workflow enhancements with the addition of features such as CHANNEL and PLUG-IN Mode.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> DAW communication via MCU for Logic, Cubase, Studio One and Live.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Large multiple purpose notched encoder allows for DAW timeline navigation, track banking and mouse wheel emulation for even more hands-on control.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\">Customisable keys to ready to assign your favourite keyboard shortcuts/macros.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Assignable Footswitches.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Included stands allow for adjustable elevation angles on desktop.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Compatible with ORIGIN modular centre section.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> 19” 6U rackmount kit available for purchase.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Connects to your computer via Hi-Speed USB – no need to deal with computer networks or ethernet cables.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Powered by the new SSL 360° Software application.</span></li><li>Dimensions: 17” x 10.5” x 2.4” / 431 x 266 x 62.7mm</li><li>Weight: Unboxed - 6.4lbs / 2.9KG. Boxed - 5.0KG / 11.02lb</li></ul>\n<h3><br class=\"Apple-interchange-newline\" />SSL 360° Software for Mac & PC</h3><span>The SSL 360° software provides the brains for any UF8 control surface. It allows you to configure UF8 for your DAW(s), drag and drop to re-order UF8s in a multi-product configuration and allows you to customise the user keys on the surface with your favourite DAW commands or keyboard shortcuts. The top row of user keys has 5 banks of 8, which can all be labelled in the top zone of the TFT displays. SSL 360° is intelligent – it automatically saves any changes you make in the background for you. It also manages and controls any available software/firmware updates, directly from the app.</span><br />'),(11084,75,1,1848,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> UF8 - Advanced DAW Controller</h1>\n<i>Solid State Logic UF8 Advanced DAW Control Surface accelerates creativity with intelligent studio production ergonomics</i><br /><br />Solid State Logic (SSL) UF8 controller is a scalable control surface offering all the essential DAW control commands you need at your fingertips, with room to add USB keyboard shortcuts to suit your own workflow. The UF8 control surface features 8 high-quality, fully-motorised faders and 8 touch-sensitive channel encoders, together with 8 high-quality colour LCD TFT displays for clear visual feedback. A large multi-purpose master encoder allows navigation of DAW sessions, track scrolling and mouse wheel emulation to get hands-on controlling plug-ins. Signature SSL workflow and ergonomics developed from a 40+ year legacy in production innovation have never been more accessible.<br /><br />UF8 is SSL’s latest studio controller, designed for today’s DAW-based production workflows and ultra fast turn-around times. An expandable 8-channel advanced DAW controller, UF8 connects engineers, producers and artists directly to the creative process, offering absolute command of their workflowand significantly accelerating the speed of audio production and content creation <br /><br /><h3>Not all controllers are equal</h3><span>Solid State Logic (SSL) UF8 controller</span> is the culmination of SSL’s 40+ year legacy of mastering production workflowsand studio ergonomics built into generations of classic SSL consoles.This depth of understanding of studio production, combined with decades of engineering excellence, delivers a premium finish tactile USB controller that distills SSL workflow and quality.<br /><br /><span style=\"color: rgb(0, 0, 0); font-size: 24px; font-weight: bold; background-color: initial;\">Advanced workflow</span><br /><span>Solid State Logic (SSL) UF8 controller </span>UF8 offers intuitive features that are developed from a true understanding of production workflow. Take ultimate control with simultaneous access to multiple DAW sessions, and precise navigation with a multi-purpose Master Encoder for DAW timeline access, track banking and mouse wheel emulation. \'Dual-purpose Selection Keys permit rapid access to select functions as well as solo and mute clearing in Pro Tools and Logic Pro. New CHANNEL and PLUG-IN control modes provide enhanced workflows for those using UF8 with Pro Tools,with easy access to sends and plug-ins without slowing down your creativity.<br /><br /><h3>Configurability</h3>Each SSL UF8 control surface comes equipped with 43 assignable user keys set across 5 configurable banks, allowing users to configure their essential keyboard shortcuts and macros for total session control. Add multiple controllers to create your unique mixing system; build your perfect 16-24 channel music creation hub, or connect 4 UF8’s within a single system to create a 32-channel controller ideal for large post production or mixing sessions. Multiple UF8s can be chained together using the THRU port and provide a safe place for iLok storage. For perfect positioning, each UF8 includes an adjustable stand allowing for six different angles of elevation for user defined placement. 19” rack mount kits are also available for installation into an ORIGIN console center section or other 19” studio racking. <br /><br /><h3>360°Control</h3>SSL’s new360°software application provides fast configuration and admin control of your UF8. With an expanded system, ‘drag-n-drop’ configuration gives quick and dynamic access to each individual controller set up.Customise workflows and defineup to 3 different DAW layers for simultaneous session control, with all changes managed without getting in the way of your productivity.<br /><br /><br />\n\n<h3>UF8 Key Features</h3><ul><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\">8 motorised, touch sensitive faders.</span></li><li><span style=\"letter-spacing: 0px; color: rgb(48, 56, 71); background-color: initial;\"> 8+1 rotary encoders with push.</span><span style=\"letter-spacing: 0px; color: rgb(48, 56, 71); background-color: initial;\"> </span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\">8 x TFT LCD hi-res displays.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Backlit RGB soft-feel rubber buttons.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> All metal enclosure, finished with a brushed, anodised top plate.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Expandable - Connect up to 4 UF8s to create a 32-Channel DAW Controller.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Works with the following major DAWs: Avid Pro Tools / Apple Logic Pro X / Steinberg Cubase and Nuendo / Presonus Studio One / Ableton Live.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Up to 3 different DAWs can be connected simultaneously.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> DAW communication via HUI for Pro Tools. SSL software provides further workflow enhancements with the addition of features such as CHANNEL and PLUG-IN Mode.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> DAW communication via MCU for Logic, Cubase, Studio One and Live.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Large multiple purpose notched encoder allows for DAW timeline navigation, track banking and mouse wheel emulation for even more hands-on control.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\">Customisable keys to ready to assign your favourite keyboard shortcuts/macros.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Assignable Footswitches.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Included stands allow for adjustable elevation angles on desktop.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Compatible with ORIGIN modular centre section.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> 19” 6U rackmount kit available for purchase.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Connects to your computer via Hi-Speed USB – no need to deal with computer networks or ethernet cables.</span></li><li><span style=\"color: rgb(48, 56, 71); letter-spacing: 0px; background-color: initial;\"> Powered by the new SSL 360° Software application.</span></li><li>Dimensions: 17” x 10.5” x 2.4” / 431 x 266 x 62.7mm</li><li>Weight: Unboxed - 6.4lbs / 2.9KG. Boxed - 5.0KG / 11.02lb</li></ul>\n<h3><br class=\"Apple-interchange-newline\" />SSL 360° Software for Mac & PC</h3><span>The SSL 360° software provides the brains for any UF8 control surface. It allows you to configure UF8 for your DAW(s), drag and drop to re-order UF8s in a multi-product configuration and allows you to customise the user keys on the surface with your favourite DAW commands or keyboard shortcuts. The top row of user keys has 5 banks of 8, which can all be labelled in the top zone of the TFT displays. SSL 360° is intelligent – it automatically saves any changes you make in the background for you. It also manages and controls any available software/firmware updates, directly from the app.</span><br />'),(11085,85,0,1848,'SSL UF8 - Advanced DAW Controller'),(11086,85,1,1848,'SSL UF8 - Advanced DAW Controller'),(11087,76,0,1848,''),(11088,76,1,1848,''),(11089,75,0,1849,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> VHD 500 Series Mic Pre Module</h1>\n<span style=\"font-size: 16px;\"><i>A 500 series mic preamp that includes the award winning Variable Harmonic Drive (VHD) mic pre circuit found on Duality, SSL\'s flagship large format studio console. </i></span><br /><br />\nThe SSL VHD Pre 500 Series preamp module is an extremely versatile mic pre that gives can go from ultra-clean to slightly-warmed to heavily distorted while always delivering a rich analog sound. VHD Pre delivers the ultra clean SSL SuperAnalogue grade recordings but also features a switchable VHD mode to deliver heavily distorted, gritty recordings. <br /><br />SSL’s patented VHD system uses a 100% analogue signal path to generate rich harmonic distortion. As you increase VHD input gain, the Variable Harmonic Drive process introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. The VHD Pre gives the user ultimate versatility from a studio grade preamp. Whether it\'s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver.<br /><br />\nThe VHD section of the VHD Pre Module has three rotary controls: a Drive control selects 2nd harmonic or 3rd harmonic distortion or a continuously variable blend of the two. A +20/+75dB gain control sets input level. A -20/+20dB trim control adjusts the output level from the circuit to enable level matching with other devices, because by its nature the VHD circuit can significantly increase signal levels. The VHD Pre Module has a selection of other essential professional preamp features: a signal present LED, a switchable 15Hz to 500Hz LF Filter section, Hi-Z impedance switch for mic impedance matching, +48V phantom power, PAD to enable the VHD system to be used as a line level processing device and a Phase Invert Switch. <br /><br />\n<h3>VHD Pre 500 Series Key Features:</h3>\n<ul>\n	<li>Uniquely versatile recording and processing</li>\n	<li>Ultra clean SSL SuperAnalogue grade preamp</li>\n	<li>Switchable VHD system adds controllable 2nd or 3rd harmonic distortion</li>\n	<li>Switchable LF Filter (15Hz to 500Hz)</li>\n	<li>Hi-Z switch for high impedance microphone use</li>\n	<li>+48V Phantom Power with status LED</li>\n	<li>PAD for use with line level source material</li>\n	<li>Phase invert switch</li>\n</ul>\n<br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n	<br /><br />\n</div>\n<h3>The SSL VHD Pre module brings the award winning Variable Harmonic Drive mic pre circuit found on the Duality to any and all welcoming 500-series power racks. For more information, call or chat with an RSPE representative today. </h3>\n<br />\n<br />'),(11090,75,1,1849,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> VHD 500 Series Mic Pre Module</h1>\n<span style=\"font-size: 16px;\"><i>A 500 series mic preamp that includes the award winning Variable Harmonic Drive (VHD) mic pre circuit found on Duality, SSL\'s flagship large format studio console. </i></span><br /><br />\nThe SSL VHD Pre 500 Series preamp module is an extremely versatile mic pre that gives can go from ultra-clean to slightly-warmed to heavily distorted while always delivering a rich analog sound. VHD Pre delivers the ultra clean SSL SuperAnalogue grade recordings but also features a switchable VHD mode to deliver heavily distorted, gritty recordings. <br /><br />SSL’s patented VHD system uses a 100% analogue signal path to generate rich harmonic distortion. As you increase VHD input gain, the Variable Harmonic Drive process introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. The VHD Pre gives the user ultimate versatility from a studio grade preamp. Whether it\'s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver.<br /><br />\nThe VHD section of the VHD Pre Module has three rotary controls: a Drive control selects 2nd harmonic or 3rd harmonic distortion or a continuously variable blend of the two. A +20/+75dB gain control sets input level. A -20/+20dB trim control adjusts the output level from the circuit to enable level matching with other devices, because by its nature the VHD circuit can significantly increase signal levels. The VHD Pre Module has a selection of other essential professional preamp features: a signal present LED, a switchable 15Hz to 500Hz LF Filter section, Hi-Z impedance switch for mic impedance matching, +48V phantom power, PAD to enable the VHD system to be used as a line level processing device and a Phase Invert Switch. <br /><br />\n<h3>VHD Pre 500 Series Key Features:</h3>\n<ul>\n	<li>Uniquely versatile recording and processing</li>\n	<li>Ultra clean SSL SuperAnalogue grade preamp</li>\n	<li>Switchable VHD system adds controllable 2nd or 3rd harmonic distortion</li>\n	<li>Switchable LF Filter (15Hz to 500Hz)</li>\n	<li>Hi-Z switch for high impedance microphone use</li>\n	<li>+48V Phantom Power with status LED</li>\n	<li>PAD for use with line level source material</li>\n	<li>Phase invert switch</li>\n</ul>\n<br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n	<br /><br />\n</div>\n<h3>The SSL VHD Pre module brings the award winning Variable Harmonic Drive mic pre circuit found on the Duality to any and all welcoming 500-series power racks. For more information, call or chat with an RSPE representative today. </h3>\n<br />\n<br />'),(11091,85,0,1849,'SSL VHD 500 Series Mic Pre Module'),(11092,85,1,1849,'SSL VHD 500 Series Mic Pre Module'),(11093,76,0,1849,''),(11094,76,1,1849,''),(11095,75,0,1850,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack Dynamics Module</h1>\nThe SSL X-Rack Dynamic Module is designed to be the perfect level control tool kit for recording, densely packed with control features yet simple to use. The combination of separate Compressor and Gate/Expander section is powerful, graceful and ideal for gentle and unobtrusive level control<br /><br /><h3>Key Features:</h3><ul style=\"\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">Fully balanced XLR input and output</span></li><li>Switched -10dB/+4dB operating level</li><li>Dedicated compression meter display</li><li>Over-easy RMS compressor, switchable to peak sensing hard knee</li><li>Variable Ratio, Threshold and Release</li><li>External key operation</li><li>Independently switched Gate/Expander section</li><li>Link facility for multiple module linking</li></ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11096,75,1,1850,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack Dynamics Module</h1>\nThe SSL X-Rack Dynamic Module is designed to be the perfect level control tool kit for recording, densely packed with control features yet simple to use. The combination of separate Compressor and Gate/Expander section is powerful, graceful and ideal for gentle and unobtrusive level control<br /><br /><h3>Key Features:</h3><ul style=\"\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">Fully balanced XLR input and output</span></li><li>Switched -10dB/+4dB operating level</li><li>Dedicated compression meter display</li><li>Over-easy RMS compressor, switchable to peak sensing hard knee</li><li>Variable Ratio, Threshold and Release</li><li>External key operation</li><li>Independently switched Gate/Expander section</li><li>Link facility for multiple module linking</li></ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11097,85,0,1850,'SSL X-Rack Dynamics Module'),(11098,85,1,1850,'SSL X-Rack Dynamics Module'),(11099,76,0,1850,''),(11100,76,1,1850,''),(11101,75,0,1851,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XLogic X-Rack E Series Dynamics Module</h1>\nThe SSL E Series Dynamics Module is one of two new modules for the X-Rack/Mynx SuperAnalogue™ modular mixing and processing system. The new E Series Modules reproduce the legendary sonic signature of an early 80’s classic, the SL 4000 E console channel strip, which was featured on countless 1980’s recordings.\n<br /><br />\nThe E Series Dynamics Module features a compressor/limiter and an expander/gate, both of which return faithfully to the circuitry and key components which define the sound of the original SL 611E Series channel strip. A true RMS converter is used in the side chain while the gain element is an all discrete design identical to the Class A VCA chip used in the original unit. The compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voices, each with its own musical character.<br /><br /><h3>Key Features:</h3><ul style=\"\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">Immortal SSL 4000 Series circuitry</span></li><li>Class A VCA replication</li><li>Expander/Gate with Key input</li><li>Based on classic 611E console channel strip</li></ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11102,75,1,1851,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XLogic X-Rack E Series Dynamics Module</h1>\nThe SSL E Series Dynamics Module is one of two new modules for the X-Rack/Mynx SuperAnalogue™ modular mixing and processing system. The new E Series Modules reproduce the legendary sonic signature of an early 80’s classic, the SL 4000 E console channel strip, which was featured on countless 1980’s recordings.\n<br /><br />\nThe E Series Dynamics Module features a compressor/limiter and an expander/gate, both of which return faithfully to the circuitry and key components which define the sound of the original SL 611E Series channel strip. A true RMS converter is used in the side chain while the gain element is an all discrete design identical to the Class A VCA chip used in the original unit. The compressor contains additional switching options to defeat the over-easy curve and to use a linear release instead of the more usual logarithmic curve. The result is a compressor with three distinct voices, each with its own musical character.<br /><br /><h3>Key Features:</h3><ul style=\"\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">Immortal SSL 4000 Series circuitry</span></li><li>Class A VCA replication</li><li>Expander/Gate with Key input</li><li>Based on classic 611E console channel strip</li></ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11103,85,0,1851,'SSL XLogic X-Rack E Series Dynamics Module'),(11104,85,1,1851,'SSL XLogic X-Rack E Series Dynamics Module'),(11105,76,0,1851,''),(11106,76,1,1851,''),(11107,75,0,1852,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack EQ Module</h1>\nThe Solid State Logic (SSL) X-Rack EQ Module Classic SSL four-band parametric EQ that is a superb all round frequency adjustment tool kit. Whether you need pinpoint accuracy for surgical problem solving, smoother broader sound shaping or a little more aggressive character the SSL EQ will give you what you need. This is a fully featured EQ with high- and low-bands switchable between shelving or fixed Q bell curves and two mid-bands each with variable Q control.\n<br /><br />\n<h3>Key Features:</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Direct copy of the XL 9000 K Equalizer as used on Duality & AWS 900+ consoles</span></li>\n	<li>E and G characteristic switching</li>\n	<li>High and low-bands switchable between shelving and fixed Q bell curves</li>\n	<li>Switchable between SSL E and G series console channel EQ characteristics</li>\n	<li>EQ IN switch for A/B comparison</li>\n	<li>Rear panel connections on balanced XLR</li>\n	<li>TotalRecallTM status LEDs</li>\n	\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11108,75,1,1852,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack EQ Module</h1>\nThe Solid State Logic (SSL) X-Rack EQ Module Classic SSL four-band parametric EQ that is a superb all round frequency adjustment tool kit. Whether you need pinpoint accuracy for surgical problem solving, smoother broader sound shaping or a little more aggressive character the SSL EQ will give you what you need. This is a fully featured EQ with high- and low-bands switchable between shelving or fixed Q bell curves and two mid-bands each with variable Q control.\n<br /><br />\n<h3>Key Features:</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Direct copy of the XL 9000 K Equalizer as used on Duality & AWS 900+ consoles</span></li>\n	<li>E and G characteristic switching</li>\n	<li>High and low-bands switchable between shelving and fixed Q bell curves</li>\n	<li>Switchable between SSL E and G series console channel EQ characteristics</li>\n	<li>EQ IN switch for A/B comparison</li>\n	<li>Rear panel connections on balanced XLR</li>\n	<li>TotalRecallTM status LEDs</li>\n	\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11109,85,0,1852,'SSL X-Rack EQ Module'),(11110,85,1,1852,'SSL X-Rack EQ Module'),(11111,76,0,1852,''),(11112,76,1,1852,''),(11113,75,0,1853,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL) </span>X-Rack Microphone Pre Module</h1>\nThe SSL XLogic X-Rack Mic Pre Module provides an angelically pure and versatile input section with a choice of three separate input amplifiers; Mic amp, front panel Instrument input or Line input. Designed for transparency and versatility with a set of High and Low Pass Filters, phase reverse and everything you need from a very classy workhorse.\n<br />\n<br />\n<h3>Key Features:</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Electronically balanced ultra high bandwidth input with -5dB to +75dB gain control & Pad switch</span></li>\n	<li>Continuously Variable input impedance control (1.2kOhm to 10kOhm) can accommodate signals from instruments or be adjusted to suit a wide range of microphones</li>\n	<li>Phase Reverse & Phantom Power</li>\n	<li>Dedicated Additional XLR Line Input</li>\n	<li>Front panel instrument input with ground lift switch</li>\n	<li>Independently switched 12dB/Octave HF (Low-Pass) Filter</li>\n	<li>Independently switched 18dB/Octave LF (High-Pass) Filter</li>\n	<li>Independent routing to L & R Record bus</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. \n<br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(11114,75,1,1853,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL) </span>X-Rack Microphone Pre Module</h1>\nThe SSL XLogic X-Rack Mic Pre Module provides an angelically pure and versatile input section with a choice of three separate input amplifiers; Mic amp, front panel Instrument input or Line input. Designed for transparency and versatility with a set of High and Low Pass Filters, phase reverse and everything you need from a very classy workhorse.\n<br />\n<br />\n<h3>Key Features:</h3>\n<ul style=\"\">\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">Electronically balanced ultra high bandwidth input with -5dB to +75dB gain control & Pad switch</span></li>\n	<li>Continuously Variable input impedance control (1.2kOhm to 10kOhm) can accommodate signals from instruments or be adjusted to suit a wide range of microphones</li>\n	<li>Phase Reverse & Phantom Power</li>\n	<li>Dedicated Additional XLR Line Input</li>\n	<li>Front panel instrument input with ground lift switch</li>\n	<li>Independently switched 12dB/Octave HF (Low-Pass) Filter</li>\n	<li>Independently switched 18dB/Octave LF (High-Pass) Filter</li>\n	<li>Independent routing to L & R Record bus</li>\n</ul>\n<br />\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. \n<br /><br />\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. \n<br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.'),(11115,85,0,1853,'SSL X-Rack Microphone Preamp Module'),(11116,85,1,1853,'SSL X-Rack Microphone Preamp Module'),(11117,76,0,1853,''),(11118,76,1,1853,''),(11119,75,0,1854,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack Stereo Bus Compressor Module</h1> The SSL XLogic X-Rack Stereo Bus Compressor Module brings this classic ‘audio glue’ to you with spectacular SuperAnalogue™ audio performance. The centre section compressor from the 1980’s G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to your mix without compromising clarity.<br /><br />\n<h3>X-Rack Stereo Bus Compressor Module Key Features:</h3>\n<ul>\n	<li>Classic sonic character and mix finalising capabilities of SSL Stereo Bus Compression</li>\n	<li>True Stereo side-chain input for external signal keying</li>\n	<li>Link control enables several modules to be combined for surround compression</li>\n	<li>Gain reduction meter as fitted to the classic SSL console range</li>\n	<li>Electronically balanced XLR connections</li>\n</ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11120,75,1,1854,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack Stereo Bus Compressor Module</h1> The SSL XLogic X-Rack Stereo Bus Compressor Module brings this classic ‘audio glue’ to you with spectacular SuperAnalogue™ audio performance. The centre section compressor from the 1980’s G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to your mix without compromising clarity.<br /><br />\n<h3>X-Rack Stereo Bus Compressor Module Key Features:</h3>\n<ul>\n	<li>Classic sonic character and mix finalising capabilities of SSL Stereo Bus Compression</li>\n	<li>True Stereo side-chain input for external signal keying</li>\n	<li>Link control enables several modules to be combined for surround compression</li>\n	<li>Gain reduction meter as fitted to the classic SSL console range</li>\n	<li>Electronically balanced XLR connections</li>\n</ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11121,85,0,1854,'SSL X-Rack Stereo Bus Compressor Module'),(11122,85,1,1854,'SSL X-Rack Stereo Bus Compressor Module'),(11123,76,0,1854,''),(11124,76,1,1854,''),(11125,75,0,1855,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack Stereo Dynamics Module</h1>\n\nThe SSL X-Rack Stereo Dynamics module is a Stereo version of the powerful SSL channel dynamics. Featuring independent Compressor/ Limiter and Expander/Gate circuits, the Stereo Dynamics module provides the familiar SSL Superanalogue level control tools for both Recording and Mixing applications. The Compressor section can switch between a gentle Over easy RMS compression and a more aggressive Peak sensing or Hard Knee mode providing a wide range of levelling control. The secondary circuit can function as either a Noise Gate or an Expander further enhancing the creative sound sculpting possibilities. The feature set is completed by an External Key Input (mono) and the ability for multiple adjacent units to be linked.<br /><br /><h3>Key Features:</h3><ul style=\"\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">+4dBu Operating Level</span></li><li>Balanced Stereo Line 1/4\"Jack Input and Output</li><li>RMS or Peak Sense Stereo Compressor/Limiter</li><li>Dedicated Gain Reduction Metering</li><li>Independently switched Gate/Expander</li><li>External Key Input 1/4\" Jack</li><li>Link function for multiple modules</li></ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11126,75,1,1855,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack Stereo Dynamics Module</h1>\n\nThe SSL X-Rack Stereo Dynamics module is a Stereo version of the powerful SSL channel dynamics. Featuring independent Compressor/ Limiter and Expander/Gate circuits, the Stereo Dynamics module provides the familiar SSL Superanalogue level control tools for both Recording and Mixing applications. The Compressor section can switch between a gentle Over easy RMS compression and a more aggressive Peak sensing or Hard Knee mode providing a wide range of levelling control. The secondary circuit can function as either a Noise Gate or an Expander further enhancing the creative sound sculpting possibilities. The feature set is completed by an External Key Input (mono) and the ability for multiple adjacent units to be linked.<br /><br /><h3>Key Features:</h3><ul style=\"\"><li><span style=\"background-color: initial; letter-spacing: 0px;\">+4dBu Operating Level</span></li><li>Balanced Stereo Line 1/4\"Jack Input and Output</li><li>RMS or Peak Sense Stereo Compressor/Limiter</li><li>Dedicated Gain Reduction Metering</li><li>Independently switched Gate/Expander</li><li>External Key Input 1/4\" Jack</li><li>Link function for multiple modules</li></ul><br /><h3>Who’s using SSL</h3>If you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br /><h3>About Solid State Logic</h3>From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />The legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br />'),(11127,85,0,1855,'SSL X-Rack Stereo Dynamics Module'),(11128,85,1,1855,'SSL X-Rack Stereo Dynamics Module'),(11129,76,0,1855,''),(11130,76,1,1855,''),(11131,75,0,1856,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack VHD Input Module</h1><i>\nThe VHD Pre combines the uniquely versatile VHD Pre with the classic SSL Listen Mic Compressor.<br /></i><br />\n\nThe VHD Pre is a patented SSL preamp design that can deliver ultra-clean SSL grade recordings but also features the VHD circuit which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre\'s give the user ultimate versatility from a studio grade preamp. Whether it\'s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver.<br /><br />\nThe SSL Listen Mic Compressor is a studio classic. This famous processor from the legendary SL4000E console was the secret weapon in many producers sonic arsenal of recording techniques. Originally designed to prevent overloading the return feed from a studio communications mic, its fixed attack and release curves were eminently suitable for use on ambient drum mics.<br /><br /><h3>Key Features</h3><ul><li><span style=\"background-color: initial;\">Electronically balanced ultra-high bandwidth Mic input with +20dB to +70dB gain control</span></li><li>Hi-Z and Pad Switches on Mic Amp Input</li><li>Dedicated Additional XLR Line Input</li><li>Variable Harmonic Drive circuit adds a controllable blend of 2nd or 3rd Harmonic distortion</li><li>Dedicated Trim control after the VHD stage</li><li>Classic Listen Mic Compressor with fixed attack and release curves... ideal for drums</li><li>High and Low-Pass Filters</li></ul><br /><div></div>\n\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />\n\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n\nThe legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br /><br />'),(11132,75,1,1856,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Rack VHD Input Module</h1><i>\nThe VHD Pre combines the uniquely versatile VHD Pre with the classic SSL Listen Mic Compressor.<br /></i><br />\n\nThe VHD Pre is a patented SSL preamp design that can deliver ultra-clean SSL grade recordings but also features the VHD circuit which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre\'s give the user ultimate versatility from a studio grade preamp. Whether it\'s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver.<br /><br />\nThe SSL Listen Mic Compressor is a studio classic. This famous processor from the legendary SL4000E console was the secret weapon in many producers sonic arsenal of recording techniques. Originally designed to prevent overloading the return feed from a studio communications mic, its fixed attack and release curves were eminently suitable for use on ambient drum mics.<br /><br /><h3>Key Features</h3><ul><li><span style=\"background-color: initial;\">Electronically balanced ultra-high bandwidth Mic input with +20dB to +70dB gain control</span></li><li>Hi-Z and Pad Switches on Mic Amp Input</li><li>Dedicated Additional XLR Line Input</li><li>Variable Harmonic Drive circuit adds a controllable blend of 2nd or 3rd Harmonic distortion</li><li>Dedicated Trim control after the VHD stage</li><li>Classic Listen Mic Compressor with fixed attack and release curves... ideal for drums</li><li>High and Low-Pass Filters</li></ul><br /><div></div>\n\n<h3>Who’s using SSL</h3>\nIf you’re not familiar with Solid State Logic (SSL) let RSPE Audio Solutions be the first to welcome you to Earth! Most of the hit records from the last 30 years were mixed on SSL. Solid State Logic’s automated large-format consoles quickly became a driving force in the music after they first arrived on the scene in 1977. To this day, mixers such as Bob Clearmountain, Michael Brauer, Chris Lord Alge, Tom Lord Alge use SSL G Series consoles as the centerpiece of their mixing tools, which means everybody who’s anybody in rock and pop music over the last 35 years has SSL all over their records. <br /><br />\n\n<h3>About Solid State Logic</h3>\nFrom groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analog and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals. <br /><br />\n\nWith more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.<br /><br />\n\nThe legendary sound of the SSL Stereo Bus Compressor has been gluing mixes together for 35+ years and is finally available for the 500 rack. For more information, call or chat with an RSPE representative today.<br /><br />'),(11133,85,0,1856,'SSL X-Rack VHD Input Module'),(11134,85,1,1856,'SSL X-Rack VHD Input Module'),(11135,76,0,1856,''),(11136,76,1,1856,''),(11137,75,0,1857,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Desk SuperAnalogue Mixing Console</h1>\n<i>Built from the same SuperAnalogue DNA as the AWS, Duality and Matrix consoles, the X-Desk delivers SSL sound in a compact, desktop mixer.</i><br /><br />The Solid State Logic (SSL) X-Desk brings benchmark audio performance to the compact mixer format, meeting the demand for a world class, compact SSL mixing desk. X-Desk combines a 16 channel SSL SuperAnalogue™ summing mixer with a compact analogue monitoring hub for your studio. Small enough to be easily transported, X-Desk fulfills the essentials of the audio mixing process, with typical SSL attention to detail, including smooth 100mm faders, comprehensive artist & studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering.<br /><br />\n<div>\n	For easy integration into your existing studio, X-Desk can be used as an elegant and and ergonomically refined desktop mixer with removable rack ears for standard 19\" rack mounting (7U space required). Like all SSL SuperAnalogue™ products, it is extremely robust, hand-built in the UK with an all metal chassis and high quality controls and components. Up to eight X-Desks or X-Desk & X-Rack combinations can be cascaded via D-Sub connection to expand up to 160 inputs on mixdown.\n</div>\n<br />\n<h3>X-Desk Key Features</h3>\n<ul>\n	<li>SuperAnalogue™ - analogue purity at the highest level</li>\n	<li>8x dual input Mono Line channels: 16 channel mix down</li>\n	<li>8x Insert Send/Returns on channels</li>\n	<li>Stereo CUE and 2 Mono Auxiliary Sends</li>\n	<li>Cascade with X-Rack and other X-Desks for bigger systems</li>\n	<li>Talkback - for artist communicationDim & Cut buttons</li>\n	<li>Independent Main and Alternate stereo monitor outputs</li>\n	<li>SSL Stereo Mix Buss with External summing and Inserts</li>\n	<li>2x Stereo Returns with Level, Pan and Bus assignment</li>\n	<li>iJack front panel input for portable playback devices</li>\n	<li>High quality internal PSUD-Sub Channel I/O connection for studio integration</li>\n	<li>19\" Rack mount ears included</li>\n</ul>'),(11138,75,1,1857,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> X-Desk SuperAnalogue Mixing Console</h1>\n<i>Built from the same SuperAnalogue DNA as the AWS, Duality and Matrix consoles, the X-Desk delivers SSL sound in a compact, desktop mixer.</i><br /><br />The Solid State Logic (SSL) X-Desk brings benchmark audio performance to the compact mixer format, meeting the demand for a world class, compact SSL mixing desk. X-Desk combines a 16 channel SSL SuperAnalogue™ summing mixer with a compact analogue monitoring hub for your studio. Small enough to be easily transported, X-Desk fulfills the essentials of the audio mixing process, with typical SSL attention to detail, including smooth 100mm faders, comprehensive artist & studio monitoring with Dim & Cut buttons, Stereo and Mono Aux sends, channel and Master Bus Inserts and accurate bar graph level metering.<br /><br />\n<div>\n	For easy integration into your existing studio, X-Desk can be used as an elegant and and ergonomically refined desktop mixer with removable rack ears for standard 19\" rack mounting (7U space required). Like all SSL SuperAnalogue™ products, it is extremely robust, hand-built in the UK with an all metal chassis and high quality controls and components. Up to eight X-Desks or X-Desk & X-Rack combinations can be cascaded via D-Sub connection to expand up to 160 inputs on mixdown.\n</div>\n<br />\n<h3>X-Desk Key Features</h3>\n<ul>\n	<li>SuperAnalogue™ - analogue purity at the highest level</li>\n	<li>8x dual input Mono Line channels: 16 channel mix down</li>\n	<li>8x Insert Send/Returns on channels</li>\n	<li>Stereo CUE and 2 Mono Auxiliary Sends</li>\n	<li>Cascade with X-Rack and other X-Desks for bigger systems</li>\n	<li>Talkback - for artist communicationDim & Cut buttons</li>\n	<li>Independent Main and Alternate stereo monitor outputs</li>\n	<li>SSL Stereo Mix Buss with External summing and Inserts</li>\n	<li>2x Stereo Returns with Level, Pan and Bus assignment</li>\n	<li>iJack front panel input for portable playback devices</li>\n	<li>High quality internal PSUD-Sub Channel I/O connection for studio integration</li>\n	<li>19\" Rack mount ears included</li>\n</ul>'),(11139,85,0,1857,'SSL X-Desk SuperAnalogue Mixing Console'),(11140,85,1,1857,'SSL X-Desk SuperAnalogue Mixing Console'),(11141,76,0,1857,''),(11142,76,1,1857,''),(11143,75,0,1858,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XL-Desk SuperAnalogue Mixing Console</h1>\n<span style=\"font-size:16px; font-style:italic;\">44 input SuperAnalogue Mixer with 8 built-in Mic Pres, 4 Stereo Buses, 18 500-Series slots (empty) and 500 Series SSL Buss Compressor. <br /></span><br />The SSL XL-Desk is designed for tracking or mixing engineers who require an analogue console within a DAW centric studio, but don’t want or need the integrated DAW control and analogue level automation other SSL console products have made the new hybrid studio standard.<br /><br />\nXL-Desk is in many ways a traditional 24 into 8 analogue console but it packs in an incredible collection of features. It has 20 channel strips: 16 dual input mono (switchable between main input or DAW return) and 4 stereo channels. The first eight channels have VHD mic pre’s. There is an 18 slot 500 format rack built in that can be used for processing or mic pre’s. XL-Desk ships with a legendary SSL Stereo Bus Compressor module in slots 17 & 18 (hard wired to Mix A). The rack has its own dedicated high spec’ power supply. There are four main Mix Buses (A, B, C, D) with buses B, C and D able to be summed into Mix A. The Buses and channels can access the 500 rack and each have a separate insert point for processing. There are two mono aux sends and two stereo return inputs. Direct outputs on every channel, stereo return and mix bus enable convenient stem printing. Each channel has a Cue Stereo Bus section (with Pan and Volume) used to provide one of the headphone mixes while tracking. At mixdown the mono channel DAW return signals can be routed to the CUE ST bus and then summed into Mix A, so there are 16 main faders + 16 Cue ST inputs + 4 Stereo channels providing 40 summing inputs (using the stereo returns and insert Sum functions you can squeeze in over 50 summing inputs). There is also a fully-featured monitoring section with bass management (3 sets of speakers + subwoofer), Foldback A and B with individual talkbacks for headphone mixes and a built in Listen Mic input + classic compressor circuit, with its own direct output.<br />\n<br />\n<h3>XL-Desk Key Features</h3>\n<ul>\n	<li>20 + 1 fader, over 40 input SuperAnalogue™ SSL console</li>\n	<li>8-built in Variable Harmonic Drive (VHD) preamps</li>\n	<li>16 dual input mono channels (switchable between main input or DAW return)</li>\n	<li>4 stereo channels (switchable to mono for tracking)</li>\n	<li>The legendary Stereo Bus Compressor, with new high-pass filter sidechain</li>\n	<li>18-slot 500 format rack built-in, accessible from channels or mix busses</li>\n	<li>In addition to a 500 rack insert each mono channel also has a standard insert point</li>\n	<li>4 stereo Mix Buses with their own insert points and access to the 500 rack</li>\n	<li>One stereo and 2 mono aux sends. Two dedicated stereo return inputs</li>\n	<li>Direct outputs on every channel, stereo return and mix bus for stem printing</li>\n	<li>Fully-featured monitoring section with bass management</li>\n	<li>Foldback A and B with individual talkbacks for headphone mixes</li>\n	<li>Built in Listen Mic input + classic compressor circuit, with its own direct output</li>\n	<li>AFL and Solo-In-Place solo modes, with Solo Clear and Solo Safe (Protect) modes</li>\n	<li>Balanced D-Sub rear panel inputs/outputs & Front panel headphones & iJack sockets</li>\n	<li>High quality internal PSU</li>\n</ul>\n<br />\n<h3>VHD Pre’s</h3>\n<span style=\"font-size:16px; font-style:italic;\">8 SSL Mic Pre’s… with serious attitude</span><br /><br />\nXL-Desk features 8 of SSL’s patented Variable Harmonic Drive (VHD) microphone preamps, built-in to the first 8 channels of the console. The VHD pre can deliver clean SSL grade recordings but also features the VHD circuit used in our acclaimed Duality console* which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre’s give the user the ultimate versatility from a studio grade preamp. Whether it’s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver. <br /><br />\n<strong>VHD Pre Key Features</strong>\n<ul>\n	<li>8 channels of high-quality, SSL microphone preamps with 75 dB of gain</li>\n	<li>Switched VHD circuit - introduces either 2nd or 3rd harmonic distortion or a blend of the two for enormous tonal versatility</li>\n	<li>48V phantom power</li>\n	<li>20dB Pad on input for line level signals</li>\n	<li>Hi Z switch toggles impedance between 1.6K and 10K for different microphones </li>\n</ul>\n<br />\n*Note: Duality has two different channel inputs; the SuperAnalogueTM mic pre (as also featured in the AWS and X-Rack Mic Amp Module) and a VHD input. XL-Desk uses the VHD input circuit not the SuperAnalogue mic pre.  <br /><br />\n<h3>Channel Strips</h3>\n<span style=\"font-size:16px; font-style:italic;\">Classic SSL channel versatility </span><br /><br />\nXL-Desk may be compact but it features all of the classic SSL channel strip features which make our consoles so versatile and accommodate such a wide range of production requirements. XL-Desk has 20 channel strips. The first 16 channel strips are dual input mono, meaning they can be switched between a main input and a DAW return whilst tracking. The Remaining four strips are stereo channels. Channels 1-8 have VHD mic pre’s. Channels 9-16 are line level but can use the 500 rack for mic inputs if desired. Each mono channel can access a corresponding 500 format module and also has a separate traditional Insert point. The four stereo channels cannot access the 500 rack and do not have Insert points. All of the channels have an additional Direct Output to facilitate printing processed material to your DAW and this can be switched between pre-/post fader. Each channel has a +/-20dB Trim control which can be used in a couple of ways: for VHD channels in can be used to control the output level from the VHD into the channel when using heavy distortion, when used with a 500 rack module it can be used to drive the level into the inserted module. There is a phase invert switch. Beside the Trim control is a tri-colour signal indicator LED. The metering on XL Desk can be switched between +24dBu and +18dBu Scale to give the following LED settings.<br /><br />\n<table border=\"1\" cellspacing=\"5\" cellpadding=\"5\">\n<tbody>\n<tr>\n	<td width=\"50\">\n		LED\n	</td>\n	<td width=\"150\">\n		+24dB Scale\n	</td>\n	<td width=\"150\">\n		+18dB Scale\n	</td>\n</tr>\n<tr>\n	<td>\n		Green\n	</td>\n	<td>\n		–24 dBu\n	</td>\n	<td>\n			–24dBu\n	</td>\n</tr>\n<tr>\n	<td>\n		Yellow\n	</td>\n	<td>\n		+4 dBu\n	</td>\n	<td>\n		0dBu\n	</td>\n</tr>\n<tr>\n	<td>\n		Red\n	</td>\n	<td>\n		+21 dBu\n	</td>\n	<td>\n		+ 16 dBu\n	</td>\n</tr>\n</tbody>\n</table>\n<br />\nEach channel has a CUE Stereo section with Level and Pan Controls and a pre/post fader switch. When tracking this would typically be used to feed one of the headphone buses. The mono channels have an ALT button which switches the CUE ST section to sourcing its signal from an additional rear panel ALT input, which is then summed into Mix A. This ALT input means we have 32 inputs to the mono channel strips for Mixdown. There are two Mono Aux Sends (globally switchable pre and post fader) and two Stereo Returns (the Returns also have Direct Outputs for DAW printing). Each channel has a Pan/Balance Control and buttons for routing to the four Mix Buses. Completing the channels are 100mm faders which give hands on, precise level control. <br /><br />\n<strong>Channel Strip Key Features</strong>\n<ul>\n	<li>16 dual-input mono line inputs channels with 100mm faders                                                     </li>\n	<li>4 stereo line-input channels with 100mm stereo faders                                                         </li>\n	<li>Tri-colour signal level indication LED on every channel                                                       </li>\n	<li>Phase invert switch                                                                                           </li>\n	<li>Direct Channel Output switchable between pre and post fader on each channel                                   </li>\n	<li>‘500’ button can insert associated 500 slot into the channel                                                  </li>\n	<li>Regular Insert Point (send always active) - ‘INS’ button                                                      </li>\n	<li>CUE Stereo section, switchable between pre and post fader on each channel                                     </li>\n	<li>‘ALT’ button sources second channel input to the Stereo Cue Bus, providing 16 extra summing inputs on mixdown </li>\n	<li>Aux 1 and Aux 2 globally switchable pre and post fader                                                        </li>\n	<li>Pan/Balance Control                                                                                           </li>\n	<li>Mix Bus A, B, C, D routing buttons                                                                            </li>\n	<li>SOLO and CUT buttons. Solo system can work in solo-in-place (SIP) or After-Fader-Listen (AFL) modes           </li>\n</ul>\n<h3>500 Format Slots</h3>\n<span style=\"font-size:16px; font-style:italic;\">A 500 format rack, built into your SSL console</span><br /><br />\nFor many of our users combining different tonal characteristics from a range of analogue equipment by a selection of manufacturers is an integral part of their sound. The popular modular ‘500 format’ facilitates the use of a wide range of analogue processing modules from different manufacturers. So, built into the penthouse of XL-Desk is an 18-slot 500 format rack. This rack can be loaded with any combination of SSL or third-party 500 format modules, as desired by the user. The in-built 500 rack offers the user the opportunity to add their own favourite sonic flavours to their SSL console, whilst keeping it all within arm’s reach. The XL-Desk rack has its own dedicated power supply, separate to the power supply for the rest of the console. Unlike many stand-alone 500 format racks the XL Desk rack has a very highly specified power supply which should deliver sufficient power to accommodate your selection of modules. SSL cannot guarantee compatibility but has tested this rack with over thirty different modules.<br /><br />\nEach of the mono channels of the XL-Desk (1-16) has access to its own corresponding slot in the rack and the channel strips access them via a ‘500’ Insert button. The four Stereo channels cannot access the 500 rack. Slots 17-18 are hard wired to Mix A to accommodate a stereo mix bus compressor and XL-Desk ships with these slots pre-loaded with 500 format module version of the legendary SSL G Series Bus Compressor. The console will ship with a new version of this module which features a sidechain HPF. The four Mix Buses can also access rack slots 9-16 (in stereo pairs) although the Mix Buses and mono channels 9-16 cannot use the rack slots simultaneously. The inputs and outputs of module slots 1-16 are accessible via standard DB25 connectors on the rear panel. This does mean that the modules are not hard wired into the mono channel strips 500 Insert send/return, but the console does ship with a set of external DB25 jumper cables to facilitate this approach if required. The advantage of our opting not to hard wire the rack into the channel signal flow is of course that if desired (and we do recommend this), the rack can be connected to a patchbay for ultimate flexibility and creating chains of patching between 500 modules. Furthermore, this means that the 500 rack can be used ‘standalone’. The 500 rack can also accommodate stereo modules that comply with the pin 6 link specification – the switch to assign an odd/even pair of slots to stereo operation is internal so must be set before the module is fitted.<br /><br />\n<strong>500 Format Slots Key Features</strong>\n<ul>\n	<li>18-Slot 500 format rack in a 16+2 configuration                                                            </li>\n	<li>Slots 17-18 pre-loaded with the SSL Bus compressor (featuring sidechain HPF)                               </li>\n	<li>Stereo-link switch available for odd/even pairs (for modules that comply with the pin 6 link specification)</li>\n	<li>+/- 16.5V DC                                                                                               </li>\n	<li>+48V DC                                                                                                    </li>\n	<li>High quality internal PSU, with over specified power supply                                                </li>\n</ul>\n<h3>Mix Busses</h3>\n<span style=\"font-size:16px; font-style:italic;\">The magic of an SSL console x 4</span><br /><br />\nDesigned by the team behind Duality and AWS, XL-Desk delivers the kind of stunning audio quality only associated with SuperAnalogue™ SSL consoles. XL-Desk provides the sought after separation, clarity and punch behind thousands of hit records made on SSL consoles. Everyone agrees that the sonic magic of an SSL console happens at the Mix Bus but one bus is not always enough! Many high-profile mixers use multiple mix busses to create parallels or sub-groups of instruments, helping them to compress and manipulate sounds in unique ways. These ‘tricks of the trade’ are some of the most effective to help take a mix from ‘good’ to ‘great’. <br /><br />\nXL-Desk provides no less than 4 mix busses - A, B, C and D. Mix A is the master bus, from which the final stereo mix is derived. This has its own 100mm fader. Mixes B, C and D each have their own level control and crucially, the ability to sum into Mix A. All 4 Mix Busses have Direct Outputs for DAW printing, separate standard stereo Insert points and have the ability to access slots 9-16 of the in-built 500 format rack. <br /><br />\n<strong>Mix Buss Key Features </strong>\n<ul>\n	<li>4 stereo mix busses (A, B, C and D)                                                                                             </li>\n	<li>Mix A has 100mm fader, stereo insert point, access to the G-Comp bus compressor and access to 500 rack slots 9-10               </li>\n	<li>Mix B, C and D - Can be routed to Mix A, with independent level controls, stereo insert points, access to 500 rack slots 11-16. </li>\n</ul>\n<h3>Monitoring</h3>\n<span style=\"font-size:16px; font-style:italic;\">Comprehensive monitoring and communication</span><br /><br />\nThe monitoring system of any professional music environment is one of the most important parts. XL-Desk offers a pristine, Superanalogue™ monitoring section, packed with useful features. There are three sets of stereo monitor connections (Main, Mini 1 and Mini 2) plus a sub connection. These are controlled by a front panel button matrix with individual Level controls. The sub connection has bass management: When the SUB is engaged, the bass management sums left and right signals through a 3rd order low-pass (high cut) filter at 80Hz and sends the sum out of the Sub monitor output. Also, 2nd order high-pass (low cut) filters are inserted into the selected left and right monitor outputs. The bass management on XL-Desk is intelligent. It will remember if the SUB button is on or off for each speaker set. The Monitor Source can be selected from; Mix A, a separate External rear panel input or the front panel iJack input and a Mono button folds down these monitor sources to mono if desired. A Monitor SUM button allows any combination of these to be summed and monitored. There is a large Monitor Level control and an associated DIM button (with DIM Level control), CUT button and an AFL Level control.<br /><br />\nHaving clear and easy communication between the performer and the engineer/producer is crucial to the smooth creative flow of a recording session. XL Desk has two Foldbacks with individual Level controls and Talkback. Foldback A is fed by the CUE Stereo and Foldback B is fed by Aux 1. MON buttons below each Foldback’s level control override the default Foldback source (Stereo Cue or Aux 1) and replace it with whatever is selected as the main monitor source. This is really useful for quickly playing back the studio control room mix to the performer(s) in the live room. There is an in built talkback microphone with a Talk button and Level control. A set of DIP switches on the rear panel allow the TALK button to be configured as latching or momentary. Also, Talkback can be set to either SUM with or REPLACE the existing signal. A Listen button allows the engineer to monitor a live room listen mic if one is connected and this too has a Level control. XL-Desk also includes the classic SSL Listen Mic Compressor. This is an aggressive compressor ideal for ensuring a very strong signal from the live room listen mic but can also be used as a process effect to create the classic heavily compressed 80’s drum sound which was created using this circuit. The XL-Desk Listen Mic Compressor has no controls, it is simply always on and it has a dedicated external output to facilitate its use as a process effect. <br /><br />\n<strong>Monitoring Key Features</strong>\n<ul>\n	<li>3-way speaker selector - Connect 3 sets of speakers up to XL-Desk                       </li>\n	<li>Bass Management with filtering - Connect a subwoofer to extend your low-end monitoring. </li>\n	<li>Intelligent bass management automatically switches in or out with each speaker set.     </li>\n	<li>Large blue monitor level pot with variable DIM and CUT                                  </li>\n	<li>Rear panel external input and front panel iJack input to Monitor section                </li>\n	<li>Monitor bus Mono foldown and monitor source sum                                         </li>\n	<li>Front panel headphone jack                                                              </li>\n	<li>2 solo modes for channels - Solo-in-place (SIP) or After-fader-listen (AFL)             </li>\n	<li>2  Foldbacks - individual talkback to two separate headphone mixes                      </li>\n	<li>High-quality in-built talkback microphone mounted into the console’s front surface.     </li>\n	<li>Listen Mic input and compressor circuit - allows a dedicated ‘listen’ microphone to be set up in the live room, so that the engineer can easily hear what the performers between takes. In addition, a discrete Listen Mic output is available for recording ‘that’ legendary heavily compressed sound!</li>\n</ul>\n<h3>Workflow</h3>\nThere are good reasons why so many leading engineers and producers still choose to mix on a console, some of them because of sonic aspects and others because of workflow choices. Mixing out-of-the-box gives a wider sound-stage and a distinct colouration that no plug-in can equal. We’re also told that it is easier to get a mix together quickly with a console and that it feels more intuitive than a mouse. XL-Desk gives a full-featured console workflow, but with a project-studio friendly footprint under 1m2. With 2 insert points on each mono channel you can mix and match rackmount and 500-series processors to make the XL-Desk the hub of your hybrid studio world! Connect your XL-Desk to a patchbay for ultimate flexibility, and use the direct outs from every channel and Bus to print files back into your DAW for easy mix revisions.\n<br /><br />'),(11144,75,1,1858,'<h1><span style=\"background-color: initial; letter-spacing: -0.02em;\">Solid State Logic (SSL)</span> XL-Desk SuperAnalogue Mixing Console</h1>\n<span style=\"font-size:16px; font-style:italic;\">44 input SuperAnalogue Mixer with 8 built-in Mic Pres, 4 Stereo Buses, 18 500-Series slots (empty) and 500 Series SSL Buss Compressor. <br /></span><br />The SSL XL-Desk is designed for tracking or mixing engineers who require an analogue console within a DAW centric studio, but don’t want or need the integrated DAW control and analogue level automation other SSL console products have made the new hybrid studio standard.<br /><br />\nXL-Desk is in many ways a traditional 24 into 8 analogue console but it packs in an incredible collection of features. It has 20 channel strips: 16 dual input mono (switchable between main input or DAW return) and 4 stereo channels. The first eight channels have VHD mic pre’s. There is an 18 slot 500 format rack built in that can be used for processing or mic pre’s. XL-Desk ships with a legendary SSL Stereo Bus Compressor module in slots 17 & 18 (hard wired to Mix A). The rack has its own dedicated high spec’ power supply. There are four main Mix Buses (A, B, C, D) with buses B, C and D able to be summed into Mix A. The Buses and channels can access the 500 rack and each have a separate insert point for processing. There are two mono aux sends and two stereo return inputs. Direct outputs on every channel, stereo return and mix bus enable convenient stem printing. Each channel has a Cue Stereo Bus section (with Pan and Volume) used to provide one of the headphone mixes while tracking. At mixdown the mono channel DAW return signals can be routed to the CUE ST bus and then summed into Mix A, so there are 16 main faders + 16 Cue ST inputs + 4 Stereo channels providing 40 summing inputs (using the stereo returns and insert Sum functions you can squeeze in over 50 summing inputs). There is also a fully-featured monitoring section with bass management (3 sets of speakers + subwoofer), Foldback A and B with individual talkbacks for headphone mixes and a built in Listen Mic input + classic compressor circuit, with its own direct output.<br />\n<br />\n<h3>XL-Desk Key Features</h3>\n<ul>\n	<li>20 + 1 fader, over 40 input SuperAnalogue™ SSL console</li>\n	<li>8-built in Variable Harmonic Drive (VHD) preamps</li>\n	<li>16 dual input mono channels (switchable between main input or DAW return)</li>\n	<li>4 stereo channels (switchable to mono for tracking)</li>\n	<li>The legendary Stereo Bus Compressor, with new high-pass filter sidechain</li>\n	<li>18-slot 500 format rack built-in, accessible from channels or mix busses</li>\n	<li>In addition to a 500 rack insert each mono channel also has a standard insert point</li>\n	<li>4 stereo Mix Buses with their own insert points and access to the 500 rack</li>\n	<li>One stereo and 2 mono aux sends. Two dedicated stereo return inputs</li>\n	<li>Direct outputs on every channel, stereo return and mix bus for stem printing</li>\n	<li>Fully-featured monitoring section with bass management</li>\n	<li>Foldback A and B with individual talkbacks for headphone mixes</li>\n	<li>Built in Listen Mic input + classic compressor circuit, with its own direct output</li>\n	<li>AFL and Solo-In-Place solo modes, with Solo Clear and Solo Safe (Protect) modes</li>\n	<li>Balanced D-Sub rear panel inputs/outputs & Front panel headphones & iJack sockets</li>\n	<li>High quality internal PSU</li>\n</ul>\n<br />\n<h3>VHD Pre’s</h3>\n<span style=\"font-size:16px; font-style:italic;\">8 SSL Mic Pre’s… with serious attitude</span><br /><br />\nXL-Desk features 8 of SSL’s patented Variable Harmonic Drive (VHD) microphone preamps, built-in to the first 8 channels of the console. The VHD pre can deliver clean SSL grade recordings but also features the VHD circuit used in our acclaimed Duality console* which can be switched into the signal path. The Variable Harmonic Drive circuit uses a 100% analogue signal path to generate rich harmonic distortion. As you increase the input gain, the Variable Harmonic Drive circuit introduces either 2nd or 3rd harmonic distortion or a blend of the two to your source material. At lower gain settings it adds gentle valve-style warmth or a touch of transistor edge. As the gain is increased the more extreme the distortion becomes until at high gain settings it delivers fierce trashy transistoresque grunge. VHD pre’s give the user the ultimate versatility from a studio grade preamp. Whether it’s ultra-clean traditional SSL, subtle warming or totally trashy transistor distortion, VHD will change your expectations of what a preamplifier should deliver. <br /><br />\n<strong>VHD Pre Key Features</strong>\n<ul>\n	<li>8 channels of high-quality, SSL microphone preamps with 75 dB of gain</li>\n	<li>Switched VHD circuit - introduces either 2nd or 3rd harmonic distortion or a blend of the two for enormous tonal versatility</li>\n	<li>48V phantom power</li>\n	<li>20dB Pad on input for line level signals</li>\n	<li>Hi Z switch toggles impedance between 1.6K and 10K for different microphones </li>\n</ul>\n<br />\n*Note: Duality has two different channel inputs; the SuperAnalogueTM mic pre (as also featured in the AWS and X-Rack Mic Amp Module) and a VHD input. XL-Desk uses the VHD input circuit not the SuperAnalogue mic pre.  <br /><br />\n<h3>Channel Strips</h3>\n<span style=\"font-size:16px; font-style:italic;\">Classic SSL channel versatility </span><br /><br />\nXL-Desk may be compact but it features all of the classic SSL channel strip features which make our consoles so versatile and accommodate such a wide range of production requirements. XL-Desk has 20 channel strips. The first 16 channel strips are dual input mono, meaning they can be switched between a main input and a DAW return whilst tracking. The Remaining four strips are stereo channels. Channels 1-8 have VHD mic pre’s. Channels 9-16 are line level but can use the 500 rack for mic inputs if desired. Each mono channel can access a corresponding 500 format module and also has a separate traditional Insert point. The four stereo channels cannot access the 500 rack and do not have Insert points. All of the channels have an additional Direct Output to facilitate printing processed material to your DAW and this can be switched between pre-/post fader. Each channel has a +/-20dB Trim control which can be used in a couple of ways: for VHD channels in can be used to control the output level from the VHD into the channel when using heavy distortion, when used with a 500 rack module it can be used to drive the level into the inserted module. There is a phase invert switch. Beside the Trim control is a tri-colour signal indicator LED. The metering on XL Desk can be switched between +24dBu and +18dBu Scale to give the following LED settings.<br /><br />\n<table border=\"1\" cellspacing=\"5\" cellpadding=\"5\">\n<tbody>\n<tr>\n	<td width=\"50\">\n		LED\n	</td>\n	<td width=\"150\">\n		+24dB Scale\n	</td>\n	<td width=\"150\">\n		+18dB Scale\n	</td>\n</tr>\n<tr>\n	<td>\n		Green\n	</td>\n	<td>\n		–24 dBu\n	</td>\n	<td>\n			–24dBu\n	</td>\n</tr>\n<tr>\n	<td>\n		Yellow\n	</td>\n	<td>\n		+4 dBu\n	</td>\n	<td>\n		0dBu\n	</td>\n</tr>\n<tr>\n	<td>\n		Red\n	</td>\n	<td>\n		+21 dBu\n	</td>\n	<td>\n		+ 16 dBu\n	</td>\n</tr>\n</tbody>\n</table>\n<br />\nEach channel has a CUE Stereo section with Level and Pan Controls and a pre/post fader switch. When tracking this would typically be used to feed one of the headphone buses. The mono channels have an ALT button which switches the CUE ST section to sourcing its signal from an additional rear panel ALT input, which is then summed into Mix A. This ALT input means we have 32 inputs to the mono channel strips for Mixdown. There are two Mono Aux Sends (globally switchable pre and post fader) and two Stereo Returns (the Returns also have Direct Outputs for DAW printing). Each channel has a Pan/Balance Control and buttons for routing to the four Mix Buses. Completing the channels are 100mm faders which give hands on, precise level control. <br /><br />\n<strong>Channel Strip Key Features</strong>\n<ul>\n	<li>16 dual-input mono line inputs channels with 100mm faders                                                     </li>\n	<li>4 stereo line-input channels with 100mm stereo faders                                                         </li>\n	<li>Tri-colour signal level indication LED on every channel                                                       </li>\n	<li>Phase invert switch                                                                                           </li>\n	<li>Direct Channel Output switchable between pre and post fader on each channel                                   </li>\n	<li>‘500’ button can insert associated 500 slot into the channel                                                  </li>\n	<li>Regular Insert Point (send always active) - ‘INS’ button                                                      </li>\n	<li>CUE Stereo section, switchable between pre and post fader on each channel                                     </li>\n	<li>‘ALT’ button sources second channel input to the Stereo Cue Bus, providing 16 extra summing inputs on mixdown </li>\n	<li>Aux 1 and Aux 2 globally switchable pre and post fader                                                        </li>\n	<li>Pan/Balance Control                                                                                           </li>\n	<li>Mix Bus A, B, C, D routing buttons                                                                            </li>\n	<li>SOLO and CUT buttons. Solo system can work in solo-in-place (SIP) or After-Fader-Listen (AFL) modes           </li>\n</ul>\n<h3>500 Format Slots</h3>\n<span style=\"font-size:16px; font-style:italic;\">A 500 format rack, built into your SSL console</span><br /><br />\nFor many of our users combining different tonal characteristics from a range of analogue equipment by a selection of manufacturers is an integral part of their sound. The popular modular ‘500 format’ facilitates the use of a wide range of analogue processing modules from different manufacturers. So, built into the penthouse of XL-Desk is an 18-slot 500 format rack. This rack can be loaded with any combination of SSL or third-party 500 format modules, as desired by the user. The in-built 500 rack offers the user the opportunity to add their own favourite sonic flavours to their SSL console, whilst keeping it all within arm’s reach. The XL-Desk rack has its own dedicated power supply, separate to the power supply for the rest of the console. Unlike many stand-alone 500 format racks the XL Desk rack has a very highly specified power supply which should deliver sufficient power to accommodate your selection of modules. SSL cannot guarantee compatibility but has tested this rack with over thirty different modules.<br /><br />\nEach of the mono channels of the XL-Desk (1-16) has access to its own corresponding slot in the rack and the channel strips access them via a ‘500’ Insert button. The four Stereo channels cannot access the 500 rack. Slots 17-18 are hard wired to Mix A to accommodate a stereo mix bus compressor and XL-Desk ships with these slots pre-loaded with 500 format module version of the legendary SSL G Series Bus Compressor. The console will ship with a new version of this module which features a sidechain HPF. The four Mix Buses can also access rack slots 9-16 (in stereo pairs) although the Mix Buses and mono channels 9-16 cannot use the rack slots simultaneously. The inputs and outputs of module slots 1-16 are accessible via standard DB25 connectors on the rear panel. This does mean that the modules are not hard wired into the mono channel strips 500 Insert send/return, but the console does ship with a set of external DB25 jumper cables to facilitate this approach if required. The advantage of our opting not to hard wire the rack into the channel signal flow is of course that if desired (and we do recommend this), the rack can be connected to a patchbay for ultimate flexibility and creating chains of patching between 500 modules. Furthermore, this means that the 500 rack can be used ‘standalone’. The 500 rack can also accommodate stereo modules that comply with the pin 6 link specification – the switch to assign an odd/even pair of slots to stereo operation is internal so must be set before the module is fitted.<br /><br />\n<strong>500 Format Slots Key Features</strong>\n<ul>\n	<li>18-Slot 500 format rack in a 16+2 configuration                                                            </li>\n	<li>Slots 17-18 pre-loaded with the SSL Bus compressor (featuring sidechain HPF)                               </li>\n	<li>Stereo-link switch available for odd/even pairs (for modules that comply with the pin 6 link specification)</li>\n	<li>+/- 16.5V DC                                                                                               </li>\n	<li>+48V DC                                                                                                    </li>\n	<li>High quality internal PSU, with over specified power supply                                                </li>\n</ul>\n<h3>Mix Busses</h3>\n<span style=\"font-size:16px; font-style:italic;\">The magic of an SSL console x 4</span><br /><br />\nDesigned by the team behind Duality and AWS, XL-Desk delivers the kind of stunning audio quality only associated with SuperAnalogue™ SSL consoles. XL-Desk provides the sought after separation, clarity and punch behind thousands of hit records made on SSL consoles. Everyone agrees that the sonic magic of an SSL console happens at the Mix Bus but one bus is not always enough! Many high-profile mixers use multiple mix busses to create parallels or sub-groups of instruments, helping them to compress and manipulate sounds in unique ways. These ‘tricks of the trade’ are some of the most effective to help take a mix from ‘good’ to ‘great’. <br /><br />\nXL-Desk provides no less than 4 mix busses - A, B, C and D. Mix A is the master bus, from which the final stereo mix is derived. This has its own 100mm fader. Mixes B, C and D each have their own level control and crucially, the ability to sum into Mix A. All 4 Mix Busses have Direct Outputs for DAW printing, separate standard stereo Insert points and have the ability to access slots 9-16 of the in-built 500 format rack. <br /><br />\n<strong>Mix Buss Key Features </strong>\n<ul>\n	<li>4 stereo mix busses (A, B, C and D)                                                                                             </li>\n	<li>Mix A has 100mm fader, stereo insert point, access to the G-Comp bus compressor and access to 500 rack slots 9-10               </li>\n	<li>Mix B, C and D - Can be routed to Mix A, with independent level controls, stereo insert points, access to 500 rack slots 11-16. </li>\n</ul>\n<h3>Monitoring</h3>\n<span style=\"font-size:16px; font-style:italic;\">Comprehensive monitoring and communication</span><br /><br />\nThe monitoring system of any professional music environment is one of the most important parts. XL-Desk offers a pristine, Superanalogue™ monitoring section, packed with useful features. There are three sets of stereo monitor connections (Main, Mini 1 and Mini 2) plus a sub connection. These are controlled by a front panel button matrix with individual Level controls. The sub connection has bass management: When the SUB is engaged, the bass management sums left and right signals through a 3rd order low-pass (high cut) filter at 80Hz and sends the sum out of the Sub monitor output. Also, 2nd order high-pass (low cut) filters are inserted into the selected left and right monitor outputs. The bass management on XL-Desk is intelligent. It will remember if the SUB button is on or off for each speaker set. The Monitor Source can be selected from; Mix A, a separate External rear panel input or the front panel iJack input and a Mono button folds down these monitor sources to mono if desired. A Monitor SUM button allows any combination of these to be summed and monitored. There is a large Monitor Level control and an associated DIM button (with DIM Level control), CUT button and an AFL Level control.<br /><br />\nHaving clear and easy communication between the performer and the engineer/producer is crucial to the smooth creative flow of a recording session. XL Desk has two Foldbacks with individual Level controls and Talkback. Foldback A is fed by the CUE Stereo and Foldback B is fed by Aux 1. MON buttons below each Foldback’s level control override the default Foldback source (Stereo Cue or Aux 1) and replace it with whatever is selected as the main monitor source. This is really useful for quickly playing back the studio control room mix to the performer(s) in the live room. There is an in built talkback microphone with a Talk button and Level control. A set of DIP switches on the rear panel allow the TALK button to be configured as latching or momentary. Also, Talkback can be set to either SUM with or REPLACE the existing signal. A Listen button allows the engineer to monitor a live room listen mic if one is connected and this too has a Level control. XL-Desk also includes the classic SSL Listen Mic Compressor. This is an aggressive compressor ideal for ensuring a very strong signal from the live room listen mic but can also be used as a process effect to create the classic heavily compressed 80’s drum sound which was created using this circuit. The XL-Desk Listen Mic Compressor has no controls, it is simply always on and it has a dedicated external output to facilitate its use as a process effect. <br /><br />\n<strong>Monitoring Key Features</strong>\n<ul>\n	<li>3-way speaker selector - Connect 3 sets of speakers up to XL-Desk                       </li>\n	<li>Bass Management with filtering - Connect a subwoofer to extend your low-end monitoring. </li>\n	<li>Intelligent bass management automatically switches in or out with each speaker set.     </li>\n	<li>Large blue monitor level pot with variable DIM and CUT                                  </li>\n	<li>Rear panel external input and front panel iJack input to Monitor section                </li>\n	<li>Monitor bus Mono foldown and monitor source sum                                         </li>\n	<li>Front panel headphone jack                                                              </li>\n	<li>2 solo modes for channels - Solo-in-place (SIP) or After-fader-listen (AFL)             </li>\n	<li>2  Foldbacks - individual talkback to two separate headphone mixes                      </li>\n	<li>High-quality in-built talkback microphone mounted into the console’s front surface.     </li>\n	<li>Listen Mic input and compressor circuit - allows a dedicated ‘listen’ microphone to be set up in the live room, so that the engineer can easily hear what the performers between takes. In addition, a discrete Listen Mic output is available for recording ‘that’ legendary heavily compressed sound!</li>\n</ul>\n<h3>Workflow</h3>\nThere are good reasons why so many leading engineers and producers still choose to mix on a console, some of them because of sonic aspects and others because of workflow choices. Mixing out-of-the-box gives a wider sound-stage and a distinct colouration that no plug-in can equal. We’re also told that it is easier to get a mix together quickly with a console and that it feels more intuitive than a mouse. XL-Desk gives a full-featured console workflow, but with a project-studio friendly footprint under 1m2. With 2 insert points on each mono channel you can mix and match rackmount and 500-series processors to make the XL-Desk the hub of your hybrid studio world! Connect your XL-Desk to a patchbay for ultimate flexibility, and use the direct outs from every channel and Bus to print files back into your DAW for easy mix revisions.\n<br /><br />'),(11145,85,0,1858,'SSL XL-Desk SuperAnalogue Mixing Console'),(11146,85,1,1858,'SSL XL-Desk SuperAnalogue Mixing Console'),(11147,76,0,1858,''),(11148,76,1,1858,''),(11149,75,0,1859,'<h2>Steinberg CC121 – Advanced Integration Controller </h2>\n<div><span style=\"font-size: 16px;\"><i>The CC121 brings control of Cubase to a whole new level; it has just the right balance of user programmability.</i></span></div><br />\nThe Steinberg CC121 has been engineered specifically for the thousands of production environments  \nusing Cubase worldwide, CC121 interfaces the creativity of musicians and\n  producers with the functional complexity of the world’s most popular  \nmusic production system. CC121 provides totally integrated tactile \ncontrol of  all parameters within Cubase, with a unique design \narchitecture that  keeps you 100% focused on your project.\n\n<br /><br /><h3>Steinberg CC121 key features:</h3>\n<ul></ul><div class=\"csc-textpic-text\"><ul><li>Advanced Integration System — \ntotally integrated tactile control of Steinberg’s Cubase range of \nproduction systems, maintains complete focus on your production within \nCubase</li><li>Ultra-precision Advanced Integration Controller Knob with\n \"point and control\" support — controls any visual Cubase parameter, \ninternal FX setting or VSTi parameter using mouse pointer selection </li><li>High quality, 100mm touch sensitive motorized fader: full tactile control of the channel or group volume fader</li><li>Dedicated\n controls for Cubase channel settings including solo, mute, record arm, \nautomation (read/write), pan, VSTi editor and \"e\" settings button</li><li>Full Cubase EQ section in hardware: 12 rotary EQ encoders and bypass/mode button</li><li>Full transport section including jog wheel </li><li>User-assignable section — adapt the CC121 to your needs </li><li>Instant plug and play with Cubase-ready LED — no additional setup or parameter assigning required</li><li>Outstanding engineering and component quality including valuable full metal case </li><li>Cross-platform support — compatible with Mac and PC </li></ul></div><ul></ul>\n<br />\n<h2>Steinberg UR824 features in depth</h2>\n\n<h3>Instant Plug & Play</h3>\nCC121 features full plug and play with Cubase, requiring no additional setup as a controller device. A swift, one-step installation procedure as a USB device is all that’s required. Once the CC121 has been installed, Cubase detects the device when launched, and automatically binds CC121 into the Cubase production environment. To reflect this, the \"Cubase Ready\" lamp lights up — CC121 is ready to assume control. Instant plug and play is just one of the advantages of CC121 as a fully integrated controller with Cubase, bonding with Cubase to form one exhilaratingly powerful hardware/software production system.<br /><br />\n\n<h3>USB-powered</h3>\nThe CC121 is powered using the USB bus on your computer. This means simply connecting the CC121 to a USB port offers full control over Cubase. When the included AC adaptor is also connected, the precision fader is motorized, accurately displaying the volume level on the selected track.<br /><br />\n\n<h3>Fully mirrored functionality</h3>\nOne of the major advantages of the CC121 is the software-hardware-mirroring. In distinction from DAW controllers you’ll find all Cubase controlling functions in hardware exactly mirrored to their software counterpart. You don’t need to learn where you´ve put the functions on your controller. You can work with your Cubase as intuitive as before but with the convenience of a hardware mixer. It´s possible to control all functions with the push of a button. No more necessity for long mouse clicking ways. <br /><br />\n\n<h3>AI Knob - Revolutionary Advanced Integration Controller </h3>\nPerhaps the most innovative area of CC121 is the revolutionary AI Knob, a \"point and control\" precision controller. Rather than attempting to replace traditional mouse pointing devices, the  AI Knob harnesses the flexibility of a computer mouse to offer unprecedented speed when editing parameters and adjusting settings. The computer mouse is simply moved over the parameter, which is then automatically placed under full precision control through the AI Knob, with no need to make any additional settings in Cubase, any additional software module or on the interface itself. The parameter can be locked to the AI Knob to retain control when the mouse is moved elsewhere onscreen. <br /><br />\n\n<h3>Dedicated Cubase controls</h3>\nThe unique AI Knob is paired with a range of dedicated, high quality hardware controls over a huge range of Cubase transport, channel and EQ features. High quality controller switches and rotary knobs dedicated to specific functions mean no tedious stepping through parameters for control. Color coding that mirrors the Cubase buttons further supports easy navigation with CC121..<br /><br />\n\n<h3>Channel Selection</h3>\nThe CC121 is specifically designed for Cubase software, providing tremendous efficiency and speed in your workflow. CC121 offers dedicated control of Cubase channel settings including solo/mute, record arm, automation read/write as well as pan — all highlighted in the same color as the graphic control in Cubase.<br />One of the most important features on CC121 is the motorized 100mm touch-sensitive fader. This top-quality component has an absolutely first-class feel normally only found on hardware mixing consoles costing many times more This fader gives precision tactile control over volume settings for the selected track or group.<br /><br />Another advantage of the very tight integration with Cubase comes in the form of the dedicated buttons to open both the VST Channel Settings and selected VST Instrument Track for detailed editing using the AI Knob and mouse.<br /><br />\n<h3>Call or chat online with an RSPE representative for more information.</h3>'),(11150,75,1,1859,'<h2>Steinberg CC121 – Advanced Integration Controller </h2>\n<div><span style=\"font-size: 16px;\"><i>The CC121 brings control of Cubase to a whole new level; it has just the right balance of user programmability.</i></span></div><br />\nThe Steinberg CC121 has been engineered specifically for the thousands of production environments  \nusing Cubase worldwide, CC121 interfaces the creativity of musicians and\n  producers with the functional complexity of the world’s most popular  \nmusic production system. CC121 provides totally integrated tactile \ncontrol of  all parameters within Cubase, with a unique design \narchitecture that  keeps you 100% focused on your project.\n\n<br /><br /><h3>Steinberg CC121 key features:</h3>\n<ul></ul><div class=\"csc-textpic-text\"><ul><li>Advanced Integration System — \ntotally integrated tactile control of Steinberg’s Cubase range of \nproduction systems, maintains complete focus on your production within \nCubase</li><li>Ultra-precision Advanced Integration Controller Knob with\n \"point and control\" support — controls any visual Cubase parameter, \ninternal FX setting or VSTi parameter using mouse pointer selection </li><li>High quality, 100mm touch sensitive motorized fader: full tactile control of the channel or group volume fader</li><li>Dedicated\n controls for Cubase channel settings including solo, mute, record arm, \nautomation (read/write), pan, VSTi editor and \"e\" settings button</li><li>Full Cubase EQ section in hardware: 12 rotary EQ encoders and bypass/mode button</li><li>Full transport section including jog wheel </li><li>User-assignable section — adapt the CC121 to your needs </li><li>Instant plug and play with Cubase-ready LED — no additional setup or parameter assigning required</li><li>Outstanding engineering and component quality including valuable full metal case </li><li>Cross-platform support — compatible with Mac and PC </li></ul></div><ul></ul>\n<br />\n<h2>Steinberg UR824 features in depth</h2>\n\n<h3>Instant Plug & Play</h3>\nCC121 features full plug and play with Cubase, requiring no additional setup as a controller device. A swift, one-step installation procedure as a USB device is all that’s required. Once the CC121 has been installed, Cubase detects the device when launched, and automatically binds CC121 into the Cubase production environment. To reflect this, the \"Cubase Ready\" lamp lights up — CC121 is ready to assume control. Instant plug and play is just one of the advantages of CC121 as a fully integrated controller with Cubase, bonding with Cubase to form one exhilaratingly powerful hardware/software production system.<br /><br />\n\n<h3>USB-powered</h3>\nThe CC121 is powered using the USB bus on your computer. This means simply connecting the CC121 to a USB port offers full control over Cubase. When the included AC adaptor is also connected, the precision fader is motorized, accurately displaying the volume level on the selected track.<br /><br />\n\n<h3>Fully mirrored functionality</h3>\nOne of the major advantages of the CC121 is the software-hardware-mirroring. In distinction from DAW controllers you’ll find all Cubase controlling functions in hardware exactly mirrored to their software counterpart. You don’t need to learn where you´ve put the functions on your controller. You can work with your Cubase as intuitive as before but with the convenience of a hardware mixer. It´s possible to control all functions with the push of a button. No more necessity for long mouse clicking ways. <br /><br />\n\n<h3>AI Knob - Revolutionary Advanced Integration Controller </h3>\nPerhaps the most innovative area of CC121 is the revolutionary AI Knob, a \"point and control\" precision controller. Rather than attempting to replace traditional mouse pointing devices, the  AI Knob harnesses the flexibility of a computer mouse to offer unprecedented speed when editing parameters and adjusting settings. The computer mouse is simply moved over the parameter, which is then automatically placed under full precision control through the AI Knob, with no need to make any additional settings in Cubase, any additional software module or on the interface itself. The parameter can be locked to the AI Knob to retain control when the mouse is moved elsewhere onscreen. <br /><br />\n\n<h3>Dedicated Cubase controls</h3>\nThe unique AI Knob is paired with a range of dedicated, high quality hardware controls over a huge range of Cubase transport, channel and EQ features. High quality controller switches and rotary knobs dedicated to specific functions mean no tedious stepping through parameters for control. Color coding that mirrors the Cubase buttons further supports easy navigation with CC121..<br /><br />\n\n<h3>Channel Selection</h3>\nThe CC121 is specifically designed for Cubase software, providing tremendous efficiency and speed in your workflow. CC121 offers dedicated control of Cubase channel settings including solo/mute, record arm, automation read/write as well as pan — all highlighted in the same color as the graphic control in Cubase.<br />One of the most important features on CC121 is the motorized 100mm touch-sensitive fader. This top-quality component has an absolutely first-class feel normally only found on hardware mixing consoles costing many times more This fader gives precision tactile control over volume settings for the selected track or group.<br /><br />Another advantage of the very tight integration with Cubase comes in the form of the dedicated buttons to open both the VST Channel Settings and selected VST Instrument Track for detailed editing using the AI Knob and mouse.<br /><br />\n<h3>Call or chat online with an RSPE representative for more information.</h3>'),(11151,85,0,1859,''),(11152,85,1,1859,''),(11153,76,0,1859,''),(11154,76,1,1859,''),(11155,75,0,1860,'<h2>Steinberg Cubase Pro 11 - Advanced Music Production System DAW</h2>\n<i>Cubase Pro is a powerful and versatile DAW for Music Studios and Producers, and Cubase 11 boasts a sheer endless number of new features and enhancements to its studio-grade audio and MIDI tools for composing, recording, editing and mixing.</i><br /><br />Steinberg <span style=\"background-color: initial;\">Cubase Pro 11 is </span><span style=\"background-color: initial;\">Designed for professional producers, film composers, and mix engineers, Steinberg Cubase Pro 11 is a complete music-production environment that combines sophisticated audio and MIDI tools with pristine audio quality. Offering a fast, flexible, and intuitive workflow, this powerful software can be used for composing, sequencing, beat making, recording, editing, mixing, and mastering—making it ideal for producing and scoring tracks from start to finish, in all genres.</span><div><br /></div><div>For superior audio quality, Cubase Pro 11 utilizes a 64-bit audio engine compatible with resolutions up to 192 kHz. The software offers unlimited audio, instrument, and MIDI tracks, and can accommodate up to 256 physical inputs and outputs as well as 256 group channels. Notable features include full 5.1 surround and virtual reality functionality, full automatic delay compensation, flexible routing options, and support for external instruments and effects. Users have access to 79 audio FX plug-ins, 18 MIDI FX plug-ins, eight virtual instruments with over 3000 sounds, VariAudio 3 for pitch and time correction, and a host of improvements over the previous versions.</div><div><br /></div><div>Cubase Pro 11 comes with a comprehensive set of tools for scoring to picture including full score layout and printing, plus the Video Export Render function that allows you to export video files straight from your Cubase project and quickly share them with clients and other composers.<br /></div><div>To share production workflow between musicians, VST Transit lets you upload audio and MIDI tracks to cloud storage and continue working from another location. The included VST Connect SE 5 software allows you to connect directly with other musicians via chat, or video and audio streaming, giving you the freedom to collaborate and produce together, even when you\'re not in the same studio.</div><h3><span style=\"font-size: 16px; font-weight: normal; background-color: initial;\"><font color=\"#303847\">The software is compatible with Mac and Windows, and operates in VST2 and VST3 formats. (Note: Only 64-bit plug-ins are supported).</font></span></h3><h3><span style=\"font-size: 16px; font-weight: normal; background-color: initial;\"><font color=\"#303847\"></font></span>Cubase 11 key features:</h3><ul><li><span style=\"letter-spacing: 0px; background-color: initial;\">Unlimited Audio, MIDI, Instrument Tracks</span></li><li>Max Channels: 256 In/Out and 256 Group</li><li>Effects Plug-Ins: 79 Audio and 18 MIDI</li><li>8 Instruments with 3000 Sounds</li><li>Supports External Instruments & Effects</li><li>Dynamic EQ and Spectral Comparison EQ</li><li>Advanced Audio Export and Alignment</li><li>5.1 Surround Sound and VR Tools</li><li>Full Score Layout and Printing</li><li>Mac/Windows, VST2, VST3</li></ul>\n\n<h3>Supercharge your music production with Steinberg Cubase 11. Call or chat online with an RSPE representative for a demonstration or to learn more. </h3>'),(11156,75,1,1860,'<h2>Steinberg Cubase Pro 11 - Advanced Music Production System DAW</h2>\n<i>Cubase Pro is a powerful and versatile DAW for Music Studios and Producers, and Cubase 11 boasts a sheer endless number of new features and enhancements to its studio-grade audio and MIDI tools for composing, recording, editing and mixing.</i><br /><br />Steinberg <span style=\"background-color: initial;\">Cubase Pro 11 is </span><span style=\"background-color: initial;\">Designed for professional producers, film composers, and mix engineers, Steinberg Cubase Pro 11 is a complete music-production environment that combines sophisticated audio and MIDI tools with pristine audio quality. Offering a fast, flexible, and intuitive workflow, this powerful software can be used for composing, sequencing, beat making, recording, editing, mixing, and mastering—making it ideal for producing and scoring tracks from start to finish, in all genres.</span><div><br /></div><div>For superior audio quality, Cubase Pro 11 utilizes a 64-bit audio engine compatible with resolutions up to 192 kHz. The software offers unlimited audio, instrument, and MIDI tracks, and can accommodate up to 256 physical inputs and outputs as well as 256 group channels. Notable features include full 5.1 surround and virtual reality functionality, full automatic delay compensation, flexible routing options, and support for external instruments and effects. Users have access to 79 audio FX plug-ins, 18 MIDI FX plug-ins, eight virtual instruments with over 3000 sounds, VariAudio 3 for pitch and time correction, and a host of improvements over the previous versions.</div><div><br /></div><div>Cubase Pro 11 comes with a comprehensive set of tools for scoring to picture including full score layout and printing, plus the Video Export Render function that allows you to export video files straight from your Cubase project and quickly share them with clients and other composers.<br /></div><div>To share production workflow between musicians, VST Transit lets you upload audio and MIDI tracks to cloud storage and continue working from another location. The included VST Connect SE 5 software allows you to connect directly with other musicians via chat, or video and audio streaming, giving you the freedom to collaborate and produce together, even when you\'re not in the same studio.</div><h3><span style=\"font-size: 16px; font-weight: normal; background-color: initial;\"><font color=\"#303847\">The software is compatible with Mac and Windows, and operates in VST2 and VST3 formats. (Note: Only 64-bit plug-ins are supported).</font></span></h3><h3><span style=\"font-size: 16px; font-weight: normal; background-color: initial;\"><font color=\"#303847\"></font></span>Cubase 11 key features:</h3><ul><li><span style=\"letter-spacing: 0px; background-color: initial;\">Unlimited Audio, MIDI, Instrument Tracks</span></li><li>Max Channels: 256 In/Out and 256 Group</li><li>Effects Plug-Ins: 79 Audio and 18 MIDI</li><li>8 Instruments with 3000 Sounds</li><li>Supports External Instruments & Effects</li><li>Dynamic EQ and Spectral Comparison EQ</li><li>Advanced Audio Export and Alignment</li><li>5.1 Surround Sound and VR Tools</li><li>Full Score Layout and Printing</li><li>Mac/Windows, VST2, VST3</li></ul>\n\n<h3>Supercharge your music production with Steinberg Cubase 11. Call or chat online with an RSPE representative for a demonstration or to learn more. </h3>'),(11157,85,0,1860,'Steinberg Cubase Pro 11 - Advanced Music Production System DAW'),(11158,85,1,1860,'Steinberg Cubase Pro 11 - Advanced Music Production System DAW'),(11159,76,0,1860,''),(11160,76,1,1860,''),(11161,75,0,1861,'<h3>Steinberg Nuendo 11 - Advanced Audio Post-Production System DAW</h3>\n<i><span style=\"font-size: 16px;\">With advanced ADR and audio reconforming built in, Nuendo is the most complete DAW for Film & TV Post-Production and Video Game Sound.</span></i><br /><br />Steinberg Nuendo 11 is the premier DAW available today that enables you to mix a movie or television series for Dolby Atmos® completely “in the box”. The workflow is the same as any traditional post-production project, but you now have the tools to assign beds and objects from tracks in an existing Nuendo project. You can also create an entirely new Dolby Atmos project from scratch. With the integrated Renderer for Dolby Atmos, you can author, mix and deliver Dolby Atmos-compliant ADM Broadcast Wave files and, at the same time, the final stems in different surround configurations.<div></div><h3>Nuendo 11 key features:</h3><ul><li><span style=\"background-color: initial;\">Specialized Loudness Meter ensures Netflix-compliant streaming content</span></li><li><span style=\"background-color: initial;\">SpectraLayers One allows you to edit sound in the spectral domain with surgical precision</span></li><li><span style=\"background-color: initial;\">Intelligibility Meter helps safeguard the audibility and clarity of your dialog</span></li><li><span style=\"background-color: initial;\">SuperVision metering plug-in includes customizable settings for an ultra-accurate view of your sound</span></li><li><span style=\"background-color: initial;\">Job Queues lets you queue multiple jobs with different export requirements for simultaneous processing</span></li><li><span style=\"background-color: initial;\">Soundly Cloud Services support enables you to import files from Soundly with a single mouse click</span></li><li><span style=\"background-color: initial;\">Sound design tools and content for creating enhanced, multi-genre sonic experiences</span></li><li><span style=\"background-color: initial;\">Sampler Track includes slicing, LFOs, and legato glide</span></li><li><span style=\"background-color: initial;\">Music features, workflow, and performance enhancements</span></li><li><span style=\"background-color: initial;\">Field Recorder Audio Import matches field recorder audio files to events in your project</span></li><li><span style=\"background-color: initial;\">Video Cut Detection analyzes video files for edits and inserts markers for each cut</span></li><li><span style=\"background-color: initial;\">Doppler effect simulates the movement, distance, and perception of a passing sound source</span></li><li><span style=\"background-color: initial;\">VoiceDesigner modifies voices and crafts otherworldly sound effects</span></li><li><span style=\"background-color: initial;\">dearVR Spatial Connect integration for creating and mixing immersive 3D audio content directly in the VR environment</span></li><li><span style=\"background-color: initial;\">Music features like VariAudio 3, Distroyer effect, MixConsole Snapshots, and Groove Agent SE 5</span></li><li><span style=\"background-color: initial;\">Audio Random Access (ARA) allows tight integration with plug-ins</span></li><li><span style=\"background-color: initial;\">Channel strip EQ, VCA faders, and fully integrated loudness measurement</span></li><li><span style=\"background-color: initial;\">Game Audio Connect 2 transfers whole music compositions as music segments into Audiokinetic Wwise</span></li><li><span style=\"background-color: initial;\">Built-in ADR system allows for fully integrated voice and foley recording</span></li><li><span style=\"background-color: initial;\">Advanced multitrack audio-to-picture editing with playlists and video-follows-audio editing</span></li><li><span style=\"background-color: initial;\">Direct Offline Processing for applying the most often used offline processes as a chain for selected clips</span></li><li><span style=\"background-color: initial;\">Sound Randomizer easily creates different variations of a sound</span></li><li><span style=\"background-color: initial;\">Renamer automatic renames events within your project</span></li><li><span style=\"background-color: initial;\">VST MultiPanner allows for immersive sound panning while working in Dolby Atmos</span></li><li><span style=\"background-color: initial;\">Integrated re-conforming solution for automatic audio-to-picture alignment</span></li><li><span style=\"background-color: initial;\">Full integration with the Yamaha Nuage system</span></li></ul><br />\n<h3>Getting Started</h3>\nA post-production project usually consists of many mono audio tracks — containing the dialog and sound effects clips — and group channels that organize the sounds in submixes or stems. For an object-based mix this basic structure can be preserved, as it already offers many advantages. Depending on the delivery requirements, the ADM project will comprise one or multiple beds — for example, background sound and music — and a number of objects, including the dialog, Foley and other sound effects.<br /><br />\n\n<h3>Setting up the Renderer</h3><div>When monitoring an object-based project, all the audio will be routed through the Renderer for Dolby Atmos, therefore it will have to be inserted into the project’s main output bus. The Renderer supports 2.0, 5.1, 7.1, 5.1.4 and 7.1.4 configurations. The configuration of the output bus will determine the maximum channel width of the rendering output and should match the speaker configuration of the room.</div><div>The Renderer can only be used with a project sample rate of 48 kHz and an ASIO buffer size of 512 samples.</div><br />\n<h3>Configuring beds</h3><div>Beds are channel-based submixes, very much like the stems in an existing Nuendo project. Start by creating a group channel for each bed (if it does not yet exist) — for example, two 7.1 groups for the background sound and the music. All tracks routed to these groups will be part of the bed mixes. </div><div>In the ADM Authoring window, create as many beds as necessary — following the previous example, two beds in a 7.1 configuration — and use the previously created group channels as sources. The beds are now ready, with their audio routed through the Renderer.</div><br />\n<h3>Creating objects</h3>Any audio track in a project can become an ADM object. You can create objects in the Authoring window and then assign any of the audio tracks from the project as the source. To convert an existing Nuendo project with a large amount of audio tracks into an object-based project, you can just select the tracks in the project window, go to the Authoring window and use the Create Objects from Selected Tracks function. The new objects will automatically be created with their audio routed through the Renderer.<br /><br />\n<h3>Mixing</h3><div>Objects and beds are monitored through the Renderer, which means their audio is not summed in the MixConsole. During the mixing process, you will only listen to the Renderer\'s output.</div><div>Otherwise the usual channel-mixing techniques can be used, but with new and creative possibilities for immersive panning. Writing automation in the VST MultiPanner will transmit panning information as metadata to the Renderer, which will then pan the signal accordingly, in real time.<br /><br /></div><h3>Exporting ADM</h3><div style=\"\">When exporting an object-based project, the master file must keep all objects separated. Beds and objects in the Authoring window can be exported as an ADM Broadcast Wave file. The file will contain all audio objects and beds, as well as all dynamic panning metadata and static metadata. It will also include rendering instructions for the playback device. When loaded into a playback system, an ADM mastering application, another DAW that supports Dolby Atmos or other Dolby encoders, the metadata will be applied.</div><div style=\"line-height: 22.4px;\"></div><h3>Creating a channel-based downmix</h3><div style=\"\">The Renderer can also create a channel-based, downmix version of the object-based mix. In the Renderer panel, choose the surround (or stereo) format to which you want to downmix your project. In the Export Audio Mixdown window, select the channel containing the Renderer plug-in and use the Split Channels option. This will produce the correct number of audio files for your downmix, plus a number of files with no audio you can ignore.<br /><br /></div><h3>Importing ADM files</h3><div style=\"line-height: 22.4px;\">If your project starts with an ADM file — e.g. from the Dolby Atmos Production Suite — you can easily import it into a Nuendo project for further mixing or editing with the object automation intact. Bed and object audio channels, pan automation, program-level metadata and Group structure are all supported, with audio from ADM extracted to tracks in the Nuendo project. Folder tracks are created to represent the ADM Program/Group structure, while object tracks are assigned to the VST MultiPanner, with existing pan automation.</div>\n<h3>Supercharge your game audio or film/TV postproduction facility with Steinberg Nuendo. Call or chat online with an RSPE representative for a demonstration or to learn more. </h3>'),(11162,75,1,1861,'<h3>Steinberg Nuendo 11 - Advanced Audio Post-Production System DAW</h3>\n<i><span style=\"font-size: 16px;\">With advanced ADR and audio reconforming built in, Nuendo is the most complete DAW for Film & TV Post-Production and Video Game Sound.</span></i><br /><br />Steinberg Nuendo 11 is the premier DAW available today that enables you to mix a movie or television series for Dolby Atmos® completely “in the box”. The workflow is the same as any traditional post-production project, but you now have the tools to assign beds and objects from tracks in an existing Nuendo project. You can also create an entirely new Dolby Atmos project from scratch. With the integrated Renderer for Dolby Atmos, you can author, mix and deliver Dolby Atmos-compliant ADM Broadcast Wave files and, at the same time, the final stems in different surround configurations.<div></div><h3>Nuendo 11 key features:</h3><ul><li><span style=\"background-color: initial;\">Specialized Loudness Meter ensures Netflix-compliant streaming content</span></li><li><span style=\"background-color: initial;\">SpectraLayers One allows you to edit sound in the spectral domain with surgical precision</span></li><li><span style=\"background-color: initial;\">Intelligibility Meter helps safeguard the audibility and clarity of your dialog</span></li><li><span style=\"background-color: initial;\">SuperVision metering plug-in includes customizable settings for an ultra-accurate view of your sound</span></li><li><span style=\"background-color: initial;\">Job Queues lets you queue multiple jobs with different export requirements for simultaneous processing</span></li><li><span style=\"background-color: initial;\">Soundly Cloud Services support enables you to import files from Soundly with a single mouse click</span></li><li><span style=\"background-color: initial;\">Sound design tools and content for creating enhanced, multi-genre sonic experiences</span></li><li><span style=\"background-color: initial;\">Sampler Track includes slicing, LFOs, and legato glide</span></li><li><span style=\"background-color: initial;\">Music features, workflow, and performance enhancements</span></li><li><span style=\"background-color: initial;\">Field Recorder Audio Import matches field recorder audio files to events in your project</span></li><li><span style=\"background-color: initial;\">Video Cut Detection analyzes video files for edits and inserts markers for each cut</span></li><li><span style=\"background-color: initial;\">Doppler effect simulates the movement, distance, and perception of a passing sound source</span></li><li><span style=\"background-color: initial;\">VoiceDesigner modifies voices and crafts otherworldly sound effects</span></li><li><span style=\"background-color: initial;\">dearVR Spatial Connect integration for creating and mixing immersive 3D audio content directly in the VR environment</span></li><li><span style=\"background-color: initial;\">Music features like VariAudio 3, Distroyer effect, MixConsole Snapshots, and Groove Agent SE 5</span></li><li><span style=\"background-color: initial;\">Audio Random Access (ARA) allows tight integration with plug-ins</span></li><li><span style=\"background-color: initial;\">Channel strip EQ, VCA faders, and fully integrated loudness measurement</span></li><li><span style=\"background-color: initial;\">Game Audio Connect 2 transfers whole music compositions as music segments into Audiokinetic Wwise</span></li><li><span style=\"background-color: initial;\">Built-in ADR system allows for fully integrated voice and foley recording</span></li><li><span style=\"background-color: initial;\">Advanced multitrack audio-to-picture editing with playlists and video-follows-audio editing</span></li><li><span style=\"background-color: initial;\">Direct Offline Processing for applying the most often used offline processes as a chain for selected clips</span></li><li><span style=\"background-color: initial;\">Sound Randomizer easily creates different variations of a sound</span></li><li><span style=\"background-color: initial;\">Renamer automatic renames events within your project</span></li><li><span style=\"background-color: initial;\">VST MultiPanner allows for immersive sound panning while working in Dolby Atmos</span></li><li><span style=\"background-color: initial;\">Integrated re-conforming solution for automatic audio-to-picture alignment</span></li><li><span style=\"background-color: initial;\">Full integration with the Yamaha Nuage system</span></li></ul><br />\n<h3>Getting Started</h3>\nA post-production project usually consists of many mono audio tracks — containing the dialog and sound effects clips — and group channels that organize the sounds in submixes or stems. For an object-based mix this basic structure can be preserved, as it already offers many advantages. Depending on the delivery requirements, the ADM project will comprise one or multiple beds — for example, background sound and music — and a number of objects, including the dialog, Foley and other sound effects.<br /><br />\n\n<h3>Setting up the Renderer</h3><div>When monitoring an object-based project, all the audio will be routed through the Renderer for Dolby Atmos, therefore it will have to be inserted into the project’s main output bus. The Renderer supports 2.0, 5.1, 7.1, 5.1.4 and 7.1.4 configurations. The configuration of the output bus will determine the maximum channel width of the rendering output and should match the speaker configuration of the room.</div><div>The Renderer can only be used with a project sample rate of 48 kHz and an ASIO buffer size of 512 samples.</div><br />\n<h3>Configuring beds</h3><div>Beds are channel-based submixes, very much like the stems in an existing Nuendo project. Start by creating a group channel for each bed (if it does not yet exist) — for example, two 7.1 groups for the background sound and the music. All tracks routed to these groups will be part of the bed mixes. </div><div>In the ADM Authoring window, create as many beds as necessary — following the previous example, two beds in a 7.1 configuration — and use the previously created group channels as sources. The beds are now ready, with their audio routed through the Renderer.</div><br />\n<h3>Creating objects</h3>Any audio track in a project can become an ADM object. You can create objects in the Authoring window and then assign any of the audio tracks from the project as the source. To convert an existing Nuendo project with a large amount of audio tracks into an object-based project, you can just select the tracks in the project window, go to the Authoring window and use the Create Objects from Selected Tracks function. The new objects will automatically be created with their audio routed through the Renderer.<br /><br />\n<h3>Mixing</h3><div>Objects and beds are monitored through the Renderer, which means their audio is not summed in the MixConsole. During the mixing process, you will only listen to the Renderer\'s output.</div><div>Otherwise the usual channel-mixing techniques can be used, but with new and creative possibilities for immersive panning. Writing automation in the VST MultiPanner will transmit panning information as metadata to the Renderer, which will then pan the signal accordingly, in real time.<br /><br /></div><h3>Exporting ADM</h3><div style=\"\">When exporting an object-based project, the master file must keep all objects separated. Beds and objects in the Authoring window can be exported as an ADM Broadcast Wave file. The file will contain all audio objects and beds, as well as all dynamic panning metadata and static metadata. It will also include rendering instructions for the playback device. When loaded into a playback system, an ADM mastering application, another DAW that supports Dolby Atmos or other Dolby encoders, the metadata will be applied.</div><div style=\"line-height: 22.4px;\"></div><h3>Creating a channel-based downmix</h3><div style=\"\">The Renderer can also create a channel-based, downmix version of the object-based mix. In the Renderer panel, choose the surround (or stereo) format to which you want to downmix your project. In the Export Audio Mixdown window, select the channel containing the Renderer plug-in and use the Split Channels option. This will produce the correct number of audio files for your downmix, plus a number of files with no audio you can ignore.<br /><br /></div><h3>Importing ADM files</h3><div style=\"line-height: 22.4px;\">If your project starts with an ADM file — e.g. from the Dolby Atmos Production Suite — you can easily import it into a Nuendo project for further mixing or editing with the object automation intact. Bed and object audio channels, pan automation, program-level metadata and Group structure are all supported, with audio from ADM extracted to tracks in the Nuendo project. Folder tracks are created to represent the ADM Program/Group structure, while object tracks are assigned to the VST MultiPanner, with existing pan automation.</div>\n<h3>Supercharge your game audio or film/TV postproduction facility with Steinberg Nuendo. Call or chat online with an RSPE representative for a demonstration or to learn more. </h3>'),(11163,85,0,1861,'Steinberg Nuendo 11 - Advanced Audio Post-Production System DAW'),(11164,85,1,1861,'Steinberg Nuendo 11 - Advanced Audio Post-Production System DAW'),(11165,76,0,1861,''),(11166,76,1,1861,''),(11167,75,0,1862,'<h2>Steinberg UR242 4 x 2 USB Audio Interface </h2>\n<div>\n	<span style=\"font-size: 16px;\"><i>4-in/2-out USB 2.0 Audio Interface with D-PRE Mic Preamps, 2 XLR/TRS Combo Inputs, 2 1/4\" Line Inputs, 2 1/4\" Line Outputs, and MIDI I/O</i></span>\n</div>\n<br />\nThe Steinberg UR242 USB Audio Interface gives you the power to record music in studio quality on your notebook or iPad. With outstanding audio and build quality for its price class, the UR242 combines choice components with advanced onboard DSP-powered FX to offer solutions for a huge range of mobile production scenarios.<br /><br />\n<h3>Steinberg UR242 key features:</h3>\n<ul>\n	<li>24-bit/96 kHz USB audio interface</li>\n	<li>Class A D-PRE mic preamps</li>\n	<li>Rugged full-metal casing</li>\n	<li>MIDI input & output</li>\n	<li>Latency-free monitoring with FX</li>\n	<li>Compatible with major recording software</li>\n	<li>iPad connectivity</li>\n	<li>Cubase AI included</li>\n	<li>Cubasis LE included</li>\n	<li>Basic FX Suite</li>\n</ul>\n<br />\n<h2>Steinberg UR242 features in depth</h2>\n<h3>24-bit/96 kHz 6x8 USB audio interface</h3>\nWith a maximum sampling rate of 96 kHz and a resolution of 24 bits, the UR242 delivers pristine quality in any recording and mixing situation.\n<br /><br />\n<h3>Class A D-PRE mic preamps</h3>\nYamaha\'s highly-acclaimed D-PRE preamps deliver a truly transparent and beautifully detailed sound that is unrivaled in this class.\n<br /><br />\n<h3>Latency-free monitoring with FX</h3>\nUR242 offers zero-latency monitoring with FX thanks to the included dspMixFx software with even tighter integration for Cubase owners with auto-setup, custom views, and much more.\n<br /><br />\n<h3>Basic FX Suite</h3>\nBasic FX Suite VST 3 plug-in bundle, consisting of three software components: Sweet Spot Morphing Channel Strip, REV-X and Guitar Amp Classics.\n<br /><br />\n<h3>Rugged full-metal casing</h3>\nBuilt to the most exacting standards by Yamaha’s experienced engineers, the UR242\'s full-metal chassis is rugged enough to withstand all the rigors of the road.\n<br /><br />\n<h3>MIDI input & output</h3>\nFor utmost flexibility, the UR242 is equipped with a MIDI I/O — connect your synth, a drum trigger module or whatever MIDI device you prefer!\n<br /><br />\n<h3>Compatible with major recording software</h3>\nThe UR242 is compatible with all major audio editing, mastering, and music production software supporting ASIO, Core Audio, or WDM standard.\n<br /><br />\n<h3>iPad connectivity</h3>\nThe CC mode* provides connectivity with the iPad (2 or later) through Apple\'s iPad Camera Connection Kit\n<br /><br />\n<h3>Loopback function</h3>\nUR242 offers an easy way to streaming performances live to the internet, with incoming audio signals merged to the playback signal from Cubase or other DAWs inside the computer.\n<br /><br />\n<h3>Cubase AI included</h3>\nBased on the same core technologies as the popular Cubase DAW, Cubase AI offers an intuitive feature set for composing, recording, editing and mixing.\n<br /><br />\n<h3>Cubasis LE included</h3>\nCubasis LE is a streamlined version of Steinberg’s popular iOS music production app, offering professional music production on your iPad.\n<br /><br />\n<h3>Supercharge your studio with the pristine audio conversion, stunning mic pres, and DSP power of the Steinberg UR242 . Call or chat online with an RSPE representative for more information.</h3>'),(11168,75,1,1862,'<h2>Steinberg UR242 4 x 2 USB Audio Interface </h2>\n<div>\n	<span style=\"font-size: 16px;\"><i>4-in/2-out USB 2.0 Audio Interface with D-PRE Mic Preamps, 2 XLR/TRS Combo Inputs, 2 1/4\" Line Inputs, 2 1/4\" Line Outputs, and MIDI I/O</i></span>\n</div>\n<br />\nThe Steinberg UR242 USB Audio Interface gives you the power to record music in studio quality on your notebook or iPad. With outstanding audio and build quality for its price class, the UR242 combines choice components with advanced onboard DSP-powered FX to offer solutions for a huge range of mobile production scenarios.<br /><br />\n<h3>Steinberg UR242 key features:</h3>\n<ul>\n	<li>24-bit/96 kHz USB audio interface</li>\n	<li>Class A D-PRE mic preamps</li>\n	<li>Rugged full-metal casing</li>\n	<li>MIDI input & output</li>\n	<li>Latency-free monitoring with FX</li>\n	<li>Compatible with major recording software</li>\n	<li>iPad connectivity</li>\n	<li>Cubase AI included</li>\n	<li>Cubasis LE included</li>\n	<li>Basic FX Suite</li>\n</ul>\n<br />\n<h2>Steinberg UR242 features in depth</h2>\n<h3>24-bit/96 kHz 6x8 USB audio interface</h3>\nWith a maximum sampling rate of 96 kHz and a resolution of 24 bits, the UR242 delivers pristine quality in any recording and mixing situation.\n<br /><br />\n<h3>Class A D-PRE mic preamps</h3>\nYamaha\'s highly-acclaimed D-PRE preamps deliver a truly transparent and beautifully detailed sound that is unrivaled in this class.\n<br /><br />\n<h3>Latency-free monitoring with FX</h3>\nUR242 offers zero-latency monitoring with FX thanks to the included dspMixFx software with even tighter integration for Cubase owners with auto-setup, custom views, and much more.\n<br /><br />\n<h3>Basic FX Suite</h3>\nBasic FX Suite VST 3 plug-in bundle, consisting of three software components: Sweet Spot Morphing Channel Strip, REV-X and Guitar Amp Classics.\n<br /><br />\n<h3>Rugged full-metal casing</h3>\nBuilt to the most exacting standards by Yamaha’s experienced engineers, the UR242\'s full-metal chassis is rugged enough to withstand all the rigors of the road.\n<br /><br />\n<h3>MIDI input & output</h3>\nFor utmost flexibility, the UR242 is equipped with a MIDI I/O — connect your synth, a drum trigger module or whatever MIDI device you prefer!\n<br /><br />\n<h3>Compatible with major recording software</h3>\nThe UR242 is compatible with all major audio editing, mastering, and music production software supporting ASIO, Core Audio, or WDM standard.\n<br /><br />\n<h3>iPad connectivity</h3>\nThe CC mode* provides connectivity with the iPad (2 or later) through Apple\'s iPad Camera Connection Kit\n<br /><br />\n<h3>Loopback function</h3>\nUR242 offers an easy way to streaming performances live to the internet, with incoming audio signals merged to the playback signal from Cubase or other DAWs inside the computer.\n<br /><br />\n<h3>Cubase AI included</h3>\nBased on the same core technologies as the popular Cubase DAW, Cubase AI offers an intuitive feature set for composing, recording, editing and mixing.\n<br /><br />\n<h3>Cubasis LE included</h3>\nCubasis LE is a streamlined version of Steinberg’s popular iOS music production app, offering professional music production on your iPad.\n<br /><br />\n<h3>Supercharge your studio with the pristine audio conversion, stunning mic pres, and DSP power of the Steinberg UR242 . Call or chat online with an RSPE representative for more information.</h3>'),(11169,85,0,1862,''),(11170,85,1,1862,''),(11171,76,0,1862,''),(11172,76,1,1862,''),(11173,75,0,1863,'<h2>Steinberg UR44 6 x 4 USB Audio Interface </h2>\n<div>\n	<span style=\"font-size: 16px;\"><i>A 6x4 USB 2.0 audio interface with 4x D-PREs, 24-bit/192 kHz support & MIDI I/O</i></span>\n</div>\n<br />\nThe Steinberg UR44 USB Audio Interface is the perfect balance between connectivity and portability. The UR44 is a powerful audio/MIDI interface designed to suit a huge range of recording and production situations. Four mic preamps, six inputs, four output channels, MIDI I/O ports, onboard DSP power and full iPad connectivity offer an outstandingly flexible feature set.<br /><br />\n<h3>Steinberg UR44 key features:</h3>\n<ul>\n	<li>24-bit/96 kHz USB audio interface</li>\n	<li>4 Class A D-PRE mic preamps</li>\n	<li>Rugged full-metal casing</li>\n	<li>MIDI input & output</li>\n	<li>Latency-free monitoring with FX</li>\n	<li>Compatible with major recording software</li>\n	<li>iPad connectivity</li>\n	<li>Cubase AI included</li>\n	<li>Cubasis LE included</li>\n	<li>Basic FX Suite</li>\n</ul>\n<br />\n<h2>Steinberg UR44 features in depth</h2>\n<h3>24-bit/96 kHz 6x8 USB audio interface</h3>\nWith a maximum sampling rate of 96 kHz and a resolution of 24 bits, the UR44 delivers pristine quality in any recording and mixing situation.\n<br /><br />\n<h3>Four Class A D-PRE mic preamps</h3>\nYamaha\'s highly-acclaimed D-PRE preamps deliver a truly transparent and beautifully detailed sound that is unrivaled in this class.\n<br /><br />\n<h3>Rugged full-metal casing</h3>\nBuilt to the most exacting standards by Yamaha’s experienced engineers, the UR44’s full-metal chassis is rugged enough to withstand all the rigors of the road.\n<br /><br />\n<h3>MIDI input & output</h3>\nFor utmost flexibility, the UR44 is equipped with a MIDI I/O — connect your synth, a drum trigger module or whatever MIDI device you prefer!\n<br /><br />\n<h3>Latency-free monitoring with FX</h3>\nUR44 offers zero-latency monitoring with FX thanks to the included dspMixFx software with even tighter integration for Cubase owners with auto-setup, custom views, and much more.\n<br /><br />\n<h3>Compatible with major recording software</h3>\nThe UR44 is compatible with all major audio editing, mastering, and music production software supporting ASIO, Core Audio, or WDM standard.\n<br /><br />\n<h3>iPad connectivity</h3>\nThe CC mode* provides connectivity with the iPad (2 or later) through Apple\'s iPad Camera Connection Kit\n<br /><br />\n<h3>Cubase AI included</h3>\nBased on the same core technologies as the popular Cubase DAW, Cubase AI offers an intuitive feature set for composing, recording, editing and mixing.\n<br /><br />\n<h3>Cubasis LE included</h3>\nCubasis LE is a streamlined version of Steinberg’s popular iOS music production app, offering professional music production on your iPad.\n<br /><br />\n<h3>Basic FX Suite</h3>\nBasic FX Suite VST 3 plug-in bundle, consisting of three software components: Sweet Spot Morphing Channel Strip, REV-X and Guitar Amp Classics.\n<br /><br />\n<h3>Supercharge your studio with the pristine audio conversion, stunning mic pres, and DSP power of the Steinberg UR44 . Call or chat online with an RSPE representative for more information.</h3>'),(11174,75,1,1863,'<h2>Steinberg UR44 6 x 4 USB Audio Interface </h2>\n<div>\n	<span style=\"font-size: 16px;\"><i>A 6x4 USB 2.0 audio interface with 4x D-PREs, 24-bit/192 kHz support & MIDI I/O</i></span>\n</div>\n<br />\nThe Steinberg UR44 USB Audio Interface is the perfect balance between connectivity and portability. The UR44 is a powerful audio/MIDI interface designed to suit a huge range of recording and production situations. Four mic preamps, six inputs, four output channels, MIDI I/O ports, onboard DSP power and full iPad connectivity offer an outstandingly flexible feature set.<br /><br />\n<h3>Steinberg UR44 key features:</h3>\n<ul>\n	<li>24-bit/96 kHz USB audio interface</li>\n	<li>4 Class A D-PRE mic preamps</li>\n	<li>Rugged full-metal casing</li>\n	<li>MIDI input & output</li>\n	<li>Latency-free monitoring with FX</li>\n	<li>Compatible with major recording software</li>\n	<li>iPad connectivity</li>\n	<li>Cubase AI included</li>\n	<li>Cubasis LE included</li>\n	<li>Basic FX Suite</li>\n</ul>\n<br />\n<h2>Steinberg UR44 features in depth</h2>\n<h3>24-bit/96 kHz 6x8 USB audio interface</h3>\nWith a maximum sampling rate of 96 kHz and a resolution of 24 bits, the UR44 delivers pristine quality in any recording and mixing situation.\n<br /><br />\n<h3>Four Class A D-PRE mic preamps</h3>\nYamaha\'s highly-acclaimed D-PRE preamps deliver a truly transparent and beautifully detailed sound that is unrivaled in this class.\n<br /><br />\n<h3>Rugged full-metal casing</h3>\nBuilt to the most exacting standards by Yamaha’s experienced engineers, the UR44’s full-metal chassis is rugged enough to withstand all the rigors of the road.\n<br /><br />\n<h3>MIDI input & output</h3>\nFor utmost flexibility, the UR44 is equipped with a MIDI I/O — connect your synth, a drum trigger module or whatever MIDI device you prefer!\n<br /><br />\n<h3>Latency-free monitoring with FX</h3>\nUR44 offers zero-latency monitoring with FX thanks to the included dspMixFx software with even tighter integration for Cubase owners with auto-setup, custom views, and much more.\n<br /><br />\n<h3>Compatible with major recording software</h3>\nThe UR44 is compatible with all major audio editing, mastering, and music production software supporting ASIO, Core Audio, or WDM standard.\n<br /><br />\n<h3>iPad connectivity</h3>\nThe CC mode* provides connectivity with the iPad (2 or later) through Apple\'s iPad Camera Connection Kit\n<br /><br />\n<h3>Cubase AI included</h3>\nBased on the same core technologies as the popular Cubase DAW, Cubase AI offers an intuitive feature set for composing, recording, editing and mixing.\n<br /><br />\n<h3>Cubasis LE included</h3>\nCubasis LE is a streamlined version of Steinberg’s popular iOS music production app, offering professional music production on your iPad.\n<br /><br />\n<h3>Basic FX Suite</h3>\nBasic FX Suite VST 3 plug-in bundle, consisting of three software components: Sweet Spot Morphing Channel Strip, REV-X and Guitar Amp Classics.\n<br /><br />\n<h3>Supercharge your studio with the pristine audio conversion, stunning mic pres, and DSP power of the Steinberg UR44 . Call or chat online with an RSPE representative for more information.</h3>'),(11175,85,0,1863,''),(11176,85,1,1863,''),(11177,76,0,1863,''),(11178,76,1,1863,''),(11179,75,0,1864,'<h2>Sterling Modular Plan A Workstation</h2>\n<div>\n	Based on the original groundbreaking consoles that were built for Sterling Sound NY*, Masterdisk, Absolute Audio and more. The Plan A was the first (pre-engineered) console designed specifically for the acoustically critical mastering environment.\n</div>\n<ul>\n	<li>Very low profile</li>\n	<li>Maximum air flow for thermal venting</li>\n	<li>Generous rack space</li>\n<ul>\n	<li>24 total ru in the upper desk bays</li>\n	<li>12 total ru in the lower front bays</li>\n	<li>12 total ru in the lower rear bays</li>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan A console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11180,75,1,1864,'<h2>Sterling Modular Plan A Workstation</h2>\n<div>\n	Based on the original groundbreaking consoles that were built for Sterling Sound NY*, Masterdisk, Absolute Audio and more. The Plan A was the first (pre-engineered) console designed specifically for the acoustically critical mastering environment.\n</div>\n<ul>\n	<li>Very low profile</li>\n	<li>Maximum air flow for thermal venting</li>\n	<li>Generous rack space</li>\n<ul>\n	<li>24 total ru in the upper desk bays</li>\n	<li>12 total ru in the lower front bays</li>\n	<li>12 total ru in the lower rear bays</li>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan A console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11181,85,0,1864,'Sterling Modular Plan A Workstation'),(11182,85,1,1864,'Sterling Modular Plan A Workstation'),(11183,76,0,1864,''),(11184,76,1,1864,''),(11185,75,0,1865,'<h2>Sterling Modular Plan B Workstation</h2>\n<div><div>The Plan B Workstation is the Plan A with the addition of one additional rack (pod) section. Buy it complete from the start or expand your Plan A as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>36 total ru in the upper desk bays</li><li>18 total ru in the lower front bays</li><li>18 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan B console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11186,75,1,1865,'<h2>Sterling Modular Plan B Workstation</h2>\n<div><div>The Plan B Workstation is the Plan A with the addition of one additional rack (pod) section. Buy it complete from the start or expand your Plan A as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>36 total ru in the upper desk bays</li><li>18 total ru in the lower front bays</li><li>18 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan B console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11187,85,0,1865,'Sterling Modular Plan B Workstation'),(11188,85,1,1865,'Sterling Modular Plan B Workstation'),(11189,76,0,1865,''),(11190,76,1,1865,''),(11191,75,0,1866,'<h2>Sterling Modular Plan C Workstation</h2>\n<div><div>The Plan C console features the same generous gear capacity as the Plan B. The wrap-around shape optimizes your ability to view and adjust the controls while keeping you in the critical sound field. The console is angled at 30 degrees (the optimum L-R speaker angle), which helps to equalize the early reflections of all three front speakers. The flat surfaces between the \"Rack Pods\" are perfect for mounting half-rack scopes and other smaller pieces of gear. The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>36 total ru in the upper desk bays</li><li>18 total ru in the lower front bays</li><li>18 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan C console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11192,75,1,1866,'<h2>Sterling Modular Plan C Workstation</h2>\n<div><div>The Plan C console features the same generous gear capacity as the Plan B. The wrap-around shape optimizes your ability to view and adjust the controls while keeping you in the critical sound field. The console is angled at 30 degrees (the optimum L-R speaker angle), which helps to equalize the early reflections of all three front speakers. The flat surfaces between the \"Rack Pods\" are perfect for mounting half-rack scopes and other smaller pieces of gear. The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>36 total ru in the upper desk bays</li><li>18 total ru in the lower front bays</li><li>18 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan C console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11193,85,0,1866,'Sterling Modular Plan C Workstation'),(11194,85,1,1866,'Sterling Modular Plan C Workstation'),(11195,76,0,1866,''),(11196,76,1,1866,''),(11197,75,0,1867,'<h2>Sterling Modular Plan D Workstation</h2>\n<div><div>Created for audio production environments that utilize small format consoles like the Avid (Digidesign) Command 8, Mackie Onyx / Pro FX12, and the many other desktop control surfaces. It is designed with a low rear shelf for the monitors, which reduces the acoustical profile of the overall console and allows the center speaker to fire with less obstruction. Enough space for two 21\" monitors. The bottom of the center section is open to provide more leg room. The same design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan D console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11198,75,1,1867,'<h2>Sterling Modular Plan D Workstation</h2>\n<div><div>Created for audio production environments that utilize small format consoles like the Avid (Digidesign) Command 8, Mackie Onyx / Pro FX12, and the many other desktop control surfaces. It is designed with a low rear shelf for the monitors, which reduces the acoustical profile of the overall console and allows the center speaker to fire with less obstruction. Enough space for two 21\" monitors. The bottom of the center section is open to provide more leg room. The same design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan D console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11199,85,0,1867,'Sterling Modular Plan D Workstation'),(11200,85,1,1867,'Sterling Modular Plan D Workstation'),(11201,76,0,1867,''),(11202,76,1,1867,''),(11203,75,0,1868,'<h2>Sterling Modular Plan E Workstation</h2>\n<div><div>The Plan E is similar in shape and size to the Plan D but features an additional 8 ru center rack. Originally designed as a mastering console, the Plan E has found its way into the audio mixing environment with the introduction of DAWs and rack mountable faders like the Tonelux \"F\" rack and the Avid Artist series (utilizing our optional Artist Series rack trays).</div><div><br /></div><div>As with the Plan D, there is a low shelf that allows the monitors to be lowered out of the sound field. The bottom of the center section is open to allow for more leg room. The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>32 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan E console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11204,75,1,1868,'<h2>Sterling Modular Plan E Workstation</h2>\n<div><div>The Plan E is similar in shape and size to the Plan D but features an additional 8 ru center rack. Originally designed as a mastering console, the Plan E has found its way into the audio mixing environment with the introduction of DAWs and rack mountable faders like the Tonelux \"F\" rack and the Avid Artist series (utilizing our optional Artist Series rack trays).</div><div><br /></div><div>As with the Plan D, there is a low shelf that allows the monitors to be lowered out of the sound field. The bottom of the center section is open to allow for more leg room. The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>32 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan E console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11205,85,0,1868,'Sterling Modular Plan E Workstation'),(11206,85,1,1868,'Sterling Modular Plan E Workstation'),(11207,76,0,1868,''),(11208,76,1,1868,''),(11209,75,0,1869,'<h2>Sterling Modular Plan F Workstation</h2>\n<div><div>Designed for \"multi function\" studios that utilize the room for audio tracking, editing and mastering, the Plan F is large enough to load up with plenty of gear, a small format audio control surface and still have plenty of space for notes and remotes.</div><div><br /></div><div>The Plan F is available in five standard configurations. The 8 ru middle rack can be located to the right, left, or center, can be eliminated for maximum desk area (+$200 must be specified when ordering), or a second 8 ru middle rack can be added (+$400 must be specified when ordering). There is a lower-rear monitor shelf that helps drop the monitors out of the sound field. There is enough space for two 30\" monitors to be placed side by side. The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the right and left upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li><li>8 ru in the center bay (16 ru in dual center bay)</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan F console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11210,75,1,1869,'<h2>Sterling Modular Plan F Workstation</h2>\n<div><div>Designed for \"multi function\" studios that utilize the room for audio tracking, editing and mastering, the Plan F is large enough to load up with plenty of gear, a small format audio control surface and still have plenty of space for notes and remotes.</div><div><br /></div><div>The Plan F is available in five standard configurations. The 8 ru middle rack can be located to the right, left, or center, can be eliminated for maximum desk area (+$200 must be specified when ordering), or a second 8 ru middle rack can be added (+$400 must be specified when ordering). There is a lower-rear monitor shelf that helps drop the monitors out of the sound field. There is enough space for two 30\" monitors to be placed side by side. The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the right and left upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li><li>8 ru in the center bay (16 ru in dual center bay)</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan F console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11211,85,0,1869,'Sterling Modular Plan F Workstation'),(11212,85,1,1869,'Sterling Modular Plan F Workstation'),(11213,76,0,1869,''),(11214,76,1,1869,''),(11215,75,0,1870,'<h2>Sterling Modular Plan Uno Workstation</h2>\nThe Plan Uno is a small footprint workstation that can be used when space is at a premium and gear requirements are minimal.\n	The \"Uno\" is also useful as a side car to a larger console, or as an \"all encompassing\" DAW workstation with plenty of room for gear, power amps, LCD arms or speaker platforms. As with the entire Plan Series line, it is fully modular and can easily be expanded as your studio needs change.\n<br /><br />\nThere are many accessories and options available to help you personalize your Plan Uno console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n\n<h3>Studio Furniture and Acoustics</h3>\n\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11216,75,1,1870,'<h2>Sterling Modular Plan Uno Workstation</h2>\nThe Plan Uno is a small footprint workstation that can be used when space is at a premium and gear requirements are minimal.\n	The \"Uno\" is also useful as a side car to a larger console, or as an \"all encompassing\" DAW workstation with plenty of room for gear, power amps, LCD arms or speaker platforms. As with the entire Plan Series line, it is fully modular and can easily be expanded as your studio needs change.\n<br /><br />\nThere are many accessories and options available to help you personalize your Plan Uno console. <br /><br /><b>Please Call or Live Chat with an RSPE representative so we can help personalize a workstation to fit your needs.</b><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n\n<h3>Studio Furniture and Acoustics</h3>\n\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.'),(11217,85,0,1870,'Sterling Modular Plan Uno Workstation'),(11218,85,1,1870,'Sterling Modular Plan Uno Workstation'),(11219,76,0,1870,''),(11220,76,1,1870,''),(11221,75,0,1871,'<h2>Sterling Modular Plan B Workstation Desk for Avid S6 - 3 Bay</h2>\n<div><div>The Plan B Workstation customized to fit a 16 fader Avid S6 M10 or 5 knob M40 Control Surface. Seamlessly fit any 3 Bay S6 configuration into your studio, with enough rack space to fit everything you need. Buy it complete from the start or expand your Plan B as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan B console. <br /><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.<br /><br /><b>Sterling Modular\'s Plan B enhances the ergonomic design of the Avid S6 to create the perfect work environment. For more information, call or chat with an RSPE Representative today.</b>'),(11222,75,1,1871,'<h2>Sterling Modular Plan B Workstation Desk for Avid S6 - 3 Bay</h2>\n<div><div>The Plan B Workstation customized to fit a 16 fader Avid S6 M10 or 5 knob M40 Control Surface. Seamlessly fit any 3 Bay S6 configuration into your studio, with enough rack space to fit everything you need. Buy it complete from the start or expand your Plan B as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan B console. <br /><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.<br /><br /><b>Sterling Modular\'s Plan B enhances the ergonomic design of the Avid S6 to create the perfect work environment. For more information, call or chat with an RSPE Representative today.</b>'),(11223,85,0,1871,'Sterling Modular Plan B Workstation for Avid S6 - 3 Bay'),(11224,85,1,1871,'Sterling Modular Plan B Workstation for Avid S6 - 3 Bay'),(11225,76,0,1871,''),(11226,76,1,1871,''),(11227,75,0,1872,'<h2>Sterling Modular Plan D Workstation Desk for Avid S6 - 3 Bay</h2>\n<div><div>The Plan D Workstation customized to fit a 16 fader Avid S6 M10 or 5 knob M40 Control Surface. Seamlessly fit any 3 Bay S6 configuration into your studio, with enough rack space to fit everything you need. Buy it complete from the start or expand your Plan D as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan D console. <br /><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.<br /><br /><b>Sterling Modular\'s Plan D enhances the ergonomic design of the Avid S6 to create the perfect work environment. For more information, call or chat with an RSPE Representative today.</b>'),(11228,75,1,1872,'<h2>Sterling Modular Plan D Workstation Desk for Avid S6 - 3 Bay</h2>\n<div><div>The Plan D Workstation customized to fit a 16 fader Avid S6 M10 or 5 knob M40 Control Surface. Seamlessly fit any 3 Bay S6 configuration into your studio, with enough rack space to fit everything you need. Buy it complete from the start or expand your Plan D as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan D console. <br /><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.<br /><br /><b>Sterling Modular\'s Plan D enhances the ergonomic design of the Avid S6 to create the perfect work environment. For more information, call or chat with an RSPE Representative today.</b>'),(11229,85,0,1872,'Sterling Modular Plan D Workstation for Avid S6 - 3 Bay'),(11230,85,1,1872,'Sterling Modular Plan D Workstation for Avid S6 - 3 Bay'),(11231,76,0,1872,''),(11232,76,1,1872,''),(11233,75,0,1873,'<h2>Sterling Modular Plan D Workstation Desk for Avid S6 - 5 Bay</h2>\n<div><div>The Plan D Workstation customized to fit a 32 fader, 9 knob Avid S6 M40 Control Surface. Seamlessly fit any 5 Bay S6 configuration into your studio, with enough rack space to fit everything you need. Buy it complete from the start or expand your Plan D as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan D console. <br /><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.<br /><br /><b>Sterling Modular\'s Plan D enhances the ergonomic design of the Avid S6 to create the perfect work environment. For more information, call or chat with an RSPE Representative today.</b>'),(11234,75,1,1873,'<h2>Sterling Modular Plan D Workstation Desk for Avid S6 - 5 Bay</h2>\n<div><div>The Plan D Workstation customized to fit a 32 fader, 9 knob Avid S6 M40 Control Surface. Seamlessly fit any 5 Bay S6 configuration into your studio, with enough rack space to fit everything you need. Buy it complete from the start or expand your Plan D as your needs expand. The modular structure of the Plan Series design allows you to expand, down-size or customize your rig without purchasing an entirely new console.</div><div>The design features that reduce the acoustical footprint are present on this and all of our Plan Series consoles and Mixer Conversions.</div><ul><li>24 total ru in the upper desk bays</li><li>12 total ru in the lower front bays</li><li>12 total ru in the lower rear bays</li></ul></div><ul><ul>\n</ul>\n</ul>\n<br />\nThere are many accessories and options available to help you personalize your Plan D console. <br /><br /><br />\n<h3>Plan Series — Redefined</h3>\nSterling Modular have redesigned, improved and upgraded every aspect of their flagship line of mastering/production consoles. The unequaled attention to superior acoustical and ergonomic construction performance remains intact. They have also expanded and improved their line of accessories, which now includes an exclusive 1/2 ru rack rail to improve thermal venting without sacrificing huge amounts of rack space (now standard in all of their products).\n<br /><br />\n<em>The Plan Series - Still the most intelligent, game changing consoles in the industry.<br /><br /></em>\n<h3>Studio Furniture and Acoustics</h3>\n<strong>\"Open Architecture\" Skeleton Design</strong><br />\nOne of the goals of an effective console design is to prevent the build-up of sound waves within the console. Box structures with parallel reflective surfaces and randomly placed holes can have a devastating acoustical effect. The result could be an unintended bass trap, resonator or reflector.\n<br /><br />\nEliminating cabinet surface and creating large openings allow the sound to freely pass through the console, virtually eliminating the \"bass trap\" and \"resonator\" effect. Also eliminated are the early reflections from the base structure. As an added bonus, this design also increases the amount of thermal venting which will extend the operating life of your expensive electronics.<br /><br />\n<strong>Low Profile Design</strong><br />\nIt is critical that the console presents a low physical presence in the room to avoid obstruction and distortion of the speaker sound path. The basic idea is to keep the furniture (and display monitoring components) as low as possible, so they affect the critical listening field as little as possible.\n<br /><br />\n<strong>Angular Design</strong><br />\nUnavoidable early reflections from the speaker sound path need to be deflected away from the critical listening position (sweet spot). Although it is nearly impossible to eliminate all early reflection, it is vital that a serious and informed attempt is made to reduce the noise as much as possible. The energy that leaves the speaker should only reach the ear of the mixer/engineer one time before it is diffused or absorbed by the architecture and treatment of the room. The console must be designed to direct the sound toward the room surfaces and away from the mixer.\n<br /><br />\nThe finish surfaces that cover a majority of the \"pass through openings\" are treated with fabric instead of the perforated metal that is used in our competitors\' furniture (if they provide venting). The fabric components eliminate the 50% of solid surface that makes up most perforated metal and eliminates any metal ping or rattle that can occur in a poorly applied metal surface.<br /><br />\n<strong>Wood Components vs. MDF</strong><br />\nSterling Modular use MDF for 90% of the solid components in their furniture. Why? Because wood components (hardwood and plywood) can resonate and color the sound. Great in a recording space, NOT so great in a mix or mastering environment. It is the reason that most speaker manufacturers use MDF instead of wood. The acoustical properties of MDF are better suited in applications where consistency and reduced resonance are of great importance. MDF is also stronger than plywood. When proper adhesives and/or superior assembly methods are used, MDF provides a stronger and more durable product.<br /><br /><b>Sterling Modular\'s Plan D enhances the ergonomic design of the Avid S6 to create the perfect work environment. For more information, call or chat with an RSPE Representative today.</b>'),(11235,85,0,1873,'Sterling Modular Plan D Workstation for Avid S6 - 3 Bay'),(11236,85,1,1873,'Sterling Modular Plan D Workstation for Avid S6 - 3 Bay'),(11237,76,0,1873,''),(11238,76,1,1873,''),(11239,75,0,1874,'<h2>Steinberg Nuendo SyncStation</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">A benchmark-setting hardware sync solution with Full Nuendo Integration, engineered for postproduction, music mixing and broadcast dubbing </span><br /><br />\n\n\nDesigned by film and broadcast industry legend Colin Broad, Nuendo SyncStation offers sample-accurate sync for video tape recorders, analog tape machines, house sync generators, and most importantly, between different DAWs—a handy thing to have when working with multiple DAWs in a system such as <a href=\"http://www.rspeaudio.com/Yamaha_Nuage_a/317.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Yamaha\'s Nuage</a> control surface/mixer. Designed for, but not limited to use with Steinberg\'s Nuendo software, Nuendo SyncStation supports an exhaustive list of standards and protocols. Rock-solid performance and true sample accuracy make the Nuendo SyncStation a one-of-its-kind synchronization solution.<br /><br />\n\n\n<h3>Nuendo SyncStation unique features:</h3>\n<ul>\n<li>All important synchronization tasks available in one unit</li>\n<li>The world’s first sample-accurate synchronizer in conjunction with VST System Link</li>\n<li>Extremely accurate sync using traditionally less accurate standards, such as MTC</li>\n<li>Designed and built by industry legend, Colin Broad</li>\n</ul><br />\n\n<h3>Nuendo SyncStation key features:</h3>\n<ul>\n<li>Dedicated to Nuendo with a deep integration that ends up in an outstanding operation from within Nuendo</li>\n<li>Works with all DAWs (with some limitation), not just with Nuendo, even standalone operation is possible</li>\n<li>Cross-platform support for Nuendo SyncStation together with Nuendo on Mac OS X, Windows 7, Windows Vista and Windows XP</li>\n</ul><br />\n\n<h3>Steinberg Nuendo SyncStation features in depth</h3>\n\nDesigned for, but not limited to operation with Steinberg\'s Nuendo Advanced Audio Production System, Nuendo SyncStation supports an exhaustive list of standards and protocols, including MTC; LTC; MMC; Sony 9-pin RS422; WordClock; VITC; Tri-level, Black Burst, and Varispeed operation, over a huge array of Pull-up/Pull-down settings. Neundo SyncStation also provides sample-accurate VST System Link via digital connections. Unlike any other sync solution, Nuendo SyncStation can provide extremely accurate sync using traditionally less-accurate standards, such as MTC, by referencing audio with sample-accuracy to each video frame.<br /><br />\n\n<h3>VST System Link Integration</h3>\nSteinberg’s VST System Link protocol allows SyncStation and your audio system to exchange positioning information on a sample basis. The connections for VST System Link communication can be made via digital formats including, AES/EBU, as well as coaxial and optical S/PDIF.<br /><br />\n\n<h3>SyncStation—the bridge between old and new technologies </h3>\nSample-accurate synchronization between devices is essential, especially in current digital music and postproduction environments. And quite often, modern technology has to talk to older technologies. However, the results of those “conversations” have to be up to modern standards. Simple MTC and LTC (without additional word clock connection) are incapable of truly accurate sync. In fact, MTC can vary up to several milliseconds, but Nuendo SyncStation can align an audio sample with the leading edge of a video frame reference, thus integrating timecode, word clock, and video frame reference, so that accurate sync can be maintained between multiple audio devices. Plus, special situations, such as pull down in film postproduction, are made seamless when SyncStation handles video sync, timecode, and word clock.\n<ul>\n<li>Master/slave machine control is provided via two dedicated RS422 ports (In/Out) utilizing the Sony 9-pin protocol</li>\n<li>Master/slave machine control with two dedicated MIDI ports utilizing the MMC standard</li>\n<li>All timecode functionalities can be used in addition to machine control operation</li>\n</ul><br />\n<h3>Tape Machines—audio and video</h3>\nTape machines have special requirements when being synchronized to digital audio systems. To begin with, most analog tape transports and VTRs cannot be locked to the sample clock in order to maintain speed. Secondly, since mechanical tape machines cannot locate instantly to a given point, they require commands to be sent that will shuttle the tape to the desired position (i.e. FF, REW). <br /><br />\n\nUsing both MIDI Machine Control (MMC) and Sony 9-pin RS422 protocol, Nuendo SyncStation slaves Nuendo software to audio and videotape machines. This allows for easy locating of an entire system to a specific time code location. Plus, machine control can be used to arm tracks for recording and automating audio playback to VTRs using Nuendo’s punch features. <br /><br />\n\n<h3>LTC (Longitudinal Time Code)</h3>\nNuendo SyncStation can read analog timecode (LTC) that has been recorded on a tape machine and use that to synchronize Nuendo as a slave to the tape transport to set position, speed, and phase. Nuendo SyncStation can also generate LTC.\n\n<h3>GPIO (General Purpose In/Out)</h3>\nNuendo SyncStation’s GPIO interface allows control of external items, such as video streamers, record, “on-air” signals, lock indicator, and others. Also, it allows external switches to enter record or activate the online status of Nuendo SyncStation. Also, incoming GPI commands can be used to control specific functions in Nuendo. GPI input and output connects to external devices via DB-25 connector.<br /><br />\n\n<h3>About Colin Broad</h3>\n“For years, the film and broadcast community have relied on Colin Broad\'s expertise to solve a range of problems in the area of machine and system control. In fact, you would have to search hard to find a UK film dubbing theatre without at least one of his products, known to all and sundry as \'Broad Boxes\'. They are also a common sight in dubbing theatres across the world. Because big film dubbing theatre requirements are so complex most of the previous products have tended to involve a degree of customization to suit individual requirements.\" <br /><br />\n\n“In 1994 Colin Broad received an Academy of Motion Picture Arts and Sciences Technical Achievement Award in the category of Sound for the design and development of EDL (Edit Decision Lister) which creates encoded timecode track and database during the initial transfer of the production sound ‘dailies’”<br /><br />\n\n— Rob James, Studio Sound magazine<br /><br />\n\n\n<h3>Who is Neundo SyncStation for?</h3>\n\n<h3>SyncStation for DAW users</h3>\nWith Nuendo SyncStation, DAW users can interconnect and synchronize external audio/video systems and devices with the DAW of their choice. With Nuendo audio and post-production system, you’re able to easily control all the synchronizer’s functions from within Nuendo.<br /><br />\n\n<h3>SyncStation for producers of video post </h3>\nFor movie postproduction tasks such as audio editing, Foley, voice recording, multi-channel mixing, and DVD authoring, Nuendo SyncStation’s vast I/O capabilities not only interconnect and sync multiple DAWs and peripherals, but also allow for machine control of the Nuendo system from mixing consoles.<br /><br />\n\n<h3>SyncStation for music producers and mixers</h3>\nNuendo SyncStation supports Steinberg’s VST System Link, which allows you to seamlessly interconnect Nuendo with a Cubase system running VST instruments and external MIDI devices for editing and mixing. In addition, Nuendo SyncStation provides the master clock source for all your studio’s audio gear.<br /><br />\n\n<h3>SyncStation for broadcast dubbing editors</h3>\nSound dubbing for broadcast requires a flexible solution; Nuendo SyncStation is capable of synchronizing multiple Nuendo and other DAWs to handle audio playback and surround mixing, along with machine control and track arming for dubbers. In this scenario, Nuendo SyncStation is the Virtual Master, generating timecode for all devices.<br /><br />\n\n<h3>Why Nuendo SyncStation?</h3>\nWhether you’re working in multiple DAWs or just Nuendo and need sample-accurate synchronization with external equipment of various ages and types, Nuendo SyncStation can tie it all together for you in one single-rackspace unit.<br /><br />\n\n<h3>Nuendo SyncStation and Yamaha Nuage—a total studio environment</h3>\nYamaha Nuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Supercharge your Nuage-based postproduction facility with Steinberg’s Nuendo SyncStation. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(11240,75,1,1874,'<h2>Steinberg Nuendo SyncStation</h2>\n\n<span style=\"font-size:16px; font-style:italic;\">A benchmark-setting hardware sync solution with Full Nuendo Integration, engineered for postproduction, music mixing and broadcast dubbing </span><br /><br />\n\n\nDesigned by film and broadcast industry legend Colin Broad, Nuendo SyncStation offers sample-accurate sync for video tape recorders, analog tape machines, house sync generators, and most importantly, between different DAWs—a handy thing to have when working with multiple DAWs in a system such as <a href=\"http://www.rspeaudio.com/Yamaha_Nuage_a/317.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Yamaha\'s Nuage</a> control surface/mixer. Designed for, but not limited to use with Steinberg\'s Nuendo software, Nuendo SyncStation supports an exhaustive list of standards and protocols. Rock-solid performance and true sample accuracy make the Nuendo SyncStation a one-of-its-kind synchronization solution.<br /><br />\n\n\n<h3>Nuendo SyncStation unique features:</h3>\n<ul>\n<li>All important synchronization tasks available in one unit</li>\n<li>The world’s first sample-accurate synchronizer in conjunction with VST System Link</li>\n<li>Extremely accurate sync using traditionally less accurate standards, such as MTC</li>\n<li>Designed and built by industry legend, Colin Broad</li>\n</ul><br />\n\n<h3>Nuendo SyncStation key features:</h3>\n<ul>\n<li>Dedicated to Nuendo with a deep integration that ends up in an outstanding operation from within Nuendo</li>\n<li>Works with all DAWs (with some limitation), not just with Nuendo, even standalone operation is possible</li>\n<li>Cross-platform support for Nuendo SyncStation together with Nuendo on Mac OS X, Windows 7, Windows Vista and Windows XP</li>\n</ul><br />\n\n<h3>Steinberg Nuendo SyncStation features in depth</h3>\n\nDesigned for, but not limited to operation with Steinberg\'s Nuendo Advanced Audio Production System, Nuendo SyncStation supports an exhaustive list of standards and protocols, including MTC; LTC; MMC; Sony 9-pin RS422; WordClock; VITC; Tri-level, Black Burst, and Varispeed operation, over a huge array of Pull-up/Pull-down settings. Neundo SyncStation also provides sample-accurate VST System Link via digital connections. Unlike any other sync solution, Nuendo SyncStation can provide extremely accurate sync using traditionally less-accurate standards, such as MTC, by referencing audio with sample-accuracy to each video frame.<br /><br />\n\n<h3>VST System Link Integration</h3>\nSteinberg’s VST System Link protocol allows SyncStation and your audio system to exchange positioning information on a sample basis. The connections for VST System Link communication can be made via digital formats including, AES/EBU, as well as coaxial and optical S/PDIF.<br /><br />\n\n<h3>SyncStation—the bridge between old and new technologies </h3>\nSample-accurate synchronization between devices is essential, especially in current digital music and postproduction environments. And quite often, modern technology has to talk to older technologies. However, the results of those “conversations” have to be up to modern standards. Simple MTC and LTC (without additional word clock connection) are incapable of truly accurate sync. In fact, MTC can vary up to several milliseconds, but Nuendo SyncStation can align an audio sample with the leading edge of a video frame reference, thus integrating timecode, word clock, and video frame reference, so that accurate sync can be maintained between multiple audio devices. Plus, special situations, such as pull down in film postproduction, are made seamless when SyncStation handles video sync, timecode, and word clock.\n<ul>\n<li>Master/slave machine control is provided via two dedicated RS422 ports (In/Out) utilizing the Sony 9-pin protocol</li>\n<li>Master/slave machine control with two dedicated MIDI ports utilizing the MMC standard</li>\n<li>All timecode functionalities can be used in addition to machine control operation</li>\n</ul><br />\n<h3>Tape Machines—audio and video</h3>\nTape machines have special requirements when being synchronized to digital audio systems. To begin with, most analog tape transports and VTRs cannot be locked to the sample clock in order to maintain speed. Secondly, since mechanical tape machines cannot locate instantly to a given point, they require commands to be sent that will shuttle the tape to the desired position (i.e. FF, REW). <br /><br />\n\nUsing both MIDI Machine Control (MMC) and Sony 9-pin RS422 protocol, Nuendo SyncStation slaves Nuendo software to audio and videotape machines. This allows for easy locating of an entire system to a specific time code location. Plus, machine control can be used to arm tracks for recording and automating audio playback to VTRs using Nuendo’s punch features. <br /><br />\n\n<h3>LTC (Longitudinal Time Code)</h3>\nNuendo SyncStation can read analog timecode (LTC) that has been recorded on a tape machine and use that to synchronize Nuendo as a slave to the tape transport to set position, speed, and phase. Nuendo SyncStation can also generate LTC.\n\n<h3>GPIO (General Purpose In/Out)</h3>\nNuendo SyncStation’s GPIO interface allows control of external items, such as video streamers, record, “on-air” signals, lock indicator, and others. Also, it allows external switches to enter record or activate the online status of Nuendo SyncStation. Also, incoming GPI commands can be used to control specific functions in Nuendo. GPI input and output connects to external devices via DB-25 connector.<br /><br />\n\n<h3>About Colin Broad</h3>\n“For years, the film and broadcast community have relied on Colin Broad\'s expertise to solve a range of problems in the area of machine and system control. In fact, you would have to search hard to find a UK film dubbing theatre without at least one of his products, known to all and sundry as \'Broad Boxes\'. They are also a common sight in dubbing theatres across the world. Because big film dubbing theatre requirements are so complex most of the previous products have tended to involve a degree of customization to suit individual requirements.\" <br /><br />\n\n“In 1994 Colin Broad received an Academy of Motion Picture Arts and Sciences Technical Achievement Award in the category of Sound for the design and development of EDL (Edit Decision Lister) which creates encoded timecode track and database during the initial transfer of the production sound ‘dailies’”<br /><br />\n\n— Rob James, Studio Sound magazine<br /><br />\n\n\n<h3>Who is Neundo SyncStation for?</h3>\n\n<h3>SyncStation for DAW users</h3>\nWith Nuendo SyncStation, DAW users can interconnect and synchronize external audio/video systems and devices with the DAW of their choice. With Nuendo audio and post-production system, you’re able to easily control all the synchronizer’s functions from within Nuendo.<br /><br />\n\n<h3>SyncStation for producers of video post </h3>\nFor movie postproduction tasks such as audio editing, Foley, voice recording, multi-channel mixing, and DVD authoring, Nuendo SyncStation’s vast I/O capabilities not only interconnect and sync multiple DAWs and peripherals, but also allow for machine control of the Nuendo system from mixing consoles.<br /><br />\n\n<h3>SyncStation for music producers and mixers</h3>\nNuendo SyncStation supports Steinberg’s VST System Link, which allows you to seamlessly interconnect Nuendo with a Cubase system running VST instruments and external MIDI devices for editing and mixing. In addition, Nuendo SyncStation provides the master clock source for all your studio’s audio gear.<br /><br />\n\n<h3>SyncStation for broadcast dubbing editors</h3>\nSound dubbing for broadcast requires a flexible solution; Nuendo SyncStation is capable of synchronizing multiple Nuendo and other DAWs to handle audio playback and surround mixing, along with machine control and track arming for dubbers. In this scenario, Nuendo SyncStation is the Virtual Master, generating timecode for all devices.<br /><br />\n\n<h3>Why Nuendo SyncStation?</h3>\nWhether you’re working in multiple DAWs or just Nuendo and need sample-accurate synchronization with external equipment of various ages and types, Nuendo SyncStation can tie it all together for you in one single-rackspace unit.<br /><br />\n\n<h3>Nuendo SyncStation and Yamaha Nuage—a total studio environment</h3>\nYamaha Nuage is a complete system comprising the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Fader-p/ymh-nuage-fdr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Fader controller</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Master-p/ymh-nuage-mstr.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nuage Master section</a>; <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-Dante-Accelerator-Card-p/ymh-nuage-dante.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Dante network card</a>; a choice of three audio interfaces, including the <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Digital-16-p/ymh-nuage-io-d16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-D16</a>, <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-16-p/ymh-nuage-io-a16.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A16</a>, and <a href=\"http://www.rspeaudio.com/Yamaha-Nuage-I-O-Analog-8-Digital-8-p/ymh-nuage-io-8x8.htm\" target=\"_blank\" style=\"color:#000099; font-weight:bold; text-decoration:underline;\">Nio500-A8D8</a>; SyncStation; and Nuendo 6 software. If desired, Nuage Master and Fader controllers can be used individually. The largest Nuage system can have three Fader sections and one Master for a total of forty-eight physical faders. <br /><br />\n\n<h3>Supercharge your Nuage-based postproduction facility with Steinberg’s Nuendo SyncStation. Call or chat online with an RSPE representative to configure your perfect Nuage system. </h3>'),(11241,85,0,1874,'Steinberg Nuendo Syncstation for Yamaha Nuage'),(11242,85,1,1874,'Steinberg Nuendo Syncstation for Yamaha Nuage'),(11243,76,0,1874,''),(11244,76,1,1874,''),(11245,75,0,1875,'<h2>Studio Projects SPM5 500-Series Preamplifier and DI</h2>\n<span style=\"font-size:16px; font-style:italic;\">A unique preamp for API 500 format designed by the man who owned API and Tonelux; Paul Wolff </span><br /><br />\nDesigned by Paul Wolff, known to the industry as the man who rescued API from Datatronix and founder of Tonelux, the 500-series Studio Projects SPM5 is a unique, high-quality mic/DI preamp. Like all things that come “from the mind of Paul Wolff,” the SPM5 has something special; a feature called “Radiance,” which provides clarity and presence to your sound source without boosting overall output levels. The SPM5 provides clean, low-noise gain up to 60dB, and if you’re testing mics on the fly, the SPM5 also has a convenient front-panel combo jack that lets you plug in a mic or instrument directly. With Studio Projects’ very affordable 500-series SPM5 you can fill your power rack with preamps from the man who designed some of API’s greatest modern hits and the entire stellar line of Tonelux—in fact, there’s no reason not have at least two SPM5 preamps.      <br /><br />\n<h3>Studio Projects SPM5 500-Series Preamp/DI unique features:</h3>\n<ul>\n	<li>Radiance control adds 2nd-order harmonics for clarity and presence without volume boost</li>\n</ul>\n<br />\n<h3>Studio Projects SPM5 500-Series Preamplifier key features:</h3>\n<ul>\n	<li>70dB total gain; 3dB - 60dB input; 10dB output      </li>\n	<li>LED meter can read pre or output gain via PCB jumper</li>\n	<li>Impedance switch                                    </li>\n	<li>70Hz high-pass (bass cut) filter                    </li>\n	<li>Front-panel XLR/1/4\" combo jack                     </li>\n	<li>48V phantom power                                   </li>\n	<li>Polarity reverse                                    </li>\n	<li>Mic/Line input switch                               </li>\n	<li>500-series format                                   </li>\n</ul><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Studio Projects SPM5 500-Series Preamp/DI</h3>\nThe Studio Projects SPM5 preamp/DI has discrete input circuitry and a transformer-balanced output (the same TX-100 custom transformer found in the Tonelux MP5A preamp). Plus, the SPM5 also has an impedance switch, which can come in very handy with ribbon and dynamic microphones. Along with the usual suspects found on a preamp, the SPM5 features a unique Radiance control, which is an adjustable high-frequency control that adds, 2nd-order harmonics to you signal without raising overall output levels. The Radiance control is very handy for adding clarity and presence without the harshness or phase shift that can come with boosting high-frequency EQ. \n<br /><br />\nThe SPM5 front panel features a combo jack that can be used with either an XLR or ¼\" cable and a switch for mic or instrument use. This is also a very handy feature if you’re swapping or testing mics to find the right one for the job at hand. <br /><br />\nStudio Projects also paid special attention to the SPM5’s gain control. While the gain control of many preamps is uneven, often with the last 40dB to 60dB of the range being crammed into the last 1/16th of a turn, the SPM5 uses a specially designed control circuitry that ensures smooth operation over the entire range of rotation, with extra sensitivity in the critical 25dB to 45dB range.  <br /><br />\nThe SPM5’s polarity switch can correct for the wiring of older, non-AES equipment, change the character of the sound from guitar mics, and when using two mics for M-S stereo recording, invert the phase of one of them.<br /><br />\nThe SPM5’s high-pass filter helps to remove stage rumble, handling noise, and low-frequency resonances. The cut frequencies are continuously variable from 25Hz to 200Hz. The HPF “on” switch lets you make comparisons between filtered and unfiltered sound. <br /><br />\nAll preamplifiers exhibit some noise due to the electronics they require, which is not a problem as long as the noise is low compared to the sound source. The SPM5’s electronics are extremely quiet, such that any noise you may perceive is almost entirely due to the source impedance of the microphone.<br /><br />\n<h3>OUTSIDE THE BOX — Studio Projects SPM5 500-Series Preamp/DI</h3>\nThe Studio Projects SPM5 has the following controls and functions:\n<br /><br />\n<strong>Gain:</strong> This is where it all happens. Use this control to set the appropriate gain for your source, be it mic or instrument. Use the LED meter and your ears to adjust the amount of gain desired.<br /><br />\n<strong>LED Meter:</strong> A jumper setting on the PCB determines pre or output gain. <br /><br />\n<strong>Output:</strong> This as akin to a fader on a console. Once you have your preamp gain properly set, use this control to determine the overall output level of the SPM5.<br /><br />\n<strong>70Hz:</strong> High-pass, or bass-cut filter. Use this to roll off extraneous low frequencies.<br /><br />\n<strong>POL:</strong> This switch reverses the polarity of the microphone signal. It can correct for older, non-AES equipment; change the character of the sound from guitar mics; and switch polarity of one mic when using two mic for Mid-Side stereo recording.<br /><br />\n<strong>IMP:</strong> This switch determines the input impedance your mic sees and is included on the SPM5 to handle ribbon mics. Leave it disengaged for condensers. (Try it on ribbons and dynamic mics.) <br /><br />\n<strong>Radiance:</strong> This control adds a layer of high frequency, 2nd-order harmonic distortion to the pre, allowing you to add a shimmering “satin” high end. Use Radiance to add clarity and presence without boosting the overall recording level. <br /><br />\n<strong>48V:</strong> Supplies phantom power for the circuitry of an active mic, such as a condenser. <br /><br />\n<strong>INST:</strong> Engage this switch if you are plugging in a line-level signal or instrument, such as guitar or bass into the SPM5<br /><br />\n<strong>MIC/INST:</strong> A combo jack that can be used with XLR or ¼\" cable as needed  <br /><br /><br /><br />\n<h3>About SPM5 designer, Paul Wolff </h3>\nPaul Wolff has been designing professional audio equipment since 1975. His designs span from console designs to small custom products of all sorts. He has owned several manufacturing companies. Periods between company ownership were spent working with the new owners of each company.  Currently, Paul is designing audio and mechanical products for several of the top audio companies in the world.  Paul just received a trademark for \"From the Mind of Paul Wolff\", which he uses on all his designs.\n<br /><br />\nAPI was a multi-million dollar company that made recording consoles and was at the forefront of recording and broadcasting. The company went out of business in 1978 and was taken over by Datatronix. Wolff purchased the assets after leaving the company in 1985. During the years that followed, Mr. Wolff introduced the first of many new API products: the 5502 rackmount EQ, the 550B EQ, the 3124 preamp, and the 512b mic pre.<br /><br />\nSeeing a major shift in the recording industry, Mr. Wolff left the company in 2004 and formed Tonelux Designs Limited. The concept of the Tonelux product line was geared towards the “new studio model”, where so much more of the production work is being done in the Workstation, and the requirement for a large frame console is not as necessary as it had been in the past.  Wolff also came up with the ShadowMix automation system that followed the HUI control protocol and ran motorized faders with the audio passing through them.<br /><br />\nThe company did very well for the next 4 years and was sold to the PMI AUDIO GROUP in Gardena, CA. Mr. Wolff stays on to continue the development of the Tonelux product line.<br /><br />\n<h3>About Studio Projects</h3>\nBased in Gardena, California, Studio Projects is a line of microphones and electronics started in 1999 by Alan Hyatt of PMI Audio Group. Studio Projects’ line of award winning microphones, preamps, and signal processing equipment is a result of a partnership between PMI Audio and Beijing 797 Audio Co. LTD, a manufacturer of condenser microphones and professional audio products since 1952.\n<br /><br />\nWithin the line, there is a broad and evolving range of tools designed to provide the engineer and recordist with a level of sonic quality and durability. Studio Projects continues to prove that innovative designs and years of experience produce quality products that fit well in all professional and home applications.  Studio Projects microphones are designed by engineer Brent Casey.<br /><br />\n<h3>With the respectable pedigree of its designer, Paul Wolff, and the affordability of Studio Projects, the SPM5 can give you a 500 rack full of preamps that rival the performance of any 500-series preamp at half the price. For more information, call or chat with an RSPE representative today. </h3>\n<br />'),(11246,75,1,1875,'<h2>Studio Projects SPM5 500-Series Preamplifier and DI</h2>\n<span style=\"font-size:16px; font-style:italic;\">A unique preamp for API 500 format designed by the man who owned API and Tonelux; Paul Wolff </span><br /><br />\nDesigned by Paul Wolff, known to the industry as the man who rescued API from Datatronix and founder of Tonelux, the 500-series Studio Projects SPM5 is a unique, high-quality mic/DI preamp. Like all things that come “from the mind of Paul Wolff,” the SPM5 has something special; a feature called “Radiance,” which provides clarity and presence to your sound source without boosting overall output levels. The SPM5 provides clean, low-noise gain up to 60dB, and if you’re testing mics on the fly, the SPM5 also has a convenient front-panel combo jack that lets you plug in a mic or instrument directly. With Studio Projects’ very affordable 500-series SPM5 you can fill your power rack with preamps from the man who designed some of API’s greatest modern hits and the entire stellar line of Tonelux—in fact, there’s no reason not have at least two SPM5 preamps.      <br /><br />\n<h3>Studio Projects SPM5 500-Series Preamp/DI unique features:</h3>\n<ul>\n	<li>Radiance control adds 2nd-order harmonics for clarity and presence without volume boost</li>\n</ul>\n<br />\n<h3>Studio Projects SPM5 500-Series Preamplifier key features:</h3>\n<ul>\n	<li>70dB total gain; 3dB - 60dB input; 10dB output      </li>\n	<li>LED meter can read pre or output gain via PCB jumper</li>\n	<li>Impedance switch                                    </li>\n	<li>70Hz high-pass (bass cut) filter                    </li>\n	<li>Front-panel XLR/1/4\" combo jack                     </li>\n	<li>48V phantom power                                   </li>\n	<li>Polarity reverse                                    </li>\n	<li>Mic/Line input switch                               </li>\n	<li>500-series format                                   </li>\n</ul><br />\n<div>\n	<div>\n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\"><br class=\"Apple-interchange-newline\" />\n		<img src=\"http://www.rspeaudio.com/v/vspfiles/assets/images/rackrevolution-small.png\" alt=\"\" align=\"\" border=\"0px\" /></a>\n	</div>\n	<p>\n		Don’t forget to check out \n		<a href=\"http://rsperackrevolution.com/\" target=\"_blank\" style=\"color: rgb(0, 0, 153); font-weight: bold;\">RSPE’s Rack Revolution</a>, a virtual 500-series rack builder that lets you custom-configure the perfect 500-series lunchbox for your studio, DAW, or mobile recording rig. RSPE carries every 500-series module imaginable, including mic preamps, compressor-limiters, equalizers, and 500 power racks.\n	</p>\n</div>\n<br />\n<h3>INSIDE THE BOX — Studio Projects SPM5 500-Series Preamp/DI</h3>\nThe Studio Projects SPM5 preamp/DI has discrete input circuitry and a transformer-balanced output (the same TX-100 custom transformer found in the Tonelux MP5A preamp). Plus, the SPM5 also has an impedance switch, which can come in very handy with ribbon and dynamic microphones. Along with the usual suspects found on a preamp, the SPM5 features a unique Radiance control, which is an adjustable high-frequency control that adds, 2nd-order harmonics to you signal without raising overall output levels. The Radiance control is very handy for adding clarity and presence without the harshness or phase shift that can come with boosting high-frequency EQ. \n<br /><br />\nThe SPM5 front panel features a combo jack that can be used with either an XLR or ¼\" cable and a switch for mic or instrument use. This is also a very handy feature if you’re swapping or testing mics to find the right one for the job at hand. <br /><br />\nStudio Projects also paid special attention to the SPM5’s gain control. While the gain control of many preamps is uneven, often with the last 40dB to 60dB of the range being crammed into the last 1/16th of a turn, the SPM5 uses a specially designed control circuitry that ensures smooth operation over the entire range of rotation, with extra sensitivity in the critical 25dB to 45dB range.  <br /><br />\nThe SPM5’s polarity switch can correct for the wiring of older, non-AES equipment, change the character of the sound from guitar mics, and when using two mics for M-S stereo recording, invert the phase of one of them.<br /><br />\nThe SPM5’s high-pass filter helps to remove stage rumble, handling noise, and low-frequency resonances. The cut frequencies are continuously variable from 25Hz to 200Hz. The HPF “on” switch lets you make comparisons between filtered and unfiltered sound. <br /><br />\nAll preamplifiers exhibit some noise due to the electronics they require, which is not a problem as long as the noise is low compared to the sound source. The SPM5’s electronics are extremely quiet, such that any noise you may perceive is almost entirely due to the source impedance of the microphone.<br /><br />\n<h3>OUTSIDE THE BOX — Studio Projects SPM5 500-Series Preamp/DI</h3>\nThe Studio Projects SPM5 has the following controls and functions:\n<br /><br />\n<strong>Gain:</strong> This is where it all happens. Use this control to set the appropriate gain for your source, be it mic or instrument. Use the LED meter and your ears to adjust the amount of gain desired.<br /><br />\n<strong>LED Meter:</strong> A jumper setting on the PCB determines pre or output gain. <br /><br />\n<strong>Output:</strong> This as akin to a fader on a console. Once you have your preamp gain properly set, use this control to determine the overall output level of the SPM5.<br /><br />\n<strong>70Hz:</strong> High-pass, or bass-cut filter. Use this to roll off extraneous low frequencies.<br /><br />\n<strong>POL:</strong> This switch reverses the polarity of the microphone signal. It can correct for older, non-AES equipment; change the character of the sound from guitar mics; and switch polarity of one mic when using two mic for Mid-Side stereo recording.<br /><br />\n<strong>IMP:</strong> This switch determines the input impedance your mic sees and is included on the SPM5 to handle ribbon mics. Leave it disengaged for condensers. (Try it on ribbons and dynamic mics.) <br /><br />\n<strong>Radiance:</strong> This control adds a layer of high frequency, 2nd-order harmonic distortion to the pre, allowing you to add a shimmering “satin” high end. Use Radiance to add clarity and presence without boosting the overall recording level. <br /><br />\n<strong>48V:</strong> Supplies phantom power for the circuitry of an active mic, such as a condenser. <br /><br />\n<strong>INST:</strong> Engage this switch if you are plugging in a line-level signal or instrument, such as guitar or bass into the SPM5<br /><br />\n<strong>MIC/INST:</strong> A combo jack that can be used with XLR or ¼\" cable as needed  <br /><br /><br /><br />\n<h3>About SPM5 designer, Paul Wolff </h3>\nPaul Wolff has been designing professional audio equipment since 1975. His designs span from console designs to small custom products of all sorts. He has owned several manufacturing companies. Periods between company ownership were spent working with the new owners of each company.  Currently, Paul is designing audio and mechanical products for several of the top audio companies in the world.  Paul just received a trademark for \"From the Mind of Paul Wolff\", which he uses on all his designs.\n<br /><br />\nAPI was a multi-million dollar company that made recording consoles and was at the forefront of recording and broadcasting. The company went out of business in 1978 and was taken over by Datatronix. Wolff purchased the assets after leaving the company in 1985. During the years that followed, Mr. Wolff introduced the first of many new API products: the 5502 rackmount EQ, the 550B EQ, the 3124 preamp, and the 512b mic pre.<br /><br />\nSeeing a major shift in the recording industry, Mr. Wolff left the company in 2004 and formed Tonelux Designs Limited. The concept of the Tonelux product line was geared towards the “new studio model”, where so much more of the production work is being done in the Workstation, and the requirement for a large frame console is not as necessary as it had been in the past.  Wolff also came up with the ShadowMix automation system that followed the HUI control protocol and ran motorized faders with the audio passing through them.<br /><br />\nThe company did very well for the next 4 years and was sold to the PMI AUDIO GROUP in Gardena, CA. Mr. Wolff stays on to continue the development of the Tonelux product line.<br /><br />\n<h3>About Studio Projects</h3>\nBased in Gardena, California, Studio Projects is a line of microphones and electronics started in 1999 by Alan Hyatt of PMI Audio Group. Studio Projects’ line of award winning microphones, preamps, and signal processing equipment is a result of a partnership between PMI Audio and Beijing 797 Audio Co. LTD, a manufacturer of condenser microphones and professional audio products since 1952.\n<br /><br />\nWithin the line, there is a broad and evolving range of tools designed to provide the engineer and recordist with a level of sonic quality and durability. Studio Projects continues to prove that innovative designs and years of experience produce quality products that fit well in all professional and home applications.  Studio Projects microphones are designed by engineer Brent Casey.<br /><br />\n<h3>With the respectable pedigree of its designer, Paul Wolff, and the affordability of Studio Projects, the SPM5 can give you a 500 rack full of preamps that rival the performance of any 500-series preamp at half the price. For more information, call or chat with an RSPE representative today. </h3>\n<br />'),(11247,85,0,1875,'Studio Projects SPM5 Mic Pre'),(11248,85,1,1875,'Studio Projects SPM5 Mic Pre'),(11249,76,0,1875,''),(11250,76,1,1875,''),(11251,75,0,1876,'<h1>Subwoofer Pros Studio Sub 10 Subwoofer</h1><i>10\" active subwoofer with selectable low-pass filter and 300w of power to add low frequency extension to any studio monitors.</i><br /><br />The Subwoofer Pros Studio Sub 10 is a “universal” powered subwoofer used for bass extension of any studio monitor, and offering bass extension to 16Hz.  It is a very compact cabinet with an easy to use control set.  Using a 10” high excursion sub driver, the Studio Sub 10 is not much larger than many meter bridge monitors.  It has built in Left/Right XLR summing inputs and a low pass filter at 4 different frequencies of 95Hz, 80Hz, 60Hz, and 40Hz.  The different low pass frequencies make it adaptable to various size “main” speakers.\n<br /><br />\nThe Studio Sub 10 is different from other subs because it specializes in output below 95Hz, the range which meter bridge monitors are generally not good at.  The sealed cabinet with a linear response sonically outperforms subs that make use of ports, transmission lines, passive radiators or other “boost” technology.  These boost methods create the sonic impression of bass up around 75-85 Hz but actually suffer a severe roll off after the boost.  These boost methods make it more difficult to get proper translation between studio and outside world.<br /><br />\nThe Studio Sub 10’s small size allows placement on speaker stands, under consoles, or in locations where larger subs won’t fit.  The Studio Sub 10 is ideal for multiple sub applications where 3 or 4 subs are used to achieve evenly distributed low end in very small rooms by locating them on different walls.  This multiple sub approach at lower SPL can significantly outperform a single higher SPL sub that generates fewer but higher intensity room modes or nulls.  The modest price, universal fit, and flexible nature of the Studio Sub 10 makes it an ideal way to start with two and grow your sub system over time.<br /><br />\n<h3>Studio Sub 10 Features:</h3><ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">10″ High Excursion EL-10 driver</span></li><li>Switchable Low Pass Filter: 95Hz, 80Hz, 60Hz, 40Hz</li><li>Low Frequency Limit: 16Hz</li><li>300w Max Continuous Amp Power</li><li>Max SPL: 93dB SPL @ 1 meter @ 40Hz</li><li>2x XLR Input, summing</li><li>Compact Cabinet: 12″ x 14″ x 11.5″</li><li>Weight: 29lbs</li><li>Made in The USA</li>\n</ul>'),(11252,75,1,1876,'<h1>Subwoofer Pros Studio Sub 10 Subwoofer</h1><i>10\" active subwoofer with selectable low-pass filter and 300w of power to add low frequency extension to any studio monitors.</i><br /><br />The Subwoofer Pros Studio Sub 10 is a “universal” powered subwoofer used for bass extension of any studio monitor, and offering bass extension to 16Hz.  It is a very compact cabinet with an easy to use control set.  Using a 10” high excursion sub driver, the Studio Sub 10 is not much larger than many meter bridge monitors.  It has built in Left/Right XLR summing inputs and a low pass filter at 4 different frequencies of 95Hz, 80Hz, 60Hz, and 40Hz.  The different low pass frequencies make it adaptable to various size “main” speakers.\n<br /><br />\nThe Studio Sub 10 is different from other subs because it specializes in output below 95Hz, the range which meter bridge monitors are generally not good at.  The sealed cabinet with a linear response sonically outperforms subs that make use of ports, transmission lines, passive radiators or other “boost” technology.  These boost methods create the sonic impression of bass up around 75-85 Hz but actually suffer a severe roll off after the boost.  These boost methods make it more difficult to get proper translation between studio and outside world.<br /><br />\nThe Studio Sub 10’s small size allows placement on speaker stands, under consoles, or in locations where larger subs won’t fit.  The Studio Sub 10 is ideal for multiple sub applications where 3 or 4 subs are used to achieve evenly distributed low end in very small rooms by locating them on different walls.  This multiple sub approach at lower SPL can significantly outperform a single higher SPL sub that generates fewer but higher intensity room modes or nulls.  The modest price, universal fit, and flexible nature of the Studio Sub 10 makes it an ideal way to start with two and grow your sub system over time.<br /><br />\n<h3>Studio Sub 10 Features:</h3><ul>\n	<li><span style=\"background-color: initial; letter-spacing: 0px;\">10″ High Excursion EL-10 driver</span></li><li>Switchable Low Pass Filter: 95Hz, 80Hz, 60Hz, 40Hz</li><li>Low Frequency Limit: 16Hz</li><li>300w Max Continuous Amp Power</li><li>Max SPL: 93dB SPL @ 1 meter @ 40Hz</li><li>2x XLR Input, summing</li><li>Compact Cabinet: 12″ x 14″ x 11.5″</li><li>Weight: 29lbs</li><li>Made in The USA</li>\n</ul>'),(11253,85,0,1876,''),(11254,85,1,1876,''),(11255,76,0,1876,''),(11256,76,1,1876,''),(11257,75,0,1877,'<h1>Subwoofer Pros Studio Sub 12 Subwoofer</h1>\n<i>12\" active subwoofer with selectable 60/95Hz low-pass filter, 95Hz built-in high pass filter for mains output, and 700w of power to add low frequency extension to any studio monitors.</i><br /><br />\n\nThe Subwoofer Pros Studio Sub 12 is a self-powered subwoofer featuring a unique design that can enhance low frequency performance to ANY analog monitoring system. The Studio Sub 12 offers linear and accurate low frequency reproduction plus very low distortion all the way down to 8Hz! Sub Pros subs feature a front firing sealed cabinet design, an integrated 700w amplifier, and dynamic analog signal processing that extends response lower than traditional subs-without peaks from ports or passive radiators.\n<br /><br />\n<h3>Studio Sub 12 Features:</h3>\n<ul>\n	<li>12″ High Excursion EL-12B Driver</li>\n	<li>Switchable Low Pass Filter: 95Hz, 60Hz,</li>\n	<li>Low Frequency Limit: 8Hz</li>\n	<li>700w Max Continuous Amp Power</li>\n	<li>Max SPL: 108dB SPL @ 1 meter @ 40Hz</li>\n	<li>XLR Input with Level Control</li>\n	<li>Compact Cabinet: 15.5″ x 18″ x 15″</li>\n	<li>Weight: 47lbs</li>\n	<li>Made in The USA</li>\n</ul>\n<br />\n<h3>Subwoofer Pros Design & Manufacturing</h3>\nMost pro sub manufacturers create subwoofers that are designed to work with a specific model or series of “main” speakers or satellites, with internal EQ or DSP processing making them unsuitable for other loudspeakers.  Subwoofer Pros’ subs are designed to be universal subs, tuned for accurate and even low frequency response below 100Hz.  Subwoofer Pros\' Studio Subs are optimized to be blended with mains, meaning they are best used with a full range feed to both the mains and subs.  The built in switchable low pass restricts its operation from 95Hz or 60Hz down to 8hz, using a 12dB per octave LP filter.  A fixed 95Hz built-in high pass filter for mains output is available with up to 5 distinct mains outputs on the input/output panel.  This 95Hz high pass is ideally suited to smaller nearfield monitors common in 5.1 rigs, or speakers that will perform at higher SPL’s with some low pass filtering.<br /><br />\n\nHow the user sets up a sub determines whether the sub + mains act like one system or two.   The entire Subwoofer Pros control panel is optimized to deliver a successful subwoofer/main integration process, because most sub /main combination systems are never set up optimally.  The complex and confusing control set of most subs is not well understood by most users.  By keeping variables to a minimum, we also keep mistakes in set up to minimum.<br /><br />\n\nThe Studio Sub series focuses on the frequency range of 95Hz to 8Hz only, as this is the area most likely to need support.  Most other subs go down to 32Hz at best and typically use ports or bass reflex designs to achieve this, producing distortion via these ports as listening levels increase.  The built-in Subwoofer Pros dynamic electronics provide uniform response at every frequency, regardless of level.  Reproducing fast and tight bass, each note with the same emphasis, is a unique experience Subwoofer Pros delivers.  With a scalable approach, we offer slave models that follow the main sub set up and can be daisy chained.  Using slaves, any SPL level of low end can be achieved.  Subwoofer Pros subs are 100% made in USA, with USA sourced parts, for ultimate quality and reliability even in extended listening sessions at high SPL.\n<br /><br />\n \n\n<h3>Sub 12 Application</h3>\nA single Studio Sub 12 will pair nicely with smaller nearfield/meter bridge style monitors while the Studio Sub 18 pairs well with larger mid/far field monitors.  Both the 12” and 18” sound very similar with the main difference being max SPL output.  A single Studio Sub 12 offers up to 108dB SPL max at 1 meter at 40Hz; our single Studio Sub 18 offers 114dB SPL max at 1 meter at 40Hz.  While it is recommended to run your mains in full range and blend in the sub, there may be cases where the built-in high-pass filter is needed.  When a user experiences breakup due to low frequency content in their mains, this is potential situation for introducing a high pass filter in the mains.   This applies mostly to those using smaller near-fields and needing bass heavy music/content at higher SPL’s.  By using the high-pass filter you can remove the overloading LF content, allowing more headroom to turn up your mains.\n<br /><br />\n \n\n<h3>Flexible input/output options:</h3>\n<ul>\n<li>Total of 6 inputs allow the combining of all bass information up to a 5.1 system</li>\n<li>“LFE” XLR input with its own level control</li>\n<li>5 input/output channels of analog bass management on board with a high-pass filter at 95Hz.  One can use any or all of the 5 channels of bass management as primary inputs.</li>\n<li>Switchable 60/95Hz low-pass, for adjustment depending on type of mains being used.</li>\n</ul><br />\nStudio Subs can be scaled in multiples to fit any SPL need or improve room behavior.  With a unique Slave output, dedicated Slave Subs can be daisy chained to create a larger system. Every time you double the amount of subs, you can get up to an additional 6 dB SPL.  All settings on the “main” sub will automatically apply to all connected Slave subs.<br /><br />'),(11258,75,1,1877,'<h1>Subwoofer Pros Studio Sub 12 Subwoofer</h1>\n<i>12\" active subwoofer with selectable 60/95Hz low-pass filter, 95Hz built-in high pass filter for mains output, and 700w of power to add low frequency extension to any studio monitors.</i><br /><br />\n\nThe Subwoofer Pros Studio Sub 12 is a self-powered subwoofer featuring a unique design that can enhance low frequency performance to ANY analog monitoring system. The Studio Sub 12 offers linear and accurate low frequency reproduction plus very low distortion all the way down to 8Hz! Sub Pros subs feature a front firing sealed cabinet design, an integrated 700w amplifier, and dynamic analog signal processing that extends response lower than traditional subs-without peaks from ports or passive radiators.\n<br /><br />\n<h3>Studio Sub 12 Features:</h3>\n<ul>\n	<li>12″ High Excursion EL-12B Driver</li>\n	<li>Switchable Low Pass Filter: 95Hz, 60Hz,</li>\n	<li>Low Frequency Limit: 8Hz</li>\n	<li>700w Max Continuous Amp Power</li>\n	<li>Max SPL: 108dB SPL @ 1 meter @ 40Hz</li>\n	<li>XLR Input with Level Control</li>\n	<li>Compact Cabinet: 15.5″ x 18″ x 15″</li>\n	<li>Weight: 47lbs</li>\n	<li>Made in The USA</li>\n</ul>\n<br />\n<h3>Subwoofer Pros Design & Manufacturing</h3>\nMost pro sub manufacturers create subwoofers that are designed to work with a specific model or series of “main” speakers or satellites, with internal EQ or DSP processing making them unsuitable for other loudspeakers.  Subwoofer Pros’ subs are designed to be universal subs, tuned for accurate and even low frequency response below 100Hz.  Subwoofer Pros\' Studio Subs are optimized to be blended with mains, meaning they are best used with a full range feed to both the mains and subs.  The built in switchable low pass restricts its operation from 95Hz or 60Hz down to 8hz, using a 12dB per octave LP filter.  A fixed 95Hz built-in high pass filter for mains output is available with up to 5 distinct mains outputs on the input/output panel.  This 95Hz high pass is ideally suited to smaller nearfield monitors common in 5.1 rigs, or speakers that will perform at higher SPL’s with some low pass filtering.<br /><br />\n\nHow the user sets up a sub determines whether the sub + mains act like one system or two.   The entire Subwoofer Pros control panel is optimized to deliver a successful subwoofer/main integration process, because most sub /main combination systems are never set up optimally.  The complex and confusing control set of most subs is not well understood by most users.  By keeping variables to a minimum, we also keep mistakes in set up to minimum.<br /><br />\n\nThe Studio Sub series focuses on the frequency range of 95Hz to 8Hz only, as this is the area most likely to need support.  Most other subs go down to 32Hz at best and typically use ports or bass reflex designs to achieve this, producing distortion via these ports as listening levels increase.  The built-in Subwoofer Pros dynamic electronics provide uniform response at every frequency, regardless of level.  Reproducing fast and tight bass, each note with the same emphasis, is a unique experience Subwoofer Pros delivers.  With a scalable approach, we offer slave models that follow the main sub set up and can be daisy chained.  Using slaves, any SPL level of low end can be achieved.  Subwoofer Pros subs are 100% made in USA, with USA sourced parts, for ultimate quality and reliability even in extended listening sessions at high SPL.\n<br /><br />\n \n\n<h3>Sub 12 Application</h3>\nA single Studio Sub 12 will pair nicely with smaller nearfield/meter bridge style monitors while the Studio Sub 18 pairs well with larger mid/far field monitors.  Both the 12” and 18” sound very similar with the main difference being max SPL output.  A single Studio Sub 12 offers up to 108dB SPL max at 1 meter at 40Hz; our single Studio Sub 18 offers 114dB SPL max at 1 meter at 40Hz.  While it is recommended to run your mains in full range and blend in the sub, there may be cases where the built-in high-pass filter is needed.  When a user experiences breakup due to low frequency content in their mains, this is potential situation for introducing a high pass filter in the mains.   This applies mostly to those using smaller near-fields and needing bass heavy music/content at higher SPL’s.  By using the high-pass filter you can remove the overloading LF content, allowing more headroom to turn up your mains.\n<br /><br />\n \n\n<h3>Flexible input/output options:</h3>\n<ul>\n<li>Total of 6 inputs allow the combining of all bass information up to a 5.1 system</li>\n<li>“LFE” XLR input with its own level control</li>\n<li>5 input/output channels of analog bass management on board with a high-pass filter at 95Hz.  One can use any or all of the 5 channels of bass management as primary inputs.</li>\n<li>Switchable 60/95Hz low-pass, for adjustment depending on type of mains being used.</li>\n</ul><br />\nStudio Subs can be scaled in multiples to fit any SPL need or improve room behavior.  With a unique Slave output, dedicated Slave Subs can be daisy chained to create a larger system. Every time you double the amount of subs, you can get up to an additional 6 dB SPL.  All settings on the “main” sub will automatically apply to all connected Slave subs.<br /><br />'),(11259,85,0,1877,''),(11260,85,1,1877,''),(11261,76,0,1877,''),(11262,76,1,1877,''),(11263,75,0,1878,'<h1>Subwoofer Pros Studio Sub 18 Subwoofer</h1>\n<i>18\" active subwoofer with selectable 60/95Hz low-pass filter, 95Hz built-in high pass filter for mains output, and 700w of power to add low frequency extension to any studio monitors.</i><br /><br />\n\nThe Subwoofer Pros Studio Sub 18 is a self-powered subwoofer featuring a unique design that can enhance low frequency performance to ANY analog monitoring system. The Studio Sub 18 offers linear and accurate low frequency reproduction plus very low distortion all the way down to 8Hz! Sub Pros subs feature a front firing sealed cabinet design, an integrated 700w amplifier, and dynamic analog signal processing that extends response lower than traditional subs-without peaks from ports or passive radiators.\n<br /><br />\n<h3>Studio Sub 12 Features:</h3>\n<ul>\n	<li>18″ High Excursion EL-18R Driver</li>\n	<li>Switchable Low Pass Filter: 95Hz, 60Hz,</li>\n	<li>Low Frequency Limit: 8Hz</li>\n	<li>700w Max Continuous Amp Power</li>\n	<li>Max SPL: 114dB SPL @ 1 meter @ 40Hz</li>\n	<li>XLR Input with Level Control</li>\n	<li>Cabinet: 23.5″ x 21.25″ x 18.5″</li>\n	<li>Weight: 75lbs</li>\n	<li>Made in The USA</li>\n</ul>\n<br />\n<h3>Subwoofer Pros Design & Manufacturing</h3>\nMost pro sub manufacturers create subwoofers that are designed to work with a specific model or series of “main” speakers or satellites, with internal EQ or DSP processing making them unsuitable for other loudspeakers.  Subwoofer Pros’ subs are designed to be universal subs, tuned for accurate and even low frequency response below 100Hz.  Subwoofer Pros\' Studio Subs are optimized to be blended with mains, meaning they are best used with a full range feed to both the mains and subs.  The built in switchable low pass restricts its operation from 95Hz or 60Hz down to 8hz, using a 12dB per octave LP filter.  A fixed 95Hz built-in high pass filter for mains output is available with up to 5 distinct mains outputs on the input/output panel.  This 95Hz high pass is ideally suited to smaller nearfield monitors common in 5.1 rigs, or speakers that will perform at higher SPL’s with some low pass filtering.<br /><br />\n\nHow the user sets up a sub determines whether the sub + mains act like one system or two.   The entire Subwoofer Pros control panel is optimized to deliver a successful subwoofer/main integration process, because most sub /main combination systems are never set up optimally.  The complex and confusing control set of most subs is not well understood by most users.  By keeping variables to a minimum, we also keep mistakes in set up to minimum.<br /><br />\n\nThe Studio Sub series focuses on the frequency range of 95Hz to 8Hz only, as this is the area most likely to need support.  Most other subs go down to 32Hz at best and typically use ports or bass reflex designs to achieve this, producing distortion via these ports as listening levels increase.  The built-in Subwoofer Pros dynamic electronics provide uniform response at every frequency, regardless of level.  Reproducing fast and tight bass, each note with the same emphasis, is a unique experience Subwoofer Pros delivers.  With a scalable approach, we offer slave models that follow the main sub set up and can be daisy chained.  Using slaves, any SPL level of low end can be achieved.  Subwoofer Pros subs are 100% made in USA, with USA sourced parts, for ultimate quality and reliability even in extended listening sessions at high SPL.\n<br /><br />\n \n\n<h3>Sub 18 Application</h3>\nA single Studio Sub 12 will pair nicely with smaller nearfield/meter bridge style monitors while the Studio Sub 18 pairs well with larger mid/far field monitors.  Both the 12” and 18” sound very similar with the main difference being max SPL output.  A single Studio Sub 12 offers up to 108dB SPL max at 1 meter at 40Hz; a single Studio Sub 18 offers 114dB SPL max at 1 meter at 40Hz.  While it is recommended to run your mains in full range and blend in the sub, there may be cases where the built-in high-pass filter is needed.  When a user experiences breakup due to low frequency content in their mains, this is potential situation for introducing a high pass filter in the mains.   This applies mostly to those using smaller near-fields and needing bass heavy music/content at higher SPL’s.  By using the high-pass filter you can remove the overloading LF content, allowing more headroom to turn up your mains.\n<br /><br />\n \n\n<h3>Flexible input/output options:</h3>\n<ul>\n<li>Total of 6 inputs allow the combining of all bass information up to a 5.1 system</li>\n<li>“LFE” XLR input with its own level control</li>\n<li>5 input/output channels of analog bass management on board with a high-pass filter at 95Hz.  One can use any or all of the 5 channels of bass management as primary inputs.</li>\n<li>Switchable 60/95Hz low-pass, for adjustment depending on type of mains being used.</li>\n</ul><br />\nStudio Subs can be scaled in multiples to fit any SPL need or improve room behavior.  With a unique Slave output, dedicated Slave Subs can be daisy chained to create a larger system. Every time you double the amount of subs, you can get up to an additional 6 dB SPL.  All settings on the “main” sub will automatically apply to all connected Slave subs.<br /><br />'),