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| For sale |
| List Price : |
11795.00 US |
| Our Price : |
10635.00 US |
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| TC Electronic Reverb 6000 Mainframe with Digital I/O |
| Rental prices ($USD) |
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/ day |
Total |
| 1 day |
215.10 |
215.10 |
| 3 day |
143.40 |
430.20 |
| 5 day |
107.55 |
537.75 |
| 12 day |
71.70 |
860.40 |
| 28 day |
46.09 |
1290.52 |
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TC Electronic Reverb 6000 Mainframe with Digital I/O
The TC Electronic Reverb 6000 is the ultimate reverb and processing for any format
The TC Electronic Reverb 6000 is a System 6000 without additional licenses. It contains dozens of pristine reverb, delay and boundary effects for any format from mono, stereo, LCR, LtRt to 5.1 and 6.1. Among the hundreds of presets available, the Halls of Fame bank and the Skywalker Sound Collection provides presets created by some of the most respected people in the music and film industry. With internal double precision processing, superb jitter rejection and reference quality AD and DA converters, no other reverb on the planet comes close to the resolution and performance of Reverb 6000.
Clearly, a high quality realtime processor can be used for more than spatial effects. Numerous license extensions are available in order to turn the 6000 into a mastering processor, monitor matrix, format converter and much more. Upsampled limiters, multiband processors, up- and down-conversion, George Massenburg's wonderful MDW Eqs and Pristine research-intensive processing a la carte can be used stand-alone or well integrated with large format consoles or digital workstations.
Generic Reverb
Generic reverb is primarily a flattering sustain effect which can be added to many sources of a mix, or a complete stereo or multi-channel stem. It adds little character but also does no harm, because the effect is blurred or washed out.
If early reflections are offered, there are only few of them and they play a rudimentary role. Therefore, a strong localization is not imposed on the signal, which is what you want when one reverb is used on many sources. For a graphical artist, the equivalent tool to Generic reverb would be a paintbrush.
Generic Reverb Pros
1st choice for composite, mixed material and stems1st choice when used with multichannel joystick on console or DAW1st choice for adding to classical main microphone pick-upWorks well on moving sourcesPrettier than lifeQuick and easy to use
Generic Reverb Cons
Blurring takes away character from individual sourcesPitch modulation may be a problem with some materialMono compatibility often compromised to obtain extra widthImaging inferior to Source based reverb
Source Reverb
When elements of a mix are picked up individually, a chance exists to define exactly how each of them is to be heard. There is no reason to apply one Generic reverb to several single sources, unless they are supposed to present an identical position to the final listener, or if you have run out of aux sends.
When it is desirable to distinguish between single elements sharing more or less the same panning position, source based reverb should be a first choice. Subtle discrimination between reflection patterns of individual sources can make all the difference in the world when it comes to obtaining depth, expression and natural imaging.
Source Reverbs are able to generate multiple, complex early reflection patterns. If a microphone already has picked up some reflections, the reflections should be excluded from the simulated pattern by using the appropriate reflection decrease control in order to get the best result. Instruments or sources can alternatively share the same reverb input in groups, e.g. stage left, center and right, for a more complex and desirable result than a Generic, one-send reverb approach. For a graphical artist, the equivalent tool to Source reverb would be a 3D rendering system or Virtual Studio.
Source Reverb Pros
1st choice when input sources can be separated1st choice with spot microphonesMore depth and distinction obtainable in a mixAdds character and definition to a sourceFor any format, but especially 5.1 and 6.1, localization and the size of the listening area may be improved compared to Generic Reverb types
Source Reverb Cons
Require more sends or direct feeds than Generic Reverb typesNo advantage on composite signalsNot ideal for moving sources
TC Electronic Reverb 6000 Mainframe with Digital I/O's featuresIncluded licenses
Stereo Reverb
The license includes the best stereo and dual source Reverbs and Delays from TC – for example VSS3, VSS4, Nonlin2 and Reflector – plus access to hundreds of film and music presets.
Multichannel Reverb
This license includes everything from the Stereo Reverb license – plus all LtRt, Quad Mono, 5.1 and 6.1 reverb and delay algorithms from TC.
Optional Licenses
BackDrop
This license offers stereo broadband noise reduction primarily for restoration applications.
Stereo Mastering
The Stereo Mastering License includes three algorithms: MD3, MD4 and BrickWall Limiter 2.
MDW HiRes EQ
In recognition of George Massenburg's great sense of audio and strong influence on previous TC processors, the new MDW® HiRes EQ has been developed.
Multichannel Mastering
The license includes MD5.1 and Toolbox 5.1 plus MD4, MD3, BrickWall 2 and the presets from these licenses.
UnWrap
UnWrap puts the process of converting from stereo or LtRt to 5.1 in the hands of an audio professional.
TC Electronic Reverb 6000 Mainframe with Digital I/O's specifications
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TC Icon
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Display Type
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6,5"TFT active matrix color LCD display,640 x 480 pixels resolution. High luminance (300 cd/m2,typ.)
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Touch Screen
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Resistive,20 gram activation force
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Faders
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Six (6),90mm motorized with touch sensitivity
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Connection
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36-pin MDR connection for Remote CPU 6000
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EMC Complies with
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EN 55103-1 and EN 55103-2, FCC part 15 class B, CISPR 22 class B
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Safety Certified to
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IEC 60065,EN 60065,UL 6500 and CSA E65
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Environment Operating Temperature
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32 °F to 122 °F (0 °C to 50 °C)
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Storage Temperature
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-22 °F to 167 °F (-30 °C to 70 °C)
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Humidity
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Max.90% non-condensing
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General Finish
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Black anodized aluminum, Stand plate in brushed stainless steel
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Dimensions
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D:279mm W:198mm Hfront:33mm Hback:100mm
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Weight
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5,56 Ib (2,51 kg)
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Warranty Parts and Labor
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1 year
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Mainframe 6000
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Digital Inputs and Outputs
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Connectors
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D-SUB,25 pole (8 channels AES/EBU in/out)
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Formats
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AES/EBU (24 bit)
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Word clock input
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BNC,75 Ohm or Hi-Z,0.6 to 10 Vpp
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Internal sample rate
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96 kHz,88.2 kHz,48.0 kHz,44.1 kHz
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Internal Clock Precision
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+/-30 ppm
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Jitterrejection at External Sample Rates
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30 to 34 kHz,42.5 to 45.5 kHz,46.5 to 48.5 kHz, 85 to 91 kHz and 93 to 97 kHz.
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Rejection Filter (4'th order)
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< -3 dB @ 50 Hz < -65 dB @ 500 Hz < -100 dB @ 1.4 kHz
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Rejection Filter Peak
(jitter gain)
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< 1 dB @ 2 Hz
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Intrinsic Interface Jitter
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< 1 ns peak, BW: 700 Hz to 100 kHz
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Digital Output Phase
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< 3 % of sample period
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Input variation before Sample Slip
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+27% / -73% of sample period
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Output Dither
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HPF/TPDF dither 8-24 bit, mono
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Processing Delay
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0.15 ms +0.21 ms per engine @48 kHz, 0.07 ms +0.1 ms per engine @96 kHz
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Frequency Response DIO
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DC to 23,9 kHz +-0,01 dB @48 kHz, DC to 47.9 kHz +-0.01 dB @96 kHz
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PCMCIA Interface Connector
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PC Card,68 pin type 1 cards
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Standards
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PCMCIA 2.0,JEIDA 4.0
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Card Format
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Supports up to 2 MB SRAM
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Floppydrive
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DOS compatible,3 1/2",1.44 Mb
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Control Interface MIDI
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In/Out/Thru:5 Pin DIN
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GPI,Pedal,Fader
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phone jack,0 ohm to 50 kohm
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Remote
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Custom MIDI In & Out
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SMPTE
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Input for Cuelist Management
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Ethernet
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10/100 Mbits/s,Base-T
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EMC Complies with
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EN 55103-1 and EN 55103-2, FCC part 15 class B, CISPR 22 class B
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Safety Certified to
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IEC 60065,EN 60065,UL 6500 and CSA E65
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Environment Operating Temperature
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32 °F to 122 °F (0 °C to 50 °C)
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Humidity
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Max.90 %non-condensing
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General Finish
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Black anodized aluminum face plate, Painted and plated steel chassis
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Dimensions
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3 1/2 x 19 x 12 inches
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Mains Voltage
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100 to 240 VAC,50 to 60 Hz (auto-select)
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Power Consumption
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45 watts
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Backup Battery Life
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>10 years
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Warranty Parts and Labor
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1 year
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Studio Economik UA Apollo NEWS! We are placing the 1rst order for UA Apollo right now, available end February. Limited quantity available on first shipment. Pre-orders available. Please contact us to get yours!
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