TC Electronic System 6000 Mainframe MK II for Music Production

TC Electronic System 6000 Mainframe MK II for Music Production

TC Electronic System 6000 Mainframe MK II for Music Production

B&H # TCM6000MKIIS MFR # 902132011
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Expected availability: 7-14 business days

Product Highlights

  • Hardware with DSP for Music Production
  • 8 Channels of Digital I/O
  • Bit-Transparent Processing
  • EQ, Reverbs, Delays & Surround Tools
  • Dynamics & Stereo Mastering Processes
  • BNC Input for Wordclock Sync
  • MIDI-Controllable for Recall/Automation
  • Expandable up to 16 Channels of I/O
  • Runs up to 96 kHz
  • Requires TC Electronic Icon or Software
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Configuration: Mainframe

Mainframe Mainframe, Remote & Controller

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This item is noncancelable and nonreturnable.

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TC Electronic Music 6000 MKII overview

  • 1Description

The TC Electronic System 6000 Mk II Mainframe repackages and updates the company’s well-known, esteemed collection of algorithms (which run off the hardware offered here), tailoring their implementation for the specific purposes of producers, mixing engineers, and all those involved in the creation of music. Indeed, the original System 6000 found its home not just in production rooms, but in mastering suites and post-production facilities, where these unites aided many renowned engineers as they pursued the cleanest, most robust tones. This version, though suitable and expandable for other purposes, is dedicated first and foremost for music, be it in the realm of production or mixing.

With the Music edition of the System 6000 Mk II, you not only have access to original System 6000 algorithms and the ability to read all presets emanating from the original system, you also get new tools, useful in aiding tracking sessions, production flourishes, and the mix down stage. These tools include 18 stereo and multi-channel reverb, as well as delays, phaser effects, and hundreds of presets to use as starting points. In terms of dynamics processing, the stereo tools offered in the Mastering edition are at your disposal: the MD3, MD4 and Brickwall Limiter 2. EQs by way of George Massenburg are on hand, as are loudness meters and the Matrix88 digital mixing platform.

This mainframe, which requires either the TC Icon Control Surface or its software equivalent to run, offers a 25-pin D-SUB connection point to facilitate eight channels of digital I/O, in addition to a BNC input for external wordclocks, should you want to slave the system to your preferred clock. Space is provided for optional I/O cards to connect AES-8 and ADA 24/96 cards. A LAN/Ethernet port is provided for connecting to control devices like the TC Icon, and you’ll also note the MIDI connections on the rear of the unit which will greatly assist you when it comes to recall and automation. Utilizing these MIDI connections, you can instantaneously switch between settings or ride parameters within effects chains easily. 

Speaking of settings, the System 6000 Mk II allows you to store a Scene Factory preset bank with up to 50 presets, as well as a Routing Factory bank (also with 50 presets) and up to 14 Engine Factory banks, each holding 99 presets. The system is also expandable, from additional algorithms whose licenses can be purchased, to optional hardware pieces such as the ADA2496 (a 2-channel analog reference module), the PCMCIA Card (for additional scene, routing and user-preset locations, 1500 in total), and the AES/EBU-8 card, which gets you an additional eight channels of digital I/O. All told, a fully outfitted System 6000 Mk II will supply 16 channels of physical I/O running digital (AES/EBU), analog, or a mix between the two. The hardware and its relevant software processes can run at sample rates up to 96 kHz.

Note: Please note, the System 6000 Mk II requires either the TC Electronic Icon Control Surface or the System 6000 Integrator Software to run.

Included Processors at a Glance

Spatial Processing (Stereo)
VSS 4HD: The VSS 4HD is designed to mimic the auditory response of placing mono or stereo sources in a real, corporeal space. This is not a convolution reverb, so it doesn’t return the same response over and over again.

VSS 3: Designed for music, post, and film production in mind, this algorithm seeks to recreate natural interior ambiances. In order to establish convincing room types, early reflections must be reproduced extremely carefully. Are the surfaces hard or soft? Is the room furnished or unfurnished? Is it a small or big car? The configuration is mono in / stereo out; this design also ensures perfect mono compatibility on the outputs.

NonLin2: NonLin2 gives you controllable Envelope, Attack, Hold, and Release parameters. Therefore, you will be able to generate anything from compact vocal ambiences to gated and reverse reverbs.

DVR2: This reverb provides a vintage flavor, delivering a flattering sustain effect that can be added to many sources of a mix. It produces character, not clutter.

ReflectorLCR: ReflectorLCR is a delay and boundary effect with output configurations optimized for LCR, stereo, or mono production. With highly advanced features such as individual EQ and multiple layers of diffusion, you can cross the border between ambience, early reflections, reverb, and delay.

Reverb-2: Initially created for the M5000, this algorithm complements most types of source material. However, experience has shown that the Reverb 2 algorithm is particularly well-suited for percussive instruments, as it has a very well-defined and precise buildup.

Reverb-3: Taken directly from TC Electronic M5000, this is a true stereo reverb is capable of creating clear verbs with dense, natural tails. You can control the decay time with four individually adjustable frequency bands, and by using diffuse and distance controls, you can make sounds with practically no audible early reflections.

Core-2: This algorithm is particularly suitable for small room simulations, and due to the high-density structure, the relatively short tails occurring in small rooms can be convincingly reproduced.

Spatial Processing (Surround)
VSS Surround: With the VSS SR (surround) algorithm, you get a room simulator for matrixed surround production. The diffused field of the simulation is turned into an Lt/Rt signal with separate decay, level and pre-delay parameters for front and rear. The output of the simulator is compatible with both mono, stereo and matrixed surround reproductions. When used for surround productions, you don't need a surround encoder, but you should use a Dolby ProLogic compatible decoding system for monitoring.

VSS 5.1: This is a true 5.1 room simulator algorithm with multi-directional, early-reflection patterns, five uncorrelated reverbs and the ability to incorporate the center channel, including a phantom simulation implemented several different ways. In total, you get four discrete input sources, each with their own precisely defined reflection properties. Early-reflection patterns maximize localization and widen your sweet spot, meaning that consistent locations, even outside the speaker arrays, can be obtained. The fully uncorrelated rendering used in a VSS 5.1 source allows you to fold down to matrixed surround, stereo and mono.

VSS 6.1: If you need to add reverb to an existing 5.1 or 6.1 signal or move sources around with a joystick, VSS 6.1 Reverb is your algorithm. It gives you multi-directional reflection patterns and five uncorrelated reverbs, plus the ability to control positioning directly from your console, an external joystick, or the TC ICON touch screen. To please TC Electronics’ world-famous mastering engineers, the LFE signal passes through unprocessed, but absolutely time-aligned with the 6 main channels. You can fold down to matrixed surround, stereo and mono perfectly thanks to the fully de-correlated rendering used in VSS 6.1 Reverb; you can even specify different decay times per channel.

VSS M4: Sometimes, multiple mono reverbs can be more useful than pre-configured structures for stereo and surround. With the M4 algorithm, you get access to four discrete mono reverbs with four inputs and four outputs in one engine.

Reflector6: Reflector6 is a versatile delay and boundary effect for multichannel applications. Since it features six outputs, it is compatible with a wide variety of audio formats, including 6.1 surround, 5.1 surround, LCR and stereo. Even though the 6.1 format uses 7 channels, you will still be able to use the Reflector 6 algorithm, as the sub channel is practically never treated with delay effects. With features such as individual EQ and multiple layers of diffusion in the arsenal, you can cross the border between ambience, early reflections, reverb and delay effects with ease.

SpacePan: SpacePan is an eight-input to 5.1 panning algorithm. In essence, it allows you to position or move any audio source precisely and in real-time in a 5.1 surround sound environment.

Modulation Effects
Phaser: This classic M5000 algorithm was originally designed as a digital version of the highly-acclaimed TC XII stomp box. Like its predecessor, it offers a selectable number of swept filter sections (4, 8 or 12) to control the max impact of the effect.

Chorus: This classic M5000 algorithm gives you access to high-resolution stereo chorus and flanging effects as well as modulated stereo delays of up to 650 ms per channel.

Dynamics-Taming Processes
MD3: The MD3 algorithm is a refinement of the MD2 dynamics algorithm. It uses a multiband, 48-bit resolution structure and provides you with a 3-band compressor, expander, 4-band parametric equalizer, and limiter in a single algorithm. The multiband section gives you the advantage of adjustable look-ahead delay for gentle processing of transients, while the limiter lets you use an overshoot-proof micro-delay to prevent output samples above the defined threshold. You can configure MD3 for either stereo or dual mono processing, and you can use it on single sources as well as composite stereo mixes. Alternatively, you can process stereo material in the MS-domain, or the MD3 can take in MS signals and convert them to stereo, with processing taking place in either the LR or MS domain.

MD4: Taking its cues from the MD3, the MD4 gives you no less than five individual bands with phase linear reconstruction. You can operate MD4 in several different ways, including within the DXP mode. This allows you to lift up low-level detail individually in each band. MD4 is perfectly suited for mastering, but you can also use it to process single sources such as vocal, dialogue, or acoustic instruments. All processing is done at 48-bit resolution and can be configured to operate in stereo as well as dual mono. Also, it can be applied surgically to the M and S part of a stereo signal. For example, equalization and compression can target the center or L/R components of a mix to bring out certain elements, or to adjust the width.

Brickwall Limiter 2: Built on the foundation of the original Brickwall Limiter, this version offers better protection of the downstream signal-path without sacrificing overall loudness. The Brickwall Limiter 2 algorithm is bit-transparent below the threshold of limiting, which means that you can use it on an already dithered master. In other words, let the Brickwall Limiter 2 have the final word, and you will definitely get cleaner and more predictable results on CDs and DVDs, as well as lossy deliveries such as MP3, AAC, Dolby Digital, or DTS.

MDW HiRes EQ: There can be absolutely no doubt that George Massenburg has a great sense of audio, and the MDW HiRes EQ has been developed strictly to his personal specifications. As the MDW design complements the TC Electronic EQ alternatives, you can choose between several desirable EQ flavors, each with their own specific advantages. 2 and six-channel configurations with flexible linking and absolute/relative real-time adjustment properties are offered. The six-channel version is equally suited to 5.1 and 6.0 signals. Up-sampling is also employed: If your sample rate is 44.1 or 48 kHz, the signal will be up-sampled to double rate, processed and then down-sampled to the original rate. Obviously, the EQ can also be operated at 88.2 or 96 kHz, and, in this case, up/down sampling is bypassed, providing a bit-transparent signal path at unity gain. The EQs feature 5 parametric bands per channel, and you can configure outer bands as shelving or 2nd order filters (Butterworth). Furthermore, you can switch Band 1 filters between 2nd and 4th order, and all five bands cover the complete frequency range. Finally, each parametric or shelving band is capable of cutting/boosting over a +/-25 dB range.
Other Algorithms
LM6: Rather than just measuring peak levels, LM6 allows you to use a much more audio-friendly method when delivering audio for CD, MP3, AAC, AC3, broadcast or cinema. Also, it is fully compatible with 'dialnorm' in Dolby AC3, which makes the codec perform much better and more predictably than with any measurement based on just peak or dialog levels. With the LM6 algorithm, you get an extremely transparent signal path regardless of audio format, from mono to 5.1 surround sound. The detailed radar meter is a suitable tool for measuring and monitoring your audio during production, mixing and mastering, and it ensures absolute compliance with broadcast, post or cinema delivery specifications. LM6 is part of the universal, standardized loudness control concept (compliant with ITU BS.1770-3, EBU R128, ATSC A/85, TR-B32, etc.), whereby audio can be easily measured and controlled at any given stage of production or distribution. Further, LM6 is compatible with any other piece of equipment that meets the same universal standard.

VariPitch8: As a result of intelligent splicing, this algorithm allows you to carry out extremely demanding applications such as real-time pitch change of entire 5.1/7.1 stems when converting frame rates between video and film (25 to 24 fps. and vice versa). You can lock the channels in various ways to preserve phase relationship while applying pitch change. This feature is in high demand for telecine, film and post processing, and, until now, it has not been available for 5.1/7.1 configurations. The up and down pitch range is +/-200 cents.

Toolbox 5.1: Toolbox 5.1 is designed to support your surround productions. The algorithm offers you different Level, Test, and Bass Management, as well as Downmix options.

This algorithm turns your System 6000 into an 8-channel mixer. Due to the 48-bit structure, Matrix88 upgrades 24-bit signals for internal processing to preserve maximum resolution during mixing. You get a 48-bit output limiter that only kicks in where appropriate. Define the limiter threshold as needed, but no matter how you configure it, you can be sure that it limits with extreme transparency. One way to utilize the Matrix88 is to use it as a digital summing mixer. Sample-accurate delay trimming up to 300 ms at any sample rate may be performed, and you can define Send/Return loops to apply to internal or external effects. Matrix88 is bit-pattern transparent and retains absolute bit-transparency across positive and negative gain adjustments. To help keep your audio as unaltered as possible, TC Electronic has incorporated bit-transparency indicators next to the faders. Matrix 88 includes sophisticated fade-in/fade-out functions for perfect live control of on, cut, and channel A/B/C switching.

In the Box
TC Electronic System 6000 Mainframe MK II for Music Production
  • Limited 10-Year Warranty
  • Table of Contents
    • 1Description

    TC Electronic Music 6000 MKII specs

    Digital Inputs and Outputs
    Connectors SUB-D, 25-pole (8 of channels AES/EBU I/O)
    Formats AES/EBU (24-bit)
    Wordclock Input BNC, 75 Ohms or Hi-Z, 0.6 to 10 V p-p
    Sample Rate 96, 88.2, 48.0, and 44.1 kHz (internal)
    Internal Clock Precision ±30 ppm
    Jitter Jitter Rejection at External Sample Rates: 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
    Intrinsic Interface Jitter: < 1 ns peak; 100 to 700 kHz (BW)
    Rejection Rejection Filter (fourth order): < -3 dB at 50 Hz, < -65 dB at 500 Hz, < -100 dB at 1.4 kHz
    Rejection Filter Peak: < 1 dB at 2 Hz
    Digital Output Phase 3% of sample period
    Input Variation Input Variation Before Sample Slip: +27% / -73% of sample period
    Output Dither HPF/TPDF dither 8- to 24-bit mono
    Processing Delay 0.15 ms +0.21 ms per engine at 48 kHz, 0.07 ms +0.1 ms per engine at 96 kHz
    Frequency Response DC to 23.9 kHz 0.01 dB at 48 kHz, DC to 47.9 kHz 0.01 dB at 96 kHz (DIO)
    Control Interfacevqzyebyvbebxwrasevwdcsvfqrscfdcer
    Connector PCMCIA Interface: PC Card, 68-pin, type 1 cards
    Standards PCMCIA 2.0, JEIDA 4.0
    Card Format Supports up to 2 MB SDRAM
    MIDI In/Out/Thru: 5-Pin DIN
    GPI Control GPI, Pedal, Fader: 1/4" TS jack, 0 Ohms to 50 kOhms
    Remote Custom MIDI In and Out
    SMPTE Input for Cuelist Management
    Ethernet 10/100 Mb/s, Base-T
    EMC / Safety Complies with: EN 55103-1 and EN 55103-2, FCC part 15 class B, CISPR 22 class B
    Certified to: IEC 60065, EN 60065, UL 6500 and CSA E65
    Environment Operating Temperature: 32 to 122°F / 0 to 50°C
    Storage Temperature: -22 to 167°F / -30 to 70°C
    Humidity: Max. 90 % non-condensing
    Mains Voltage 100 to 240 VAC, 50 to 60 Hz (auto-select)
    Power Consumption 45 W
    Backup Battery Backup Battery Life: > 10 years
    Finish Natural color anodized aluminum face plate; painted and plated steel chassis
    Dimensions 19.0 x 3.5 x 12.0" / 483 x 89 x 305 mm
    Weight 19 lb / 8.6 kg

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