TC Electronic System 6000 Mainframe MK II for Broadcast Production

TC Electronic System 6000 Mainframe MK II for Broadcast Production

TC Electronic System 6000 Mainframe MK II for Broadcast Production

B&H # TCBC6000MK2S MFR # 902120011
TC Electronic System 6000 Mainframe MK II for Broadcast Production

TC Electronic System 6000 Mainframe MK II for Broadcast Production

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Expected availability: 7-14 business days

Product Highlights

  • Hardware with DSP for Broadcast Sound
  • 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 yvbdsfcsbqryv Mainframe, Controller & Remote

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TC Electronic Broadcast 6000 overview

  • 1Description

The TC Electronic System 6000 Mk II 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 broadcast sound. Indeed, the original System 6000 found its home not just in post-broadcast facilities, but in mastering suites and music production studios, where these units 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 broadcast sound.

With the Broadcast 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 mixing and balancing sound in stereo and multi-channel formats. These tools include dynamics-taming processes, up/downmix converters, loudness metering, automatic loudness correction, and more.

The mainframe itself 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 and Hardware

EQ 5.1: With this EQ, you get six mono channels of 4-band fully parametric EQ using 48-bit processing. This is a general-purpose algorithm that you can use in conjunction with other algorithms, or as a standalone instance. You can link the channels or use them separately. The algorithm is reminiscent of analog, though with high-precision filter models. As a bonus, you can select Softclip independently on each output.
Dynamics Taming
ALC6: This is a high-resolution, low-latency loudness processor. In broadcast, digitization is driving the number of AV channels and platforms up, while the total number of viewers remains roughly the same. Using only a dialog-based level control principle has led to ambiguous level management, more level jumps between programs, and extra time spent on audio production and management in general. Non-dialog based level jumps are particularly problematic, and ALC6 helps correct that situation. For instance, by utilizing the adaptive Stridency Reduction parameter, you can bring down overly loud content while leaving normal content untouched. ALC6 plays nicely with the CALM act, and helps in securing more headroom when downmixing from 5.1 to stereo.

MDX 5.1: With MDX 5.1 you get a high-resolution dynamics processor for multichannel signals. It presents a sophisticated angle to dynamic-range control, and is an alternative to traditional compression and limiting techniques. MDX5.1 lets you bring up low-level details, rather than boosting everything, which makes it necessary for you to limit the transient peaks afterwards. The transfer function offered is ideal for level translation purposes; for instance, for broadcast station ingest, or for converting between theatrical and domestic listening conditions. You can even apply low-level lift to specific channels individually in one-, two-, or three-frequency bands.

MD 5.1: The MD5.1 algorithm gives you 3 bands of dynamic processing for 5 main channels plus wideband dynamics for the LFE channel. In essence, it offers compression, expansion, and limiting for multichannel signals in one precision algorithm. Limiting, level optimization, and spectral balancing can all be achieved. Extensive linking and priority parameters enable you to control the processing to suit any type of signal for film and music with extreme precision. Furthermore, you can cascade several MD5.1 algorithms to process 6.1, 7.1 or 10.2 signals, and if needed, you can use a 7th steering input to influence processing of one or more of the main channels.

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 well-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.

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.

AM6: TC Electronic developed this Leq(M)-based radar meter to be an intuitive and efficient way of visualizing loudness or annoyance over time, with an integrated Leq(M) number readout to indicate the status of the entire trailer or commercial with regard to regulatory limits. The AM6 meter also includes true-peak measurements of all channels in 5.1, so you're the first to know if a production is likely to create downstream problems. Recall a preset based on Leq(M) limits of 82 dB or 85 dB, or go to the Preference page to scale AM6 to a level and a time resolution of your own choice.

Other Tools
UnWrap HD: The UnWrap HD algorithm is a respected up-converter for film and mastering professionals, allowing you to go between stereo and surround convincingly.

DMix: This algorithm can downmix, loudness process, and true-peak limit any mono, stereo, or 5.1 source. Input formats are dealt with automatically without the need for metadata. Downmix takes place at overload-proof 48-bit resolution, and the loudness processing is compliant with ATSC A/85 and EBU R128 standards. Transparent transcoding keeps the output geared for mobile TV, smartphone, or IPTV. Even a wide loudness-range feature film can be transcoded automatically with high audio quality. DMix presets for ATSC and EBU standards may be found in the down-conversion factory preset bank. 

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.

Matrix88: 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.

TC Icon MKII Controller & Remote
The TC ICON controller is an intuitive interface tailor-made for controlling the algorithms in the System 6000 Mk II. With its tactile response and illuminated touch-screen, the unit functions as the nerve center of your workflow. The motorized faders allow you to tweak the parameters you most need to control, moving automatically to your preset positions upon recall. The touchscreen, on the other hand, provides a hands-on approach of a different order. The TC ICON Remote is Ethernet based, so you can control your audio work from the transmission room, the control room, and even from a remote desktop application. The Remote CPU 6000 MK II is also included. 
In the Box
TC Electronic System 6000 Mainframe MK II for Broadcast Production
  • Limited 10-Year Warranty
  • Table of Contents
    • 1Description

    TC Electronic Broadcast 6000 specs

    Digital Inputs and Outputsyvbdsfcsbqryv
    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 Interface
    Connector PCMCIA Interface: PC Card, 68-pin, type 1 cards
    Standards PCMCIA 2.0, JEIDA 4.0
    Card Format Supports up to 2 MB SRAM
    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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