The
Mixdown and Proline consoles had been central in the 8-bus mixer
market and by 92 there seemed no let up in the demand. However,
users also became more discerning and wanted more facilities like
the large commercial studios. These larger consoles were based
around the inline (inputs and outputs on the same channel strip)
concept rather than the split (separate input and output channels)
format that until now Studiomaster had made. The main advantage
of this was for every input you gain one more output, so the console
could expand inputs and outputs simultaneously.
The P7 became the first inline format console
that took the home studio right into the professional league.
It had the best audio specification to date, a revised assignable
channel EQ and the next generation of MIDI muting. Mute function
could be recalled as snap shots reducing the amount of data a
sequencer had to hold. The solo in place feature had the additional
solo safe function - not seen on a console of this size. As usual
it was expandable so a 40 channel model had a
total of 88 inputs. There was an optional meter bridge and a tape
copy facility.
Many
of Studiomasters innovations came from enthusiastic employees,
many of which are musicians. A common problem in home studios
is lack of space which prompted a comment from one employee
of why dont we turn the mixer upright to save space - a bit
like a Moog with the faders still flat. Never a company afraid
to break the mould the possibility of something new grabbed
every ones attention.
The long 100mm faders could remain level like a conventional
mixer but all the controls would be upright for ease of operation,
and saving space. Radical like the product name: Star
System or Studiomaster Audio Recording System. The
first mixer to have all the vital ingredients on board, just
requiring a recorder to form a complete studio.
The 8 inline channels would interface perfectly with the new
digital 8 tracks, 4 full featured stereo inputs would handle
keyboards etc and the additional 6 aux inputs would take anything
else! The design balanced flexibility with ease of use. The
channel EQ was a simple 3 band design but if more was required
it could be routed through a pair of stereo parametric equalisers.
The rear panel was not restricted for space any more and contained
over 50 input sockets with stacks of output
and insert points. It also had two FX ports where optional compressors,
gates and digital reverbs could be fitted effectively bringing
all signal processing inboard, again saving space. Totally unique
and totally Studiomaster.
The
Mixdown and Proline consoles had been central in the 8-bus mixer
market and by 92 there seemed no let up in the demand. However,
users also became more discerning and wanted more facilities like
the large commercial studios. These larger consoles were based
around the inline (inputs and outputs on the same channel strip)
concept rather than the split (separate input and output channels)
format that until now Studiomaster had made. The main advantage
of this was for every input you gain one more output, so the console
could expand inputs and outputs simultaneously. 
Many
of Studiomasters innovations came from enthusiastic employees,
many of which are musicians. A common problem in home studios
is lack of space which prompted a comment from one employee
of why dont we turn the mixer upright to save space - a bit
like a Moog with the faders still flat. Never a company afraid
to break the mould the possibility of something new grabbed
every ones attention.