1976
The Beginning
In 1980 a product meeting was held with the local dealers, who had all noticed the growing demand for 8 input, four output consoles for multi-track recording in live and studio situations. Multiple keyboard setups and drum machines were becoming more popular so to make the product easy to move around it had to be 19inch rack mountable.
The Studiomaster 8-4 mixer was the answer and years ahead of anything else around. It could be used as a desk top mixer or rack mounted and with all the connectors at the rear many sound and Audio Visual companies made it their standard audio console.
The Studiomaster 8-4 mixer was the answer and years ahead of anything else around. It could be used as a desk top mixer or rack mounted and with all the connectors at the rear many sound and Audio Visual companies made it their standard audio console.
1978
Time to move
In 1980 a product meeting was held with the local dealers, who had all noticed the growing demand for 8 input, four output consoles for multi-track recording in live and studio situations. Multiple keyboard setups and drum machines were becoming more popular so to make the product easy to move around it had to be 19inch rack mountable.
The Studiomaster 8-4 mixer was the answer and years ahead of anything else around. It could be used as a desk top mixer or rack mounted and with all the connectors at the rear many sound and Audio Visual companies made it their standard audio console.
The Studiomaster 8-4 mixer was the answer and years ahead of anything else around. It could be used as a desk top mixer or rack mounted and with all the connectors at the rear many sound and Audio Visual companies made it their standard audio console.
19
82
More innovation
Studiomaster solidified its position in the professional audio market. The company expanded its product line to include guitar amplifiers, notably the Valve Leadmaster (VLM) combo, which was well-received for its sound quality and features. However, the VLM’s production was short-lived due to limitations in manufacturing capacity.
Studiomaster also introduced the innovative 8-2 powered mixer, which featured professional-grade components and a unique three-amplifier design, setting a new standard for powered mixers. Additionally, they launched the Studio 4, a portable studio recorder catering to the growing demand for professional recording equipment.
Studiomaster also introduced the innovative 8-2 powered mixer, which featured professional-grade components and a unique three-amplifier design, setting a new standard for powered mixers. Additionally, they launched the Studio 4, a portable studio recorder catering to the growing demand for professional recording equipment.
1984
Mosfet amplifier and the first mixer with MIDI
Demand for larger format mixers to support the growing number of project and home studios resulted in the Series 2 consoles. 4, 8 and 16 bus configuration, expandability, and the first mixer with MIDI automation.
The promotional material around this time featured a number of new and established artists who were happy to be pictured with a Studiomaster product. Phil Collins, Phil Lynott, Martin Kemp were just a few that were using Studiomaster products.
The promotional material around this time featured a number of new and established artists who were happy to be pictured with a Studiomaster product. Phil Collins, Phil Lynott, Martin Kemp were just a few that were using Studiomaster products.
1987
New music, new mixers
It was nearly 8 years since the first Studiomaster power mixer hit the shops. Like the amplifier sector, a lot had changed. Market research produced a product brief - lots of power, on board effects good E.Q. and must be portable. This produced the first of a long line of Power House mixers. It’s true to say the Power House set a new standard in powered mixers not bettered until the Vision series years later.
1991
Back to the power
While developing the Trilogy range the possibility of producing a parallel, low cost set of products existed. This became the Pro2 range and although the same dimensions as the Trilogy, had a reduced feature set.
This resulted in a 25% reduction in price which helped sales in the USA especially the large church market. The range never grew past the 163 (12 channel) and 203 (16 channel).
This resulted in a 25% reduction in price which helped sales in the USA especially the large church market. The range never grew past the 163 (12 channel) and 203 (16 channel).
19
95
Expanding the range
Between 1995 and 1998, Studiomaster expanded its mixer offerings. The Trilogy range was introduced, featuring low-profile mixers designed for professional applications in PA rental and bands, with models like the 166, 206, 326, and 406. These mixers offered features such as multiple auxiliary sends and flexible routing options.
To cater to a wider market, the Pro2 range was developed as a more affordable alternative to Trilogy, sharing the same dimensions but with a reduced feature set, resulting in a 25% price reduction. Additionally, Studiomaster launched the Club 2000 series, a new line of compact mixers that replaced the older Diamond products and included models with onboard effects processing.
To cater to a wider market, the Pro2 range was developed as a more affordable alternative to Trilogy, sharing the same dimensions but with a reduced feature set, resulting in a 25% price reduction. Additionally, Studiomaster launched the Club 2000 series, a new line of compact mixers that replaced the older Diamond products and included models with onboard effects processing.
