10 Total Channels
6 Mic/Line channels with wide-range gain noiseless preamps, XLR and balanced ¼” Jack connectors, 75Hz Low-Cut filter, +48V Phantom Power, Signal/Peak Indicator
2 Stereo Line Channels with balanced ¼” Jack inputs, with gain and Peak Indicator
3-Band EQ, Pan/Balance, Mute, PFL, Group 1-2, Main L-R, 60mm Volume Fader
2 AUX sends (1 with Pre/Post selection for internal DFX or AUX1 Out; 1 Pre-Fader for AUX2 Out) with channel/master level, AFL, and ¼” Jack outputs
Effect/AUX Return control with 60mm Fader, Mute, AFL, Group1-2, L-R assignment, and balanced ¼” Jack inputs
Group 1-2 XLR outputs with 60mm Fader, Mute, AFL, Master Left and Right assignment
7-Band Graphic EQ on Master Bus with precision filters
24-bit/48kHz 16-Preset Digital Effect with Footswitch Out, TAP-Tempo Button and up to 2 Adjustable Parameters for each Preset
USB Stereo In/Out Sound Card with up to 96kHz/24-bit recording/playback capability
2-Track In/Out RCA connections and Level control
Headphones ¼” Stereo Jack Out with Level control
XLR Main Outputs with 60mm Fader Control and MUTE
Stereo 12-Led VU Meter Bar for Main, PFL/AFL monitoring
Stereo ¼” Jack Monitor Output
Rugged and Lightweight Metal Case

The Complete Chopin – A New Critical Edition from Edition Peters is firmly established as the most important ongoing scholarly edition of Chopin’s music and is a must for any discerning pianist. The world’s foremost Chopin editors, under Editor-in-chief John Rink, bring their unrivalled collective knowledge to imbue the project with unique authority, drawing upon the latest international scholarship. The Complete Chopin prioritizes the needs of the practical pianist and provides a beautifully presented performing text of each work based on a single principal source together with important variants, along with thorough critical commentaries and illuminating prefatory essays in English, French and German.
Chopin’s etudes occupy a central position in piano literature. Prized by generations of the greatest pianists as the supreme examples in the genre, their reputation rests on their not only challenging specific aspects of a pianist’s technique but also for being great music, transcending the genre of mere ‘study’.
In this edition of Opus 10 (the earlier of Chopin’s two sets of studies, ending with the famous ‘Revolutionary’ etude), pianist and musicologist Roy Howat presents a new edition which addresses many of the misunderstandings created by a very poorly engraved first French edition (containing errors which were then carried over to the German and English editions) – an edition which nevertheless included many important revisions made at the proof stage.
Using this first French edition as a primary source, Howat produces an Urtext edition which, while recording noteworthy variants from a variety of sources, is not a ‘conflated’ version, but a coherent performing edition in its own right, ideal for all who aspire to play these cornerstones of piano repertoire in an informed way.
Etüde C-Dur op. 10 Nr. 1
Etüde a-Moll op. 10 Nr. 2
Etüde E-Dur op. 10 Nr. 3
Etüde cis-Moll op. 10 Nr. 4
Etüde Ges-Dur op. 10 Nr. 5
Etüde es-Moll op. 10 Nr. 6
Etüde C-Dur op. 10 Nr. 7
Etüde F-Dur op. 10 Nr. 8
Etüde f-Moll op. 10 Nr. 9
Etüde As-Dur op. 10 Nr. 10
Etüde Es-Dur op. 10 Nr. 11
Etüde c-Moll op. 10 Nr. 12

The new RSL Classical Piano syllabus aims to reflect the widening tastes of young people, positioning itself at the forefront of the vast array of music available to pianists, encompassing the rich heritage of music from the Baroque right through to the modern day and emerging composers.
The repertoire strikes a balance between a radical redesign and maintaining a recognisable structure, and sticks to four key principles: championing ethnically diverse composers, representing genders, acknowledging the history and tradition of piano learning, and enabling students to feel comfortable studying music in a popular and classical environment.
The syllabus books are all beautifully presented, and to the high standard for which RSL books have become renowned from their market-leading Rockschool examinations for contemporary music. Each contains 10 pieces from a diverse range of composers andinclude everything students need to take their exams, including technical exercises and supporting texts for sight-reading, ear tests and general musicianship questions.
Béla Bartók: Play (Allegretto)
Claude Debussy: Clair de Lune
Elvina Pearce: Sandcastle
Helen Madden: Andante Verde
Ludovico Einaudi: Una Mattina
Melanie Spanswick: Celebration Duet
Melanie Spanswick: Celebration Primo
Melanie Spanswick: Celebration Secondo
Pauline Hall: Martian’s March
Wallace Willis: Swing Low, Sweet Chariot
Yann Tiersen: La Valse D’Ame?lie
Zenobia Powell Perry: Vignette No.1