Back catalogue: All genres

Notes: ALM's latest complete modular system, the Turismo combines classics like the Squid Salmple sampler and ASQ-1 sequencer to create a cohesive, engaging synth. The ultimate Eurorack starting point?

Supplier's Notes:
The Turismo is our fully modern Eurorack modular workstation, blending a curated mix of our
flagship analog and digital modules for a versatile and creative patching experience. It offers
a distinctive ALM character, designed for both precision and fun.
The workstation delivers everything from analog bass, bleeps and leads, lush chords, filtering,
extensive sampling, and DSP effects combined with various sequencing styles and numerous
modulation options plus full MIDI integration. It's an all-in-one creative hub that's endlessly
explorable.
Designed also with live performance in mind, the travel-sized 84hp system fits in a rucksack
and comes with a Decksaver cover for added protection. With MIDI, stereo line-level input,
and headphone output, it's perfect for live sets, DAWless jamming, and seamless studio integration. The system features a custom design with unique coloured controls and neodyme
bronze anodized side panels.
The Turismo is a perfect starting point for Eurorack beginners, offering a seamless pain-free
entry into modern modular synthesis that's immediately playable. For seasoned users, it's a
ready-to-use and well balanced cutting edge system designed for effortless creative exploration.

Feature List:

Numerous analog and digital sound sources including oscillators, chords, samples, noise
and more.
Sample recording and eight channel sample playback.
Five analog VCAs and numerous patch-able digital level controls.
Two fully analog multimode resonant filters.
Three inbuilt Sequencing options to run numerous synced melody and rythmic patterns.
Numerous modulation sources including LFOs, Envelopes, randomisation, quantisation,
syncing etc.
Stereo FX Processing with 18 different programs including reverbs, delays, granular processing and more.
Various utilites - S&H, mults, mixers, slew limiter, etc.
Stereo line level in and headphones out.
Three channel MIDI pitch, trigger and clock synchronisation.
Custom look modules and neodyme coloured case only available as part of the Turismo.
Includes international power, deck saver and patch cables.

Tech Specs:
Dimensions: 440 x 264 x 120mm
Weight: 3.24kg
Size: 6u / 84HP
Power: 12V 4A (approx)
Connectivity: TRS MIDI IN, Stereo Line level In, Stereo Line/Headphone out, USB-C ports
for firmware upgrade.

What's Included:

Turismo System & Modules
ALM023 / mmMidi & mmT expander
ALM022 / SQUID SALMPLE
ALM020 / QUAID MEGASLOPE
ALM026 / MULT
ALM036 / TAZM-O
ALM042 / CIZZLE
ALM032 / MFX
ALM037 / MEGA MILTON
ALM035 / ASQ-1
ALM034 / Pamela's PRO Workout
ALM028 / Pip Slope (mk II)
ALM030 / MCFx2
ALM033 / MEGA-TANG
ALM019 / HPO

Included patch cables:

15cm (x10)
30cm (x10)
60cm (x10)
90cm (x3)
120cm (x2)
MIDI DIN to TRS adapter cable
Squid Salmple USB stick with full sample banks
Universal 12V 5A power supply
Decksaver
Printed Manual

Notes: ***B-STOCK: Box opened, product in perfect working order***


All-in-one wireless controller from Pioneer's parent company. A fresh new take on DJ units, featuring a two-deck setup with large touchscreen, up to five hours' playback from the internal battery. A flexible, portable option for all DJs.

Supplier's Notes:
Portability and playability

Easily carry the OMNIS-DUO anywhere thanks to its compact size, modest weight, and rounded corners. The system's 2-deck + mixer layout feels great for DJing, and there are 2 modes for the touchscreen - Light and Dark - so you'll always see the displayed information, even in bright outdoor settings.

Bluetooth audio input

Invite a friend to connect their phone to the OMNIS-DUO via Bluetooth and you can drop their favourite track into your set. With the Bluetooth Playback function, you'll have control of the audio on the deck. So, you can adjust the volume and EQ, apply effects to the sound, change the tempo, use Hot Cues, and scratch.

5-hour battery

Play for up to 5 hours without plugging into the mains. You can also connect the AC adapter or plug in a compatible power bank (45W or more) to the dedicated USB Type-C terminal. And if you combine the OMNIS-DUO with the battery-powered WAVE-EIGHT speaker, which features ultra-low-latency SonicLink technology, you can enjoy wireless DJing for total freedom.

Support for multiple music sources

USB Type-A drives and SD cards can be plugged straight into the OMNIS-DUO, as well as a PC/Mac via the USB Type-C terminal for use with rekordbox Performance mode. The Wi-Fi function offers easy access to tracks on a PC/Mac, smartphone, or the cloud without a wired connection.

Flexible audio output options

There's no limit to the places you can hold a party, thanks to the Bluetooth audio output function. And when the time comes to play in a venue like a bar, you can use the professional XLR output, while the RCA terminals are perfect for plugging in monitor speakers at home.

Brand-new design

The OMNIS-DUO looks at home everywhere you take it - from professional events to spontaneous outdoor parties. Its new indigo colour is inspired by denim jeans, a classic and hugely versatile fashion item, and the unique curves of the unit create a sleek silhouette.

Specifications

Frequency Response: 20 Hz - 20 kHz
S/N Ratio: 112 dB (USB, SD)
Total Harmonic Distortion: <0.003% (USB, SD)
Battery Section Capacity: 47.52 Wh (Built-in rechargeable lithium-ion battery)
Play time: Approx. 5 hours
Charge time: Approx. 3 hours
Inputs: 2 MIC (1x XLR & 1/4" TRS Jack, 1x 1/4" TRS Jack), 1 LINE (Bluetooth [exclusive from output])
Outputs: 1 MASTER (XLR), 1 MASTER (RCA), 1 MASTER (Bluetooth [exclusive from input]), 1 BOOTH (Combined use with RCA output), 2 HEADPHONE MONITOR (1/4" Stereo Phone Jack, 3.5 mm Stereo Mini Jack)
USB: USB-A for thumb drive x 1, SD card x1, USB-C for PC/Mac control x 1 USB-C for power input (USB PD 45W) x 1
Maximum Dimensions (WxDxH): 500 × 307 × 71 mm / 19.7" x 12.1" x 2.8"
Weight: 4.6 kg / 10.1 lbs.

Wireless LAN section

Supported standards: IEEE 802.11 a/b/g/n/ac
Frequency band used: 2.4 GHz / 5 GHz

Bluetooth section

Wireless system Bluetooth: Ver.5.2
Frequency band used: 2.4 GHz
Compatible codecs: SBC, AAC

Notes: Reboot of the classic Megacity sequencer, the AS500 follows the same unique approach with up to 64 steps presented in two banks, each split into groups of eight cascading steps.

Supplier's Notes:
New Analogue Sequencer!

Almost identical re-boot of Analogue Solutions' legendary Megacity sequencer.

Smaller form factor

Desktop design

Some general over enhancements, internal improvements.

Note: This version is pure analogue and does not feature a quantizer or MIDI.

Standalone 64 step analogue step sequencer with a host of unique features that sets it apart from others

What's so special about this sequencer?

AS500 is formatted differently and operates differently than other step sequencer.

Traditionally step sequencers run horizontally from left to right then loop back to step one. You can make the pattern shorter, but generally that's it.

AS500 patterns run vertically downwards in columns. As the end of each column is played, the next to the right is played.

AS500 has a unique Jump system. When a Jump switch is on, the rest of the column's steps are bypassed and the sequencer jumps straight to the start of the next column

These two features in particular as familiar enough ways of working to be intuitive, but different enough to force you to work and think in a slightly different way. The end result is you will get sequences and patterns that you might not have created otherwise.

More Variation

Many step sequencers can start to sound repetitive since it's usually the same single pattern looping endlessly.

AS500 allows you to split the sequencer in half and use the right half as a Fill-In pattern to add variation, much like vintage drum machines.

These Fills are activated via a Push Button, or via a trigger pulse from an external modular.

AS500's format and Jump switches, combined with excellent features like Fill-In, Split sequencers and other features makes AS500 a great sequencer package.

Use

If you are familiar with analogue sequencers in general, then most features of AS500 should be fairly self-explanatory, but it would still be worth having a read through the manual.

The sequencer is laid out in vertical columns, eight in total.

The sequencer runs from top to bottom, and left to right.

The Difference Between Reset and Jump

If a Reset is initiated the sequencer returns to step one, the first step of the sequencer.

Use Reset to shorten the sequence.

If a Jump is initiated the sequencer will advance (jump) to step one of the next column to the right.

Notes: ***B-STOCK: Box opened, product in perfect working order***


Arturia's flagship audio interface is designed for maximum versatility as well as top quality sound. With 16 analogue inputs, 12 analogue outputs and an array of digital I/O including ADAT, MIDI and clock, your creative process won't be interrupted by reconfiguring your hardware.

Supplier's Notes:
AudioFuse 16Rig

Studio mastermind interface

AudioFuse 16Rig is a high-density audio interface that combines an unmatched array of connections with a creativity-first workflow, built to handle a hardware-focused setup and keep your devices always in sync, always sounding pristine, and always ready to go.

Make your sound count

Introducing an interface that lets you leave everything connected, route anything to anything, and be more creative with your projects.

A workhorse hub of connections and smart features designed to get the job done, no matter the complexity. A powerful, reliable production tool that can be moulded to suit your audio setup, your workflow, and your sound.

A standalone mixer

For DAWless recording, live mixing, and outside-the-box audio configuration, AudioFuse 16Rig just works. Fire up its two low-latency internal mixers for sessions away from the studio, process audio & MIDI without a computer connection, and save your configurations for instant recall and quick setup switching.

Intricate audio routing

Get hands-on with an interface that lets you configure its connections to suit any need, including multiple sends/returns for effects, quick A/B speaker monitoring, and more. The included AudioFuse Control Center even features a matrix for quick 'connect anything and everything' configuration.

Quantity, meet quality

Give every recording the shine, clarity, and projection it deserves with two high-quality digitally-controlled preamps and 24-bit AD/DA converters from ESS and Cirrus Logic. Whether it's red-hot synths, dynamic guitars, delicate vocals, or any combination of inputs, expect top-notch sound across the board.

Choose your workflow

Your interface should adjust to suit your setup, not the other way around. Control AudioFuse 16Rig's settings via the display or the included software, configure it for desktop or 1U rackmount operation, use the DC-coupled outputs to send signals to synth modules, and connect your high-impedance headphones.

It's time your music had an upgrade

x16 ADAT I/O
x8 Analog Line DC coupled Outputs
x16 Analog Line Inputs
x1 MIDI In & 2x MIDI Out/Thru
Wordclock I/O
24-bit AD/DA 192kHz
Creative FX Bundle Included

Smart design

Sometimes it's the little things that matter most. You need your gear to complement and enhance the way you work, and that's the driving force behind AudioFuse 16Rig.

See how every piece of the AudioFuse 16Rig puzzle fits together to deliver a dream interface for audio & music hardware lovers.

Premium FX included

Every AudioFuse interface comes with an ever-evolving suite of creative plugins curated from Arturia's award-winning FX Collection. Refine any incoming audio with vintage studio tools, get experimental with contemporary effects, and embark on a journey through classic & modern sounds with Analog Lab.

AudioFuse Range

The new studio reference

The AudioFuse interface range connects your computer to the world of music. Record with the highest quality, monitor with absolute precision, and bring all of your gear together to create the music you always wanted to.

Analogue signal path

The highest quality components are used in the input and output signal paths of the AudioFuse series, giving you an audiophile-quality experience with no compromise.

Powerful monitoring

Multiple outputs, integrated A/B switching, monitor mix options, and even headphone outputs with both 3.5mm and 6.35mm connectors. The AudioFuse makes monitoring a joy.

Huge versatility

Each AudioFuse interface has its own unique set of features designed to make recording as fun and easy as possible.

Main Features

16 x TRS analogue inputs
Includes 2 x high-quality digitally-controlled preamps
Inputs 3 & 4 also available as 3.5mm stereo input

12 x analogue outputs
Includes 8 x DC-coupled TRS line outputs
Stereo monitor outputs
6.35mm front-panel outputs for reamping, dual-headphones

2 x ADAT in, 2 x ADAT out

Up to 16 channels of I/O at 48kHz, 8 channels at 88.2/96kHz

Wordclock in & out

1 x MIDI in, 2 x MIDI out/thru
5-pin DIN connectors
Route MIDI standalone

Low-latency USB-C connection

Class-compliant MIDI
3 x USB hub connections

Two internal standalone mixers

No computer connection needed
Cue mixer for sub-mixing and added flexibility
Main mixer controllable by MIDI

Color display with rotary control & menu buttons
Desktop or 1U rackmount configuration
Includes AudioFuse Control Center
Includes AudioFuse Creative Suite

Analog Lab Intro
Comp DIODE-609* NEW
Pre 1973
Pre V76
Pre TridA
Filter MINI
Chorus JUN-6
Comp FET-76
Delay TAPE-201
Rev PLATE-140
Phaser BI-TRON

What's in the box

Box content
AudioFuse 16Rig unit
Power supply
2x USB cable

Instrument dimensions
size : 17.3 x 11.6 x 1.7 inches (493 x 294 x 43mm)

Platform requirements

Windows
Win 10+ PC: 4 GB RAM; Intel i5 CPU or faster
1GB free hard disk space
OpenGL 2.0 compatible GPU

Apple
10.13+: 4 GB RAM; Intel i5 CPU or Apple Silicon CPU
1GB free hard disk space
OpenGL 2.0 compatible GPU

Notes: Inspired by the RSF Polykobol, the mighty Kijimi is a serious analogue synth, packing eight voices of two-VCO architecture and SSI2140-based filters. MK2 upgrade features more powerful firmware, extensive LFO options and neat wooden end panels.

Supplier's Notes:
KIJIMI MK2 is crafted to be one of the most powerful polysynths ever built, all behind intuitive front-panel controls, from its continuous timbral variation to its exhaustive modulation matrix. The Black Corporation original features planetary-sized analog sound, inspired by the best of rare and classic synths, but unique to our own parallel galaxy.

Continuous analogue timbral control

Instead of fixed waveforms, KIJIMI's voltage-controlled oscillators can morph continuously through waveform types. Sine, triangle, sawtooth, and variable pulse waves are smoothly variable, with pulse width as you turn to the far right. It's a scheme that provides unique, independent timbral over each of the eight voices.

Deep 8-voice architecture

Each of KIJIMI 's 8 voices features 2 analogue oscillators each with a square sub-bass oscillator, for buttery timbres with extensive sound design options. The sub-oscillator produces an octave lower than the combined VCO1 and VCO2 outputs, meaning you can tune two sub-pitches. Hard sync is available in VCO sync and VCO1->2 and 2->1 configurations for maximum flexibility. There's also a noise source for adding bite and percussion components. A rich lowpass filter is built around the legendary 2140 chip and the ability to frequency-modulate it via VCO2, creates a full range of sounds from metallic and aggressive to subtle. Both filter cutoff and resonance are available as modulation destinations.

Unique envelope functionality with dedicated controls

Two ADSR envelopes come with independent rate multipliers, keyboard control of attack rate, and versatile routing. Engage the CYCLE button for a cycling trapezoidal mode, similar to that on vintage instruments like the EMS Synthi. Few polysynths offer this level of detailed control, let alone with front-panel controlsino menu diving needed.

Endless modulation programmability

Modulation possibilities set the KIJIMI apart from other polysynths. Two LFOs can be routed independently to up to eight destinations, directly on front-panel buttons, controlling frequency and waveform modulation, sub-oscillator amount, filter cutoff and frequency, and amplitude modulation. Each LFO includes multiple waveform options (sine, triangle, saw, ramp, square, random) and separate attack and decay knobs in addition to rate. ADSR2 sports four independent destinations, also via front-panel push buttons and knobs. Even velocity and aftertouch get their own dedicated control section for applying velocity or aftertouch to each parameter (LFO rate, waveform morph, sub, pitch bend, and VCA). Dedicated knobs let you apply your aftertouch and poly-aftertouch, to taste, right where you want it. You'll rarely use the menus, and when you do, it'll only be to unlock even more advanced functionality (like multiple LFO features!). KIJIMI is a rare case of fusing straightforward one-control-per-feature design with unrestricted possibilities.

Full MIDI and expressive control, tuning support

Combine all the elements, and KIJIMI is an instrument that's playable like no other. Each note you play separately triggers modulation, independently on each voice, with full control via aftertouch. Add in full MIDI control, complete MIDI polyphonic expression (MPE) support, advanced tuning capabilities (including microtuning via SCALA and 128 memory locations for tuning settings), and velocity polyphonic aftertouch, each with up to six more destinations with its own bipolar settings. KIJIMI finally brings a synthesizer architecture that can unlock the possibilities of your expressive controller of choice.

Updated package

The MK2 version of KIJIMI includes all the acclaimed sonic power and character of its predecessor, in an improved package. Updated firmware now includes the ability to assign different LFO settings (rate, waveform, envelope, and depth) to each individual destination. In addition to 128 factory and 1152 user presets, we've included user banks by Mathew Jonson, Richard Devine, and Paul Schilling. All this comes in a compact, 2.71kg/5.97 lb device with wood panels attached (or the option of metal rack ears instead). DIN MIDI and isolated USB are onboard.

Notes: It starts with a dream

We are all fans of synthesizers, their vintage sound, classic and modern at the same time, their ability to mix several timbres. We love the musical journey that transports us while listening to each new presets.

We also like guitar and bass. Standing or sitting, in your studio or on stage, playing on guitar or bass is this tremendous energy, this way in which the intensity of the playing is in total connection with the music you want to create. A sweet ballad, a melodious arpeggio, a hell of a bass line, a stratospheric lead, an awesome riff.

What if we could express all that but with a great synth sound?

The dream came true, and even more!

A modern synth played like a guitar or a bass

Elyra is played with the typical gestures of playing guitar and bass and all the energy that comes from it. You play with your whole body.

There are two strumming aera for strings, one dedicated to back and forth and another dedicated to bass and arpeggios.

Elyra is designed to be played by both right-handed and left-handed people.

You can also play it placed on a table or on your knees like a groove box.

A powerful and unique composition tool

With up to 16 voices polyphony, spread across 16 instruments/layers and with is powerful sequencer, Elyra is more than a groovebox, it is a composition tool.
You can have one instrument with 16 voices or 16 instruments with one voice and everything in between.

Because Elyra is battery powered, you can carry it anywhere with you and play for several hours.

You can play and sequence all your other instruments via MIDI port.

A sound engine is made for this instrument by Kodamo.

At the core of Elyra there is a powerful and beautiful sound engine created for by Kodamo.

It is a virtual analogue engine based on subtractive synthesis with just enough FM synthesis to offer a vast sound territory.

It has many parameters to sculpt and create a unique sound.

Electronics and wood

Elyra is made of electronics and wood.

The electronic parts are designed in France and comply with environmental standards and in particular RoHS.

The body of the instrument is made of wood. It is cut and assembled in France. The wood is only chosen from sustainable or recycled sources.

Elyra is built to last.

Raised touch buttons

All Elyra buttons are touch sensitive pads made up of a slightly raised area allowing the user to feel physical feedback.

This is capacitive sensor technology which offers an extremely fast response time of 2 ms.

There are 5 distinct areas on the main panel:

the fretboard composed of 4 * 12 pads
the strumming area separated into two types, A and B
two assignable sliders
an OLED screen with its wheel and its 8 contextual buttons

Guitar/bass mode

At first you need a double trig to play a note in Guitar or Bass mode: the hand on the fretboard selects the note to be played, and the other hand uses one of the two strumming areas.

Each one of the four strings has its own two strumming areas.

The strumming area A, is made of a long and very thin relief pad. It is ideal for playing back and forth on one or more strings.

The strumming area B, is a double pad surrounded by holes in the main layer, it allows both bass type playing and is ideal for playing arpeggios.

Elyra retains the essential subtleties of guitar playing, when a note has just been played you can also, like in guitar, slide to another note, or do a Pull-off or a Hammer-on without using the strumming area again.

You can use the slider with your thumb to bend the notes.

Elyra can be tuned according to your needs. there are basic tunings, like the first 4 strings of a guitar E, A, D, G, or any open tuning, or like a Ukulele.

You choose the root notes of each string, and the choice is specific to each track in one project.

Specifications

Fretboard: 12*4 capacitive pads (2ms latency)
Sound Engine: Virtual analogue + FM
Polyphony: 16 voices shared by all tracks
Multitimbrality: up to 16 instruments/layers
Presets: 256 factory presets
1024 user presets
16 presets per project
Oscillators: 15 waveforms including sine, triangle, saw, pulse and noise
Pitch envelope
Amp envelope ADSR + delay
FM: envelope modulator (osc 2) + feedback level
Filter: filter type : HPF, LPF
Filter slope: 2 poles -12dB/oct, 4 poles -24d B/Oct
Envelope ADSR
LFO: 2 LFOs, 5 waveform, speed depth, delay, retrig position, sync to BPM
Effects: 3 master effects with individual send by tracks
Effect 1: distortion/overdrive
Effect 2: bitcruch or chorus
Effect 3: stereo delay or reverb
Sequencer: a pattern = up to 256 steps per track, 128 patterns per project
max 999 project by SD card
Power Supply: 5v USB bus power supply
Memory: SD card

Size and Weight

Width: 435 mm - 17 - 1/8 inches
Depth: 170 mm - 6 - 11/16 inches
Height: 40 mm - 1 - 37/64 inches
Weight: 1.2 kg / 2 lbs 12,3 oz

Notes: Celebrating the 50th anniversary of this truly iconic synth, the 'modern' take on the classic Buchla Music Easel doesn't mess with a winning formula, paring the 208C sound source with 218e touch-sensitive keyboard.

Supplier's Notes:
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel (retro) is available for pre-order starting in June 16 at Buchla.com and your favorite Buchla Dealer with delivery expected in winter 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Notes: An evolution of the monophonic Typhon synth concept, the Artemis applies similar interface design to a six-voice analogue synth module with Sinevibes digital effects. Lots of power and typically classy Dreadbox sound.

Supplier's Notes:
Artemis is a unique analogue polysynth with a UI inspired by Dreadbox's award-winning Typhon synthesizer. It builds on Typhon's innovative concepts, adding six voices of polyphony, powerful modulation capabilities, stereo FX, voice spreading, and much more!

From classic polysynth tones to aggressive modern sounds and everything in between, Artemis has a wealth of raw synthesis and modulation capabilities to explore.

At its core, Artemis features a fully analogue architecture, based on the smart oscillator implementation found in both the Typhon and the Murmux Adept, allowing effortless transitions between multiple waveforms, mix settings, glide, FM, and more.

These VCOs are paired with Dreadbox's signature filter topology, offering classic 12dB or 24dB per octave low-pass modes, as well as a standalone resonant high-pass filter. The low-pass filter includes dedicated filter frequency FM control for dialling in edgier, modern tones.

Two multi-mode LFOs enhance the modulation possibilities: LFO 1 offers a unique fade-in parameter, while LFO 2 includes XMOD (cross-modulation) control for chaotic, brash textures. Each LFO has multiple waveforms and can modulate pitch, filter cutoff, VCO waveform, pulse width, and more.

This analogue powerhouse is complemented by a suite of world-class FX from Sinevibes, who previously collaborated with Dreadbox on Typhon's FX. With reverb, delay, modulation effects, master distortion, and more, Artemis delivers an extra dimension to your sounds.

Notes: SOLAR 42F is a unique experimental electro-music instrument, an analogue microtonal ambient drone machine. It will inspire you to find a new and spontaneous approach to composing music. It gives you the ability to create a multi-layered, massive sound. The instrument is oriented for live performances, creating film soundtracks, theatre soundtracks, atmospheric sounds, microtonal and background music.

It is an improved version of the older SOLAR 50 model. The instrument was inspired by early electronic musical instruments of the 1920s and 1950s, notably Leo Theremin's "Harmonium" instrument, as well as science fiction film soundtracks.

The new version of the Solar 42F has added a LIN/EXP CV switch, sub oscillators in volt octave voices and a band pass and stereo distortion mode to the filter. Other quality of life improvements include modified graphics - inputs have been labeled in black and outputs in red for convenience - bypasses for each channel of the effector and a LED indication in the joystick unit.

Notes: SOLAR 42F is a unique experimental electro-music instrument, an analogue microtonal ambient drone machine. It will inspire you to find a new and spontaneous approach to composing music. It gives you the ability to create a multi-layered, massive sound. The instrument is oriented for live performances, creating film soundtracks, theatre soundtracks, atmospheric sounds, microtonal and background music.

It is an improved version of the older SOLAR 50 model. The instrument was inspired by early electronic musical instruments of the 1920s and 1950s, notably Leo Theremin's "Harmonium" instrument, as well as science fiction film soundtracks.

The new version of the Solar 42F has added a LIN/EXP CV switch, sub oscillators in volt octave voices and a band pass and stereo distortion mode to the filter. Other quality of life improvements include modified graphics - inputs have been labeled in black and outputs in red for convenience - bypasses for each channel of the effector and a LED indication in the joystick unit.

Notes: The excellent Bullfrog synth gets a new bigger brother in the form of the XL, an expanded and enhanced version of this collaborative analogue instrument, featuring built-in speakers, oscilloscope and plenty of new synth options.

Supplier's Notes:
Bullfrog invites you to unlock your musicality while combining the thrill of electronic music production with a comprehensive learning experience. Bullfrog XL is designed specifically for teachers to use in front of the classroom and it expands the concept of the regular Bullfrog by inflating its size by a factor of 3 (literally!). With its expanded size and built-in oscilloscope, Bullfrog XL isn't just for classrooms but will be a great addition to any studio.

Features

Fully analogue design
Highly accurate voltage controlled oscillator (VCO) that tracks great over 8 octaves
Manually adjustable and voltage controlled waveshapes - sine-shark fin and pulse wave with pulse width modulation (PWM)
Zener diode-based noise generator
Resonant lowpass voltage controlled filter (VCF)
Voltage controlled amplifier (VCA) with adjustable offset
Delay effect with adjustable delay time and feedback amount
Two looping attack-sustain-release envelope generators (EG)
Sample & Hold circuit with an individual clock
Attenuverter
Slew processor with adjustable slew time
Two buffered splitter circuits
Two channel oscilloscope
6.3 mm jack sockets
Manual gate button
Gate and Trigger out
Voice card slot
Built in speakers
DIN5 MIDI input
USB connector
Keyhole slots on the rear panel
Dimensions (mm): 820x505x65 (250 with the side panels)
Mass: 8.3 kg

What's included:

BULLFROG XL synthesizer with side panels
Universal 12VDC wall wart adapter with the power cable
User manual
12 1/4" patch cables
Sequencer, Sampler/Looper, Acid Bassline, Hi-pass filter, LFO and Electric Organ Voice cards
3 DIY voice cards

Created by Erica Synths & Richie Hawtin, Bullfrog is an educational electronic music instrument designed to captivate and inspire both youth and professionals alike. Bullfrog invites you to unlock musicality while combining the thrill of electronic music production with a comprehensive learning experience.

In order to provide a well-rounded understanding of the functionality of this synthesizer and sound synthesis in general, a comprehensive user manual is created to accompany the learning process.

Notes: No oscillators, 8 voice polyphony.

The Steampipe is a true physical modelling synthesizer developed in close collaboration with Dutch company 112.dB.

The Steampipe has no conventional oscillators. Instead, it mimics the way sound is created in wind instruments and it is fine-tuned to create a wide range of sounds - everything from wind instruments to strings, pipe organs, crazy effects and beyond. The Steampipe has three major sections - STEAM, PIPE and REVERBERATOR.

The STEAM section can be compared to the lungs and mouth of a musician. The generator creates the flow of air or "steam", the envelope in this section determines the force with which it is blown out. DC/noise is the noise you get when blowing out. DC/Noise on the Steampipe can also be replaced with an external audio source.

The PIPE section can be compared to a flute. In the pipe, the tune is formed. Push (in feedback) bounces the steam like it does in a flute and generates the tone. The delay box subsection changes the flute's tuning and shape.

The REVERBERATOR adds space and ambience to the sound.

The Steampipe is optimized for performance with wind MIDI controllers and it works great with any MIDI keyboard. The overtones the Steampipe produces are very organic and rich and it comes with great-sounding presets. The Steampipe is rather versatile and allows for nuanced sonic exploration, conjuring sonic imagery ranging from from wisps of cloud to fairground band organs, then to industrial horns of the railroad and finally, to massive, otherworldly ambiences.

Notes: ***B-STOCK: Box opened, product in perfect working order***


Future Retro's unique modern take on vector synthesis takes full advantage of an impressive hybrid synth engine. Digital oscillators, ring modulation and complex envelopes meet a multi-mode analogue filter with paraphonic capabilities. Quirky and flexible.

Supplier's Notes:
The Vectra is a unique hybrid synthesizer with a flexible architecture that allows many different forms of synthesis to be realized. It's the best of both worlds... The Vectra utilizes digital oscillators, ring modulators, noise sources, vector mixer, LFO's, complex envelopes, and modulation routings providing many capabilities that would be very difficult to produce with analogue circuitry alone. This allows for accurate tuning, repeatability of complex patches, and patch storage. The Vectra also provides a multi-mode analogue filter, VCA, and final output, as these provide the best sonic qualities.

The Vectra includes a powerful and fun sequencer and arpeggiator, with many new capabilities. Although the Vectra is a self contained instrument, MIDI can be used to interface with other devices.

The Vectra provides four oscillators, white and pink noise sources, four ring modulators, a four-channel mixer, five LFO's, six morphing envelopes, six primary multimode analogue filter types, a main analogue VCA, and numerous internal modulation routings and VCA's controlling modulation amounts.

It really is like having a powerful self-contained semi-modular synthesizer with approximately 500 internal signal routings, and around 256 storable sound parameters.

The synthesizer architecture is designed to allow the greatest flexibility in recreating multiple synthesis techniques of the past while introducing several new innovations. The sound section has been inspired by features of the greatest synthesizers ever made, while not focusing specifically on recreating any instrument in particular. The Vectra is in fact it's own unique self-contained instrument.

The oscillators are digital as this provides the highest degree of tuning stability, while allowing both virtual analogue and digital waveform generations. With features like oscillator Sync, PWM, the new waveform Phase Slice, and Fade features, independent glide times per oscillator, constant beat detuning, and paraphonic voice modes, not to mention FM, AM, ring-modulation, and dedicated LFO's, envelopes, and VCA's per oscillator really make these oscillators a power house.

The four-channel mixer is unique in that it provides an even balance when mixing multiple sources, either manually with the joystick, or applying automated vector mixing, or mixer modulation.


OSCILLATORS (1-4)
Frequency Range: <0.01 Hz to 20.00 kHz
Analogue Modelled Waveforms: Sine, Triangle, Sawtooth, Square, Pulse Width Modulated
Pulse Width Range: 1% to 99%
Pulse Width Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Digital Waveforms: 500
Number of Digital Waveforms per Oscillator: 2
Waveform Modulation Types: PWM, Slice, Fade
Waveform Start: 0 to 255 samples
Waveform Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Waveform Modulation Amount: 0 to 100
Octave Range: -7 to +5
Pitch Tuning: Semitones
Fine Tuning: 128 steps per semitone
Constant Beat Detuning: -/+5.00Hz
Paraphonic Modes: 8 total
Sync: Off/On, 0-360 degrees
Glide Time per Oscillator: 0ms to 14.7 seconds
Key Tracking: On/Off

OSCILLATOR FREQUENCY MODULATION (1-4)
Modulation 1 Source: LFO
Modulation 1 Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO,
Envelope
Modulation 2 Source: Envelope
Modulation 2 Control: Off, Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO,
Envelope

Modulation 3: Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, Filter LFO, Filter Envelope, Amplifier Envelope

Total Modulation Range: 0.5 to 10 octaves
Individual Modulation Amounts: -99 to 100

LFO (1-4, Filter)
Analog Modelled Waveforms: Sine, Triangle, Ramp, Sawtooth, Square, Random
Digital Waveforms: 500
Waveform Start: 0 to 255 samples
Initial Frequency Range: 0.001 to 1001Hz (greater with key tracking and modulations)
Fine Tuning: 128 steps per semitone
Key Tracking: On/Off
Sync: Off/On, 0-360 degrees
Frequency Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope, Filter LFO
Total Modulation Range: 1 to 10 octaves
Modulation Amount: -99 to 100

41

ENVELOPES (1-4, Filter, Amplifier)
Initial Envelope Stages: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/Loop
Modulated Envelope Stages: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/Loop
Normal Envelope Contours: 5
One-Shot Envelope Contours: 4
Looping: On/Off with repeat time
Envelope Times per Stage: 0ms to 14.7 seconds
Sustain Level: 0 to 100%
Key Sync: on/off (retriggering)
Attack Reset: Off/On
Time Modulation Sources: Off, Random1, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y

MIXER
Channels: 4
Audio Sources:
Oscillator (1-4)
Oscillator (1-4) controlled by Envelope (1-4)
Oscillator (1-4) controlled by LFO (1-4)
Ring-Modulation of Osc 1&2, Osc 2&3, Osc 3&4, Osc 4&1
White-Noise
White-Noise controlled by Envelope (1-4)
Pink-Noise
Pink-Noise controlled by Envelope (1-4)
Mixer Types: Manual, Envelope, One-Shot, Key-Synced, Free-Running, Modulated
Automix X:Y Location Stages: 4
Automix Stage Times: 0ms to 14.7 seconds
Mod Mix X:Y Location Stages: 2
Mod Mix Control Sources: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Mod Mix Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO, Envelope,
Filter Envelope
Mod Mix Amount: 0 to 100
Output Gain: 1.00x to 5.00x

ANALOG FILTER
Primary Filter Types: 4p low-pass, 2p low-pass, 1p low-pass, 2p band-pass, 2p high-pass, 2p notch
Filter Frequency Range: approximately 20 Hz to 20 kHz
Resonance: 0 to 100
Key Tracking: Off/On
Modulation 1 Source: LFO
Modulation 1 Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO-4,
Filter Envelope
Modulation 2 Source: Envelope
Modulation 2 Control: Off, Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO-4,
Envelope-4
Modulation 3: Randon1/2, Key1, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, DC+, Mix-1, Mix-2,
Mix-3, Mix-4, LFO-1, Env-1, Amplifier Envelope
Individual Modulation Amounts: -99 to 100
42

ANALOGUE AMPLIFIER (see also Envelope parameters)
Additional Envelope Type: Drone

Envelope Amplitude Modulation Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-
Wheel, Stick X/Y, LFO-4, Envelope-4

KEYBOARD / SEQUENCER
Keys: 29
Scales: 29
Linear Transpose: -12 to +16
Scale Transpose: -12 to +16 notes
Octave Reiterations: -3 to +3
Tempo: 10 to 250 BPM
Swing: 50% to 75%
Sequencer Modes: Play, Arpeggiate, Fill, Edit, Real-time, Auto
Max Steps per Sequence: 16
Sequencer Parts: Pitch, Velocity, Rhythm (Note-On/Off, Glide, Sustain)
Time Signatures: 1-4, 2-4, 3-4, 4-4, 6-4, 8-4
Directions: Down, Up/Down, Up, Random, (plus 25 complex directions)
Loop Point: 1 to 16 steps

MEMORY
Max Number of Sounds and Sequences: 999
Global Parameters Saved: Output level, MIDI Channel, Fine Tuning, Screen Saver Time, Last File

MIDI
Channels: 1-16
MIDI Messages Supported: Note-Pitch, Note-On/Off, Velocity, Aftertouch, Pitch-Bend, Mod-Wheel,
MIDI Sync: Clock, Start, Stop

OTHER
Input/output: 15V DC input, MIDI (IN/THRU/OUT), 1/4" unbalanced Audio Out
Unit Dimensions: (width) 18.25" x (depth) 11.0" x (height) 3.5"
Unit Weight: 5.0 lbs
Power: 15V DC (centre-pin positive) rated at 1 Amp current.

Notes: Iconic Genelec sound quality in a classic nearfield format, the 8050B offers 32 Hz - 25 kHz response (-6 dB), 110 dB max SPL and exceptional accuracy. Modern classics for good reason.

Supplier's Notes:
Class-leading performance from Genelec's compact monitors, packing huge power into a small footprint. 32 Hz - 25 kHz frequency response and 110 dB maximum SPL for true professional sound in a tiny package.

Nearfield monitoring with real muscle. The 8050B has power in abundance, making it ideally suited to larger spaces and longer listening distances.

The 8050B represents a class-leading balance of extraordinary SPL output, expansive dynamic range and an intensely detailed, transparent performance. With superb directivity and a wide sweet spot, you're free to move position and still trust what you're hearing.

With its neutral performance and ability to adapt to your room via simple rear-panel room compensation switches, the 8050B ensures a flat playback response to help you really analyse the spectral balance of a recording and produce mixes that always translate reliably.

Notes: Class-leading performance from Genelec's compact monitors, packing huge power into a small footprint. 32 Hz - 25 kHz frequency response and 110 dB maximum SPL for true professional sound in a tiny package.

Supplier's Notes:
Nearfield monitoring with real muscle. The 8050B has power in abundance, making it ideally suited to larger spaces and longer listening distances.

Detail and transparency

The 8050B represents a class-leading balance of extraordinary SPL output, expansive dynamic range and an intensely detailed, transparent performance. With superb directivity and a wide sweet spot, you're free to move position and still trust what you're hearing.

Mixes that translate

With its neutral performance and ability to adapt to your room via simple rear-panel room compensation switches, the 8050B ensures a flat playback response to help you really analyse the spectral balance of a recording and produce mixes that always translate reliably.

Package contains:
1 x 8050B monitor
1 x mains cable 1,8 m
1 x operating manual

8050B Technical Specifications

SPL:
110 dB

Amplifier Power:
150 W Bass (Class AB) + 120 W Treble (Class AB)


Frequency Response:
32 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
+/- 2 dB (38 Hz - 20 kHz)

Driver Dimensions
o 205 mm Bass + o 25 mm Treble

Dimensions:
H 452 x W 286 x D 278 mm, with Iso-Pod (view in inches)

Weight:
14.4 kg / 31.7 lb

Connections:
1 x XLR Analog Input

Notes: GS Music's fully analogue six-voice synth module. Huge sonic power from the classic single-oscillator design, brought up to date with modern touches like balanced stereo outputs and USB control. Also available in blue.

Supplier's Notes:
The JHS Pedals 3 SerieThe Bree6 is a polyphonic analog synthesizer that features a fully analog sound generation. It offers six voices of polyphony, each equipped with a single voltage controlled oscillator (VCO), and a sub oscillator. The signal path includes a mixer, a 4-pole low-pass voltage-controlled ladder filter (VCF), and a voltage-controlled amplifier (VCA). The control signals are digitally generated, incorporating one low-frequency oscillator (LFO) and two ADSR-type envelope generators. Additionally, the Bree6 integrates an effects processor with chorus and delay.

The Bree6 interface is engineered for straightforward and intuitive use, featuring one knob per function and ensuring ease of access to its robust features, including MIDI connections, USB, balanced stereo audio outputs, headphone output, and CV inputs.

The signal path in the Bree6 is entirely analog, including a single VCO per voice, a sub oscillator, a mixer, a 4-pole low-pass ladder VCF, and a VCA. The control voltages are digitally generated, comprising one LFO and two ADSR-type envelope generators. It also features a stereo digital effects processor with Delay and Chorus.

The Bree6 features a single VCO plus a sub oscillator per voice. The oscillator includes sawtooth and pulse waveforms, with pulse width modulation control that can be modulated by the LFO. The oscillator tuning can be adjusted, and modulation can be applied from the LFO. The sub oscillator generates a square wave one octave below the main oscillator.

The Bree6's filter is a 4-pole ladder-type low-pass filter with resonance control. It can be modulated by EG1, with velocity affecting the modulation depth, and can also be modulated by the LFO. It can also be controlled by the modulation wheel and aftertouch.

The synthesizer offers a stereo ensemble type chorus effect. It simulates a string or vocal ensemble using multiple delay lines modulated by their dedicated LFOs. The stereo delay can reach a maximum delay time of up to 1 second.

The Bree6 contains one LFO with selectable waveforms (triangle, ramp up, ramp down, square, and random with sample and hold). The LFO's frequency can be set from 0.1Hz to 100Hz, and modulation can be applied to the VCO, VCF, and VCA.

There are two ADSR-type envelope generators in the Bree6, designed for precise control over the dynamics of both the filter and the amplifier.

The synthesizer supports MIDI Polyphonic Expression (MPE), facilitating detailed performance dynamics when used with compatible MPE controllers. The Bree6 has been carefully tested with Osmose, Linnstrument and Geoshred.

Notes: Blue version of the Bree6, GS Music's fully analogue six-voice synth module. Huge sonic power from the classic single-oscillator design, brought up to date with modern touches like balanced stereo outputs and USB control.

Supplier's Notes:
The Bree6 is a polyphonic analog synthesizer that features a fully analog sound generation. It offers six voices of polyphony, each equipped with a single voltagecontrolled oscillator (VCO), and a sub oscillator. The signal path includes a mixer, a 4-pole low-pass voltage-controlled ladder filter (VCF), and a voltage-controlled amplifier (VCA). The control signals are digitally generated, incorporating one low-frequency oscillator (LFO) and two ADSR-type envelope generators. Additionally, the Bree6 integrates an effects processor with chorus and delay.


The Bree6 interface is engineered for straightforward and intuitive use, featuring one knob per function and ensuring ease of access to its robust features, including MIDI connections, USB, balanced stereo audio outputs, headphone output, and CV inputs.

The signal path in the Bree6 is entirely analog, including a single VCO per voice, a sub oscillator, a mixer, a 4-pole low-pass ladder VCF, and a VCA. The control voltages are digitally generated, comprising one LFO and two ADSR-type envelope generators. It also features a stereo digital effects processor with Delay and Chorus.

The Bree6 features a single VCO plus a sub oscillator per voice. The oscillator includes sawtooth and pulse waveforms, with pulse width modulation control that can be modulated by the LFO. The oscillator tuning can be adjusted, and modulation can be applied from the LFO. The sub oscillator generates a square wave one octave below the main oscillator.

The Bree6's filter is a 4-pole ladder-type low-pass filter with resonance control. It can be modulated by EG1, with velocity affecting the modulation depth, and can also be modulated by the LFO. It can also be controlled by the modulation wheel and aftertouch.

The synthesizer offers a stereo ensemble type chorus effect. It simulates a string or vocal ensemble using multiple delay lines modulated by their dedicated LFOs. The stereo delay can reach a maximum delay time of up to 1 second.

The Bree6 contains one LFO with selectable waveforms (triangle, ramp up, ramp down, square, and random with sample and hold). The LFO's frequency can be set from 0.1Hz to 100Hz, and modulation can be applied to the VCO, VCF, and VCA.

There are two ADSR-type envelope generators in the Bree6, designed for precise control over the dynamics of both the filter and the amplifier.

The synthesizer supports MIDI Polyphonic Expression (MPE), facilitating detailed performance dynamics when used with compatible MPE controllers. The Bree6 has been carefully tested with Osmose, Linnstrument and Geoshred.

Notes: ***B-STOCK: Box opened, missing a nut on left output, otherwise in perfect working condition***


Blue version of the Bree6, GS Music's fully analogue six-voice synth module. Huge sonic power from the classic single-oscillator design, brought up to date with modern touches like balanced stereo outputs and USB control.

Supplier's Notes:
The Bree6 is a polyphonic analog synthesizer that features a fully analog sound generation. It offers six voices of polyphony, each equipped with a single voltagecontrolled oscillator (VCO), and a sub oscillator. The signal path includes a mixer, a 4-pole low-pass voltage-controlled ladder filter (VCF), and a voltage-controlled amplifier (VCA). The control signals are digitally generated, incorporating one low-frequency oscillator (LFO) and two ADSR-type envelope generators. Additionally, the Bree6 integrates an effects processor with chorus and delay.


The Bree6 interface is engineered for straightforward and intuitive use, featuring one knob per function and ensuring ease of access to its robust features, including MIDI connections, USB, balanced stereo audio outputs, headphone output, and CV inputs.

The signal path in the Bree6 is entirely analog, including a single VCO per voice, a sub oscillator, a mixer, a 4-pole low-pass ladder VCF, and a VCA. The control voltages are digitally generated, comprising one LFO and two ADSR-type envelope generators. It also features a stereo digital effects processor with Delay and Chorus.

The Bree6 features a single VCO plus a sub oscillator per voice. The oscillator includes sawtooth and pulse waveforms, with pulse width modulation control that can be modulated by the LFO. The oscillator tuning can be adjusted, and modulation can be applied from the LFO. The sub oscillator generates a square wave one octave below the main oscillator.

The Bree6's filter is a 4-pole ladder-type low-pass filter with resonance control. It can be modulated by EG1, with velocity affecting the modulation depth, and can also be modulated by the LFO. It can also be controlled by the modulation wheel and aftertouch.

The synthesizer offers a stereo ensemble type chorus effect. It simulates a string or vocal ensemble using multiple delay lines modulated by their dedicated LFOs. The stereo delay can reach a maximum delay time of up to 1 second.

The Bree6 contains one LFO with selectable waveforms (triangle, ramp up, ramp down, square, and random with sample and hold). The LFO's frequency can be set from 0.1Hz to 100Hz, and modulation can be applied to the VCO, VCF, and VCA.

There are two ADSR-type envelope generators in the Bree6, designed for precise control over the dynamics of both the filter and the amplifier.

The synthesizer supports MIDI Polyphonic Expression (MPE), facilitating detailed performance dynamics when used with compatible MPE controllers. The Bree6 has been carefully tested with Osmose, Linnstrument and Geoshred.

Notes: The legendary Alpha Base drum machine gets a major update. Sheer analogue power meets hybrid sampling options, now with improved visual feedback, better control and tweaked sound engines. Immense.

Supplier's Notes:
The ALPHA BASE Mk II is the successor of the already legendary ALPHA BASE.

What's new?

-Graphic OLED display
-Real RGB LEDs in the sequencer
-More buttons: Last Step, Roll/Flam, Store Kit/Patt, Rec Para and Rec Sample
-Analogue panning circuitry for the hybrid sample channels
-Improved analogue engine
-Noise volume is controllable in the hybrid sample channels
-More samples
-Headphone volume is independent from mix volume

It's true analogue. Eleven instruments, sequencer, Midi/USB/SD-Card. Samples. Sampling inputs, balanced individual outputs.

Although it may appear similar to the classics XBASE 09, 999 and 888, the ALPHA BASE has an entirely new design under the hood. Jomox have put in the concentrated know-how of their drum machines and synths of the past 20 years. Some things have been simplified, but also added new components or have combined them new. The outcome is the best sounding and most versatile drum machine that Jomox has ever built.

Kick Drum

The centre instrument still is the analogue kick drum which has gotten a facelifting again. The legendary punch and assertiveness of all Jomox kicks is convincingly continued. LFO, pitch envelope, metallic noise and gate time are famous features that may not and do not miss out.

MBrane
As a second analogue instrument, Jomox have put in a complete MBrane voice. It covers a gigantic spectrum of analogue snare drums, percussions, cow bells, claves, glasses, toms, bass drums etc. etc. It uses the technology of the Mod.Brane11. Of course, this instrument has 2 own LFOS, pitch envelopes and metallic noise as well.

Samples+Filter

The succeeding six instruments are built hybridly and consist of samples that are run through real analogue filters and VCAs. Each analogue sample channel has an own metallic noise that alternatively can be used as a signal source or being mixed to the sample.

With metallic noise only, it becomes a pure analogue instrument again. Four channels make use of a multimode filter that is capable of resonance - again they can be used as true analogue instruments with the self-oscillating filter as the only sound source if you wish.

Hi Hat

Two of these six channels are reserved for hi hats and make use of a proven and improved HH filter that was used in the XBASE 999 already. It is specialized for analogue hi hats and may conjure wonderful noisy hi hats from a sample mixed with metallic noise.

Clap, Rim, Crash, Ride

The succeeding four channels have each a resonateable 2-pole multimode filter that can be switched between LP, HP and BP. The filter cutoff can be modulated by an ADSR envelope and an LFO per instrument. If the filter is self-oscillating, one can create wonderful analogue toms, claves, sticks etc. by means of the VCA envelope behind. Or even extremely bend samples sonically. By principle, each of the four MM filter sample channels is a little synth voice of its own. A sampled synth bass run through the analogue filter is nearly indistinguishable from a real analogue synth.

X Sample 1+2

Moreover, there are two sample instruments that work purely digital. It's even possible that the Alpha Base can sample external audio on these channels for about max. 5 seconds. Which is more than enough for drum samples. The recorded sample can be stored on SD card or being copied to the internal flash memory and then being played back by the other sample channels. Samples can also be copied from SD card into flash memory. The format is RAW/WAV mono 16 Bit / 48kHz. The internal organization divides samples into fixed memory slots that can be addressed by the parameter sample select in the instruments. All samples can be pitched and modulated in a wide range. The sample start and stop can be edited and they are loopable as well. Modulation targets are: pitch, filter cutoff and volume. Each channel has an own LFO for that.

FM Synth

As a little digital gadget, a mini FM synth has been added. With 4 operators and maximum 6 voices it can create weird and crazy percussion sounds up to simple chords. Played over an external midi keyboard, it can be used as a polyphonic synth.

Effects

Two digital effects are on board: delay and reverb that act as send/return effects. Each of the analogue instrument outputs has an own A/D converter. The delay effect can also be inserted into the six hybrid sample channels and becomes then part of the sound production chain. The reverb can easily be killed by an encoder click but is indeed a great advantage for life performances with minimal equipment. Reverb times may reach to almost infinity, and the damping filters act quite extremely so that the reverb meets the requirement of modern electronic music and can be an essential part of sound.

Editing

For the editing of parameters there are 16 encoders arranged in a 4x4 matrix. Each instrument only addresses two pages by 16 values to make the editing as easy as possible, without deep menu cursors.

11 Instruments: Kick Drum, MBrane, Cl HiHat, Op HiHat, Clap, Rim Shot, Crash, Ride, X Sample 1, X Sample 2, FM Synth.
Real analogue Jomox kick drum.
Real analogue Jomox MBrane voice with 2 coupleable F-OSC for complex analogue snare, percussion, bass and tom sounds ranging from 16Hz to 20kHz.
2 sample based instruments with analogue VCA ADSR envelope and/or HH filter, optionally with metallic noise mixed as extra sound source. The HH filter is 2-pole, HP/LP/Res each separated parameters, peakable but not oscillating.
4 sample based instruments with analogue VCA ADSR envelope and/or resonating multimode filter (LP, HP, BP) with ADSR envelope, optionally with metallic noise mixed as extra sound source. The multimode filter can be used as a signal generator in order to generate analogue toms or sticks etc.
2 sample based instruments with external sampling input and pure digital playback.
1 FM synth with 4 operators and max. 6 voices for percussive sounds.
Effects delay, reverb with send per instrument, also insertable into analogue signal path on CH, OH, Clp, Rim, Ride.
LFOs: per instrument one LFO (MBrane 2 LFOs) with 64 wave forms, each assignable on pitch, VCA, filter cutoff.
500 samples 16 Bit/48kHz in internal flash memory.
SD card slot for loading of samples.
USB (Midi Device).
Midi In, Midi Out, Midi Thru.
Inputs: stereo in for sampling, FX or sidechain. Both inputs are Hi-Z and suitable for guitar/bass or work up to line level +20dBu.
Outputs: 8 individual balanced outputs, stereo mix balanced, headphones.
Output Level: max. ca.+14dBu unbalanced, +20dBu balanced on all outputs.
18 encoders
Input Volume, Phones Volume and Mix Volume are analogue potentiometers.
OLED Display 256x64px.
12V 2A DC external power supply.
Stable metal case.
Wooden side cheeks, rubber feet.
Size: 41cm (16.1") x 24cm (9.5") x 8cm (3.2") (back side).
Weight: ca. 3.3kg (7.26 lbs).

Notes: A year ago, Jomox brought out the Mod FM as a eurorack module.

Now, Jomox present almost the same synth, but as a desktop unit, with its own PSU, Midi, standard 1/4" balanced outputs and analogue volume control.

The Mod FM D has an analogue side chain stereo input that gets routed into the Mod FM D effects, and can be mixed to the synth.

The ratio of synth + input/effects can be controlled via an analogue dry/wet potentiometer.

The Mod FM D is a completely self-contained 8 voice FM synth in desktop format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally, it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM D, although the FM engine is digital of course.

Each voice has its own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM D has Midi in and out and a USB C connector which handles Midi too.

Even without diving too much into complicated setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds as tons of crazy weird stuff.

Furthermore, the Mod FM D offers a variety of external cv modulations in order to modulate each operator individually or control the FM envelopes.

The Mod FM D is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but edits made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Analogue and modular is great but can be very complex, and you might be trapped in a system where you never reach again the pretty sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

As it gets pretty quickly uncontrollable if you turn all the knobs due to the feedback, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-vca which is important for snappy sounds. The same transistor-vca is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

On the analogue voice board there is another sound source: Metal Noise. It can be mixed into the filter independently from the digital engine (= FM synth) and offers again an inexhaustible pool of weird sounds.

FX:

The Mod FM D also has an FX section added: reverb and 2x delay. These only work on the stereo mix output. The delay can be beat-synchronized via midi clock and offers a very short delay time in millisecond range. That gives you flanging and oil-can-like effects.

Specifications

8 voices fully multi timbral FM synth
4 operators per voice
Full modulation matrix / 26 algorithms
2 LFO/VCOs per voice
Balanced stereo 1/4" jack outputs
Stereo Hi-Z 1/4" jack inputs
Analog effects mix
Outputs for each voice plus mix out
CV/Gate per voice
CV modulation inputs per operator
True audio FM modulation inputs
True analogue filters per voice
24db low pass
12dB multimode LP/BP/HP cont. shape
True analogue VCAs per voice
Midi in, out
USB C device
Digital reverb, 2x stereo delay
Full storability, also CV amounts
128 presets, 118 multi sets
2x 128x64px OLED displays

Power consumption: 12V=DC 2A max.

Dimensions:

Width: 318mm
Depth: 180mm
Height front: 44mm
Height back: 72mm

Weight: 1,9kg (4.4 lbs)

Notes: ***B-STOCK: Box opened, product in perfect working order***


Powerful step sequencer built around four well-equipped full-featured 16-step sequencers communicating via both MIDI and CV/Gate. There are no screens or submenus.

All features have their own dedicated controls and have their own dedicated in- and outputs on the large 87-point patch bay. Every aspect of this sequencer is CV-able. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once!

The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped!

Our step sequencer lets you construct complex musical patterns, via both MIDI and CV/Gate. Built around four full-featured 16-step sequencers in a compact and light enclosure, the Komplex Sequencer is a powerful tool both live and in the studio. All features have their own dedicated controls; no screens or submenus, and all features have their own dedicated in- and outputs on the large 87-point patch bay. By patching both internal and external CV sources through the patch bay of the Komplex, you can control any parameter of the sequencer immediately and "sequence the sequence." Controls include Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Transpose, Repeat, Sequence Start Point and Skip. Additionally, the sequencer can vary output range and also has a quantizer on board operable in different scales.

And not only is the sequencer compatible with almost any synthesizer with CV/Gate, MIDI note, velocity and CC information can also transmitted by any of the four sequencers. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once! The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped.

CV Inputs
Clock, Rec Clock, Transpose, Start, Stop, Skip Step, Sequence Start Point, Repeats, Seq Length, Gate Length, Play Mode, Glide, Division, CV Recorder (CV In, Clock, Start, Bank Up/Down)

CV Outputs
CV Out, Gate Out, Start Of Sequence, End Of Sequence, Clock, CV Recorder CV Out (A, B, C, D and CV)

Sequencer Controls
64 Sliders and Step Select Buttons, Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Quantizer and Scale, Output Range, One-Shot Mode, Play/Pause and Stop, Global Play/Pause and Global Stop

Section Controls
Repeat Set, Mode Menu, Skip Step, Glide, Sequence Start Point, Gate

MIDI
MIDI In, MIDI Out, MIDI Clock Out (1 trigger per quarter note)

CV Recorder
Banks A, B, C and D available at corresponding sequencer patch bay outputs. All 7 banks selectable at CV Recorder CV Out by the Select control or Bank Up/Down inputs. CV is recorded and clocked through the CV Recorder CV and Clock inputs or Sequencer Rec Clock inputs.

Extra Features
Mode Menu (Skip Step Mode, Repeat Mode, Unipolar/Bipolar CV Output, MIDI Message, MIDI Channel, MIDI CC) and Firmware Updates

Casing:
Powder coated aluminum casing, silk screened printing and wooden side panels.

Dimensions
46.2 cm x 29 cm x 4 cm (L x W x H)
18.2" x 11.4" x 1.6" (L x W x H)

Net Weight
3.2 kg / 8.8 lb

Shipping Weight:
4.5 kg. / 9.9 lbs including power adapter and instruction manual.

Power Requirements:
9VDC power adapter. Only use the KOMA adapter shipped with the unit.

Accessories
Included: dust cover, manual and power supply unit.
Rackmount kit available separately

Notes: Special edition Platinum version of the excellent Opsix SE. Metallic finish, aluminium front panel, stainless steel sides and the same powerful FM synth engine as the standard Opsix SE.

Supplier's Notes:
Special limited edition of opsix SE.

Celebrating the release of the long awaited opsix SE, a stunning Platinum model (*) will be available in very limited quantities. While this model shares the same features as the standard model, it boasts a high-end metallic finish with an aluminum front panel and stainless steel side panels. This magnificent instrument is bound to command attention, whether on stage or in the studio.

(*) Differences are only cosmetic, specifications are exactly the same as the standard model. opsix SE Platinum also includes an exclusive set of stickers.

The Ultimate Union of Power and Performance

opsix SE is a digital synth like no other. With a premium all-metal design, 61-keys, and aftertouch, it unlocks a new world of sonic capabilities. Building on the expansive sound engine in the original opsix, opsix SE enhances it with increased polyphony and voicing, resulting in a synthesizer created for superior performance and precise control.

The opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

The opsix SE takes this even further. It is equipped with Korg's premium 61-key natural-touch keyboard, complete with aftertouch, delivering the exceptional tactile experience expected from Korg's flagship workstations. With a sleek, robust metal body, it's built for both the intensity of live gigs and the precision of studio sessions. The metallic knobs are optimally weighted for effortless adjustments. Underneath its exterior, the opsix SE boasts an incredible capacity of 80 stereo voices of polyphony.

The opsix SE arrives preloaded with hundreds of sounds enhanced for aftertouch control. Moreover, it is fully compatible with the sounds and samples from both the original opsix and the opsix Native software, including numerous high-quality libraries.

Build to play

opsix SE was born out of the desire to play this incredible synth with both hands. Equipped with KORG's premium 61-note natural-touch keyboard, the opsix SE offers the same outstanding tactile response as KORG's top-tier workstations. Aftertouch puts unparalleled control of all the exceptional opsix sounds at your fingertips. Of course, we've modernized the factory Performances for aftertouch and introduced some fresh ones to the mix as well. In fact, most of the opsix SE programs have been revised to make full use of aftertouch, extended keyboard, and polyphony.

Premium metal design

The opsix SE showcases a notable upgrade in aesthetics. A slim body, specifically designed for this instrument, features a striking brown painted aluminium control panel, paying homage to vintage machines. Together with the vivid, illuminating LEDs, it brings a vibrant energy to any stage performance. The side panels, painted in a sleek black metal, amplify the overall aesthetics for a luxurious finish.

Exclusive hard case included

The opsix SE ships in a dedicated hard case, including space for cables and a sustain pedal. Your instrument can travel protected, whether you're carrying it to a rehearsal downtown or packing it up for a tour.

Get Illuminated with the Operator Mixer

At the heart of every sound is opsix SE's Operator Mixer - a simple set of six faders and knobs that invite exploration. Each part lights up red to indicate carriers or blue for modulators. Manipulating them opens up new sound-shaping possibilities to breathe fresh life into your musical ideas. This straightforward, hands-on workflow is part of what makes opsix SE so unique, just like the sounds it offers.

Direct Hands-On Control

Whether you're tweaking a preset or building a patch from the ground up, the six data entry knobs on the right give you quick access to the parameters you need and seamlessly sync with the large OLED display, giving you a clear, focused direction to your workflow. Coupled with the mixer, it makes creating fresh sounds super easy and, most importantly, fun!

Select from a full range of analogue-style filters, from the radical Korg MS-20 low-pass/high-pass filter to the powerful yet smooth KORG Polysix low-pass filter that gives your sound a vintage feel. There are also two or four-pole low-pass, high-pass, band-pass, and band-reject filters with resonance.

There's even a built-in spectrum analyser and oscilloscope that gives you visual feedback via the screen on the music you're making.

Six in One Synthesis

The core of opsix is nothing short of exponential. Since waveforms can be arranged and modulated in nearly infinite ways, opsix can easily do the sonic work that is similar to numerous types of synthesis:

Subtractive

Removing parts of the sound to get the sound you want; the most widely-used synthesis. opsix uses up to six envelopes and multi-modeled filters to achieve many cutting-edge and classical analog synthesis tones.


Semi-Modular
Rerouting signal paths to change the sound. A spin through the Alogorithm section will dramatically reshape the sound by changing how the signal routing between the operators work together, and no patch cables are needed.


Analog (Modelling)
Analog-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.


Waveshaping

Adding intentional distortion to the waveforms to achieve aggressive overtones that are either harmonic or inharmonic. This will help you achieve gritty, bitey tones dripping with character.


Additive

Stacking waveforms and blending their harmonics is key to an expansive range of harmonious, dissonant, and tension-driven sounds. With six operators available, the complete FM experience is possible, including the ability to go back in time for classic sounds you have heard throughout recording history.


Classic FM

Last but certainly not least, opsix's highly flexible and powerful architecture starts with true six-Operator FM. As a result, it easily delivers signature sounds you have surely heard on thousands of hits from the '80s on through today, and with far more polyphony than other standalone FM synths available today.

With all of these ways to realize and explore sounds, opsix SE is uniquely suited as a "future-modern-classic" synth!

Altered Reality

opsix SE is FM-based, but the similarities to the classic synthesis end there. The Altered FM architecture delivers sounds across a vast spectrum, far wider than any single synthesis has been able to cover before, thanks to new sound components; new waveforms, filters, shaping, effects, LFOs, envelopes, modulations, and more, all translating to its broad assortment of sounds.

Powerful Effects Processing

opsix SE provides three blocks of 30 types of high-definition effects that you can use together to enhance your sounds even further. There's everything from a great mix of usable standard effects like chorus, phaser, delay, and compressor to some world-class shimmering reverbs that will elevate your sound to the next level.

Automatable 16-step sequencer

opsix SE features an incredible step sequencer that rivals groove boxes for flexibility and power. Press the PLAY button on any sound and experience the complexity of the sequences! Every Program has its unique sequence stored with it, or create your very own.

You can record up to six notes per step and edit each note's velocity, gate time, and playback timing. Create long phrases or make subtle shifts in timing to emulate strums or drum rolls, something that's not possible on a typical 16-step sequencer. The motion sequencer of the opsix SE also lets you record changes of up to six parameters, creating smooth motion changes in sound within a phrase or building rhythms that change dramatically with each step.

Notes: The premium version of Korg's excellent Wavestate gets the Platinum look in this limited-edition model. 61-note keyboard, metal chassis and limited-edition Platinum finish.

Supplier's Notes:
Wavestate SE Platinum

The ultimate Wavestate, the limited edition Wavestate SE Platinum features a stunning premium silver aluminium panel and stainless steel side panels.

Wavestate SE is the powerful evolution of Korg's legendary Wavestation, taking Wave Sequencing to a new level. Designed in California and built in Japan, Wavestate SE includes a premium 61-note keyboard with aftertouch, in an all-metal chassis.

Built for a new era of musicians, composers, and producers, Wavestate SE features hundreds of dynamic sounds, extensive hands-on control and 120 notes of stereo polyphony to inspire new levels of creativity.

A sonic evolution

Wavestate SE is the powerful evolution of Korg's legendary Wavestation, taking Wave Sequencing to a new level. Designed in California and built in Japan, Wavestate SE includes a premium 61-note keyboard with aftertouch, in an all-metal chassis. Built for a new era of musicians, composers, and producers, Wavestate SE features hundreds of dynamic sounds, extensive hands-on control and 120 notes (stereo) of polyphony to inspire new levels of creativity.

Premium, expressive touch

Featuring a 61-key natural-touch keyboard, Wavestate SE feels incredible to play. The inclusion of aftertouch gives fingertip control of the unique constantly changing sound. All factory presets have been meticulously programmed to take full advantage of this expressive control.

Beauty meets brawn

Wavestate SE's all-metal design is as hard-wearing as it is beautiful - with a matte-black aluminium panel complimented perfectly by glossblack stainless-steel sides. The premium finish continues to the controls themselves, where metal-plated knobs are perfectly weighted and add a luxurious touch.

Easily expressive. Exceptionally deep.

The Wavestate SE puts filters, envelopes, LFOs, effects and more at your fingertips with dedicated front-panel controls. Eight programmable Mod knobs are customised to bring out the most in every sound, for real-time performance and also when saving results as new patches. Pitch bend and modulation wheels, and the unique Vector Joystick, give you instant access to multiple dimensions of real-time expression. Digging deeper, almost all front-panel knobs, and most on-screen parameters, can be modulated. You can even modulate settings for individual Wave Sequence steps! Mod Processors let you transform modulation signals using quantization, smoothing, curvature, and more.

Gigabytes of samples

Totalling in the gigabytes, Wavestate SE's sample library is vast. At a thousand times larger than that of the original Wavestation, the amount of great-sounding raw material for Wave Sequences is astounding.

Three of the key sound designers from the original Wavestation, John Bowen, John "Skippy" Lehmkuhl (Plugin Guru), and Peter "Ski" Schwartz, joined Belgian artist Airwave and the renowned Korg voicing team to create the incredible Wavestate SE sound library.

Powerful effects

An arsenal of superb effects ensures Wavestate SE delivers production-ready sounds. Each performance has a master reverb and parametric EQ while each layer has three dedicated effects. Alongside compressors, EQs, choruses, flangers, phasers, and stereo delays, you'll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb, plus modelled effects including Vox guitar amps and wah pedal, multi-head tape echo, and a collection of other classic guitar pedals.

Multiply by four

Take all that power, and quadruple it! You can layer up to four Programs together in a Performance-each with their own effects and arpeggiator. The Vector Envelope and Joystick mix the individual voices of the four layers, and can also modulate any other parameters. This sheer sonic power is further enhanced with 120 notes (stereo) of polyphony. Set Lists offer effortless organisation of your Performances, and deliver instant access at the gig or in rehearsal. And thanks to Smooth Sound Transitions, previously-played voices and effects continue to ring out naturally, even when a new sound has been selected.

Deep connectivity

Connect to recording or monitoring systems with balanced stereo outputs, and a stereo headphone output is provided for private playing or onstage cueing. Din-style MIDI jacks ensure connection to other MIDI-equipped instruments and audio gear. The Wavestate SE supports class-compliant USB MIDI connections to Windows and Mac computers, and the Wavestate SE Editor/Librarian and Sample Builder programs are available as free downloads from Korg.

Wave Sequencing 2.0

The original Wavestation gave each step of a wave sequence a duration, a sample and a pitch. This created ear-catching repetitive patterns, giving rise to entirely new approaches to sound design. But what if the sounds could evolve in organic and unexpected ways, instead of just repeating? Wave Sequencing 2.0 separates the timing, the sequence of samples, and the melody, so that each can be manipulated independently. It also adds new characteristics, including shapes, gate times, and step sequencer values. Each of these is a "Lane", and each Lane can have a different number of steps, start, end and loop points. Every time the sequence moves forward, the individual Lanes combine to create the output. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. You can modulate each Lane's start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different! Lanes can also randomise the step order every time they play, with real-time control over the range of included steps, and individual steps can be randomly skipped (with a modulatable probability from 0 to 100%). The result is organic, ever-changing sounds that respond to your control. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities.

Specifications

Keyboard: 61 keys (Natural touch keyboard with velocity and release-velocity
sensitive, aftertouch)
Sound generation: Wave Sequencing 2.0
Polyphony: 120 stereo voices
Sounds: 261 Performances, 799 Programs, and 1,042 Wave Sequences. Storage for tens of thousands of user Performances
Performance: 4 Layers, Reverb, EQ; all edits are stored in the Performance, DAW-style (saving as separate Programs, Wave Sequences etc. is supported but not required)
Layer: Program, Arpeggiator, Key and Velocity Zones
Program: Wave Sequence, Filter, Amp, Pre FX, Mod FX, Delay
Filters: 2-pole LPF, 2-pole HPF, 2-pole BPF, 2-pole Band Reject, 4-pole LPF, 4-pole HPF, 4-pole BPF, 4-pole Band Reject, Multi Filter, MS-20 LPF, MS-20 HPF, Polysix
Controllers: Mod Wheel, Pitch Wheel, Vector Joystick X/Y, 8x
Program/Performance Mod Knobs

Inputs/outputs: Headphone (6.3 mm stereo phone jack) OUTPUT L/MONO and R (impedance balanced 6.3 mm TRS phone jacks)
DAMPER (6.3 mm phone jack)
MIDI IN and OUT connectors
USB B port

Power supply: AC adapter (DC12V, 2500mA)
Consumption: 5W
Dimensions: 1,014 x 344 x 108 mm
Weight: 8.6 kg

Included items

AC adapter, hard case, t-shirt, stickers

Notes: An excellent combination of West Coast and East Coast synth philosophies, the Implexus features a complex wave generator and wave folder, analogue low-pass filter and sinkable LFOs and stereo delay.

Supplier's Notes:
The IMPLEXUS is a hardware desktop synthesizer combining west - and east-coast synthesis techniques into a single formfactor. The IMPLEXUS uses analogue waveshaping, folding and audio rate modulation to create a immense range of sounds and textures!

The IMPLEXUS is a performance-oriented musical instrument which will inspire you to compose music and explore its unique soundscape. The IMPLEXUS has a carefully designed analogue signal path with many unique ways to create intriguing sounds. The many sound shaping methods and modulation possibilities help you to create west-coast style harmonically rich sounds as well as thick east-coast analogue sounds.

The IMPLEXUS has a powerful "one-knob-per-function" interface with graphical feedback, utilizing LED rings to indicate modulators. The drone mode, tap tempo and looping envelopes let you explore the IMPLEXUS as a standalone sound generator. The MIDI and Eurorack compatibility and clock synchronisation options make sure it can be played in every setting. The IMPLEXUS is built to last. It has metal shaft potentiometers, an aluminium casing with scratch and solvent resistant graphics and an internal power supply (no adapter!). The IMPLEXUS is a characteristic, unique and complete musical instrument.

"West-Coast"

The characteristic sound of the IMPLEXUS comes from shaping and folding a sinewave, resulting in a complex waveform. The shaping and folding can be modulated at audio-rate in a single knob turn utilizing the second generator. Instead of subtracting you will be adding harmonics. After tweaking for a while you will be surprised to find out you didn't touch the filter... yet.

Unique filter design

The IMPLEXUS offers a 12dB/oct VCF with a unique analogue topology. This filter offers a lowpass and highpass mode. For cutoff modulation there is an envelope amount control with polarizer and a CV input on the back of the IMPLEXUS. There is an input mixer that has amplitude control over three inputs: complex generator, basic generator and the sub-oscillator.

Syncable delay

The IMPLEXUS has a stereo digital delay with dry/wet, delay-time and feedback control. There is a subtle modulation difference between the left and right channels to create a wide stereo image.
The delay can be synchronized to MIDI and external (modular) clock sources. Also the delay can be synchronized to Tap Tempo. For clock synchronization there are five divisions: 1/1 3/4 1/2 1/3 1/4.

Global pitch controls

The IMPLEXUS has a global pitch control section offering control over glide rate and pitch envelope amount. There is a dedicated vibrato LFO with manual control over amount and frequency.

Syncable LFO's

The IMPLEXUS has two LFO's with a variety of waveforms and multiple modulation destinations. The LFO's offer a wide range of 0.01 - 100Hz and can be BPM synced to MIDI and external clock. The LFO's can also be synchronized to Tap Tempo and can even be set in five different divisions.

Connections

The IMPLEXUS offers a 1/4" stereo balanced output. In addition to that there is a stereo headphone output with dedicated volume control.
There is standard MIDI input and thru over DIN and USB. Also there is a eurorack compatible patchbay on the back. This extends the sound and modulation possibilities of the IMPLEXUS even more!

Built in VCO tuner

There is a strobe tuner with 3 LED's on board, which lets you tune both the Complex and the Basic generator to a perfect "A" within just a couple of seconds.

A unique project by a small company

Majella Audio is a small company, and because of that, Majella Audio do most of the design and development themselves. The amount of hard work and effort that went into this project is what makes the IMPLEXUS a unique piece of gear with outstanding build quality. Majella Audio have created a few "How its made" videos to give you an insight into the design and development of the IMPLEXUS, which are viewable on their web page.

Features/specifications

Generators
Analog Complex Generator consisting of a waveshaper cascaded by a wavefolder to create Complex Waveforms
Analog Basic Generator
Sub-Ocscillator one octave below Complex Generator
Dedicated octave switches with 6 octave settings
Pitch modulation sources: Envelope, Vibrato, Glide, Pitchbend, External 1V/oct (CV)
Cross modulation: Linear FM, Folding, Folder DC Bias

Filter:
Analog VCF
12dB/oct Slope
Switchable Low-pass/High-pass
Mod Envelope to Cutoff with attenuverter
External CV for Cutoff
3x audio input from the Generators

2x LFO section:
Accurate digital waveform generation
5 waveform shapes: Random, Square, Sine, Ramp, Saw
Syncable from all clocking sources or "Free" running
Frequency range: 0.01 Hz-100 Hz
Clock divider options: 1/4 | 3/16 | 1/8 | 1/3 | 1/16
Destinations options LFO 1: Bias, Folder, Harmonics,
Destinations options LFO 2: Bias, Folder

2x Analog Envelope Generators:
1x Modulation EG and 1x Amplitude EG
Attack, Decay, Sustain, Release controls
Velocity amount per Envelope
MOD EG is Loopable as AD-LFO triggered by gate
MOD EG Destinations: Filter Cutoff, Harmonics, Folding, Global pitch
AMP EG has 'DRONE" mode for instant sound generation

Delay FX:
Digital Audio Delay with Analog Dry/Wet mixing
Maximum delay time: 1 second
Syncable delay time from all clocking sources
Clock divider options: 1/4 | 3/16 | 1/8 | 1/3 | 1/16

Performance Features:
"One Knob Per Function" philosophy
LED ring indicators for visual feedback and easy understanding of CV signal routing
Guitar Style Tuner for Basic and Complex Generator making it easy to tune the IMPLEXUS
Drone mode for instant sound without any external gear necessary

Physical:
2mm thick solid aluminium casing
Graphics are underneath the anodisation layer and thus scratch and solvent resistant
Handcrafted wooden side panels made from regional oak
All metal shaft potentiometers
High quality switches and connectors (Neutrik)
Internal power supply (AC Input 100-240 VAC)
No adapters needed
Dimensions: W 345 mm x D 206 mm x H 75 mm
Weight: ca. 3kg
Serial number plate

Connectivity:
External CV inputs: Pitch (1V/oct), Gate, Velocity, Folding, Harmonics, Bias, VCF cutoff
External CV outputs: Complex generator, Basic Generator, Clock output
MIDI IN over USB
MIDI IN over DIN
MIDI thru over DIN
1/4" TRS Balanced line outputs
1/4" Dedicated stereo heaphone amp

Clocking options:
External Modular/Eurorack Clock (automatic detection)
MIDI clock via DIN or USB (automatic detection)
Tap Tempo

Global Controls:
Master Volume
Headphone Volume
MIDI Channel selection

Notes: A complete system which really showcases Make Nose's experimental approach, the Resynthesizer features Make Noise classics like the Spectraphon and Morphagene and hands-on control via the PrssPnt, alll housed in a 4 Zone CV Bus Case.

Supplier's Notes:
The ReSynthesizer can trace its origins to Spring 2023, with Walker and Rodent putting together a collection of modules to announce and demonstrate the Soundhack Spectraphon at Superbooth '23. These modules would need to complement Spectraphon in a way that would show its true capabilities. As such, this specialized layout comprised a single-system overview of the last 8 years of Make Noise module designs.

After Superbooth, Walker and Peter continued to use a similar system configuration in videos for Make Noise's Youtube and Instagram Channels, prompting some folks to speculate if it was to be Make Noise's new 7U system. At that time there were no plans for a new system; in fact, this layout had been intended as temporary all along, but it was made a useful layout in almost all cases. (The layout even gained the popular unofficial moniker "System X" thanks to the speculative work of Cinematic Laboratory and others.) Choices like the unusual placement of the Morphagene, adjacent to Spectraphon, which was initially assumed would be mainly for a very specific use-case, quickly became second nature to patch. The Spectraphon and Morphagene work together to ReSynthesize raw materials into lush soundscapes, microsound manipulations, or wherever the path leads.

In early 2024, Make Noise announced DXG for the easy mixdown of mono or stereo signals, and PrssPnt to add physical touch interaction. With these pieces in place, the ReSynthesizer is born. Pairing the Spectraphon with the Morphagene and the core Make Noise CV generation suite, and housed in the powerful and portable 4 Zone CV Bus Case, the ReSynthesizer is an open design blackboard ready for experimentation and discovery.

Make Noise put this collection through its paces and have found it to hold up to any test thrown at it!

Specifications

Size: 7U
Total HP: 208 @ 3U, 104 @ 1U
Dimensions: 22.25" x 14" x 7.25" w/ lid

Notes: Reinventing the virtual analogue synth for the 21st century, the Vibes is a digital demon. True stereo signal path, resonant oscillators, Serum-compatible wavetables and heaps of creative potential.

Supplier's Notes:
Small form, big heart

True Stereophonic Digital Synthesiser with 24 Stereo Voices

With its 24 stereo voices, powerful XVA Engine, full Audio Mixer, improved Clip Launcher, comprehensive Drum Engine and the new Resonator Oscillator, Vibes becomes a new class of synthesizer, that helps you to reach your full creative potential.

True stereo

The true stereo signal path allows for sounds, that have never been possible before.

Oscillators that resonate

The new Resonator Oscillator together with the existing Wavetable Oscillator open up a new world of sonic potential.

Sketching, writing performing

The only synthesiser you need for writing and performing your compositions.

Mix it all together!

Mix internal sounds and stereo input with the Digital Audio Mixer integrated into the Vibes!

One preset, eight different flavours

Store your ideas and recall them in an instant with Variants

Engine specs

Based on Mayer EMI's powerful XVA Audio Engine the Vibes is preset compatible with the MD900 and comes with the following feature set:

24 shared Stereo Voices
4 Synth-Parts + 14 Drum Instruments

Stereo structure per voice

2x Oscillator with 3 different models

Algorithm Oscillator

8 different Waveforms (PD_SIN, VA_SWEEP, and more)
Morphing and Modulation capabilities

Wavetable Oscillator

More than 50 preset wavetables
Wavetables consisting of up to 256 single-cycle waveforms with 2048 samples per cycle (Serum format compatible)
Spectral effects (spectral morph, harmonic shift, ... and more)
Up to 4x stereo unison

Resonator (physical modelling)

64 bands
Attack/Decay based exciter
Different Algorithms to define Band Profile

1x Sample / Noise Oscillator
Configurable loop modes and loop points
Single- or Multi-Samples

2x Stereo Multimode Filter with more than 10 different Models
4x ADSR Envelopes
3x LFOs (MIDI synchronized, standard & user defined shapes)
1x Waveform Shaper with different Algorithms
Modulation Matrix with 24 slots (25 source and 40 destination options)
Oscillator Mix and Filter Routing

ARPEGGIATOR and STEP SEQUENCER per Synth Part

Clip launcher

7 tracks (4 Synth-Parts, Drum Track, 2 Midi Tracks for external Instruments) with up to 8 clips per track
Polyphonic MIDI Sequencer with recording and quantization capabilities
Drum Pattern and Sequence Editor
Support of external Performance Controllers (e.g. Launchpad, APKmini) via USB

Synth and live effect stacks

4x Stereo Multi Effect Stack (1x for each Synth Part)
2x Stereo Live Multi Effect Stack in the Audio Mixer
Reverb, Stereo Delay (midi synchronized), Compressor, JChorus6, ... and more)

Digital audio mixer

19 Stereo Input Channels, 2 Stereo Output Channels
Bus, Headphone and Effect Send
Balance, Pan, Limiter functionality

MIDI connectivity

MIDI Control, Note On-Off, Pitchwheel, Polyphonic Aftertouch
Transport Send/Receive
Clock Send/Receive

Webinterface

Up-/ Download of user defined Presets, Performances, Wavetables, Samples, Sequences
Accessible via Wi-Fi or Ethernet

Others

14 GB internal Memory available for Presets, Wavetables, Samples, Performances and MIDI Sequences

Hardware specs

Control elements

5" Colour capacitive Touch-Screen (Resolution 800×480 pixel)
4 display related and 1 Main Encoder
20 Navigation and Menu Buttons
One Knob Section (morphing of multiple parameters together)
3 Synth-Part related Macro Encoder (Multicolour LED Rings)
3 Filter related Encoder (Multicolour LED Rings for Filter CutOff, Resonance and Amount)

Housing

Size (W x D x H): 322mm x 174mm x 76mm
Weight: 2kg
Metal Housing with walnut wood front and back
75mm x 75mm VESA Mount

Inputs/outputs

Power Switch
Power In 12VDC, 2.5A
3x USB-A Port (max. 500mA)
Ethernet (100Mbit)
Sustain Pedal-In: 6,3 mm TR Jack
Expression Pedal In: 6,3 mm TR Jack
DIN MIDI In / Through / Out
Stereo Line-In: 6,3 mm TRS Jack (24bit, 48Khz)
Stereo Line-Out: 6,3mm TRS Jack (24bit, 48Khz)
Stereo Headphone Out: 6,3 mm TRS Jack (16bit, 48Khz)
2,4/5GHz Wifi

Package contents

Vibes MD850
Power Supply 12VDC (including Plugs for EU, UK, US, AUS)
Quick Start Manual

Notes: One of the most trusted names in audio, MOTU deliver as always with the 16A, offering a whopping 32-in/34-out configuration over Thunderbolt or USB, all with pristine audio quality.

Supplier's Notes:
The 16A Thunderbolt audio interface provides industry-leading dynamic range and large console style mixing. With 64 channels of audio I/O (32 ins and 32 outs), the 16A also supports USB 2.0 audio class compliant connectivity that is USB 3.0 compatible.

As an interface, standalone mixer or patchbay, the 16A provides 32 separate inputs and 32 separate outputs, including sixteen balanced TRS analog inputs, sixteen balanced TRS analog outputs, and two 8-channel banks of ADAT optical digital I/O. Powerful DSP delivers large console style mixing with 48 channels, 12 stereo busses, and 32-bit floating point effects processing, including modeled analog EQ, vintage compression and classic reverb. The unit's extensive routing grid patches ins to outs, or splits inputs to multiple destinations.

Use the 16A as a stand-alone mixer and control everything from the 16A's innovative web app running on your iPad, iPhone, tablet, smart phone, and laptop. Connect a second MOTU AVB interface (1248, 8M or 16A) with a simple Ethernet cable. Add more I/O with the MOTU AVB Switch (sold separately). Build an AVB audio network with multiple switches and sub-millisecond latency, even over long cable runs. Stream hundreds of channels among devices and computers on the network. From initial tracking to final mastering, the 16A delivers superb sound quality, state-of-the-art operation, and reliable performance.

This box contains everything you need to turn your computer into a powerful 24-bit/192 kHz digital audio workstation. As a "hybrid" audio interface, the 16A offers flexible connectivity to your computer via ultra-fast Thunderbolt technology or class compliant, hi-speed USB 2.0, with 32 channels of pristine analog I/O, combined with 32 channels of digital I/O, for a total of 64 simultaneous audio channels.

Connect all of your studio gear, including synths, keyboards, drum machines and even effects processors. Record, monitor, route and process all of these live inputs using the professional on-board digital mixer - with no latency and no processor strain on your computer. Apply hardware DSP-driven effects processing to inputs, outputs, and busses independent of your host computer. Add Classic Reverb with lengths up to 60 seconds. Further sculpt your sound with gating, 4-band parametric EQ, and vintage compression modeled after the legendary LA-2A leveling amplifier.

Add more MOTU interfaces as your needs grow, connected to a state-of-the-art audio network using standard AVB Ethernet switches and CAT-5e cabling, with near-zero network latency, even over long cable runs (several hundred meters). Record and monitor up to 128 audio channels in and out, simultaneously, to a host computer through Thunderbolt. Route hundreds of audio channels among multiple devices and computers on the network.

Control all DSP-based mixing and effects, device settings, and network audio routing using your favorite web browser running on your laptop, tablet or smart phone connected wirelessly or locally to the 16A audio network.

From initial tracking to final mastering, the 16A delivers superb sound quality, state-of-the-art operation, and reliable performance.

Notes: Komplete 15 Collector's Edition offers an extensive and unparalleled collection of tools for professional production, scoring, performance, and sound design. This edition extends your creative palette with over 165 premium instruments and effects, over 125 Expansion sound packs, and more than 150,000 sounds.

Komplete 15 Collector's Edition sees the addition of Kontakt 8 with new intelligent Tools and Leap features, Guitar Rig 7 Pro, iZotope Ozone 11 Standard, Kithara, Fables, Action Woodwinds, Valves Pro, and many more.

System requirements

Windows 10 or 11 (latest Service Pack)
macOS 12, 13, and 14 (latest update)
Intel Core i5 or equivalent CPU, or Apple Silicon, 4 GB RAM (6 GB recommended), graphics hardware support for OpenGL 2.1 or higher
60 GB free disk space (1100 GB for complete installation)
Supports ASIO, Core Audio, and WASAPI
Runs in 64-bit VST, AU, and AAX hosts
An internet connection is required to download, install, and activate the products in this collection. Once installed, all products can be used offline. Certain products may require additional free downloads. Massive X requires an AVX compatible CPU or Apple Silicon processor.

The definitive production suite - get total creative freedom with almost everything we've ever released, including the full Symphony Series - Collection, Kithara, Fables, Action Woodwinds, Valves Pro, and over 40 additional Expansions
The largest Komplete bundle yet: Over 290 products and more than 150,000 sounds
Save over 92% of the combined cost of all included products
Kontakt 8 - the latest and enhanced version of the industry-leading sampling platform, now with new Tools and Leap features
Guitar Rig 7 Pro - a creative multi-effects rack and amp simulator
iZotope Ozone 11 Standard - an all-in-one mastering plugin with AI-powered features
Massive X - a next-generation wavetable synth for cutting-edge sound design
Kithara - a premium collection of guitars and plucked string instruments for cinematic sound design
Fables - an evocative orchestral library for evolving cinematic textures
Valves Pro - warm and mellow brass tones with an expanded range of articulations
Action Woodwinds - the true-to-life sound of a full orchestral woodwind ensemble
Session Percussionist - an intuitive percussion library with an advanced step sequencer
iZotope VocalSynth 2 - a vocal synthesizer plugin with stompbox-style studio effects

Established favorites like Reaktor 6, Massive, FM8, Monark, and many other instruments and effects
Simple setup, activation, and updating via Native Access 2
Seamless integration with Kontrol keyboards and Maschine
Works with any DAW
Register your bundle and receive a $25 e-voucher for the NI Online Shop
Includes over 125 Expansion sound packs

Komplete 15 Collector's Edition features more than 125 genre-specific Expansion sound packs filled with synth presets, drum kits, one-shots, samples, and loops. Crafted by leading artists and sound designers, these Expansions are compatible with any DAW and integrate seamlessly with Native Instruments products such as Kontakt 8, Massive X, Battery 4, Monark, and Massive.

Notes: Komplete 15 Ultimate is an expansive collection of creative tools for professional production, scoring, performance, and sound design. It features over 150 premium instruments and effects, including cutting-edge synths, cinematic sample libraries, advanced sound design tools, and more than 80 Expansion sound packs.

Komplete 15 Ultimate sees the addition of Kontakt 8 with new intelligent Tools and Leap features, Guitar Rig 7 Pro, iZotope Ozone 11 Standard, Alicia's Electric Keys, Session Guitarist - Acoustic Sunburst Deluxe, Action Woodwinds, Schema: Dark & Light, Vocal Colors, and many more.

System requirements

Windows 10 or 11 (latest Service Pack)
macOS 12, 13, and 14 (latest update)
Intel Core i5 or equivalent CPU, or Apple Silicon, 4 GB RAM (6 GB recommended), graphics hardware support for OpenGL 2.1 or higher
60 GB free disk space (850 GB for complete installation)
Supports ASIO, Core Audio, and WASAPI
Runs in 64-bit VST, AU, and AAX hosts
An internet connection is required to download, install, and activate the products in this collection. Once installed, all products can be used offline. Certain products may require additional free downloads. Massive X requires an AVX compatible CPU or Apple Silicon processor.

Specifications

The ultimate production suite: Over 150 premium instruments and effects, more than 80 Expansion sound packs, and over 100,000 sounds
Save over 93% of the combined cost of all included products
Save $600 on a future upgrade to Komplete 15 Collector's Edition, which includes the full Symphony Series - Collection, Choir Omnia, Kithara, Fables, Arkhis and more, plus over 40 additional Expansion sound packs
Kontakt 8 - the latest and enhanced version of the industry-leading sampling platform, now with new Tools and Leap features
Guitar Rig 7 Pro - a creative multi-effects rack and amp simulator
iZotope Ozone 11 Standard - an all-in-one mastering plugin with AI-powered features
Massive X - a next-generation wavetable synth for cutting-edge sound design
Alicia's Electric Keys - Alicia Keys' personal electric grand piano
Acoustic Sunburst Deluxe - strummed and plucked tones from a premium jumbo acoustic guitar
Vocal Colors - an expressive vocal engine for unique sonic textures
Action Woodwinds - the true-to-life sound of a full orchestral woodwind ensemble
Spotlight Collection: Ireland - explore the genuine sound of 11 traditional Irish instruments
Schema: Dark - dark, driving patterns and pulses from 4-layer engine
Choir: Omnia Essentials - an intuitive 40-piece choir with four independent sections
iZotope VocalSynth 2 - a vocal synthesizer plugin with stompbox-style studio effects

Established favorites like Reaktor 6, Massive, FM8, Monark, and many other instruments and effects
Simple setup, activation, and updating via Native Access 2
Seamless integration with Kontrol keyboards and Maschine
Works with any DAW
Register your bundle and receive a $25 e-voucher for the NI Online Shop
Includes over 80 Expansion sound packs

Komplete 15 Ultimate features more than 80 genre-specific Expansion sound packs filled with synth presets, drum kits, one-shots, samples, and loops. Crafted by leading artists and sound designers, these Expansions are compatible with any DAW and integrate seamlessly with Native Instruments products such as Kontakt 8, Massive X, Battery 4, Monark, and Massive.

Notes: ***B-STOCK: Box damaged, shows signs of use, no software included***


Experience a new way to mix and perform with Traktor Kontrol S8 - a 4 channel stand-alone mixer, professional audio interface, and enhanced performance decks for ultimate control over the included Traktor Scratch Pro software. Touch-sensitive controls and high-res displays deliver DJ workflow that is truly cutting-edge.

Get physical with the music. Touch-sensitive knobs, faders, and LED-guided touch strips bring Traktor software to life on vivid full-color displays, keeping you focused on performance - not on your laptop. The S8's touch-and-see workflow means you connect with your music - and with your crowd.

Two high-res colour displays put Traktor software in plain sight. Browsing, track info, effect, and filter values come into view directly in front of you. Keep an eye on the running track's ultra-crisp vector waveform. Or access Remix Decks in full view.

Create your signature sound with responsive Remix Deck controls. Intuitively mix in sounds with 4+4 channel Remix Deck faders. Plus, live capture and trigger your own samples and loops using 16 color-coded performance pads.

Your style. Your sound. This is enhanced DJ performance.

Connect anything your setup needs - Traktor Kontrol S8 boasts the most expansive connectivity on a DJ controller yet. The on-board 4-channel mixer features unique wear-resistant faders that offer unprecedented durability.

Plus, Traktor Mode buttons on every mixer channel switch between Traktor and stand-alone mode - ideal for handing the night over to the next DJ.

Traktor Kontrol S8 is built for seamless control of the included Traktor Scratch Pro 2* - the choice DJ software of countless professionals worldwide. Get in-depth control of your music with up to four software decks, customizable interface, timecode media, and advanced track library management.

Notes: Typically creative stuff from Pittsburgh Modular, the updated Voltage Lab is the pinnacle of the brand's synth output. Dual oscillator design with a 16-note touch controller, built-in sequencer and MIDI control.

Supplier's Notes:
The Pittsburgh Modular Voltage Lab 2 is a cutting edge synthesis laboratory that offers a new palette of analogue textures and waveforms to sonic researchers. Newly developed wave shaping capabilities paired with powerful synthesis tools, and a deep, performance oriented controller join together to create a complete sound design laboratory. This instrument has a very physical sound. The tones it creates feel natural and alive, with traditional waveforms becoming the seeds of unique new shapes and sounds that shift between analogue physical modeling and more unfamiliar, abstract timbres.

Laboratory Oscillator 1

Voltage Lab 2 includes a pair of Laboratory Oscillators. Each with a unique set of newly invented waveshaping tools designed to expand the sonic potential of analogue synthesis. Laboratory Oscillator 1 introduces Center Clipping to analogue synthesis. Center clipping unlocks independent control over the top and bottom of the waveform, allowing for detailed manipulation of harmonics and timbre without affecting pitch. It does this by processing waveforms from the center out as opposed to traditional methods which work from the peaks inwards.

Laboratory Oscillator 2

Laboratory Oscillator 2 introduces a host of new sonic possibilities with two new waveshapers. Pulse Symmetry and Reflection. Pulse Symmetry creates a new species of pulse wave that adds a step between the top and bottom of the waveform. The resulting wave looks like a set of stairs where the depth of the center step can be adjusted in addition to the pulse width. Wave Reflection takes the bottom half of the waveform and reflects it onto the top half. Each waveshape responds to this differently. For example, a saw wave morphs into a triangle while triangle and sine waves lose their fundamental harmonic and jump up an octave.

Pittsburgh Dynamics Controllers

The new Dynamics technology imparts Voltage Lab 2 with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voices of the Voltage Lab 2.

When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Voltage Lab 2 sounds more natural or complex compared to other instruments.

Touch Controller 2

The Touch Controller 2 enables artists to blend traditional pitched performances with the freedom to openly experiment, creating a flexible playground for music creation. Two independent channels offer a combination of real time, expressive playing and in-depth sequencing. Assignable scales, step conditions, jumps, chance effects, generative sequencing, and a host of other tools, come together allowing musicians to both create and interact with complex systems.

A Florist and Echos

The Voltage Lab 2 includes a set of analogue time based effects, Florist and Echos. The Florist is a flanger/chorus hybrid that focuses on brighter, short time shifts with highly controlled feedback allowing for maximum ringing before self oscillation. Echos is a more traditional, darker analogue BBD delay that also utilizes highly controlled feedback to provide a larger number of repeats before falling into self oscillation. Both effects are perfect for traditional workflows and unconventional experimentation.

Complete Set of Modular Tools

The Voltage Lab 2 includes a host of fully modular, analogue and digital synthesis tools to support and enhance it's core functionality. Analog tools include flexible mixers, a pair of complex function generators, noise, sample and hold, and an LFO. Digital tools cover external MIDI, arpeggiator, and a robust chance sequencer. The Voltage Lab 2 toolset is deep enough for all types of sonic experiments.

Notes: Co-developed by the late Chris Huggett, the Mantis is PWM's flagship synth, a duophonic hybrid design with high-performance digital oscillators and state-variable analogue filters. A fitting tribute to a legendary synth designer.

Supplier's Notes:
Mantis is a unique, duophonic hybrid synthesizer that was co-developed by the late Chris Huggett (of EDP Wasp, OScar & more fame) and is dubbed as a spiritual successor to the OSCar, sporting precision digital oscillators, dual state variable filters and more.

Mantis is a premium synthesizer, sporting a high quality 37-note velocity and pressure sensitive keybed, SSI2164 IC's for the VCF's and VCA's, custom high performance processors for the oscillators coupled with a pristine analogue signal path, which features a twice amplified gain structure for maximum clipping capabilities plus lush stereo digital FX.

The modulation capabilities are vast with:
Two unique ADSR's that feature "sustain fall" that allows you to create a drop before release...even while a key is held for greater sound design possibilities. The envelopes can also be set to cycle.
Two tempo-syncable LFO's with four waves, fade in and fade out parameters and a seriously wide operating range.
Ring modulation available at the mixer
And a unique modulation routing controller with 6 choices of modulation parameters, 6 choices of modulation sources and scale control, which used to scale the effect of the modulation.

In development over the last period of his life Chris threw everything into Mantis. Although incomplete when he sadly passed away in 2020, he handed the project over to Paul of PWM to carry on and continue the project.

PWM, with the support of Chris' estate, think this synthesiser deserves to be born into the world for everyone to enjoy!

PWM MANTIS Key Features:
Hybrid-Analogue Synthesiser, powerful digital oscillators with dual analogue filters
With Mathematically Generated Oscillators with a Pure Analogue Signal Path
A Modernised Design Architecture based on the WASP with an OSCar style filter designed by the late, great Chris Huggett
Duophonic - Two Fully Independent Voices each with 2 Oscillators plus Sub-Oscillator per voice
Dual Filters - Multi-Mode State Variable VCF's with Overdrive per voice that can be combined in Series or Parallel with Width Control
Keyboard - 37-Note Full-Size Semi-Weighted Keybed with Aftertouch plus Joystick
Fully featured Keyboard, Joystick and USB-MIDI Control for Easy Integration with any Studio or Live Environment

Specifications

200 Patches
All patches in RAM so can be overwritten
Bank A: 100 Factory presets
Bank B: 100 User presets (all set to initial patch)
Compare function
Initialise patch function

Duophonic with 2 analogue signal paths
Mathematically generated oscillators designed by Chris Huggett
Analogue signal path designed by Chris Huggett

2 Oscillators plus sub-oscillator per voice
Sine / Triangle / Saw / Pulse plus additional wave types
Shape control and shape modulation input
Will create pulse width modulation on the pulse waveform with perfect square at the centre
Pitch modulation control
Octave selects per oscillator
OSC 1 SUB follows oscillator 1 parameters

Oscillator Drift
Creates random pitch variations between oscillators

Multi-mode state variable VCA filters with overdrive
2 Analogue filters - 1 per signal path
Low Pass / Band Pass / High Pass in 12dB and 24dB configurations
Additional WBAND (series) and WSTOP (parallel) types
Filter Cutoff
Filter Cutoff Modulation
Filter Resonance
Filter Width
Filter Width Modulation
Filter Keytrack

LFO (Low Frequency Oscillator)
2 LFOs
4 waveshapes per oscillator
Fade In / Fade Out parameter
SYNCable
Rate control

Envelopes
2 Independent envelopes
ENV 1 normalised to amplitude
ADSR
+ Sustain Fall parameter for shaping during key-down
+ Repeat which can be used to create looping envelopes
Velocity positive and negative control

Ring modulation

Mixer
First mix: OSC1 and OSC2
Second mix: OSCillators and noise
Third mix: OSCillators + noise and Ring modulator

VCA (Voltage Controlled Amplifier)
All amplification is done in the analogue domain in multi-stage VCAs

Modulation Routes
Control - 6 choices of modulation parameters
Source - 6 choices of effectors from envelopes and LFOs
Scale - choices of controls used to scale the effect of the modulation

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

Connections
Master power switch
DC 9V input
USBC
MIDI IN / OUT / THRU
Sustain pedal input (switch)
Pedal input (continuous)
Stereo 1/4" line Outs: L/Mono and R
Stereo 1/4" headphone out

Multi-function Joystick control
Left / right for pitch bend
Performable vibrato
Latching hold mode

Arpeggiator
6 arpeggiator types
- Up, Down, Up/Down 1, Up/Down 2, Played & Random
Sync rates control from 2nds to 32nds
Tap tempo button
Swing including positive and negative swing
Auto clock sync
- Detects MIDI or USB-MIDI clock and synchronises the arpeggiator automatically
Latch via joystick HOLD
6 Octave range

Dedicated tempo control

Duophonic mode control
Duo mode
Duo mode with simple filter
Pan control for duophonic voicing

Digital Effects
Reverb time
Reverb level
Reverb High Pass Filter
Reverb Low Pass Filter
Chorus level
Chorus type

Keyboard Control
37 Full-size semi-weighted velocity-sensitive keys
Channel aftertouch
Octave shift

Weights and Dimensions (product unboxed)
620 x 320 x 110 mm
5.3 kg

Includes:
Power Supply (9V 600mA)
USB C lead
Getting Started Guide

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Co-developed by the late Chris Huggett, the Mantis is PWM's flagship synth, a duophonic hybrid design with high-performance digital oscillators and state-variable analogue filters. A fitting tribute to a legendary synth designer.

Supplier's Notes:
Mantis is a unique, duophonic hybrid synthesizer that was co-developed by the late Chris Huggett (of EDP Wasp, OScar & more fame) and is dubbed as a spiritual successor to the OSCar, sporting precision digital oscillators, dual state variable filters and more.

Mantis is a premium synthesizer, sporting a high quality 37-note velocity and pressure sensitive keybed, SSI2164 IC's for the VCF's and VCA's, custom high performance processors for the oscillators coupled with a pristine analogue signal path, which features a twice amplified gain structure for maximum clipping capabilities plus lush stereo digital FX.

The modulation capabilities are vast with:
Two unique ADSR's that feature "sustain fall" that allows you to create a drop before release...even while a key is held for greater sound design possibilities. The envelopes can also be set to cycle.
Two tempo-syncable LFO's with four waves, fade in and fade out parameters and a seriously wide operating range.
Ring modulation available at the mixer
And a unique modulation routing controller with 6 choices of modulation parameters, 6 choices of modulation sources and scale control, which used to scale the effect of the modulation.

In development over the last period of his life Chris threw everything into Mantis. Although incomplete when he sadly passed away in 2020, he handed the project over to Paul of PWM to carry on and continue the project.

PWM, with the support of Chris' estate, think this synthesiser deserves to be born into the world for everyone to enjoy!

PWM MANTIS Key Features:
Hybrid-Analogue Synthesiser, powerful digital oscillators with dual analogue filters
With Mathematically Generated Oscillators with a Pure Analogue Signal Path
A Modernised Design Architecture based on the WASP with an OSCar style filter designed by the late, great Chris Huggett
Duophonic - Two Fully Independent Voices each with 2 Oscillators plus Sub-Oscillator per voice
Dual Filters - Multi-Mode State Variable VCF's with Overdrive per voice that can be combined in Series or Parallel with Width Control
Keyboard - 37-Note Full-Size Semi-Weighted Keybed with Aftertouch plus Joystick
Fully featured Keyboard, Joystick and USB-MIDI Control for Easy Integration with any Studio or Live Environment

Specifications

200 Patches
All patches in RAM so can be overwritten
Bank A: 100 Factory presets
Bank B: 100 User presets (all set to initial patch)
Compare function
Initialise patch function

Duophonic with 2 analogue signal paths
Mathematically generated oscillators designed by Chris Huggett
Analogue signal path designed by Chris Huggett

2 Oscillators plus sub-oscillator per voice
Sine / Triangle / Saw / Pulse plus additional wave types
Shape control and shape modulation input
Will create pulse width modulation on the pulse waveform with perfect square at the centre
Pitch modulation control
Octave selects per oscillator
OSC 1 SUB follows oscillator 1 parameters

Oscillator Drift
Creates random pitch variations between oscillators

Multi-mode state variable VCA filters with overdrive
2 Analogue filters - 1 per signal path
Low Pass / Band Pass / High Pass in 12dB and 24dB configurations
Additional WBAND (series) and WSTOP (parallel) types
Filter Cutoff
Filter Cutoff Modulation
Filter Resonance
Filter Width
Filter Width Modulation
Filter Keytrack

LFO (Low Frequency Oscillator)
2 LFOs
4 waveshapes per oscillator
Fade In / Fade Out parameter
SYNCable
Rate control

Envelopes
2 Independent envelopes
ENV 1 normalised to amplitude
ADSR
+ Sustain Fall parameter for shaping during key-down
+ Repeat which can be used to create looping envelopes
Velocity positive and negative control

Ring modulation

Mixer
First mix: OSC1 and OSC2
Second mix: OSCillators and noise
Third mix: OSCillators + noise and Ring modulator

VCA (Voltage Controlled Amplifier)
All amplification is done in the analogue domain in multi-stage VCAs

Modulation Routes
Control - 6 choices of modulation parameters
Source - 6 choices of effectors from envelopes and LFOs
Scale - choices of controls used to scale the effect of the modulation

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

Connections
Master power switch
DC 9V input
USBC
MIDI IN / OUT / THRU
Sustain pedal input (switch)
Pedal input (continuous)
Stereo 1/4" line Outs: L/Mono and R
Stereo 1/4" headphone out

Multi-function Joystick control
Left / right for pitch bend
Performable vibrato
Latching hold mode

Arpeggiator
6 arpeggiator types
- Up, Down, Up/Down 1, Up/Down 2, Played & Random
Sync rates control from 2nds to 32nds
Tap tempo button
Swing including positive and negative swing
Auto clock sync
- Detects MIDI or USB-MIDI clock and synchronises the arpeggiator automatically
Latch via joystick HOLD
6 Octave range

Dedicated tempo control

Duophonic mode control
Duo mode
Duo mode with simple filter
Pan control for duophonic voicing

Digital Effects
Reverb time
Reverb level
Reverb High Pass Filter
Reverb Low Pass Filter
Chorus level
Chorus type

Keyboard Control
37 Full-size semi-weighted velocity-sensitive keys
Channel aftertouch
Octave shift

Weights and Dimensions (product unboxed)
620 x 320 x 110 mm
5.3 kg

Includes:
Power Supply (9V 600mA)
USB C lead
Getting Started Guide

Notes: ***B-STOCK: Box opened, product in perfect working order***


Co-developed by the late Chris Huggett, the Mantis is PWM's flagship synth, a duophonic hybrid design with high-performance digital oscillators and state-variable analogue filters. A fitting tribute to a legendary synth designer.

Supplier's Notes:
Mantis is a unique, duophonic hybrid synthesizer that was co-developed by the late Chris Huggett (of EDP Wasp, OScar & more fame) and is dubbed as a spiritual successor to the OSCar, sporting precision digital oscillators, dual state variable filters and more.

Mantis is a premium synthesizer, sporting a high quality 37-note velocity and pressure sensitive keybed, SSI2164 IC's for the VCF's and VCA's, custom high performance processors for the oscillators coupled with a pristine analogue signal path, which features a twice amplified gain structure for maximum clipping capabilities plus lush stereo digital FX.

The modulation capabilities are vast with:
Two unique ADSR's that feature "sustain fall" that allows you to create a drop before release...even while a key is held for greater sound design possibilities. The envelopes can also be set to cycle.
Two tempo-syncable LFO's with four waves, fade in and fade out parameters and a seriously wide operating range.
Ring modulation available at the mixer
And a unique modulation routing controller with 6 choices of modulation parameters, 6 choices of modulation sources and scale control, which used to scale the effect of the modulation.

In development over the last period of his life Chris threw everything into Mantis. Although incomplete when he sadly passed away in 2020, he handed the project over to Paul of PWM to carry on and continue the project.

PWM, with the support of Chris' estate, think this synthesiser deserves to be born into the world for everyone to enjoy!

PWM MANTIS Key Features:
Hybrid-Analogue Synthesiser, powerful digital oscillators with dual analogue filters
With Mathematically Generated Oscillators with a Pure Analogue Signal Path
A Modernised Design Architecture based on the WASP with an OSCar style filter designed by the late, great Chris Huggett
Duophonic - Two Fully Independent Voices each with 2 Oscillators plus Sub-Oscillator per voice
Dual Filters - Multi-Mode State Variable VCF's with Overdrive per voice that can be combined in Series or Parallel with Width Control
Keyboard - 37-Note Full-Size Semi-Weighted Keybed with Aftertouch plus Joystick
Fully featured Keyboard, Joystick and USB-MIDI Control for Easy Integration with any Studio or Live Environment

Specifications

200 Patches
All patches in RAM so can be overwritten
Bank A: 100 Factory presets
Bank B: 100 User presets (all set to initial patch)
Compare function
Initialise patch function

Duophonic with 2 analogue signal paths
Mathematically generated oscillators designed by Chris Huggett
Analogue signal path designed by Chris Huggett

2 Oscillators plus sub-oscillator per voice
Sine / Triangle / Saw / Pulse plus additional wave types
Shape control and shape modulation input
Will create pulse width modulation on the pulse waveform with perfect square at the centre
Pitch modulation control
Octave selects per oscillator
OSC 1 SUB follows oscillator 1 parameters

Oscillator Drift
Creates random pitch variations between oscillators

Multi-mode state variable VCA filters with overdrive
2 Analogue filters - 1 per signal path
Low Pass / Band Pass / High Pass in 12dB and 24dB configurations
Additional WBAND (series) and WSTOP (parallel) types
Filter Cutoff
Filter Cutoff Modulation
Filter Resonance
Filter Width
Filter Width Modulation
Filter Keytrack

LFO (Low Frequency Oscillator)
2 LFOs
4 waveshapes per oscillator
Fade In / Fade Out parameter
SYNCable
Rate control

Envelopes
2 Independent envelopes
ENV 1 normalised to amplitude
ADSR
+ Sustain Fall parameter for shaping during key-down
+ Repeat which can be used to create looping envelopes
Velocity positive and negative control

Ring modulation

Mixer
First mix: OSC1 and OSC2
Second mix: OSCillators and noise
Third mix: OSCillators + noise and Ring modulator

VCA (Voltage Controlled Amplifier)
All amplification is done in the analogue domain in multi-stage VCAs

Modulation Routes
Control - 6 choices of modulation parameters
Source - 6 choices of effectors from envelopes and LFOs
Scale - choices of controls used to scale the effect of the modulation

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

Connections
Master power switch
DC 9V input
USBC
MIDI IN / OUT / THRU
Sustain pedal input (switch)
Pedal input (continuous)
Stereo 1/4" line Outs: L/Mono and R
Stereo 1/4" headphone out

Multi-function Joystick control
Left / right for pitch bend
Performable vibrato
Latching hold mode

Arpeggiator
6 arpeggiator types
- Up, Down, Up/Down 1, Up/Down 2, Played & Random
Sync rates control from 2nds to 32nds
Tap tempo button
Swing including positive and negative swing
Auto clock sync
- Detects MIDI or USB-MIDI clock and synchronises the arpeggiator automatically
Latch via joystick HOLD
6 Octave range

Dedicated tempo control

Duophonic mode control
Duo mode
Duo mode with simple filter
Pan control for duophonic voicing

Digital Effects
Reverb time
Reverb level
Reverb High Pass Filter
Reverb Low Pass Filter
Chorus level
Chorus type

Keyboard Control
37 Full-size semi-weighted velocity-sensitive keys
Channel aftertouch
Octave shift

Weights and Dimensions (product unboxed)
620 x 320 x 110 mm
5.3 kg

Includes:
Power Supply (9V 600mA)
USB C lead
Getting Started Guide

Notes: ***B-STOCK: Box opened, product in perfect working order***


Serious mastering-grade kit. Stereo interface with high-end converters and headphone amp circuit for pristine sound quality. Proper clarity for critical listening.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's notes:
The RME ADI-2 Pro FS is a two channel 24-bit / 768kHz AD/DA converter and USB 2 Digital Audio Converter, audio interface and high-end headphone amp with new jitter rejection SteadyClock FS technology.

The RME ADI-2 Pro FS is the most flexible converter available with balanced and unbalanced I/O, two headphone outputs, DSP-based signal processing and RME's latest Steady Clock FS jitter rejection technology. It offers Class Compliant USB compatibility, sample rates up to 768kHz as well as DSD record and Direct DSD playback.

It boasts a raft of analogue and digital I/O, including two servo-balanced analogue XLR/TRS Jack inputs, two separate balanced and unbalanced outputs on XLR and TS as well as two headphone outputs. Digital I/O include optical ADAT, Optical and coaxial SPDIF and AES accessible via a breakout cable.

Furthermore, its Class Compliant UAC 2 USB 2.0 port offers iOS compatibility and is necessary for firmware updates. It can also work as a 6-in / 8-out audio on Mac OSX and Windows via WDM and ASIO.

Using the latest in A-to-D technology the ADI-2 Pro FS offers best possible sound with highest signal-to-noise ratio, super low THD and noise. It supports sample rates up to 786kHz PCM and DSD recording in dual mono design, with 3dB improved signal to noise ratio. Two digital-to-analogue converters are used for the separate stereo outputs. The latest Integrated Sample Rate converter takes care of clocking issues between S/PDIF and AES thanks to RME's latest SteadyClock FS technology.

A high-resolution display shows controls for the ADI-2 Pro FS unique features including DSP effects like 5-band parametric EQ, binaural crossfeed, adjustable loudness filter, selectable AD/DA filters and four analogue reference levels. Furthermore, M/S processing is provided with stereo width control as well as phase loop. The display also shows RME's famous Spectral Analyser and 30-band bi-quad filtered analysis tool.

Notes: Based on the Digiface Dante but with the added benefit of low-latency Ravenna audio-over-IP, the Digiface Ravenna offers 128 Ravenna channels and 64 MADI channels.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's Notes:
The Digiface Ravenna is a lightweight, portable audio interface, based on the proven Digiface Dante equipped with a RAVENNA module developed by DirectOut and features with everything that RME is famous for: USB 3, MADI, TotalMix FX and outstanding options in both USB and stand-alone operation.

Mobile RAVENNA Solution via USB

The combination of RME's renowned drivers (Mac/Windows) and DirectOut's RAVENNA implementation offer a reliable and flexible networked computer audio interface. Equipped with the latest TotalMix FX it can not only route, but also mix as many independent submixes as outputs are available. The included high quality phones output offers a quick listen to any audio channel, but can also be used as line output to provide an additional analog stereo mixdown.

RAVENNA & MADI

RME made the two BNC sockets for word clock I/O switchable to MADI I/O, with up to 64 channels. The total sum of Ravenna and MADI, 128 channels, are transferred via USB 3.0 and handled via the included RAVENNA web server or RME's TotalMix FX, for full and struggle-free control of all audio.

On the network side, the interface features a full-fledged RAVENNA stack with AES67 and ST2110-30/31 support and redundant audio-over-IP streaming as per ST2022-7. In addition, the interface can also be used as a mobile 64-channel RAVENNA/MADI converter without a USB connection to a computer. The coaxial MADI I/O connectors may also be configured to work as word clock sync I/O.

TotalMix FX and TotalMix Remote

Like all the latest RME interfaces, the Digiface Series also includes the powerful digital real-time mixer TotalMix FX. It allows for practically unlimited mixing and routing operations, with all inputs and playback channels simultaneously, to any hardware outputs.

The Digiface Series includes a dedicated Control Room section with Talkback, Main/Phones, fader groups, mute groups, complete remote controllability via Mackie or OSC protocol, and much more. The Digiface Series does not support DSP based effects (FX) like EQ or reverb.

Additionally RME's latest software, TotalMix Remote, enhances the power of RME interfaces by enabling remote control via iOS, PC or Mac. With a straightforward set up process - simply enter the IP address of the computer you would like to control with TotalMix Remote and get going - users can quickly adjust any aspect of TotalMix FX on a host system while walking around the studio with their tablet, or from a control room located elsewhere in the facility.

TotalMix FX - Mixing/Routing with superior features for Studio and Live Work

Since 2001 TotalMix added unlimited routing and mixing to RME's audio interfaces. Its unique capability to create as many independent submixes as output channels available turned it into the most flexible and powerful mixer of its kind.

RME USB - Transport audio with lowest latency and industry leading stability

Use your RME audio interface on Mac and PC with reliable, stable, and regularly updated drivers for RME products. RME Audio develops its own interface core, it's not dependent on 3rd parties for upgrades, modifications or bug fixes, so customers can use latest operating systems without interruption or delay."

DigiCheck - The Secret Weapon of High Resolution Audio Measurements

RME Audio interfaces not only provide you with a professional digital audio interface, but also with a free available software tool: DigiCheck, for metering, testing, measuring and analyzing digital audio streams.

Specs

Digiface Ravenna
Gigabit Ethernet Port

RJ45

100 Mbit/s, 1 Gbit/s
Standard port LEDs: yellow connected, green data transmission
Supports straight and crossover cables (Auto MDI-X)
Network-based remote control of the unit (TotalMix Remote)

RAVENNA Modul

Supports RAVENNA, AES67, ST 2110-30 / -31, ST 2022-7
Network Layer 3
Modes: Switched and Redundancy according to ST 2022-7
32 streams
128 channels Single Speed, 64 channels Double Speed, 32 channels Quad Speed
Clock sources: PTP, Internal
Sample Rates: 44.1, 48, 88.2, 96, 176.4, 192 kHz, +/-12.5 %
Routing: Channel-based routing matrix
Configuration: Browser GUI, globcon control, NMOS IS-04 / IS-05

MADI Input

Coaxial via BNC, 75 Ohm, according to AES10-1991
High-sensitivity input stage (< 0.2 Vpp)
Accepts 56 channel and 64 channel mode, plus 96k Frame
Standard: up to 64 channels 24 bit 48 kHz
S/MUX: up to 32 channels 24 bit 96 kHz
S/MUX4: up to 16 channels 24 bit 192 kHz
Lock range: 25 kHz - 54 kHz

MADI Output

Coaxial via BNC, 75 Ohm, according to AES10-1991
Output voltage 400 mVpp
Cable length: up to 50 m
Generates 56 channel and 64 channel mode, plus 96k Frame
Standard: up to 64 channels 24 bit 48 kHz
S/MUX / 96k Frame: up to 32 channels 24 bit 96 kHz
S/MUX4: up to 16 channels 24 bit 192 kHz

Output Analog Phones 129/130

Dynamic range (DR): 110 dB RMS unweighted, 113 dBA
Frequency response @ 44.1 kHz, -0.5 dB: 0 Hz - 20.8 kHz
Frequency response @ 96 kHz, -0.5 dB: 0 Hz - 45 kHz
Frequency response @ 192 kHz, -1 dB: 0 Hz - 89 kHz
THD @ -1 dBFS: - 96 dB, 0.0016 %
THD+N @ -1 dBFS: -95 dB, 0.0017 %
Channel separation: > 100 dB
Output: 6.3 mm TRS jack, unbalanced
Output impedance: 2 Ohm
Output level at 0 dBFS, 1 kOhm load: +9.5 dBu
Max power @ 0.1% THD: 50 mW

Word Clock In

BNC, not terminated (10 kOhm)
Switchable internal termination 75 Ohm
Automatic Double/Quad Speed detection and conversion to Single Speed

Word Clock Out

BNC
Max level: 5 Vss
Level with termination 75 Ohm: 4.0 Vss
Internal impedance: 10 Ohm
Output Analog Phones 129/130
Dynamic range (DR): 110 dB RMS unweighted, 113 dBA
Frequency response @ 44.1 kHz, -0.5 dB: 0 Hz - 20.8 kHz
Frequency response @ 96 kHz, -0.5 dB: 0 Hz - 45 kHz
Frequency response @ 192 kHz, -1 dB: 0 Hz - 89 kHz
THD@-1dBFS:-96dB,0.0016%
THD+N @ -1 dBFS: -95 dB, 0.0017 %
Channel separation: > 100 dB
Output: 6.3 mm TRS jack, unbalanced
Output impedance: 2 Ohm
Output level at 0 dBFS, 1 kOhm load: +9.5 dBu
Max power @ 0.1% THD: 50 mW

Digital

Clocks: Internal, RAVENNA (PTP), word, MADI
Supported sample rates: 44.1 kHz up to 192 kHz

Notes: Black version of arguably the best experimental drum synth in the world. Unique semi-modular, 'organismic' design with over 100 patch points and extensive controls for the four drum channels.

Supplier's Notes:
PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: Orange version of arguably the best experimental drum synth in the world. Unique semi-modular, 'organismic' design with over 100 patch points and extensive controls for the four drum channels.

Supplier's Notes:
PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.
The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.
Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

PULSAR-23 main features:

- 4 drum channels: Bass drum, Bass\Percussion, Snare drum, Cymbals\Hi-Hat
- 4 envelope generators with the unique ability to generate a sustain for the drum channels, turning them into noise\drone synthesizers. - 4 independent loop recorders with the option for individual clocking. They record triggering events, not audio.
- Clock generator with an array of dividers as a very powerful tool for rhythm synthesis.
- Wide range LFO (0.1 - 5000Hz) with variable waveform.
- Shaos - a unique pseudo-random generator based on shift registers with 4 independent outputs, sample and hold and other cool features.
- FX processor with CV control incl. CV control of the entire DSP's sample rate.
- Distortion.
- 2 CV-controlled gates.
- 2 CV-controlled VCAs.
- 2 controllable inverters.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes with 30 alligator clips cables and PSU.

The PULSAR-23 Screw has the same functionality as the PULSAR Turret, but at a much lower price, because we used screws instead of expensive custom turrets (on the first photo the black one with turrets, and the white one with the screws)

Notes: Typically creative stuff from Soma Lab, here in a fresh light green colourway. Four channels of analogue drum synthesis, unique looping trigger generators, pseudo-random 'Shaos' generator and DSP-based effects.

Supplier's Notes:
PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analogue FX processor.

The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.

Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

Please note that Pulsar is an experimental analogue synth that means that it has some small noise and bleeds that can't affect your studio production or live performance but can be hearable in some modes. If you need a perfect silence and isolation of sound modules, it is recommended that you use 100% digital hardware.

What's in the kit:
PULSAR-23
PSU
22 multi-colour cables with alligator clips 65cm
8 multi-colour cables with alligator clips 30cm
High-quality handmade bag for transportation

Notes: Pink version of Soma's typically creative drum machine. Four channels of analogue drum synthesis, unique looping trigger generators, pseudo-random 'Shaos' generator and DSP-based effects.

Supplier's Notes:
PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analogue FX processor.

The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.

Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

Please note that Pulsar is an experimental analogue synth that means that it has some small noise and bleeds that can't affect your studio production or live performance but can be hearable in some modes. If you need a perfect silence and isolation of sound modules, it is recommended that you use 100% digital hardware.

What's in the kit:
PULSAR-23
PSU
22 multi-colour cables with alligator clips 65cm
8 multi-colour cables with alligator clips 30cm
High-quality handmade bag for transportation

Notes: Building on Supercritical's back catalogue, the Redshift provides a range of characters, based around the Demon Core Oscillator and Neutron Flux Filter. Six-voice analogue design with multitimbral options, MPE control and DSP effects.

Supplier's Notes:
Supercritical Synthesizers introduces their first desktop instrument, Redshift 6 - six voice analogue Variable Character Synthesizer

Supermassively dense analogue oscillator combined with a chameleon analogue filter with versatile gain staging. Now sixfold.

Redshift 6 combines technology from the company's previous products, the Demon Core Oscillator and the Neutron Flux Filter. Each of the six voices features a DCO with analogue waveforms generated under digital control. The filter core is an analogue 4-pole state variable filter also digitally controlled to act like almost any classic vintage synthesizer filter and more. In addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth - plenty of modulators, flexible voice routing, multitimbrality, MPE, and DSP effects.

Redshift 6's idea is something that is wrapped in the moniker "Variable Character Synthesizer". Each voice's analogue path regarding tuning, gain staging, filter, and more is under strict digital control. Redshift 6 has as lush and warm sweet spot inspired by the analogue polysynth tradition, but it can also cover the full range from almost digitally sterile and clean to distorted misbehaviour and beyond. No modelling here - it's all analogue until the bypassable stereo DSP effects processor.

The oscillator, already road-tested in the Demon Core Oscillator eurorack module, is featured in each of the six voices. The oscillator has multiple tricks up its sleeve, each one wrapped as an Engine for the user to choose between. Traditional twin oscillator engines, supersaw engines, flanging phase sync engines, and transistor organ engines are all powerful modes in user-friendly ways that are easily controllable and modulatable.

Redshift 6's six voices can be configured in plenty of ways. Choose between true six-voice polyphony, classic vintage poly dual layer mode with 3+3 voices, six individual voices each with their own patch and physical output, or any combination of the above. Each of the six voices can also operate as a paraphonic voice with up to 16 note paraphony. Additionally, multiple filters can be chained by routing audio from one voice to another.

The form factor of Redshift 6 is a modern, compact desktop device with a 2.7-inch colour screen. Menu diving is reduced to a minimum, with quick navigation via the shortcut button grid. A selection of familiar synth controls are featured on the front panel. A macro mode is included with six user-assignable controls. The back panel features main audio outputs with a DSP effects processor and four auxiliary voice outputs.

One of the major design principles of Redshift 6 is to have a versatile and capable analogue platform and a flexible UI for new Engines, easily updateable via software updates.

Supercritical Redshift 6 Desktop synthesizer module

Technical specifications

Six voices each featuring:
Full analogue signal chain
Digitally controlled analogue Supercritical Demon Core Oscillator
Analog four pole Variable Character Filter
Flexible gain staging with an analogue boost circuit
Physical audio output per voice (2 main outputs and 4 aux outputs)
Optional voice chaining
Bypassable digital effects in main outputs 1-2
2.7" TFT IPS colour screen with a bank of 8 endless clickable potentiometers and quick navigation via button grid
Quick powerful controls for oscillators and filters.
Six user-assignable macro controls
Six parts multitimbral
Modern MIDI implementation with USB-B connection and DIN IN/OUT
MPE
12V power supply
Physical dimensions: 378 mm x 254 mm x 63 mm

Notes: A serious mixer from a legendary name. Tascam's 2400 combines analogue mixing with a 24-track recorder, built-in USB interface and DAW integration. Exceptional versatility in a convenient package.

Supplier's Notes:
Streamline Your Mix Process with Advanced Onboard Processing

The Model 2400's versatility doesn't compromise its mixing capabilities one bit. With per-channel compression, multiple sub groups, and master stereo bus processing including compression and EQ, you'll have the pro-level mix control you need in any scenario. Taking your project from tracking to a final master on the Model 2400 couldn't be simpler.

22 Channels and 24 Tracks, One Solution

With comprehensive 22-channel mixing capabilities, the Model 2400 is an ideal studio and live mixer for everything from larger combos and jazz ensembles to orchestra and choir ensembles. And when it comes to recording, no additional interface or computer are required.

Insert Professional Processors and Effects

Insert points on channels 1-12 allow you to easily integrate a studio rack full of processors and effects units. And, in addition to the onboard Master Bus processing, a send/return loop on the Main output allows you to connect external mastering gear such as compressors, EQs, stereo imagers and sonic exciters.

Ample Aux and Sub Outputs

With 5 Aux sends and 4 stereo sub groups, Model 2400 handles advanced mixing duties with ease. Create more monitor mixes without sacrificing an aux for effects. Connect multiple pairs of studio monitors for checking your mixes. In your studio or on stage, Model 2400 delivers the comprehensive connectivity and routing you need.

Professional Recording Capabilities

Model 2400 seamlessly integrates multitrack recording with studio and live mixing. With the ability to record 24 channels (22 inputs plus the stereo master) of high-quality audio direct to SD card media, Model 2400 is a powerful recording solution even if you're a DAW-less producer.

Sound with Excitement

TASCAM Ultra HDDA (High-Definition Discrete Architecture) mic preamps give Model 2400 the vibrant analogue sound that makes harmonics come alive.

With Ultra HDDA, any sound source will be represented with the utmost clarity and richness, and with an ultra-low noise floor.

Monitor Your Signal Virtually

With the Model Mixer Settings Panel app, users can take advantage of a digital meter bridge across by connecting the Model 2400 via USB to a PC or Mac. Set peak hold times, monitor the input, MTR or USB signal all while being able scale the GUI from a small window to full screen. Take it a step further by porting the app from your computer to a dedicated monitor of your choosing.

Ready to Be Your Studio Centrepiece

Model 2400 delivers the classic analogue console experience in the studio, with an onboard 24x22 audio interface that's ready to meld with modern production workflows. Insert points on channels 1-12 allow you to integrate studio processors and effects. And with the ability to return 22 DAW tracks through Model 2400's mix path and processing, it's also the most versatile analogue summing mixer you'll find.

MIDI Interface

Model 2400's comprehensive MIDI functionality allows full integration with MIDI-based production setups. From controlling drum machines and synthesizers from your DAW software, to synchronizing external effects processors to the tempo of your music and creating click tracks, Model 2400 offers the MIDI functionality you need to make it happen.

Specifications
Recorder
Recording media: SD (Class 10 or higher), SDHC (Class 10 or higher), SDXC (up to 512 GBytes, Class 10 or higher)
File system: SD: FAT16, SDHC: FAT32, SDXC: exFAT
Recording file formats: WAV (BWF), 44.1/48 kHz, 16/24 bit (maximum file size: 2 GBytes)
Playback file formats: WAV, BWF (44.1/48 kHz, 16/24 bit)
Recordable tracks: 24 (22 tracks + stereo mix)

Audio inputs and outputs

Microphone inputs (MIC, 1-12, 13,15,17,19): XLR-3-31 (combo jack), balanced (1: GND, 2: HOT, 3: COLD)
Maximum input level: +10 dBu
Nominal input level: -8 dBu
Minimum input level: -58 dBu
Gain adjustable range: 0-50 dB
Input impedance: 1.9 kO (1-12), 2.4 kO (13, 15, 17, 19)
Line/Instrument inputs (LINE/INST, 1-2): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: LINE: +22 dBu, INST: 19.8 dBV
Nominal input level: LINE: +4 dBu, INST: 1.8 dBV
Gain adjustment range: -10 dB to +40 dB
Input impedance: LINE: 22 kO, INST: 1 MO
Line inputs (LINE, 3-12): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: +22 dBu
Nominal input level: +4 dBu
Gain adjustable range: -10 dB to +40 dB
Input impedance: =22 kO
Stereo line inputs (LINE L/MONO, R, 13/14 to 21/22): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: +22 dBu
Nominal input level: +4 dBu
Gain adjustment range: -20 dB to +30 dB
Input impedance: =11 kO (mono), =22 kO (stereo)
Inserts (1-12): 6.3-mm TRS phone jack, (Tip: Send, Ring: Return, Sleeve: GND)
Maximum input level: +18 dBu
Nominal input level: 0 dBu
Input impedance: 15 kO
Maximum output level: +18 dBu
Nominal output level: 0 dBu
Output impedance: 100 O
Talkback input: XLR-3-31, balanced (1: GND, 2: HOT, 3: COLD)
Maximum input level: -22 dBu
Minimum input level: -65 dBu
Gain adjustable range: 52 dB
Input impedance= 2.6 kO
Main output (MAIN OUTPUT L/R): XLR-3-32, balanced (1: GND, 2: HOT, 3:COLD)
Maximum output level: +22 dBu
Nominal output level: +4 dBu
Output impedance: 200 O
Main inserts (MAIN SEND/RETURN L/R): 6.3-mm TRS phone jack (Tip: Send, Ring: Return, Sleeve: GND)
Maximum input level: +18 dBu
Nominal input level: 0 dBu
Input impedance= 9 kO
Maximum output level: +18 dBu
Nominal output level: 0 dBu
Output impedance: 100 O
Control Room outputs (CONTROL ROOM L/R): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Aux outputs (AUX OUTPUT 1-5): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Sub group outputs (SUB OUTPUT 1-2, 3-4, 5-6, 7-8): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Phones output 1/2: 2 × 6.3-mm stereo phone jack
Maximum output power: 45 mW + 45 mW (at 32 O)

Control inputs/outputs

USB port: USB Type-B
Protocol: USB 2.0 High Speed (480 Mbit/s)
Click output
6.3-mm standard TS jack: (Tip: HOT, Sleeve: GND)
Footswitch connector: 6.3-mm TRS phone jack (Tip: FOOTSW1, Ring: FOOTSW2, Sleeve: GND, unlatching switches required)
MIDI input and output: 5-pin DIN connector
Format: Standard MIDI

USB audio

Sampling rate: 44.1 kHz, 48 kHz
Bit depth: 16 bit, 24 bit
Maximum number of audio channels: 24 inputs, 22 outputs

Bluetooth
Version: 5.1
Output class: 2 (approximate transmission distance: 10 m)
Supported profile: A2DP
Supported A2DP codecs: SBC, AAC
A2DP content protection: SCMS-T

Audio performance
S/N ratio: (22 kHz LPF, A-weighted), Main mix off: -100 dB, Main mix 0 dB: -80 dB
Equivalent input noise (EIN): -128 dBu (Rs=15 O, MIC IN to INSERT SEND, GAIN knobs at max., A-weighted)
Total harmonic distortion (THD+N): (GAIN knobs at min., 1 kHz), 0,01 % (mic input to main output), 0.004 % (mic input to main output, +2 dBu, BYPASS switches on)
Frequency response: (all gain knobs at min., 1 kHz) 20 Hz to 30 kHz, +0.5/-1 dB (analogue), 20 Hz to 20 kHz, +0.5/-1 dB (digital)
Crosstalk: (PAN knobs fully left or right, 1 kHz), Between channels: -80 dB, Between input and output: -80 dB
Maximum gain: (all GAIN knobs at max., PAN knobs fully left or right, BYPASS on, MASTER BUS IN off), 74 dB (MIC to MAIN OUT), 54 dB (MIC to INSERT OUT), 74 dB (MIC to SUB OUT), 75 dB (MIC to AUX OUT), 24 dB (USB/SD to MAIN OUT)

Computer system requirements

Windows: Windows 11, Windows 10 (64-bit)
Compatible computers: Windows-compatible computer with a USB 2.0 (or higher) port, using Tascam driver, operation not guaranteed with ARM64 CPUs
Display requirements (settings panel software): 1280 × 720 or higher, True colour recommended
Mac: macOS Sonoma (14), macOS Ventura (13)
Compatible computers: Apple Mac computer with a USB 2.0 (or higher) port
Display requirements (settings panel software): 1280 × 720 or higher, True colour recommended
iOS/iPadOS devices: iOS 17/iPadOS 17, iOS 16/iPadOS 16

Power supply and other specifications

Power: AC 100-240 V, 50/60 Hz
Power consumption: 65 W
Dimensions (W × D × H): 681 mm × 568 mm × 133 mm (overall), 639 mm × 568 mm × 133 mm (without side panels)
Weight: 14 kg
Guaranteed operating temperature range: 0-40 -C
Guaranteed operating humidity range: 5-85 % (without condensation)
Included items: AC power cord, Startup Guide, Registration Guide

Notes: ***B-STOCK: Box opened, product in perfect working order***


Updated version of the ground-breaking synth, sampler and sequencer. Better than ever, with legendary sound quality and portability.

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

Introducing the all new OP-1 field. Injected with more than a decade of ideas, refinements and improvements. Just to mention a few: stereo throughout the whole signal chain, Bluetooth MIDI, USB type-C, a new speaker system with a passive driver for detailed, fat and loud sound, a massive 24 hour battery life, multiple tapes and recording formats, new great sounding reverb and the 'dimension' synth engine, an all glass, flush, high resolution display. The graphics have also been meticulously reworked, screen by screen.

Reworked, refined, reborn.

Think of OP-1 field as the natural continuation of its predecessor. Updated with the latest technology, improved design and finely tuned with professional musicians, recording artists and sound designers in mind. Higher quality in all aspects, from its circuitry to connectivity and flexibility, it's tailor made for professionals in the field.

The new stereo sample engine is just one of the features that takes the OP-1 field to a higher level. With increased sampling time up to 20 seconds and dual layer mode for instant mixing of the a and b channels or via an assigned LFO.

Four new recording formats: Studio 4-track, vintage 4-track, porta and disc mini.
All with their own unique characteristics and graphics. Now with multiple tapes or discs, up to 8 in total.

If it feels thinner, it is.

By lowering the aluminium body around the keyboard, the new OP-1 field feels lighter, thinner and more precise. with 2k moulding Teenage Engineering have also managed to fit a dual 2.4 GHz antenna system inside the aluminium body.

The back is warm, velcro and bass.

Two soft velcro rings have been added on the back for fastening covers and accessories. Perhaps you want to stick your op-1 field on top of your full size keyboard, or slap it on a guitar? Use the included adhesive looped back and start experimenting. On the right you'll find an additional passive loudspeaker for hugely improved bass. And for a 'no-more-cold-metal-on-your-lap' experience, the aluminium body has been folded in a warm, soft touch, hard cover.

The first accessory out using the velcro rings is the Bill Amberg leather wrap that attaches to the back and wraps around the op-1 field and locks around the encoders.

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

Notes: Part of Teenage Engineering's high-end Field series, the OP-XY is best seen as a pro groovebox, combining polyphonic synthesis, sampling and sequencing. More music-focussed than its OP-Z predecessor, the OP-XY represents a new flagship for TE.

Supplier's Notes:
No-compromise, dual-CPU boosted and fully rebuilt sequencer, sampler, and performance instrument, based on the much-loved workflow of the OP-Z. Now including built-in cv, effect sends, and a best-in-class DAC. with 8 individual instrument tracks and 8 auxiliary tracks for controlling any external synthesizer, modular or otherwise, and adding effects. It's probably the most complete, portable sequencer ever built. It's here. It's real. it's black.

And it's got so much more than you've wished for.

The exterior is all black, and matches the exact dimensions of OP-1 field. A distinct grayscale gradient is at its centre, making it clear that OP-XY is all about serious sequencing. Hands-on graphics on the high-resolution display are all grayscale, with a bright red to indicate recording and parameter locks. all vital keys have LEDs to stay in full control.

Experience the ultra fast sequencing workflow. Punch-in FX lets you add quick, rapid-firing, unique, live variations and adding individual step components creates an extra dimension and deep rhythmic patterns. randomize note timing, velocity and pitch, or use live automation to alter filters. Use brain to create chord progressions, generating tracks that reinvent themselves. Literally.

Run every track, independently, at different speeds and lengths to form powerful polyrhythms. create new sequences every time with step components, variations that can be added to any step on the sequencer, controlling everything from altering pitch to bending, skipping or even multiplying steps.

Main audio-out

Multi-out, featuring:
MIDI
CV/gate
Sync
Aux audio
MIDI IN
AUDIO IN
USB-C

The 2 Vrms main output drives any sound system, real loud. Keep everything locked in sync and sequenced with the multi-out and take control with MID IN. process and sample external audio with the audio-in. control, record and charge with the audio/midi host over USB-C, plus a complete wireless experience with midi over Bluetooth LE -keine bedingungen [no strings attached].

Compose your album, head off to the gig, plug and play immediately, then keep everything locked-in with all the I/O you could ask for. 16-hour, battery-powered freedom lets you perform for hours on-end. create, produce and perform anywhere. Mit allen bedingungen [all strings attached]

The bottom left side features a pressure sensitive pitchbend

Instrument tracks:

8 individually sequenceable instrument tracks
8 unique synth engines
3 samplers
independent send levels per track

Step components
14 unique step components for advanced step sequencing
Apply up to all 14 to every step screen
480 x 222px IPS TFT display

Patterns
9 patterns per track
up to 64 bars per pattern
spread across 4 pages
presets per pattern

Effects: reverb, delay, chorus, distortion, lo-fi, phaser

Hardware
Dual blackfin processing cores
Dual DDR memory
Triple-core dsp co-processor
2x controller MCU's for wireless & low power IO domain

Sensors: 6-axis IMU accelerometer

Microphone: immediate, high quality sampling with the built-in microphone.

Connectors: 3.5 mm stereo line-out with headset mic support
3.5 mm multi-out
3.5 mm midi in
3.5 mm stereo line-in

Tactile input
2 octave musical keyboard
68 ultra low profile mechanical buttons
Pressure sensitive pitch bend
4 x multi purpose grayscale encoders

USB
USB type C connector
USB MIDI host & device
USB audio host & device

Notes: The legendary Xone:92 gets a big update. Improved sound, mini innoFader Pro, updated build and more. The iconic filter circuits see major upgrades, with refined curves, silent switching and tweaked resonance. Better than ever.

Supplier's Notes:
The Xone:92 defined club music for a generation. Now, it's back to set new standards. Analog warmth, precision control, and bulletproof reliability - elevated for the next generation of underground innovators and Big Room stars.

The Evolution of a Classic

Building on the Xone:92's revered legacy and featuring hardware enhancements from the acclaimed Xone:92 Limited Edition, we've added silent VCF switching, a new custom innoFADERr crossfader, and a collection of precision upgrades that preserve the legendary 92 DNA while improving performance.

The Iconic 92 Sound. Refined

For two decades, the Xone:92 set the sonic standard for dance music with its all-analogue signal path.

The new Xone:92 delivers the iconic sound that DJs and clubbers have come to love, but with the latest high-performance analogue components in the audio path.

Experience bass that moves crowds, highs that cut through, and a warmth digital can't touch. Connect with your audience on a physical level - from intimate clubs to massive festivals.

The Legendary Filter. Perfected

The Xone:92 filter changed the game when it made its debut in 2004. Twenty years on, it's still the benchmark, and the new Xone:92 takes it further.

The updated filter provides extended frequency precision thanks to an optimised control curve while retaining the 92's fabled filter sound. Silent filter switching enables seamless transitions, and enhanced resonance lets you explore new dimensions in your performances.

Built for the Booth
The new Xone:92 is built to withstand the rigours of clubs, festivals, and relentless touring thanks to its rugged, tried and tested chassis designed for night after night of high-energy sets.

The crossfader has been updated to the industry-favourite mini innoFADER Pror, tuned to match the curve of the original 92 fader while providing a smoother, more precise and longer-lasting mixing experience.

The new Xone:92 revamps the classic Storm Grey colourway with enhanced UV printing for low light legibility, and a refocused legend for increased visibility of key controls, with recessed Filter and XFade assign switches further improving ergonomics.

The Ultimate Analogue EQ

The Xone:92's unrivalled analogue EQ delivers all the control you need to sculpt your sound and get creative with your transitions.

All phono/line channels feature our renowned 4-band EQ with total kill on HF and LF bands, plus dual mid-frequency controls for the ultimate in tonal control.

Mic channels include a 4-band EQ with +/- 15dB on all bands.

Precision Tuned Preamps

The Xone:92 phono preamp has been fine-tuned to get the best out of your vinyl with an RIAA curve tailored specifically for techno and house, and improved Line/Phono source matching for easy integration of analogue and digital sources.

Includes: Spare Knobs, Dual Ground Adapter, Mains Lead, QR Card, Safety & Regulatory Information

Notes: ***B-STOCK: Box opened, product in perfect working order***


Broadcast-ready update of ARS's flagship audiophile rotary mixer. Small design changes mean even better sound quality and improved cueing. Still hand built in Japan to the highest standards.

Supplier's Notes:
Model 9100B Music Mixer

4 channel table top mixer

Model 9100B (broadcast mixer) Music Mixer Wood TYPE (Headphone Monitor Trim: Cue-Mix-Pgm special version)

ARS Model 9100B DJ Mixer is a Japanese made, 4ch. rotary mixer with world's first 3band hybrid isoeq Hi-EQ Mid-EQ Low -Iso on each channel.

This 4 channel High Quality Rotary DJ Mixer has a 3 band Isolator on the master. Potentiometer and Switch are All ALPS .

A long time in the development phase this mixer is a beautiful example of Japanese hand made precision workmanship- highly recommended.

It is designed with purist ideals with only essential features.

ARS 9100 has 3 band hybrid iso-EQ hi-EQ mid-EQ low-iso on each channel and 3band Iso on the master.

The Master Isolators can be boost of cut from +18db ~ -8.

The Ch hi-EQ mid-EQ can boost or cut from +12db ~ -12db. LOW-ISO boost of cut from +6db ~ -8.

Each channel has Post Fader Send. also Return and Effect Loop.

* Due to the Model-9100 is designed for a professional use, The body is no power switch to avoid accidentally power off while playing.

* Minimizing the power noise by designing the All circuit board and the power circuit board independently and setting them apart.

Specifications
Frequency Response: +-1dB 20Hz-20Khz
Input: 3 x Phono: 47K Ohm / 5 x Line: 20K Ohm
House Output:RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Booth Output:RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Effect Loop: RCA Unbalanced Impedance 20K Ohm
Effect Loop Output: RCA Unbalanced Impedance 600 Ohm
Send Output: RCA Unbalanced Impedance 600 Ohm
Retrun: RCA Unbalanced Impedance 20K Ohm
Isolator Frequency Response:
3band hybrid isoeq 1-4Ch /Low-ISO /MID-EQ/HI-EQ
Master 3Band Iso: 10 - 300 Hz / 300 - 3000 Hz / 3000 - 20000Hz boost of cut from +18db ~ -8.

Headphone Monitor Trim: Cue-Mix-Pgm
Power Consumption: 25w
Power Requirement: US-115V/EU-230V(Selectable)
Dimensions: (W)306 x (H)250 x (D)100 mm
Front Panel Colour: Black

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Co-designed by Richie Hawtin, the Model 1 is an obvious choice for DJs who want great sound and creative performance options. Easily one of the best high-end mixers on the market.

Supplier's Notes:

MODEL 1 is a performance instrument providing new creative possibilities to artists, and empowering them to PLAYdifferently.A mixer of uncompromising build quality, intuitive tactile controls and beautifully warm analog circuitry. Engineered by Andy Rigby-Jones and co-designed by Richie Hawtin, with two years of testing, insight and refinement with artists, clubs and engineers from across the electronic music community.

MODEL 1 has a unique offering of six fully featured input channels plus two stereo returns in a small format frame. It has many features not currently available on any comparable device, such as Input pre-amplifier drive control, hybrid filter/swept bell EQ, dual cue system, dual mixer linking system, and a fully balanced Tascam DB25 connector system. It's a purely analogue mixer featuring technology normally found in the finest studio consoles, such as a fully balanced mix buss, zero crossing detection for seamless filter & master EQ routing along high voltage differential power rails.

Features:
2 stereo sends
2 stereo returns
3 high performance phono preamps
3 high performance turntable inputs, optimized for the club environment in order to minimise the tonal imbalance between vinyl and Digital audio, and to eliminate sub frequency feedback. Each phono input has it's own Individual Turntable Earth Binding for greater flexibility.
Custom TKD 60mm faders. These twin rails faders have been carefully chosen to ensure long life and smooth operation and feature a heavy feel for greater precision.
Precision Sculpting EQ
Contouring low & high pass filters
Analog overdrive
Two independent Cue systems, A and B.
Mixer Link, allows multiple mixers to be linked together
Balanced Mix Bus
Master high & low pass resonant filters
Three-band master EQ
Two-band Booth EQ
100% analog