Back catalogue: All genres

Notes: The ARP Odyssey was an analog synthesizer originally produced in 1972 by the American manufacturer ARP Instruments, Inc. that quickly garnered a faithful following among musicians. Well respected for its high value, ease to play and portability, the ARP Odyssey had undergone several improvements during its history and continued to be a long-seller until manufacturing stopped in 1981 due to economic hardships and the digital surge. Loved by a wide range of musicians as a historical classic, its sound can be heard on numerous classic songs.

Now in 2015, KORG has brought back the ARP Odyssey for today. With the advisory assistance of David Friend, the co-founder of ARP Instruments, KORG has completely reproduced the original circuitry for artists looking to recreate classic sounds and explore new ones. Together the engineers at KORG and Arp were able to nail the sound and feel of the original. Every detail has been carefully considered to stay true to the quality of the original, down to the sophisticated semi-hard case.

The legendary ARP sound is loved to this day. Long stopped, the wheels of history have again begun to move.

The original ARP Odyssey was a 2VCO duo-phonic instrument. Its most distinctive feature was its sharp, penetrating sound and its rich range of tonal variation. With a variety of functions and modulation possibilities provided by oscillator sync, sample & hold, pulse width modulation, high-pass filter, two types of envelope generator, and pitch bend using the PPC, it was able to create a versatile range of sounds.

The ARP Odyssey reproduces the sounds of these components at the circuit level. Under the supervision of David Friend, parts were carefully selected and every detail was adjusted to replicate the original unit's distinctive synthesis.

Broadly speaking, there were three versions of the original ARP Odyssey, divided by the date of production, with the major difference being the filter circuit. The ARP Odyssey provides all three of these different filter circuits, and allows you to select one of them with a single switch.

TYPE I (Rev1) is a 12 dB/Oct circuit that produces a sharp, punchy sound. TYPE II (Rev2) is a 24 dB/Oct filter with great-sounding lows. TYPE III (Rev3) maintains excellent stability even when resonance is raised. These distinctive filters have been reproduced just as they originally were.

On the original ARP Odyssey, the behavior of portamento when using the transpose function differed between Rev1 and Rev2/3. The ARP Odyssey reproduces both of these behaviors and lets you select the desired one with a switch.

The ARP Odyssey has been downsized to 86% of the original ARP Odyssey. Carefully selected parts are used in the familiar slider section, providing an operating feel that's even smoother than the original. The keyboard uses a 37-note slim keyboard that features lighter weight and excellent playability. While making the instrument more compact and easier to use, we have also paid attention to ensuring that the mini-keyboard is uncompromisingly "playable." Although the keyboard has 37 keys, the transpose function lets it cover a broad range of seven octaves.

In order to deliver a more powerful analog sound, a DRIVE switch is provided as a new function. Turning this switch on makes the VCA distort, generating a rough and raw sound.

The connectors provided on the original ARP Odyssey differed by production date, but based on Rev3 of the original, the ARP Odyssey brings the specifications up to a modern standard. In addition to a MIDI IN connector and USB-MIDI port, we've added a headphone jack with adjustable volume (*). The XLR output jacks which had been unbalanced have been changed to noise-resistant balanced outputs.

Quarter-inch and mini-size patch cables are included. If you connect a patch cable from the newly added headphone jack to the external audio input jack, you can produce a powerful sound by applying self-feedback. If you connect the GATE OUT jack to the TRIG IN jack, the EG won't be retriggered, allowing you to play legato.

A dedicated semi-hard case that's ideal for storage and transportation is included. It sports the classical ARP logo, and has a sophisticated finish in a black tone. The corrugated shell structure ensures excellent impact resistance, and internal cushioning and pocket for small items is also provided.

Notes: Digital mixing has revolutionized virtually everything in the live- entertainment production workflow. Now we've come up with the perfect solution for connecting the onstage talent with your Front of House (FOH) console, and the rest of the world - the ultra-cool and ultra-affordable SD8 Stage Box!

The SD8 provides 8 MIDAS-designed remote-controllable mic pre-amps, 8 balanced analogue XLR returns at the stage end, plus an integrated 2-port ULTRANET distribution hub for direct connection to our P16-M personal monitor mixers - without any additional hardware required. Plus the SD8 is extremely compact and comes with rugged protective bumpers, so you can toss them directly on stage wherever you need them.

The best part - all it takes is a single Cat 5e cable per stage box. And If you need more inputs, or just want to keep your cable runs short and tidy, putting an SD8 at stage front and another behind the drum riser gives you an additional 8 inputs for drum and guitar/ bass amp mic'ing. When used as part of a complete X32 system, as many as three SD8 Stage Boxes can be cascaded via the built-in AES50 ports to provide up to 24 bidirectional inputs and 24 balanced XLR outputs. An onboard ULTRANET distribution hub provides power and 16 channels of audio to 2 BEHRINGER POWERPLAY P16-M personal monitor mixers per SD8, all via inexpensive Cat 5e cabling - and without any additional hardware. Two of the programmable inputs are also compatible with Hi-Z sources, so you can connect keyboards, acoustic and bass guitars etc. with no DI box required. The SD8 also features a USB port for fast and easy system updates via your PC.

Notes: Love your pedal chain? Rather than tossing your effects and their individual power adapters into a duffel bag after a gig, keep them safe - and ready to rock at a moment's notice - with the Behringer PB1000.

This pedal board makes hooking up twelve 2.5" x 4.5" pedals as easy as hooking up just one (of course, if you're using pedals that aren't 2.5" x 4.5", the snug foam padding can be cut to accommodate pedals of varying shapes). The PB1000 includes 1/4" patch cables, so you can leave your pedals connected to one another, ready to pass signal even when you're transporting them. It also comes with 1 x 12 daisy chain cabling so that when you plug in the 1.7 A power adapter, all your pedals receive power. Meanwhile, all cabling remains safe and free of strain. Failure is almost guaranteed when you're dealing with a rat's nest of loose cabling, but with the PB1000, your effects chain is always safe and organized.

Connect your guitar, bass or keyboard to the single 1/4" input in the upper right corner of the board. A pair of 1/4" From Effects jacks in the upper left corner allow you to connect stereo effects, and two 1/4" Output To Amp jacks send a left and right stereo signal to up to two amps.

When it is time to load out, just unplug the power supply, disconnect your guitar and amp, put the lid back on the PB1000 and slide the locking latches back into place. The high-impact plastic casing will protect your pedals from the rigors of the road.

Notes: The feature-packed XENYX X2442USB mixer allows you to effortlessly achieve premium-quality sound thanks to 10 onboard studio-grade XENYX Mic Preamps and ultra-musical "British" channel EQs - with a semi-parametric mid band for the maximum flexibility in sound sculpting. And our easy-to-use "one-knob" compressors provide total dynamic control for the ultimate in punch and clarity, while respecting all the power and emotion you pack into every note. Add to this our 24-bit, dual-engine Multi-FX processor with 16 editable, professional-grade presets including reverb, chorus, fl anger, delay, pitch shifter and multi-effects - and the X2442USB becomes an incredibly versatile mixer for your live performances.

But the X2442USB wasn't just designed to handle your live gigs; it also provides the state-of-the-art tools you need to make stunning, professional-quality recordings. Along with the built-in USB/audio interface, the XENYX X2442USB comes with all the recording and editing software needed to turn your computer system into a complete, high-performance home recording studio.

All XENYX mixers have one thing in common - great-sounding, high headroom XENYX mic preamps. These state-of-the-art mic pres represent a major step in the evolution of audio technology - and they can easily hold their own, even when compared to the most expensive stand-alone mic preamps. XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to well above 200 kHz. Armed with these outstanding mic preamps, XENYX mixers provide such transparent, crystal-clear performance you just might think someone upgraded your mics while you weren't looking.

Our studio-grade compressor is based on classic and famous studio equipment from the 70's. This totally transparent and musical compressor design allows your full dynamic range to shine through until your signal reaches the compression threshold, which is indicated by the highly visible status LED. The compressor increases sustain and gently smoothens out signal peaks, which is especially handy when you're laying down the funk, a la slap and pop - or hammering home your most-aggressive metal lines. The resulting output level lets you unleash powerful and impact-laden bass lines, while still sitting right where you need to be in the mix!

The British consoles of the 1960s and '70s changed the sound of rock and roll - without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQ on our XENYX mixers is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality.

Equipped with our studio-grade 24-bit Multi-FX processor, the X2442USB gives you 16 mind-blowing digital effect presets such as delay, chorus and reverb. Time-based functions can be entered manually by pressing the Tap button in tempo with the music. Apply them to any channel, as well as to the monitors and main output. Of course, if you have treasured outboard gear you've grown attached to, the X2442USB lets you integrate them into the mix - bypassing the built-in FX processor.

Notes: Record box holds up to 30 x 7" records.

Notes: The fastest and most intuitive way to make beats.

A production machine that lets you create using a gigantic array of samples.

The Electribe sampler is a sample-based production machine that lets you construct beats at maximum speed. You can freely edit and resample using waveforms that you've loaded and preset samples. Modulation and effects can be controlled easily just by turning knobs on the top panel. In addition, a variety of input interfaces optimized for inputting rhythm, bass, or melody allow you to smoothly create sequences as fast as you can think.

The sequences that you create can then undergo additional evolution on stage or in your laptop. You can enjoy intuitive live performances that link various devices with the Electribe sampler, or utilize this capability for full-fledged music production by exporting sequence data to Ableton Live for detailed editing and final mixing.

The latest system version 2 adds a much-requested pattern chain function that will be a great asset for live performances or music production. The lineup has also become more colourful with the new metallic red model. And Korg have also provided bonus patterns that reveal even greater sonic potential.

Making your beat-making ideas rapidly take shape. It's the Electribe sampler; a sampler + sequencer that's thoroughly optimized for speed.

The Electribe sampler continues to evolve

A new metallic red model - a nod to the legacy of electribe

Following the dark black unit, the lineup has been joined by a metallic red model that's reminiscent of the previous model, the ELECTRIBE SX. Complemented by the numerous colourfully illuminated LEDs, this unit will energize your playing.

Many new functions added via system update

Updates make the Electribe sampler evolve daily. System version 2 adds support for the much-requested pattern chain function and undo function, as well as support for original value display. Users who already own an Electribe sampler can update their unit and then enjoy playing.

Download over 200 bonus patterns

Electribe artists, sound designers, and beat makers from around the world have created bonus pattern data packed with new sounds, phrases, and sequences. These 237 different patterns are packed with sample sounds, drum kits, and ideas for a wide range of musical styles. They are provided as reference materials for your beat-making or as foundations to give you new inspiration.

Specifications

Sound System
Type: PCM sound engine + Analog modelling sound engine

Maximum Polyphony
24 voices
* The polyphony of the entire pattern varies depending on the Oscillator, Filter, and Insert Fx type.
* Independent parameters for each voice have been simplified; four voices share the parameters of one conventional voice.
Sample: Type (920), Pitch/Glide, Edit
Sample Types: Analog (16), Audio In (2), Kick (37), Snare (44), Clap (12), HiHat (37), Cymbal (8), Hits (33), Shots (44), Voice (31), SE (7), FX (30), Tom (10), Percussion (31), Phrase (15), Loop (22), PCM (31), User Sample (499)
Filter: Filter (Cutoff), Resonance, EG Int, LPF/HPF/BPF (3)
Modulation: Type (72), Depth, Speed
Amp/Envelope Generator: Level, Pan, Attack, Decay/Release, Amp EG On/Off
Scale Types: 35
Gate Arpeggiator Types: 50
Sampling Frequency: 48 kHz
AD/DA Conversion: 24 bit

Sampler
User Samples: Up to 499 samples
Memory
Total maximum approximately 270 seconds (calculated as monaural)
* Regardless of the capacity of the SD card
* Including presets
Edits: Start/End Point, Loop Start Point, Tune, Time Slice, Level, Direction, Resampling

Effect
Insert Effect:One unit (can be used on each of the 16 parts)
Type (38), Edit, Insert FX On/Off

Master Effect:
One unit
Type (32), Touch Pad, Master FX On/Off, Master FX Hold On/Off
Sequencer
Number of Steps: 16 steps x 4
Number of Parts: 16 parts (one part consists of a sound, steps, insert effect, modulation sequence, etc)
Number of Patterns:
250 patterns (150 Presets / 100 Initial)
(one pattern consists of parts, master effect, key, scale setting, etc)
Motion Sequences: Up to 24 motion sequences can be stored (for each pattern)
Groove Types: 25
Pattern Set: Up to 64 patterns can be stored
Pattern Chain: Up to 250 patterns can be chained
Export: Ableton Live project file format, WAV file format (48 kHz, 16 bit)
Event Recording: Up to 100 files can be saved

Trigger Pads
Number of Pads: 16 pads (Velocity sensitive)
Modes: Trigger, Sequencer, Keyboard, Chord, Step Jump, Pattern Set, Touch Pad
Modes: Gate Arp, Touch Scale, Master FX

Connectors

Audio:
L/Mono, R Output (Standard phone jack)
Headphones (Stereo mini jack)
Audio Input (Stereo mini jack)

MIDI: In, Out (Use an included MIDI adapter cable)
USB: Type micro B
Sync:In, Out (Stereo mini jack)

External Storage Device: SD Card (512 MB -- 2 GB), SDHC Card (Up to 32 GB)

Power

Power Supply: AC adapter (DC 9V) or AA battery x 6 (Alkaline battery or Nickel metal hydride battery)
Battery Life: Approximately 5 hours (Power Saving: ON, with Nickel metal hydride battery)
Current Consumption: Less than 500 mA
Chassis: Zinc die cast

Dimensions (W x D x H): 339 x 189 x 45 mm / 13.35" x 7.44" x 1.77"
Weight: 1.6 kg / 3.53 lbs
Colour Variations: Metallic Red (electribe2s-RD), Black (electribe2s)
Included Items: AC adapter (DC9V), MIDI adapter cable x 2, Ableton Live 9 lite (License card included)
Accessories: Sync Cables SQ-CABLE-6, Gig Bag DJ-GB-1

Notes: A good delay was an essential part of the classic analog synthesizer sound. More often than not, that delay came from a tape-style echo machine until affordable digital delays were created. The Monotron Delay is an analog synthesizer optimized for sound effects. In addition to its analog oscillator, filter and LFO, it also provides a space delay that's indispensible for swooping, cosmic sounds. The monotron Delay even reproduces the pitch changes that occur when you vary the delay time, just as though you were using an analog tape echo. This fat and warm delay will add an authentic edge to your analog sounds.

It also features Korg's class VCF filter for full control over your sounds. The distinctive tone of an analog filter (VCF) can dramatically alter and enrich the sound. The Monotron Delay uses the same highly acclaimed VCF circuit as Korg's classic MS-10 and MS-20 semi modular synthesizers. Originally released over 30 years ago, these instruments are still coveted today for their aggressive, dynamic filters. The VCF Cutoff knob sets the frequency or tone of the filter; the VCF Peak knob adds emphasis. A powerful filter is an essential aspect of any analog synthesizer, applying dramatic tonal changes to the sound, and projecting an intense personality that will stand out in any live performance.

Create classic sounding analogue tape delays to add warms and new dimensions to your synth sounds. Also included is Korg's fantastic enhanced ribbon controller keyboard, while a mini jack input also allows you to run any external audio, such as a Kaossilator, digital piano or guitar, through the Monotron Duo. As standard, the Monotron range comes with a powerful built-in speakers and is battery operated for the ultimate portable experience.

The Low Frequency Oscillator (LFO) waveform used to modulate the pitch now offers a choice of waveshapes, which is a new square wave plus the traditional triangle wave. Both the rate (speed) and the intensity (depth) can be adjusted independently. In addition, a trimpot on the back panel can continuously adjust the shape/direction of the triangle wave or the pulse-width of the square wave to deliver even more versatility. Used in conjunction with the delay, the LFO can create dazzling effects and provide unique possibilities for embellishing your songs.

The Monotron Delay's ribbon controller keyboard features a wide, 4-octave range. This design allows the pitch to be controlled even more aggressively and dynamically, making the Monotron Delay a great weapon for a DJ to get the floor moving with irresistible sound. The reversed white keys and body adornments glows under black light illumination, making the monotron Delay ideal for delivering a striking visual impact in nearly any club environment.

The input jack (AUX input) built into the Monotron Delay's compact body allow you to place any audio source into the Monotron Delay's signal path, directly before the analog filter and delay circuit. This provides a great way to connect a Kaossilator, a guitar, or a digital audio player to the Monotron and enjoy tone-bending filter and delay effect.

A miniature speaker is built into the Monotron Delay. Along with the battery operation and compact size, this feature allows you to enjoy the share the Monotron Delay's analog synthesis sound with your friends, anywhere, at any time. There's also a headphone output that you can use when practicing in private, creating sounds at home, recording, or for connecting to an amplifier or PA system.

Notes: When the classic MS-20 analog synthesizer appeared in 1978, it had a trusted partner in the SQ-10 step sequencer. Now, after thirty years, the MS-20 has been reborn as the MS-20 mini, and the SQ-10 has evolved into the more modern SQ-1.

The SQ-1 is a compact step sequencer with 2 x 8 steps. It's wealth of connection jacks allows it to be connected to the MS-20 and a variety of other synthesizers. Vintage analog synths or the latest compact synths can be controlled from this single unit. You can also switch between a variety of synthesizer modes and use the step buttons to create performances overflowing with spontaneity, just as when using a volca unit.

Liberate yourself from the numerically-bound parameter editing that's typical on a DAW; you'll enjoy truly musical inspiration as you train your ears and concentrate on what your fingertips are doing. Don't miss the experience of music that's driven by your instinct.

Rather than the commonly used V/Oct standard, the CV design of the MS-20 always used the Hz/V standard that provides excellent pitch stability limiting the step sequencers that are able to correctly control the MS-20. As a descendant of the SQ-10, the SQ-1 supports the Hz/V standard, enabling it to perfectly control the MS-20 or MS-20 mini. It goes without saying the V/Oct standard is also supported, and the voltage level of the CV output and polarity of the GATE output can be specified as appropriate for the device you've connected. This versatility will enable you to control a wide variety of other synthesizers as well.

As a connector, the SQ-1 provides two CV/GATE OUT channels, the standard MIDI OUT and USB MIDI, littleBits out (to connect to the littleBits synth kit by littleBits Electronics Inc.), plus the SYNC IN/OUT channel that allows you to connect to the volca series and monotribe. Compact and complete with all the functions you need, the SQ-1 is the ideal hardware sequencer.

The SQ-1 provides two channels (A and B) of 8-step sequencer that can operate consecutively, or be used in a variety of other modes. For example, you can run A and B following each other to function as a 16-step sequencer, ignore the order and make the steps play randomly, or use A and B to control different parameters as they run in parallel. From simple sequences to complex changes, you can choose from a variety of modes to suit your needs.

The 2 x 8 step buttons can be used in the usual way to turn notes on/off, but you can also use the MODE button to switch their function, opening up powerful possibilities such as letting you "perform" the sequence itself, as on a volca unit.

"Active Step" lets you skip steps mid-way through a sequence, and "Step Jump" lets you instantly play just the step that you press, producing irregular rhythms or effects that are reminiscent of short loops. "Slide" produces an effect in which steps are connected smoothly; using this to control a synth bass is an easy way for anyone to generate an acid sound.

Packed with carefully selected functionality, the SQ-1 features a compact and very sturdy sheet-metal body. Placed beside the MS-20 series, you'll notice a sense of solidity that gives the impression they were manufactured in the same era. The unit can operate on two AA batteries or on USB bus power.

Sequence step resolution is selectable as quarter notes, eighth notes, or 16th notes.

You can specify the way in which the step knobs control the pitch. The knob values can specify the pitch directly, or they can specify the closest note in a major, minor, or chromatic scale.

Notes: Juno exclusive bespoke heavy duty black laminated plywood 45 record box with dovetail joints. Box features carved Mukatsuku logo to front and 2 sides with chamfered carry handles.

- Holds roughly 175 x 7'' singles
- Length approx 46.5 cm x 22cm
- Width x Height 18 cm
- Comes with additional sticker

Notes: Round plastic 45 adapter with 3-dimensional Mukatsuku logo design!

These awesome 45 adapters are made from a 3D printed Thermoplastic, and come with a free Mukatsuku sticker!

Notes: Juno Exclusive! 3D printed branded 45 adapter made from Thermoplastic which is made from PLA material which is derived from renewable resources.

This edition has Mukatsuku Records name for lovers of dinked 45s. Approx 5 grams

Notes: Juno Exclusive! 3D printed branded 45 adapter made from Thermoplastic which is made from PLA material which is derived from renewable resources.

This edition has Mukatsuku Records name for lovers of dinked 45s. Approx 5 grams

Notes: Juno Exclusive! 3D printed branded 45 adapter made from Thermoplastic which is made from PLA material which is derived from renewable resources.

This edition has Mukatsuku Records name for lovers of dinked 45s. Approx 5 grams

Notes: Exclusive to Juno - Pair of Mukatsuku limited edition bespoke branded 45rpm carbon steel turntable adapter for spinning dinked 7 inch records and covered in a black powder paint finish. Weighs approx. 60 grams and fits all standard 7mm diameter turntable spindles. Comes with sticker.

Notes: Exclusive to Juno - Mukatsuku limited edition bespoke branded and pattern edition bespoke 45rpm carbon steel turntable adapter for spinning dinked 7 inch records and covered in a black powder paint finish....Weighs about 30 grams and fits all standard 7mm diameter turntable spindles. Comes with sticker

Notes: Mukatsuku branded laser-cut metal keyring pendant, with button badge & sticker. Comes with metal ring . 1.5mm W = 90mm, H = 20mm. (nb sticker might be different design/colour than shown in image )

Notes: Juno exclusive Mukatsuku stainless steel 45 adapter in a chunky laser cut style. 6mm height and 40 grams in weight. As road tested by DJ Snowboy

Notes: Bespoke branded heavy stainless steel adapter for playing dinked 7'' records.Tip: As used by Eddie Piller from Acid Jazz

Weight approx 137 grams

Notes: Plastic 3D 'Mukatsuku Records' adapter for playing dinked 45's. White design with black - includes free sticker.

Notes: Bespoke precision made Mukatsuku branded heavy Stainless steel professional adapters for playing dinked 7'' records. Weight approx 140 + grams.Includes Mukatsuku sticker.

Notes: Pair of bespoke precision made Mukatsuku branded heavy Stainless steel professional adapters for playing dinked 7'' records. Weight approx 140 + grams.Includes Mukatsuku sticker.

Notes: Steel branded chunky solid flat top adapter for playing dinked 7" records.Weighs 80 grams. Comes with sticker.

Notes: Juno exclusive! Bespoke branded carbon steel laser cut turntable 45 rpm adapter for spinning dinked 7 inch records - fits all standard 7mm diameter turntable spindles. Includes free Mukatsuku sticker.Tip: Due to the nature of ordinary carbon steel please use WD40 ( to clean and maintain your adapter) Regularly spray the adapter leaving for 40 minutes, & then using a clean cloth to polish

Notes: Laser etched Mukatsuku branded wooden 38mm pin badge with rays design.

Includes a FREE Mukatsuku sticker!

Notes: The new version of the Mukatsuku disc stabilizer/record turntable weight - with the famous outline logo design - is great for DJ use in a club environment, or when recording from vinyl to digital. It may even help dished or skipping records.

No springs, clips or screws required, just place the Mukatsuku disc stabilizer over the spindle and hey presto, you can obtain tighter bass and sweeter treble, as well as improved dynamics/less distortion, bringing the record into more intimate contact with the platter.

Weight of each stabilizer is approx 510 grams and made from aluminium.Exclusive to Juno

45mm height
73mm diameter
approx 510g weight

Notes: In conjunction with a licence from Breakaway Records in Texas, USA and exclusive to Juno. Mukatsuku limited edition high quality, practical, stainless steel dual purpose record weight/disc stabilizer, engraved on both sides. Can also be used as a record weight or flipped as a turntable adapter for dinked 45's. Comes housed in a felt lined branded bespoke magnetic wooden box to keep it safe travelling from one venue to another. 500 grams in weight. Only 20 units manufactured worldwide

Notes: Mukatsuku Records branded vintage leather keyring with metal fob. Comes with sticker (sticker may vary from image shown )

Juno exclusive!

Notes: Pair of Mukatsuku Heavy Stainless Steel Dome shape 45 adapters. 181 grams each. Height: 27.5mm. Designed to be tight on the platter so put record on deck first and then position the dome adater on top and slide into place. As used in a recent social media post by DJ Koco

Notes: Mukatsuku high quality professional stainless steel cut away dome shape 45 adapter with easy lift off design similar to ones used by DJ Koco. 117 grams. Height 27.5mm. Tip: Use WD40 ( to clean and maintain your adapter) Regularly spray the adapter leaving for 40 minutes, & then using a clean cloth to polish. As used by Euan from Athens Of The North,Huw 72, Graham Parker etc

Notes: Mukatsuku high quality professional stainless steel cut away dome shape 45 adapter with easy lift off design and revised tight fit to keep the scratch DJ's happy! 117 grams. Height 27.5mm.

Tip: Use WD40 (to clean and maintain your adapter). Regularly spray the adapter leaving for 40 minutes, and then polish using a clean cloth.As used by Euan from Athens Of The North,Huw 72, Graham Parker etc

Notes: 5 x Mukatsuku plain wooden 12'' record dividers, with index lip. Made from 3mm plywood.

Notes: Set of 4 Mukatsuku drinks coasters, with high quality etched logo design. Ideal gift for DJ's. Comes with free sticker. Juno exclusive!

Notes: One of the most lavish features of Get On Down's "For The People" box set is the box itself. The fabric covered 7 inch carrying case is emblazoned with the People Records logo with the top deck in a lavish royal purple.

The interior of the box is also in royal purple and features a removable tray that houses up to thirty 7 inch selections in polybags. The People Records 45 Carrying Case is the sort of attractive high quality storage solution that today's savvy vinyl consumer is all about.

*Photographed records are NOT included*

Notes: Z55 Professional Reference Headphones:
Designed for critical studio reference, the flagship Z55s deliver exceptional tonal balance and imaging with superior detail. Genuine lambskin cushioning, exceptional lightweight components and rugged, collapsible construction complete a superior fatigue-free listening experience.

Sound Conviction:
The Z55s feature custom 45mm drivers produce an ideal soundstage and sonic signature that envelops your senses with clearly defined mix elements. High driver sensitivity guarantees powerful performance with any listening device. No hype or coloration, just what the artist intended.

For the Journey:
Made with ultra-durable, lightweight components, the low-profile Z55s are built to collapse for greater portability. Their over-ear, closed-back design naturally reduces external noise, while three detachable cables (one with a microphone and call/answer controls) provide mobile convenience.

Enhanced Comfort:
The Z55s are designed to contour to the shape of your head, making them suitable from the streets to the studio. Whether you're wearing the Z55s on your head or around your neck, genuine, multi-layered lambskin cushioning adds exceptional comfort to the experience.

Notes: Sound:
- 4-operator FM Sound Engine offers dynamic and expressive additive synthesis

- A new feature of this engine is continuously variable feedback on every operator allowing for a wide-range of sound creation

- Two programmable effects blocks with seven effect types per block:
(The effect types are: VCM Touch Wah, VCM Flanger, VCM Phaser, Chorus, Delay, Reverb and Distortion)

- Multi-touch control interface gives direct access to four simultaneous parameters

- 32 Voice memory locations allow storing and recalling favorite Voices

Control:
- Based on the FS action found on the flagship Motif XF, HQ (High Quality) Mini Keys provide premium feel and response for fast, accurate and natural playing

- Sustain pedal input allows the sustain function for all FM generated sounds

Looper:
Integrated Phrase Looper: capture song ideas or just jam.

Mobility & Connectivity:
- Speakers

2W 3cm stereo speaker system lets you play any place, any time.

Specially designed bass reflex port technology enhances bass response for full, rich sound.

- USB

USB "TO HOST" allows MIDI connectivity to your USB-equipped computer or iOS device.

- Audio output

Dual 1/4"unbalanced line outputs provide connection to mixers, audio interfaces, DI boxes and more.

- Audio input

A 3.5mm aux line input lets you connect and hear mobile devices, tablets and more through the instrument.

- Controller

Continuous controller pedal input for volume control.

Battery powered:
Uses six "AA" batteries with five hours of life.

Create your Soundmondo. Inspire and be inspired:
Soundmondo is a free sound sharing community that lets you discover, create and share reface Voices and Set Lists using Google Chrome any place, any time you're online.

Powered by Web MIDI, Soundmondo is simple to use - just connect reface to Chrome and you're ready to create or start browsing.

Review: The New York-based (U)nity is made up of Michael Valeanu, Axel Tosca Laugart, Chris Smith, Max Cudworth and Amaury Acosta. They formed the band in 2006 as a project to explore Afro-Cuban jazz, funk, soul and contemporary electronica. They say they've been influenced by everyone from Chucho Valdes to Art Blakey to Led Zeppelin to Kendrick Lamar, and you can definitely hear all of that in this jawdropping work. "Guarapachanga" is special in that it was the first song written by the band back in their days as music students at The New School. It's derived from the style known as guarapachangeo - the most advanced form of Cuban rumba, heavily improvisational and based on very complex rhythms and melodies. On this recording, (U)nity is graced with a guest performance by Grammy Award winner Pedrito Martinez, a master rumbero, one of the greatest conga players ever, an innovator who has left a permanent mark on Cuban music. Martinez is also a priest in the Yoruba religion and a historian of Cuban culture.

Over its eight and a half minutes, "Guarapachanga" twists and turns and journeys through a mind bending array of different tempos and modes, from Latin jazz to hip hop, ultimately ending with a trippy ambient soundscape. The whole thing is overlaid with free spirited melody, soul and the Afro-Cuban essence that is the band's lifeblood. The white-hot live playing gives it the feel of the best early-morning jam session, yet it packs a sonic punch that will make it sound incredible on a good sound system in the hands of adventurous DJs in the world-beat or spiritual-house vein. If you didn't know "Guarapachanga" was a contemporary work you might mistake it for a Loft classic; yet it's also as fresh and exciting as anything you'll hear this year.

Review: After spending last autumn working alongside Rampa and Adam Port (see the trio's excellent "You Are Safe" album on Keinemusik), Andre "&Me" Boadu has enjoyed a quiet 2018. In fact, this outing on Pampa is his first release of 2018. He begins with the atmospheric and undulating delight that is "In Your Eyes", a slightly jazz-flecked rolling deep house excursion that brilliantly builds energy throughout. Boadu accomplishes this using two contrasting melodic elements: fluid piano solos and a foreboding electronic motif that increases in prominence and intensity as the track progresses. Over on side B, "As Above So Below" is an altogether deeper proposition, with hushed, cymbal heavy percussion, tech-tinged drums and a spacey, undulating synthesizer melody combining to create a hazy late night mood.

Review: &Me and Black Coffee make for something of an Afro house dream team here. The latter has long been this sound's pin-up and has gone from playing in South African townships to producing with Beyonce and winning Grammy Awards over the last decade. Now deep in his latest Ibiza season, he unveils collaborative track 'The Rapture' (Pt III), a deep rolling cut with spine-tingling chords and a rich atmosphere. &ME then goes solo for 'LIFE', a shuffling percussive groove with spoken words and enchanting chords to make for a classy two-tracker.

Review: It's common knowledge now that #.4.26. is Ilian Tape mainman Dario Zenker, who under this alias released a slew of hard hitting DJ tools on cult label Frozen Border - and this is his first new material under the name since five years. From the sheer terror of dynamic opener "Mono Middle", a dystopian electro number saturated in dense lo-fi fuzz, the broken beats continue on the minimal boom and thump of "Whenever Voi". But it's the B side that proclaims no more Mr. Nice Guy here, with the slamming old school energy of "Free Upload" calling to mind the early '90s sound of Djax or Pro-Jex, while "Van Cul" again demonstrates Zenker's fine ability to weave broken beat arrangements into epic, big room techno bangers.

Review: 0 is back on their own 0 label with 02, a second offering of experimental electronic music. Both sides of this 12" are taken up by one long and winding track each. The first is all dubbed out, with gassy sounds bringing a little light and sharpness to the murky pads, grainy effects and lo-fi aesthetic all around. It's a heady back room cut for in-the-know crowds at 5AM. The flip side is a little fuller, with skittish rhythms, busted sine waves and watery synths all coalescing around a haunting groove that is awash with real-world noise.

Review: Matthew Farrow takes a break from his Kepler alias to deliver this sure shot of garage rudeness to Burnski's Instinct label, and he's sounding absolutely on point. "Inside" has plenty of MC flava sprinkled over it, not to mention all the 4x4 rudeness you could wish for from the bassline upwards. "Steppa" is a more soulful cut with a crafty breakstep twist to it, while "Rouge Fader" brings it back to that naughty middle ground between uptempo house and proper swinging garage, DX7 organ and all. "Break" gets tricky with the drum licks again, completing a set of good time rabble rousing business.

Review: After emerging out of the 8-bit and chiptune scene, Stefan Klaas turned his hands to more minimal fare, which has largely been issued on his own 31337 imprint over the past seven years. "Still" takes the lead on the A side with an austere arrangement populated by the finest slithers of percussive ticks, accented by a spacious chord with no need for anything else to clutter the mix. "Hold On" simmers the concoction down even further, creating a dark and enticing stalker out of the barest elements. "To Nadja" glides across the whole of the B side with a more robust rhythm section, using a snappy breakbeat to tell a story as the track unfolds.

Review: 1974's Coming Right At You, the sole album from 100% Pure Poison, has long been a sought-after jazz-funk gem. Soul Brother has previously reissued the rare (and increasingly expensive) LP, though this double 7" marks the first time most of these tracks have been available on wax since 2001. Check first opener (and title track) "Windy C", a superb chunk of lolloping, laidback jazz-funk that sits somewhere between Bob James and Cymande, before turning your attention to the slow-burn soulful delights of string-laden torch song "Puppet On A Chain". Over on the second 7", "No More City, No More Country" is a more hard-spun Blaxploitation funk affair, while "Hole In My Shoe" is a horn-fired slab of J.B's style funk-soul fusion.

Review: 100% Pure Poison were formed in 1974 by nine American soldiers based in West Germany. During a period of leave, they popped down to Cannes in France to perform, were spotted by EMI Records, and were flown to London to record what turned out to be their only album, Coming Right At You. The record flopped at the time, but has since become sought-after amongst Northern Soul collectors. The two tracks here are taken from that set, and appear on 7" for the first time since the '70s. A-side "You Keep Coming Back" is a near perfect, heartfelt soul anthem- think eyes-closed vocals, sustained horns and Motown harmonies - while "My Little Someone" is a slower, more impassioned cut destined to soundtrack tender moments.

Review: For the latest missive on their reissue-focused Attic Salt Discs imprint, Dusty-fingered duo Colin Volvert and Otto Kraanen have snapped up the rights to a sought-after 1984 cut from Belgian new wave band 1000 Ohm. You'll find their original vocal and instrumental versions on the A-side, with both sounding like a delightful cross between bubbly Italo-disco, Bobby 'O' style Hi-NRG and the imperial synth-pop of the Pet Shop Boys. Arguably even better than both original mixes is Vanzetti and Sacco's more dancefloor-focused flipside edit. While this does make use of 1000 Ohm's Heaven 17/ABC style vocals and cheery melodies, there's far more focus on the druggy arpeggio groove and chunky drum machine beats.

Review: Florence based label Bosconi is back with 100 Hz aka UK legends Lee Renacre and James Chapman who have been around since the late eighties. This is their second release on the Italian imprint; their Mila EP was their first for the label back in 2009. On the A side we have a re-issue of their 1989 track "Shoot The Bar" a sturdy and cyclical house groove on the tougher side of things with a nice double bass holding the track above a tight rhythm and dreamy Rhodes piano. "Primary Colours" sounds more like minimal, but given more of an edge by all the dusty and lively analogue machines that power it along. Its bumpy bass and restrained synth stabs supporting some simplistic rhythms and works quite well. Finally "Oliva Funk" is more of a classic NYC house cut, those rapid fire cowbell strikes will help it bear even more resemblance to classic Kerri Chandler style vibes.

Review: The ever prolific Lee Renacre is on Constant Sound in his 100Hz guise for a fresh trip through expressive techno and house music delivered with a warm, old-skool flavour. 'Jive' skips and twirls across the A side in a swung, sprightly exploration of soft and rounded synth lines and pleasingly chunky beats, capturing a dusky ambience along the way that's so easy to melt into. 'Honkey (Crazy Hats)' takes things deeper with a more rhythm-focused joint that maintains a submerged feel throughout. 'Ochos' completes the set with a deep tech house meditation rich in melodious uplift, striking a spiritual tone which would go down very well with someone bumping records on Yoruba and other such labels.

Review: More wicked grooves from the vaults of UK legends 100 Hz. Comprised of Lee Renacre, James Chapman and Doran Walker, the team behind the seminal Format imprint have had retrospective works reissued on the likes of Bosconi, Slow Life and Howl in recent times - so indeed you can recognise the trio's influence on a new generation of underground house producers. Here they inaugurate Doozy Cult from Lisbon, with some timeless snapshots of bleep techno as heard on the cyclical hypnotism of "Tomfoolery", the tunnelling minimal techno of "Lapiz Boof" and the ethereal shuffle of "Neptune" on the flip - that is just as suited to present day afterhours parties as it was way back when.

Review: 100Hz have consistently snuck out 12"s since the early 90s, but their productivity is at an all time high and their Modugroove label is the perfect vessel to get more of their smartly crafted tech house treats into the ears of discerning DJs and dancers everywhere. This second release on their label kicks off with the atmospheric twinges of "Klon 6 Step", a sizzling, simmering cut for transcendental moments on the floor. "Wild Fudge" is a snappier affair peppered with folky string plucks that sound fresh in the club track context. "Infrastructure" takes things on an emotive tip with a range of strong melodic leads, and "Tinky Tink" ramps up the unease with a creeping jam for the less salubrious end of the night.

Review: Since making their name with the bleep/loved up deep house fusion of "Low Frequency Overload" back in 1990, British duo 100 Hz have continued to deliver occasional 12" singles. Their latest EP, Immersive, is full of rich, saucer-eyed deep house treats. Highlights include the darting, near Balearic synths and dream house style grooves of "Rio",the boompty-influenced cut and thrust of "Rub Tub (Edit)", where jammed-out jazz synths cluster around a killer funk bassline, and the ultra-deep, but suitably energetic "Whiskey Pineapple". This latter track is propelled forwards by a relentless bassline, crunchy drum machine percussion, and some foreboding melody lines.