Back catalogue: All genres

Notes: *** Introducing MPC Stems- March 2024 ***

Akai Professional now introduces the next chapter of sampling innovation and production powered by the groundbreaking MPC Stems bringing sampling into a new chapter.

With MPC Stems, you can access the raw building blocks of any sample or vinyl record, isolating the DNA of any record. Producers can now manipulate the Drums, Bass, Music, and Vocals, opening new creative possibilities.

Akai Professional introduces the ultimate creative workflow with Stems Separation seamlessly integrated into the leading MPC series, powered by MPC 2 Desktop Software.

With MPC Stems, producers and beat-makers can now unlock unmatched sampling creativity by easily isolating drums, bass, music, and vocals from any audio, vinyl recording, or sample revolutionizing the art of sampling.
Experience lightning-fast workflow with superior sound quality, keeping you inspired throughout the creative process.

Slice and isolate samples while maintaining chop regions across each of the four stem layers.

Take complete control with direct manipulation of stem layers from the pads, adjusting volume, pitch, pan, start, and end points with instant responsiveness.

MPC Stems requires MPC 2 Desktop Software running 2.14 or higher, compatible with MPC Live, MPC Live 2, MPC One, MPC One +, MPC X, MPC XSE, MPC Key 37, MPC Key 61, MPC Studio Mk 2 in Controller Mode.


The Power of Sound

Introducing the Akai Professional MPC Key 61, the revolutionary new standalone production synthesizer keyboard powering the next chapter of the MPC legacy. Building on the history of powerful sequencing and revolutionary sampling, MPC Key 61 adds the most advanced next-generation virtual instruments and effects to MPC, adding to its arsenal of industry-leading music production tools. And now, with the addition of a 61-key semi-weighted keybed with aftertouch, the MPC experience ascends to an unprecedented level of creative interaction and expression, delivering the world's most powerful and complete standalone workflow.

Breaking Sound Barriers

Inside MPC Key 61, experience a new dimension of sound like never before. Powered by 25 plugin instrument engines at your fingertips, and with over 6000 cutting-edge presets, MPC Key 61 delivers the most modern-day sound pallet ever programmed in a production synthesizer. Each plugin instrument features advanced synthesis, deep parameter editing, and modern effects developed for a truly inspiring musical experience-all designed with a fast and vibrant touch interface for an intuitive and compelling workflow. Immerse yourself in a world of sound.

Keys to Expression

The MPC Key 61 features an incredibly expressive and playable semi-weighted keybed with aftertouch to drive its world-class sounds with dynamic responsive control. With players and producers in mind, technology and artisanship were combined to breathe inspiration into every performance. The MPC Key 61's keybed is designed to deliver the highest performance experience possible connecting the dots between sound and feel. The 16-velocity sensitive RGB pads on MPC Key 61 are the same award-winning pads as the MPC One. In addition to the iconic MPC pads are the renowned Time Correct, Swing, and Quantize features of MPC that continue to endure as mainstays of modern music production.

Plugin to a World of Effects

MPC Key 61 includes over 100 state-of-the-art effects ready to load across your music productions for mixing and mastering. Insert lush and spacious Reverb & Delay effects to your tracks, add bounce and punch to your drums and mix using modern or vintage style compressors and limiters. Experience plugin FX like never before only inside MPC Key 61. MPC Key 61 is the world's first production synthesizer incorporating modern day vocal FX plugins which can also be used for the most creative sound design.

Touch Strip and Hands-on Control

The onboard assignable Touch Strip Controller is a catalyst for new ways to control, create and interact with your own signature sounds. Dedicated Pitch Bend and Modulation Wheels mean an added touch of expression to elevate your compositions. Bend the notes of your synth and lead sounds in Fabric XL, add gentle vibrato to your stringed instruments in Session Strings, or dial in the speed of the Organ's rotary Leslie cabinet and hear your parts swell with a wide chorused tremolo.

Specifications

Keys: 61 semi-weighted, full-size keys with aftertouch

Pads: (16) velocity- and pressure-sensitive pads, RGB-backlit, (8) banks accessible via Pad Bank buttons

Knobs + Performance Controls: (4) 360- touch-sensitive Q-Link knobs for parameter adjustment, (1) Touch Strip multi-function 5.5" (140 mm) touch-capacitive controller with LED indicators 360- encoder for display navigation and selection via push, (2) Pitch Bend and Mod Wheel, (3) 270- knobs for gain, mix & level adjustment

Buttons: (44) dedicated-function buttons

Display: 6.9" / 176 mm (diagonal), 5.9" x 3.7" / 150 x 93 mm (width x height), Full-colour LED-backlit display with touch interface

Memory: RAM 4 GB, Storage 32 GB (user storage, 13 GB pre-installed content), 4 GB (MPC operating system), 15+ GB free-space for user storage expandable via SATA connections

Power: Via IEC (Included), Auto Switching Internal Power Supply (100-240v)

Connections: (2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2) (w/ XLR Mic Preamps), (4) 1/4" (6.35 mm) TRS outputs (2 stereo pairs), 1/4" (6.35 mm) stereo headphone output, (1) 5-pin MIDI input, (1) 5-pin MIDI output, (1) 5-pin MIDI thru, (8) 1/8" (3.5 mm) CV/Gate outputs, Ethernet Network port, USB Type-A ports, (1) USB Type-B port

Other Controls: (2) Line | Instrument switches +48v Phantom Power switch 1/4" (6.35 mm) TRS Footswitch jacks (Sustain + FS2) (Variable and switch compatible) 1/4" (6.35 mm) TRS Expression Pedal input

Notes: The most powerful MPC ever. Akai's flagship sampling drum machine gets a limited-edition upgrade with more RAM, more storage and more sounds.

*** Introducing MPC Stems- March 2024 ***

Akai Professional now introduces the next chapter of sampling innovation and production powered by the groundbreaking MPC Stems bringing sampling into a new chapter.

With MPC Stems, you can access the raw building blocks of any sample or vinyl record, isolating the DNA of any record. Producers can now manipulate the Drums, Bass, Music, and Vocals, opening new creative possibilities.

Akai Professional introduces the ultimate creative workflow with Stems Separation seamlessly integrated into the leading MPC series, powered by MPC 2 Desktop Software.

With MPC Stems, producers and beat-makers can now unlock unmatched sampling creativity by easily isolating drums, bass, music, and vocals from any audio, vinyl recording, or sample revolutionizing the art of sampling.
Experience lightning-fast workflow with superior sound quality, keeping you inspired throughout the creative process.

Slice and isolate samples while maintaining chop regions across each of the four stem layers.

Take complete control with direct manipulation of stem layers from the pads, adjusting volume, pitch, pan, start, and end points with instant responsiveness.

MPC Stems requires MPC 2 Desktop Software running 2.14 or higher, compatible with MPC Live, MPC Live 2, MPC One, MPC One +, MPC X, MPC XSE, MPC Key 37, MPC Key 61, MPC Studio Mk 2 in Controller Mode.

Supplier's Notes:
Celebrating 35 years of the most influential sampling drum machine

35 years ago, MPC made its debut and revolutionized pattern-based music production and ushered in a new era of groove-based production. MPC X Special Edition features the original iconic Akai colourway and font, bringing the nostalgic look and feel of the original MPC60 to your modern beats and productions. MPC X Special Edition is upgraded with more memory, more internal storage, and comes fully loaded with the MPC Instrument Collection making MPC X Special Edition the most powerful MPC ever.

The iconic look meets the most powerful MPC

More powerful performance

Introducing the MPC X Special Edition. Combing a rich heritage of ground-breaking creative functionality with the latest in modern technological advancements, MPC X SE is the most powerful and capable MPC ever. Powered by a quad-core processor, MPC X SE includes 4GB of RAM for rapid load times and expanded sampling capabilities for a supercharged workflow. Save the largest projects and ensure you have access to your sound libraries when you need them with 48GB of internal storage. WiFi and Bluetooth mean you're not restricted by cables and connections for high-speed data transfers.

The timeless look and feel

No other piece of gear defines the music producer like the MPC. The central nervous system of any production studio, MPC was and continues to be a recording studio mainstay to facilitate dynamic music creation in perfect step and sync. The commemorative MPC X SE draws on that legacy with the iconic colourway stamped with the retro logo and font. MPC X SE is here to bring the producer back to his proper place of prominence, ready for a new age of music influencers to lead the charge with musical excellence.

Total hardware integration for complete control of your studio

The modern music creation hub

MPC X SE is built to bring your creative space together. Transform your project studio into a modern music production

suite with MPC X SE tying everything together. Control MIDI enabled synthesizers and keyboards with 2 In, 4 Out MIDI I/O or drive modular and euro rack devices with (8) 3.5mm TS output jacks. (2) USB-A host ports enable lightning-fast connections to storage devices, bus-powered USB controllers, MIDI expanders, class-compliant audio interface devices, and more. Count on rapid data transfers that keep up with any high-paced music makers.

A source of superior sound

Capture audio directly from vinyl turntables for clean sample and loop creation right into your sample memory. With an upgraded 4GB of RAM, you're able to grab longer pieces of audio for truly expanded creative possibilities. (2) bination XLR-1/4" inputs deliver pristine audio from instruments, line level devices, and microphones. Phantom power ensures even your large capsule condenser microphones can plug and play right into any MPC session.

The winning workflow

Above all, MPC X SE truly puts you in the driver's seat of integrated workflow. Combine the tried-and-true MPC workflow with plenty of connections for all your wired devices, numerous audio outputs to route sound independently, and wireless Ableton Link 3 functionality over Wi-Fi, any creative task is literally at your fingertips from behind the helm of MPC X SE. Extended sessions are not a problem thanks to the adjustable 10" multi gesture display that ensures you'll always be comfortable when those inspired moments won't stop flowing.

Premier collection of plug-in instruments, sounds and insert effects to inspire you

The power of sound

MPC X SE features an exceptional collection of cutting-edge plugin instruments for truly inspired composition and performance. With over 25 instruments, users have a diverse palette of sounds and textures at their fingertips to create original melodies with no restraints. Dive into Fabric XL synthesizer or Stage EP keyboards for everything from spacious pad synths to meticulous grand pianos, warm electro keyboards layered with fat analogue brass layers, exquisite chamber string quartets, and beyond. MPC X SE is powered by a stunning library of instrument sounds to capture any mood, emotion, and vibe.

Award-winning insert effects plugins

Take your beats and productions to fully mixed and mastered commercial releases. MPC X SE offers a growing collection of dynamic sound processors, equalizers, multi-effects plugins and more for creative arranging of your music as well as all the tools to bring your songs and projects to the finish line. Collaborate with singers and unleash the AIR Vocal Suite to add rich harmony and vocal tuning in real time. Make your productions come alive with creative plugins AIR Flavor, Half Speed, Stutter and much more. For a real throwback MPC experience, pull up one of the many vintage MPC models like the 60, 3000, and more, all at the press of a button.

Technical Specifications

Pads
(16) velocity- and pressure-sensitive pads, RGB-backlit
(8) banks accessible via Pad Bank buttons

Knobs:
(16) 360- touch-sensitive Q-Link knobs for parameter adjustment
(1) 360- encoder for display navigation and selection via push
(7) 270- knobs for gain, mix & level adjustment

Buttons:
(63) dedicated-function buttons

Display:
10.1" / 257 mm (diagonal)
8.5" x 5.5" / 216 x 139 mm (width x height)
Full-colour LED-backlit display with touch interface

Memory
Processor: Quad-core ARMr processor
RAM: 4 GB
Storage 48 GB (over 16 GB available for user storage)

Power:
via power adapter (19 V, 3.42 A, centre-positive, included)

Connections:
(2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2)
(2) 1/4" (6.35 mm) TRS inputs (Input 3/4: 1 stereo pair)
(2) 1/4" (6.35 mm) TS instrument inputs (Inst 1/2)
(2) RCA inputs (Input 3/4: 1 stereo pair, phono- or line-level)
(2) 1/4" (6.35 mm) TS footswitch inputs (FS 1/2)
(2) 5-pin MIDI inputs (8) 1/4" (6.35 mm) TRS outputs (Main L/R, Outputs 3/4-7/8: 4 stereo pairs)
(4) 5-pin MIDI outputs
(8) 1/8" (3.5 mm) CV/Gate outputs
(1) 1/4" (6.35 mm) stereo headphone output
(1) 1/8" (3.5 mm) stereo headphone output
(2) USB Type-A ports (1) USB Type-B port
(1) SD card slot (1) power adapter input

Dimensions:
(width x depth x height) 19.9" x 16.7" x 3.4" / 50.5 x 42.4 x 8.7 cm (display flat) 19.9" x 15.3" x 8.4" / 50.5 x 38.8 x 21.4 cm (display upright)

Weight:
12.57 lbs. 5.66 kg

Notes: Inspired by the early 80s Synton Syrinx, the SER-2020 is a semi-modular monster, featuring an excellent formant filter section, unique Touch 'N Bend Control and MPE-compatible MIDI interface.

Supplier's Notes:
The SER-2020 is a monophonic semi-modular analog synthesizer with an formant filter section, designed to use as standalone synthesizer or in combination with Eurorack modules. Inspired by the Synton Syrinx *(1) added the flexibility of an MS-20. Its filter design features a combination of a 24dB/octave VC Low Pass Filter, and two independent Resonant VC Peak Filters for precise and dynamic sound shaping. The sound is ranging from solid bass sounds to articulated formant effects. Other features on the SER-2020 are the Touch 'N Bend Control together with the MPE (MIDI Polyphonic Expression) capabilities makes the SER-2020 a special instrument which response to its player. The flexible routing makes the SER-2020 a versatile machine for sound effects.

Key Specifications:
2 VCO's (CEM3340 based)
1 Sub-Oscillator
Ring Modulator
Noise Generator
Audio Mixer
Multi-Mode Sync & Sync D-Tune
3 VCF's (CEM3350 based)
2 ADSR's
2 LFO's with Reset & Shaper Modes
Auto-Glide
Multiple Triggering
Touch 'N Bend Pad
Bend Assign
Sample and Hold
Semi Modular Setup - CV inputs and outputs
Signal and Headphone output.
MIDI interface
USB MIDI interface
MPE compatible - Sensitive for; Strike (note-on velocity), Press (aftertouch), Glide (pitch bend), Slide (brightness) and Lift (note-of velocity).

The SER-2020 consist of two VCO's and one sub-oscillator, driven by VCO 1. Both VCO's deliver a triangle, sawtooth, square wave and pulse signal, which can be selected. A rich spectrum can be obtained with Pulse Width Modulation of VCO 1 and VCO 2. The LFO 1 and 2 signals can be feed to the pulse width modulation section introducing phase shift effects and Doppler frequency shifts. Since the both VCO's have a separate LFO for PWM, chorus-like effects can be obtained by controlling both pulses with different LFO speeds. VCO 2 can be synchronized to VCO 1 in different modes. Synchronization is applied when two or more VCO's have to produce exactly the same pitches, without phase shift or beat effects. When VCO 2 is detuned from VCO 1 another effect occurs, which will result in quite dramatic tone colors.
Each VCO has an individual output, also the noise generator and sub-oscillator has individual outputs.

The most important sections of this synthesizer is the filter. The SER-2020 features a very extensive filtering system, which consists of the standard 24 dB/octave low pass filter and two independent band pass filters, which together form the Voltage Controlled Formant filter.
Both band pass filters have a frequency control and a resonance control for setting the selective amplification in the pass band. The bandpass filters are equipped with a control voltage mixer for LFO, ADSR and key range voltages. The LFO control can be used for the external modulation input.
The low pass filter is an standard 24 dB/octave roll-off. It has a frequency control and a modulated CV mixer from several sources like LFO, ADSR and the key range. The LFO control can be used for the external modulation input. Also the resonance of the low pass filter can be controlled.

The SER-2020 has two ADSR generators, of which one is used to control the internal VCA, and the other one to control the filter section. The control signal can be inverted by means of the ADSR controls in the filter section, so that the filters can be swept in opposite directions.
ADSR 1 and 2 have a positive and negative (inverted) direct output available on the patch panel.

The SER-2020 has two independent Low Frequency Oscillators (LFO's) of which the rate can be controlled, and for LFO 2 also the wave shape.

LFO 1 generates a triangle wave which exclusively is routed to the pulse width modulation control input of VCO2. LFO 1 also generates a square wave and a pulse wave. The square wave is available as direct output on the patch panel. The pulse wave of LFO 1 is internally routed to the sample and hold generator as clock source.

LFO 2 is more versatile and can be used for the modulation of the VCO's and the filters. Moreover LFO 2 can be used as a one shot generator which means that a signal is generated much alike an Attack/Release generated function. Except for the LFO 2 rate control with the preset knob, it also can be controlled dynamically with the pad.

Several sections in the synthesizer can be controlled with the bend pad, by pressing it with the left hand index and middle finger. The pressure sensitivity for the VCO, VCF and VCA can be adjusted. The touch 'N bend pad also reacts on the MIDI modulation control and the MIDI brightness (CC#74) control for MPE compatibility.
Also the speed of the rise/decay mode of the LFO 2 is possible. Pressing the UP pad will result in a shorter cycle, and pressing the DN pad in a longer cycle.

Notes: Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

Notes: ***B-STOCK: Dent on the side, product in perfect working order***


Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

Notes: 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: Limited-edition murdered-out Noir version of Arturia's mega PolyBrute, with expressive multi-axis Morphee controller and Morph knob to blend between patches.

*** Firmware update September 2023 ***

Arturia's PolyBrute goes deeper with firmware 3.0:

Explore new heights of Polyphonic sound with an array of embellishments, experimental features, and creative upgrades for PolyBrute:
New effects distortions
Effects Routing
New Tuning Options
New Layer Modes
Dive to new depths of coloration and customization with a free update that brings features, fixes, and fresh sounds to PolyBrute:

7 Distortion modes:

Add crunch, saturation, and pure sonic carnage with 7 modes of Distortion, accompanying PolyBrute's Modulation, Delay, Reverb, and EQ effects.

Flexible effects routing

Rewire PolyBrute's effects and signal chain to suit your sound design flow; both the Insert and Send modes can now be adjusted in terms of order.

Enhanced tuning:

Adjust PolyBrute's musical role in your projects with deeper individual oscillator tuning, transposing the keyboard by semitones, and more.

New Stereo Layer mode:

Allocate one voice to the left channel and one to the right to add increased natural width to PolyBrute's sounds.

Over 350 new presets:

A total rework of PolyBrute's library means hundreds of new presets, further exploring expressivity, analogue power, and new features like Distortion.

PolyBrute Connect:

Enjoy quicker, smoother communication between PolyBrute and its software counterpart, also accommodating other new features from firmware 3.0.

Workflow & expression improvements:

Reload your last saved preset on startup, send program changes, adjust LED brightness, and more.

Supplier's Notes:
PolyBrute Noir is a 61-note polyphonic analogue keyboard, uniting unparalleled expressivity and sound design flexibility with 6 fearsome Brute voices, complete with a limited-edition stealthy black finish. The result is an instrument that lets musicians perform fearlessly, compose with fluidity, and explore sound in perpetual motion.

Limited Noir Edition

A true dark horse in any setup, PolyBrute Noir stylishly conceals its enormous creative potential within a slick black exterior, complete with colorful accents, luxurious dark wooden appointments, and signature ionized parts that'll make anyone look twice.

Massive analogue polyphony

Harness the raw power of analogue with 6 powerful analogue Brute voices, comprising seamless waveshaping VCOS, dual filters, and a tactile array of modulation. Split, layer, and stack PolyBrute's voices for every flavor of analogue polyphony - from beauty to beast.

Morphing: sounds within sounds

Explore sound between the lines with 2 distinct sonic states within each preset, yours to seamlessly morph and navigate between. With a single sweep of the multi-axis Morphee controller and Morph knob, discover endless sweet spots in every patch.

Perform, express

Freely express your musical style and bring your creative ideas to life with PolyBrute's hands-on controls, flexible interface, and premium velocity-sensitive keybed with aftertouch. From the Morphee to the responsive ribbon controller, every aspect of PolyBrute ensures that your sound is an extension of yourself.

Your sound to infinity

Built to satisfy your inner sound explorer, this polysynth comes fully equipped for perpetual patch discovery and sound design. Quickly create modulation connections with the Matrix, color your patch with 3 digital stereo FX engines, and instantly animate any idea with musical sequencing and effortless arpeggiation.

Included Software:

PolyBrute Connect

Arturia MIDI Control Center

Notes: One of the most exciting new synths of 2020. Extremely high-quality wavetable synth engine with great expressive features like a CS80-style ribbon controller and polyphonic aftertouch. Powerful.

*** New 2.0 Firmware update for all Hydrasynth models - March 2023 ***

This is a free of charge update for all current and new users of Hydrasynth. The biggest news in this update includes:
Expanded memory to 8 banks (Keyboard, Desktop, and Explorer only)
NEW modulation source: VOICE MODULATOR
OSC Bit reducer
LFO quantizer
ENV quantizer
LFO Step Advance
Global FX bypass
Increased Vibrato resolution
New Sustain pedal options including Sostenuto
More LED options
Glissando in glide options
Arp Range goes to 6 octaves
Arp Step Offset parameter
More Rand/Init shortcuts (all STEP LFO steps, Wavescan waves, Voice mod offsets)
Local On/Off saved
......And more!
This is the first major update to the Hydrasynth family in a little, which adds a tonne of new features.


Supplier notes:
The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.

Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.

As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths.

Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market.

The new ASM Polytouchr keybed allows not only the standard velocity and aftertouch found on other keybeds but it also supports fully polyphonic aftertouch.

In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them.

The Polytouch keybed features a high quality, standard sized keys, so you can start playing it instantly.

The tone generation capability is the heart of any synthesizer.

The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.

Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, the oscillators 1 & 2 have our WAVELIST mode.

This mode allows you to pick and choose 8 waves, from the bank of 219, arrange them in the order you want, and then morph from one to another.

Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways.

Each MUTANT allows you to choose from the following processes:

FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.

Wavestack- creates 5 copies of the incoming sound and allows you to set a detune amount.

Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.

Pulse Width - This will pulse width modulate ANY input sound.

PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.

PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.

Harmonic Sweep - this will sweep the harmonics of the incoming sound.

The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like.

The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.

The Mixer allows you to mix levels as well as pan the input source.

There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2.

The filters can be set to be parallel or series for ultimate flexibility.

If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.

The Hydrasynth has two filters that can be configured in series or parallel.

The first filter has 11 different filter models, giving you multiple options for tailoring your sound.

The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked.

5 DAHDSR Envelopes.

An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.

The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in
sync to your song.

You can also loop the envelopes to create LFO's whose shape can be voltage controlled in the modulation matrix.

The modulation capabilities on the Hydrasynth are endless.

With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations.

Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.

The Modulation matrix points themselves can also become modulation destinations.

Notes: The top dog of the Hydrasynth range, featuring a dual synth engine offering 16 voices (double the standard model) and a larger six-octave keyboard. Serious synth power with great wavetable sound.

*** New 2.0 Firmware update for all Hydrasynth models - March 2023 ***

This is a free of charge update for all current and new users of Hydrasynth. The biggest news in this update includes:
Expanded memory to 8 banks (Keyboard, Desktop, and Explorer only)
NEW modulation source: VOICE MODULATOR
OSC Bit reducer
LFO quantizer
ENV quantizer
LFO Step Advance
Global FX bypass
Increased Vibrato resolution
New Sustain pedal options including Sostenuto
More LED options
Glissando in glide options
Arp Range goes to 6 octaves
Arp Step Offset parameter
More Rand/Init shortcuts (all STEP LFO steps, Wavescan waves, Voice mod offsets)
Local On/Off saved
......And more!
This is the first major update to the Hydrasynth family in a little, which adds a tonne of new features.


Supplier's Notes:
The ASM Hydrasynth Deluxe is the new flagship Hydrasynth. Offering a dual-engine setup with a total of 16 voices plus an all new 73-note keybed featuring ASM's much sought after PolyTouchr polyphonic aftertouch functionality, clearly in a class of its own. With essentially two Hydrasynths in one instrument, KeySplit and Dual voice mode patches with 8 independent voices each are possible. You also have separate balanced stereo audio outputs for each of the two parts. The easily accessible 4 octave ribbon controller adds for truly expressive playing. The Hydrasynth Deluxe of course offers CV/GATE I/O for interfacing to modular and other voltage controlled synths. There's a ton of potential for sound creation, using ASM's WaveScan oscillators together with the Mutator waveshaping section and user configurable filters. A plethora of LFO's and Envelope's plus Insert and Master Effects makes this a dream sound creation tool and quite possibly the ultimate synthesizer and controller combo for your rig.

Tech Specs

Type: Polyphonic Wave Morphing Synthesizer
Sound Engine Type(s): Wavescan
Analog/Digital: Digital
Number of Keys: 73
Type of Keys: ASM POLYTOUCH Polyphonic Aftertouch Keyboard, On/Off Velocity-sensitive
Other Controllers: Ribbon Controller, Pitch Bend, Mod Wheel
Polyphony: 16 voices (Full/Layer/Split)
Number of Presets: 1024 Single Programs, 1280 Programs in Multi (Upper/Lower)
Number of Multis: 640 Programs
Oscillators: 3 x Wavescan oscillators (219 Waveforms), 4 x Mutator wave shapers (8 Types), Noise (7 Types)
Mutators: 8 Types (FM-Lin, WaveStack, PW-Orig, PW-Squeeze, PW-ASM, Harmonic Sweep, Hard Sync, PhazDiff)
Noise: 7 Types (White, Pink, Brown, Red, Blue, Violet, Grey)
LFO: 5 per Voice (Sine, Triangle, Saw Up, Saw Down, Square, Pulse27%, Pulse13%, S&H, Noise, Random, Step), Tempo syncable, Semitone Lock
Envelopes: 5 per voice, Tempo syncable, Variable trigger sources
Filter Types: 1 Multimode Filter (16 types) and 1 Variable LP-BP/Notch-HP filter, series or parallel routing
Filters: Filter 1 (LP Ldr12, LP Ldr24, LP Fat12, LP Fat24, LP Gate, LP MS20, HP MS20, LP 3-Ler, BP 3-Ler, HP 3-Ler, LP Stn12, BP Stn12, HP Stn12, LP 1 Pole, LP 8 Pole, Vowel), Filter 2 (LP-BP-HP, LP-Notch-HP)
Effects: 9 Insert Effects, 5 Delays, 4 Reverbs
Effects Types: Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor, Distortion, Delay, Reverb
Arpeggiator: 8 types (Up, Down, Up&Down, Up/Down, Order, Random, Chord, Phrase)
Other: Mod Matrix (32 slots), Macro Controllers (8), Favorites (32), Randomizer (Patch and Module), MPE Compatibility, Warm Mode, Microtuning
Audio Outputs: 4 x 1/4" Balanced (L/Mono Upper, R Upper, L Lower, R Lower)
Headphones: 1 x 1/4", 1 x 1/8", Separate volume control
USB: 1 x Type B
MIDI I/O: In/Out/Thru
Pedal Inputs: 2 x 1/4" (expression, sustain)
Other I/O: 2 x 1/8" Inputs (Mod 1, Mod2), 5 x 1/8" Outputs (CV, Gate, Mod1, Mod2, Clock)
Power Supply: 12V DC switchable power supply
Additional: Utility shelf
Height: 3.62" / 9.2cm
Width: 44.45" / 112.9cm
Depth: 13.62" / 34.6cm
Weight: 29.33lbs / 13.3kg
MPN: HSLX

Notes: Based on the legendary Roland Jupiter-8, the ISE-NIN is a synth with the attention to detail we've come to expect from Black Corporation. Eight voices, fully analogue, with MPE support. Beautiful.

Supplier's Notes:
ISE-NIN (pronounced ee-seh-nin) features eight voices, each consisting of 100% analogue voltage controlled oscillators, analogue lowpass and highpass filter, noise generator, two ADSR envelopes and a VCA. 2 different presets can be layered, making richer sounds, but limiting voices amount to 4 per layer. Each layer has its own fully assignable velocity and poly-aftertouch controls and global MPE settings.

Furthermore the synth offers full MIDI/USB control and the ability to store 128 presets per bank across 10 banks. Sophisticated microtuning with a support of ODDSound MTS-ESP and a signature arpeggiator integrates this classic synth concept seamlessly into the future of your modern studio needs.

Design: 19" / 4U
Polyphony: 8
Sound Generation: Analogue
MIDI interface: 1x In, 1x Out/Thru
Storage Medium: Internal
USB-port: Yes
Effects: No
Arpeggiator: Yes
Number of Analogue Outputs: 2
Digital Output: No
Display: Yes

Notes: Latest incarnation of Buchla's legendary modular synth. Massively creative with incredible sound and history stretching all the way back to the 1960s.

Supplier notes:
The evolution of the legendary modular analog synthesizer by Don Buchla. The Buchla Easel Command is the newly updated 208C in a standalone desktop form with MIDI and CV control.

Buchla's own Joel Davel led the charge to create a new version of the legendary Music Easel instrument with more modular flexibility and independence, while also providing the means to easily interface with more devices, such as the various DAWs like Ableton and MIDI controllers, including the very expressive Sensel Morph. It's still fully analog in its default configuration and provides the unique and exquisite Buchla experience with greater functionality at a lower cost.

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


Latest incarnation of Buchla's legendary modular synth. Massively creative with incredible sound and history stretching all the way back to the 1960s.

Supplier notes:
The evolution of the legendary modular analog synthesizer by Don Buchla. The Buchla Easel Command is the newly updated 208C in a standalone desktop form with MIDI and CV control.

Buchla's own Joel Davel led the charge to create a new version of the legendary Music Easel instrument with more modular flexibility and independence, while also providing the means to easily interface with more devices, such as the various DAWs like Ableton and MIDI controllers, including the very expressive Sensel Morph. It's still fully analog in its default configuration and provides the unique and exquisite Buchla experience with greater functionality at a lower cost.

Notes: Buchla's touch-sensitive keyboard updated for the 21st century. Third-generation version offers expressive control for Buchla, MIDI and Eurorack. Iconic.

Supplier's Notes:
Though our lives are dominated by touchscreens, when it comes to music, there's still a lot of magic in capacitive touch control. Don Buchla was one of the first to apply this technology to electronic music in the Buchla 112 module. The non-traditional sounds were controlled with a futuristic interface. This fantastic idea met many iterations in Buchla history: the Music Easel, 400, 700, Thunder, and 223 all employed touch technology.

Buchla USA is proud to present the third iteration of one of the most used touch interfaces, the 218, as the LEM218v3: The 218e version3 Lunar Excursion Module. 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 updated with a new foundation of stable, modern electronics and plenty of inputs and outputs to integrate with your Buchla, MIDI, and Eurorack gear.

Capacitive Magic

The incredible sensitivity and accuracy of the redesigned touch bed means the lightest touch will produce triggers and control voltage for your setup. 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 LEM218 a uniquely expressive controller for all your synthesizers. The configurable touchstrip adds a fantastic addition for pitch bend or as an additional modulator to patch into your system.

MIDI Polyphony, Velocity & More!

More than just MIDI compatible, the LEM 218 v3 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. Send the LEM some MIDI, and it gets converted to voltages and gates for eurorack and Buchla control.

Get More For Your Euro

Even if you don't have any Buchla products, the LEM 218 v3 is designed to work with your Eurorack-compatible gear. Four 3.5mm jacks output 1v/octave pitch, 0-8 volts pressure, touchstrip voltage, and gate outputs for use with Eurorack equipment. Or, combine your Euro with your Buchla instruments. If NATO can do it, so can you. The sound design possibilities will blow your mind.

Arpeggiate

A pulse input allows the arpeggiator to be driven by external inputs and are allowed to interact with the automated notes to make the pattern more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising.

Control

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

Set It Up Your Way

Such a unique device will spark many ideas. With easy front panel configuration, you can quickly customize the velocity and pressure sensitivity, MIDI channel, knob behavior, and more. No cumbersome software setups, just simple settings with the keys and knobs, and you're ready to play.

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 is available for pre-order starting June 16 at Buchla.com and your favourite Buchla Dealer. Delivery of the Music Easel (modern) is expected fall 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: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


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 is available for pre-order starting June 16 at Buchla.com and your favourite Buchla Dealer. Delivery of the Music Easel (modern) is expected fall 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: Updated version of Erica's superb EMS-inspired synth, featuring a powerful dual oscillator synth architecture, piano roll sequencer, modulation matrix and recordable joystick.

Supplier's Notes:
Based on lessons learned from the SYNTRX, Erica Synths decided to create an instrument that would integrate even deeper into contemporary electronic and experimental music setups and cover sonic territory from daunting drones to powerful basslines and glitched noisescapes - the SYNTRX II is a new dark horse for experimental sonic rides.

The SYNTRX II is the culmination of Erica Synths' analogue sound design circuits - two perfectly stable main oscillators with waveshapers, a modulation oscillator with 1V/oct tracking, a versatile multimode filter, supercharged external instrument inputs with an envelope follower, a unique, great-sounding ring modulator, a recordable joystick, built-in piano roll sequencer and stepped modulation sources, all arranged around Erica Synths' signature matrix mixer and topped off with powerful FX on their new DSP platform.

"The SYNTRX 2 is awesome, a very different instrument from V1. My first synths were the VCS3 and the AKS and are still among my favorites today. The Syntrx 2 is pushing the boundaries of possibilities & experimentations much beyond the original analogue version. The Syntrx 2 is an instant classic". - Jean Michel Jarre

Features

Two perfectly stable main oscillators with CV-controlled waveforms
Modulation oscillator with variable waveforms
Highpass and Lowpass filters in series
Free running or gate synced sample and hold circuit
Multi-colour noise generator
DC coupled instrument inputs with signal inversion and envelope follower
Ring modulator of unique design
Looping trapezoid envelope generator and VCA
Two output VCAs
Signal meter with a dedicated audio/CV output
FX section with great sounding Delay and Reverb developed in collaboration with 112db.com
Recordable Joystick
Analogue patch matrix with 3 attenuation levels in each patch point
254 patch memory
Piano roll sequencer and two stepper modulation sources
DIN5 MIDI Input and MIDI Thru
Two assignable outputs
Headphone output
Dimensions: 309mm x 457mm x 115mm (with the joystick in centre position)
Weight: 3.9 kg

Notes: Next-gen standalone expressive synthesizer. Add emotion & movement to your music with a simple touch.

Osmose is the new standard for musical expressivity. Use intuitive gestures to control this standalone synthesizer and upgrade your playing & production skills. Press, bend, shake, strum & more to interact with keyboards & electronic sounds in a new organic way. Whether you're a veteran keyboardist, a workflow-oriented producer, a daring sound designer, or anything in between, Osmose will take your musical journey to uncharted places.

Explore new ways to play

Behind the expressivity of Osmose lies a few natural gestures you already know well. Discover how they interact with Osmose and enhance your musicianship from the very first touch.

Design & build quality

Designed in France to stand the test of time and touring with style, Osmose is made of quality components and boasts a high repairability index.

A sound engine by Haken Audio

Made for expressivity by Haken Audio, the EaganMatrix sound engine is at home with FM, virtual analogue, and physical modeling synthesis, as well as everything in-between.

Fun to play

Easy-to-tweak presets, a playful interface, and an innovative keybed make for a fun & refreshing playing experience, for players of all levels.

Osmose's browser has been tailored to make it a hassle-free experience. It offers various filters and sub-filters based on both sound types and colours so you can find the sounds in your head quickly.

Main features:

49 Key MPE keyboard with polyphonic aftertouch
Full-size keys with 3-dimension MPE control
EaganMatrix sound engine by Haken Audio: a digital modular sandbox allowing subtractive, FM and different physical modeling synthesis
24 voices of polyphony
Assignable mod and pitch sliders
500 factory presets
128 user presets
Configuration modes: standalone synthesizer, MPE MIDI Controller, and classic MIDI Controller
Filters and sub-filters for browsing
Customisable sensitivity and velocity curves
Multi-mode MPE arpeggiator and innovative pressure glide feature
Digital stereo effects: select between reverb , mod delay, swept echo,analog echo or LPF and HPF delay
Large colour display
9 push encoders
2 Line outputs: Two 14" TS pseudo balanced line outputs
MIDI input, output, and MIDI-thru
USB MIDI
Separated 14" TRS headphone output on the front panel (with its dedicated volume knob)
2 continuous pedal inputs assignable to macro or sustain: 6.35 mm Jack
Power: External PSU with lockable connector, 12V, 1.5A, center positive
Dimensions (W x H x D): 894 x 316 x 87.5 mm / 35.2" x 12.4" x 3.4"
Weight: 8.3 kg / 18.4 lbs
Includes a software updater for new firmware and library versions
Includes a Mac/PC editor to create and edit sound

Notes: ***B-STOCK: Original box damaged, product is in different packaging but in perfect working order***


New RP-Series Professional Headphones:

The new RPmk3 series headphones are successors to the reputed RPmk2 series that have been used as reliable monitor headphones in many professional recording studios for more than 30 years including from the start of the T-series.

The driver unit incorporating the key Fostex proprietary Regular Phase (RP) Technology diaphragm has been refined to achieve sharper audio reproduction for more accurate monitoring. The housing, ear pads and head pad have also been re-designed to derive the maximum performance of the RP driver.

- Refined Fostex proprietary Regular Phase (RP) diaphragm driver using copper foil etched polyimide film and powerful neodymium magnet

- The maximum input level of 3000mW to comply with various professional uses

Notes: 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.

The five LFO's provide 500+ waveforms to choose from, with their frequency spanning from sub-audio into the audio range. Their frequency can be stationary or track keyboard notes with glide. Waveforms can sync to any waveform phase at a note-on, and they can be frequency modulated as well. In short they can be used as LFO's, complex envelopes, or audio rate oscillators.

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: Serious synth options here, with a 24-voice polyphonic, four-part multi-timbral design based on the iconic PPG wavetable approach, updated and blended with analogue filters. An absolute powerhouse of an instrument.

Supplier's Notes:
The 3rd Wave desktop module a powerhouse wavetable synth with 24-voice polyphony and 4-part multi-timbral capability that's like having four independent synthesizers at your fingerprints.

It has all of the power, all of the polyphony, all of the multipart capability, all of the I/O, and all of the awesome sound quality of the full keyboard version.

Each of its 3 oscillators per voice can be any of these 3 choices:
A classic PPG 8-bit wavetable with all the original processing
A high-resolution anti-aliased 96KHz wavetable
Analogue modelled waveforms with spline interpolation

Create up to 64 custom wavetables of your own using the built-in Wavemaker. With the sample-to-wavetable capability, you can connect an audio source to the audio input and generate a wavetable at the touch of a button.

Classic legacy, modern sound

While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that's a product of its expanded wavetables and warm, organic-sounding analogue filters, 4 independent parts, and 24 voices.

It boasts not only a punchy, Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, but a second, SEM-style state-variable filter (low-pass, high-pass, notch, and band-pass) for additional tone-sculpting. Run both filters in series for harmonically complex textures.

4-part multi-timbral

With 24-voices, the 3rd Wave has enough power for the most note-intensive performances.

And that polyphony really comes into play with its ability to layer up to 4 independent parts or split zones -- each with a completely different sound, sequence, and dual effects.

Each part has independent panning, volume, and a dedicated stereo physical output. Use the multiple outputs and part placement to create spatial audio mixes.

Modulation matrix

The secret weapon of any synth is its mod matrix, and the 3rd Wave doesn't disappoint.

With 16 assignable slots, 12 additional fixed-source slots, 27 sources, and 114 destinations, it has the flexibility of a modular.

And all of this power is per multipart. That means up to 4 independent layers of sound, each with its own mod matrix.

Sequence notes, songs and parameters

The 3rd Wave's sequencer is an inspiring tool for both composers and sound designers because it is pattern-based and can sequence notes, songs, and parameter changes.

For composing and performing, enter notes and chords in real time with or without quantization for maximum groove and arrange up to 24 patterns of up to 32 measures in length into songs just as easily.

Sound engine

3 High-resolution Digital Oscillators Per Voice

64 total user wavetable positions with 48 wavetables that contain 64 waveforms per table (32 legacy PPG waves with room for another 16 of this type)
32 original 8-bit wavetables from the PPG 2 series instruments with room for 16 more user created 8 bit wavetables
7 high-resolution modelled analogue waveforms (sine, saw, triangle, supersaw, pulse, white noise, pink noise)
VCO sync
Free-running oscillators
Linear FM
6-stage wave envelope per oscillator with variable time and position that can be looped
Optional wave flow section that allows for no wavetable as well as no waveform interpolation
Upper wavetable mode as with the original PPG 2 series
Unison, poly unison, and chord unison mode with variable voice count

Analog Low-pass Filter (per voice)

Dave Rossum designed, classic, 2140 low-pass resonant filter
24 dB per octave slope
variable saturation amount
optional resonance compensation

State-Variable Filter (per voice)
12 dB per octave slope
Continuously variable between low-pass, notch, and high-pass, operation with optional band-pass mode

4 ADSR+ Delay Envelopes
Filter, Amplifier, plus 2 additional envelopes switchable between exponential and vintage PPG-style response
Freely assignable to multiple modulation destinations

4 Low-Frequency Oscillators
Triangle, sawtooth, reverse sawtooth, square, pulse 1, pulse 2, pulse 3, and random (S&H)
Variable delay
Note reset
Syncable to master clock BPM

2 Digital Effects
BBD, stereo delay, tape delay, chorus, phaser, flanger, distortion pedal, rotating speaker, ring mod, room reverb, hall reverb, super plate reverb - most modelled on famous hardware devices
Syncable to master clock BPM
Parameters modulatable via mod matrix

Wave maker tool

Built-In Custom Wavetable Maker

"Sample-to-wave" functionality. Connect an audio source to the 3rd Wave's Audio In port, press "Make Waves" and the synth samples the audio to create a custom wavetable
Samples to convert can also be brought in as a 96 kHz wav file through USB
Store up to 32 custom wavetables
64 waveforms per wavetable
Accepts pitched or un-pitched material as input
96 kHz sampling rate
16-bit resolution
1024 cycles per waveform, converted automatically to cover entire keyboard range
Flexible wave-sampling length

Sequencer

Performs both Note and Parameter Sequencing
1 song per multi-part
24 sequences per song
32 measures per sequence
Variable quantization resolution per sequence (32nd, 16th, 8th, quarter, half, whole note, or quantization off)
Swing

Arepggiator

1 Arp per Multi-part
Up, down, up/down, and assign modes
Variable range (1, 2, or 3 octaves)

Mod matrix

16-slot Modulation Matrix Per Multi-Part

16 slot modulation matrix with 27 mod sources and 114 mod destinations
12 additional fixed-source mod paths
Modulation assignment buttons enable quick and easy modulation routing
Mod Matrix runs at audio rates
Sequencer can record and play mod parameter changes in real time

Controls

77 knobs and 39 buttons enable deep, comprehensive editing with minimal menu diving
Pitch and Mod Wheels
Full-sized, five-octave, semi-weighted, premium Fatar keyboard with velocity and aftertouch

Programs

500 factory programs. User rewritable

In/out

4 Stereo outputs (2x 1/4" phone jack per part)
Headphone out (stereo 1/4" phone jack)
MIDI In, MIDI Out, and MIDI Thru
USB port for bidirectional MIDI communication
Audio Input for creating user wavetables from external audio source (1/4" phone jack)
Sustain/footswitch input
Volume pedal input
Expression pedal input

Power

1 universal IEC AC power inlet for internal power supply

Notes: A serious, serious synth. PPG-esque wavetable synthesis with huge 24-voice polyphony, dual analogue filters and four-part multitimbrality. Incredible sound, incredible versatility.

Supplier's Notes:
The 3rd Wave is a powerhouse wavetable synth with 24-voice polyphony and 4-part multi-timbral capability that's like having four independent synthesizers at your fingerprints.

Each of its 3 oscillators per voice can be:

A classic PPG-era wavetable
A high-resolution complex wavetable
An analogue-modelled waveform
Create up to 64 custom wavetables of your own using the built-in Wavemaker. With sample-to-wavetable capability, you can connect an audio source to the audio input and generate a wavetable at the touch of a button.

Classic legacy; modern sound

While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that's a product of its expanded wavetables and warm, organic-sounding analogue filters

It boasts not only a punchy, Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, but a second, SEM-style state-variable filter (low-pass, high-pass, notch, and band-pass) for additional tone-sculpting. Run both filters in series for harmonically complex textures.

4-part; multi-timbral

With 24-voices, the 3rd Wave has enough power for the most note-intensive performances.

And that polyphony really comes into play with its ability to layer up to 4 independent parts or split zones - each with a completely different sound, sequence, and dual effect.

Each stereo part has independent panning, volume, and a dedicated stereo physical output.

Modulation Matrix

The secret weapon of any synth is its mod matrix, and the 3rd Wave doesn't disappoint.

With 16 assignable slots, 12 additional fixed-source slots, 27 sources, and 114 destinations, it has the flexibility of a modular.

And all of this power is per multipart. That means up to 4 independent layers of sound, each with its own mod matrix.

Sequence notes; songs & params

The 3rd Wave's sequencer is an inspiring tool for both composers and sound designers because it is pattern-based and can sequence notes, songs, and parameter changes.

For composing and performing, enter notes and chords in real time with or without quantization for maximum groove and arrange up to 24 patterns of up to 32 measures in length into songs just as easily.

Specs

Sound Engine

3 High-resolution Digital Oscillators Per Voice
64 total user wavetable positions with 48 wavetables that contain 64 waveforms per table (32 legacy PPG waves with room for another 16 of this type)
32 original 8 bit wavetables from the PPG 2 series instruments with room for 16 more user created 8 bit wavetables
7 high-resolution modelled analogue waveforms (sine, saw, triangle, supersaw, pulse, white noise, pink noise)

VCO sync

Linear FM
6-stage wave envelope per oscillator with variable time and position that can be looped
Optional wave flow section that allows for no wavetable as well as no waveform interpolation
Upper wavetable mode as with the original PPG 2 series
Unison mode and chord mode with variable voice count

1 Analogue Low-pass Filter

Dave Rossum designed, classic, 2140 low-pass resonant filter
24 db per octave slope
variable saturation amount
optional resonance compensation

1 State-Variable Filter

12 db per octave slope
Continuously variable between low-pass, notch, and high-pass, operation with optional band-pass mode

4 ADSR+ Delay Envelopes

Filter, Amplifier, plus 2 additional envelopes switchable between exponential and vintage PPG-style response
Freely assignable to multiple modulation destinations

4 Low-Frequency Oscillators

Triangle, sawtooth, reverse sawtooth, square, pulse 1, pulse 2, pulse 3, and random (S&H)
Variable delay
Note reset
Syncable to master clock BPM

2 Digital Effects

BBD, stereo delay, tape delay, chorus, phaser, flanger, distortion pedal, rotating speaker, ring mod, room reverb, hall reverb, super plate reverb - most modelled on famous hardware devices
Syncable to master clock BPM
Parameters modulatable via mod matrix

Wavemaker Tool: Built-In Custom Wavetable Maker

"Sample-to-wave" functionality. Connect an audio source to the 3rd Wave's Audio In port, press "Make Waves" and the synth samples the audio to create a custom wavetable
Samples to convert can also be brought in as a 96 kHz wav file through USB
Store up to 32 custom wavetables
64 waveforms per wavetable
Accepts pitched or un-pitched material as input
96 kHz sampling rate
16-bit resolution
1024 cycles per waveform, converted automatically to cover entire keyboard range
Flexible wave-sampling length
Imports Serum wavetables

Sequencer: Performs both Note and Parameter Sequencing

4 parts per sequence
24 sequences per preset
Up to 32 measures per sequence
Variable quantization resolution per sequence (32nd, 16th, 8th, quarter, half, whole note, or quantization off), that is settable in real time
Variable swing

Arpeggiator: 1 Arp per Multi-part
Up, down, up/down, and assign modes
Variable range (1, 2, or 3 octaves)

Mod Matrix: 16-slot Modulation Matrix Per Multi-Part

16 slot modulation matrix with 27 mod sources and 114 mod destinations
12 additional fixed-source mod paths
Modulation assignment buttons enable quick and easy modulation routing
Mod Matrix runs at audio rates
Sequencer can record and play mod parameter changes in real time

Controls

77 knobs and 39 buttons enable deep, comprehensive editing with minimal menu diving
Pitch and Mod Wheels
Full-sized, five-octave, semi-weighted, premium Fatar keyboard with velocity and aftertouch

Programs

500 factory programs. User rewritable

In/out

4 Stereo outputs (2x 1/4" phone jack per part)
Headphone out (stereo 1/4" phone jack)
MIDI In, MIDI Out, and MIDI Thru
USB port for bidirectional MIDI communication
Audio Input for creating user wavetables from external audio source (1/4" phone jack)
Audio Input can also route audio through the filters, output chain, and effects
Sustain/footswitch input
Volume pedal input
Expression pedal input

Power

1 universal IEC AC power inlet for internal power supply
Operates worldwide on voltages between 100-240v, 50-60 Hz, 65 watts maximum power consumption

Dimensions

Shipping Box Dimensions: 44 x 20 x 13 inches, 35 lbs
Synth Dimensions: 38.5 x 14.25 x 5 inches, 27 lbs

Notes: This is a special one. Seven-voice, four-part multitimbral analogue goodness from this boutique Argentinian brand. Stunning sound and depth, combining vintage fatness with contemporary precision.

Supplier's Notes:
The GS e7 is a subtractive synthesis polyphonic analogue synthesizer. The sound generation is carried out in a total analogue way. Each voice has two voltage controlled oscillators (VCO), a noise source, a mixer, a voltage controlled filter (VCF) and a voltage controlled amplifier (VCA). The control signals are digitally generated by a microcontroller, which is capable of processing three low frequency oscillators (LFO) and two envelopes (EG) of the ADSR type. In addition, it incorporates an effects processor with chorus and delay.

The GS e7 interface was designed to be simple and intuitive.

It also has MIDI connections, USB, balanced stereo audio outputs, headphone output and CV inputs.

*** Please note: This synthesiser comes with a US type A mains lead with UK plug adapter. ***

Specs

Polyphony: 7
Multitimbral: 4 parts
Oscillators: 2 voltage controlled analog oscillators (VCO) with sub-oscillators. Hard sync.
Oscillator Waveforms: Triangular, Saw-Tri, Sawtooth, Pulse with PWM. It is possible to mix the pulse with the other waveforms.
Filter (VCF): 24dB / Oct low pass filter (4 poles) with resonance control.
Envelopes: 2 (Attack, Decay, Sustain, Release), Velocity to Attack
LFO: 3
LFO waveforms: Triangular, Ascending ramp, Descending ramp, Square, Sample and Hold
Effects: Chorus, Delay
Presets: 512 programmes, 128 multi
Conennections: MIDI IN, MIDI OUT, MIDI Thru, USB, Pitch CV, Cutoff CV, Gain CV, Ext input, Audio Out (L/Mono, R, 1/4" TRS balanced), Headphones
Power supply: DC 12V 3A
Dimensions: 520mm x 190mm x 108mm
Dimensions (with packaging): 620mm x 290mm x 230mm
Weight: 4.6 kg (estimated)

Notes: PlayAUDIO1U allows every working musician access to an easy, seamless, simple & straightforward failover solution.

PlayAUDIO1U fuses iConnectivity's vast engineering knowledge of the live arena, passion for performance, and decades of experience into one product. PlayAUDIO1U ensures working musicians never suffer the embarrassment of a silent show, ever again.

PlayAUDIO1U's secret in part is integrating two computers connected directly to the interface, forming an incredible redundancy / failover protection system. Should your main computer fail, PlayAUDIO1U switches to the backup computer in a heartbeat; so fast that you and your audience won't even notice. Backing tracks keep playing in time and your MIDI gear stays connected. It does this all in a package that is completely designed from the ground up made-to-tour.

PlayAUDIO1U also ships with iConnectivity's new and improved Auracle 2.0. Auracle 2.0 is fast, flexible and intelligent, allowing performers to create a sophisticated live integration of all audio and MIDI connections, inputs and outputs; Auracle lets you do it in minutes, not hours.
"PlayAUDIO1U builds on everything we learned in creating and then supporting users of our PlayAUDIO12, an interface that quickly became the industry standard," says Al Joelson, VP of Sales and Marketing. "This interface is designed to be an even more ready-to-gig, comprehensive solution. It's a crazy powerhouse of audio and MIDI capability for live performance. "

Notes: A massive semi-modular system in a small case with the footprint of a laptop. Cascadia has MIDI in/out/thru/USB, Eurorack compatible signal levels and pro-level audio I/O to interface with the rest of your studio or get your studio started.

Modern Analog Architecture
Cascadia is packed with a mix of classic East and West Coast synthesizer blocks. Normalized connections let you get straight to the sounds inside. Or, let your imagination run wild and patch any of the modules together however you choose. Make small tweaks to the architecture, or re-route the entire synth to your likingithe choice is yours!

Two Precision Analog VCOs
VCO A is Thru-zero FM-ready with a dedicated Index VCA, Sub Oscillator, PWM and Soft/hard sync.
VCO B is a combo VCO/LFO with 4 simultaneous outputs
Six Channel Waveform Mixer
Two patchable (normalled) inputs
Noise generator with multiple algorithms.
Optional asymmetric soft clipping on the mix output.
Liquid-Sounding, Cascaded 4-Pole Multimode Filter
Eight Modes: LP1, LP2, LP4, BP2, BP4, HP4, NT2, Phazor.
Additional dedicated outputs for LP4 and HP4.
Input Level Knob for fine control of filter input and resonance balance and added drive.
Multiple FM inputs and a QM input, all with attenuators.
Wavefolder Circuit
West Coast-style parallel wavefolder.
Normalled into the auxiliary input on the VCA in parallel with the filter.
Dual Digital Envelopes
ENV A is a versatile east coast style ADSR / AHDSR envelope generator with a hold function and dynamic level/time control. Normalled to the VCA to instantly shape your sound.
ENV B is a complex, multimode function generator with a West Coast style AR/ASR/Cycling AR, a beat syncable LFO, Burst generator modes, and the Entropic Sequence Generator (added in 1.3). Normalled to the filter for instant FM without patching.
VCA A and Output Path
VCA A is a linear VCA with auxiliary input.
Global Output Mixer with overdrive circuit and bypassable asymmetric soft clipping.

Expansive Utilities Sections
Cascadia also features a whole host of utilities for getting the most out of your patches.

The Utility Row
Sample and hold circuit with white noise normalled to the input.
Slew/Envelope follower.
Attenuverter/Mixer with multiple outputs.
Triple triangle LFO with rate control, rate input and divided outputs.
Triple buffered multiple.
Precision adder.
Signal inverter.
Bi-polar > Unity level shifter.
Expression level control for modulation the TRS expression input on an FX pedal.
Ring Modulator.
VCA B / LPF (LPG) i Auxiliary VCA and 4-Pole Diode Ladder VCF combination for additional dynamics.
The Top Row
Easy to access Pitch, Gate, and Velocity CV inputs.
Pedal Send and Return FX loop with Wet/Dry control, phase inverter and Line/Pedal level switches.
Output Mixer with Overdrive.
Eurorack Level Main output with level control for interfacing with other modular gear.

The Outside world i MIDI, Pedal and Audio I/O
Cascadia is equipped with a ton of I/O to get it connected to the rest of your gear.

Rear Panel
14" Stereo Headphone jack.
14" Balanced Output Jack.
14" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
14" TS Pedal FX Send Return and 14" TRS Expression Out.
MIDI DIN In/Out/Thru and USB-MIDI all routed to the MIDI > CV Interface on the top panel.
MIDI > CV Interface
Deeper MIDI configuration is available with our Intelljel Config App (link below). MPE Support has been added in v1.4 and supports the Ableton Live 12 Tuning systems. Dual Mono mode (added in 1.3) allows an additional channel to send it's own Pitch/Gate signal on the CC/MOD outputs. All modes support MIDI Portamento.

MIDI Pitch / Velocity Outputs and Learn Button
MIDI Gate / Trig Outputs
MIDI CC / Mod i Learnable and assignable to any CC or Channel Pressure
MIDI LFO i Multimode LFO synced with MIDI or Tap Clock
MIDI CLK i Dividable MIDI clock with alternate Tap Clock functionality.
Cascadia comes ready to play.
The normalization behind the panel allows for a ton of exploration without ever adding a patch cable; there is years of material to explore in Cascadia and years more when you start patching. We've included everything you need to get started: 14 assorted patch cables, USB-A to USB-C cable, and an international power supply.

Expand and Customize
In addition to additional patch cables, we have additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage trayigreat for an effects pedal or patch cables.

Specs
In the Box Cascadia Semi-modular Synthesizer
14 Patch cables i 4×10cm, 4×15cm, 4×30cm, 2×45cm
USB-C to A cable
Intellijel cable tie
15V/1.2A AC Adaptor (Euro/American prongs included)
Height 66mm (from rubber foot to top of knobs)
Width 348mm (including wood end cheeks)
Depth 246mm (front to rear jacks).
Power 15V DC/1.0 A (minimum), center-pin-positive.

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


Combining vintage sound with modern features, the S2400 draws heavily on the iconic Emu SP1200 to create a new instrument with a distinctive character. One of the best samplers money can buy.

Supplier's Notes:
A legend, reborn.

The S2400 is nothing short of a passion project. Along with a small team of talented Software Engineers, CAD Engineers and revered artists, Isla Instruments have developed a future classic.

The S2400 is a passion project - to recreate the sound of one of the world's most iconic sampling drum machines, and bring it up-to-date with modern features. The result is the very best of old school and new school technology coming together.

Brad has been obsessed with drum machines for many years - owning, repairing, restoring, modifying countless makes and models (see his HR-16 mods on YouTube).

Staying true to form in both sonic characteristics and design aesthetic were the main drivers in the realisation of this project, while bringing the hardware into the 21st Century and keeping the same 'instant gratification' and intuitiveness of its spiritual pre-predecessor at heart.

A machine built for the now and the future.

S2400 Specifications

Sampler / Audio:
16-Bit 48Khz 'Hi-Fi' Sampling/Playback Engine
12-Bit 26Khz 'Classic' Sampling/Playback Engine
Engine type assignable to each of the 32 sample slots
Sample up to 21.5 minutes per slot (Classic / Mono),
5.5 minutes (Hi-Fi / Stereo)
Simultaneous (Full Duplex) playback and record with 8 channel LiveLooping functionality.
On-screen waveform display (slice audio, set loop-points with ease)
128 MB of built-in factory drum kits (from some of our featured beta team)
Independent Headphone output for monitoring (effectively 2 extra channels)
DSP based LP/HP Filtering per track (more FX planned for future)

Sequencer:
Multiple sequence entry methods: Live recording, Step Sequence, Piano Roll GUI, TR x0x Style
32 Stereo Audio Tracks w/ 16 Voice polyphony
32 MIDI Tracks (for sequencing external equipment)
96 PPQN Clock
Per track quantization and swing (including classic mode)
Patterns are up to 100 measures, any time signature
All parameters (level, pitch, envelope, filters) configurable per pattern step
Song mode

Hardware

Bright 128 × 64 pixel OLED display (viewable from any angle)
Ultra High quality Grayhill Optical Data Entry Encoder
8 x 60mm Professional Dual Rail Faders
8 x Dual 'concentric' Pro-Audio rotary pots
Broadcast Equipment grade A/V backlit pushbutton switches
Tactile silicone pads backlit with RGB LEDs
SD Card storage (up to 1TB currently tested)
Classic (OG) input and output analogue filtering circuitry.

I/O

MIDI In/Out/Thru (Standard 5-pin DIN)
2 × 1/4" Stereo Mix Out jacks (psuedo balanced)
8 × 1/4" Individual audio out jacks (psuedo balanced)
4 × 1/4" External input jacks (with adjustable pre-amp modes)
2 × Stereo RCA Line/Phono Inputs (with dual phono pre-amps)
Hi-speed USB 2.0 device port. (USB Audio/MIDI)
USB Host port (connect external USB peripherals, MIDI controllers etc).
3.5mm Clock/trigger in and out jacks (to sync/trigger vintage equipment or modular synths)
Universal Voltage100-250V AC Mains powered.

Physical

Rock Solid 16Ga Cold Rolled Steel enclosure with 6mm Anodised aluminium sidewalls.
Aluminium knobs
Dimensions: (Including knobs, jacks, feet)
Imperial: W18" x D12" x H5" (back) 3" (front)
Metric: W460mm x D310mm x H130mm (back) 80mm (front)
Weight: approximately 13lbs / 6Kgs (metric)

*** Please note: This product does not come with the three-pin PSU kettle leads required, please purchase separately. ***

Notes: A modern classic. Analogue-focused drum machine with a few nice digital features for good measure. Proper weighty sound and huge sound-sculpting options for live or studio use.

Supplier's notes:
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 - they've simplified some things, but also added new components or have combined them new. The outcome is the best sounding and most versatile drum machine that Jomox have ever built.

Notes: A unique approach to FM synthesis in this updated version of Kodamo's ludicrously powerful EssenceFM. Up to 300 voice polyphony, hugely powerful touchscreen editing and stereo effects.

Supplier notes:
The EssenceFM is a powerful and easy to use FM synthesiser, allowing you to explore the endless soundscapes offered by FM synthesis. With a super-responsive touchscreen, assignable knobs and workflow optimized for sound design, creating rich and unique sounds is easier than on any other FM synthesiser.

The EssenceFM engine allows to create ridiculously powerful sounds made of more than 6 operators. That's why it's been given 300 voices of polyphony, you get the easy-to-program 6 op FM synthesis and the ability to layer many voices to create huge, rich-souding instruments.

There are 1800 operators and 4200 envelopes running at the same time, more than you will ever need.

This synth is the result of Kodamo's efforts to create the best user interface to interact with FM synthesis. No endless menus, no weird key combinations, no complex structure to remember. Everything is displayed on screen, every element is editable by pressing on it.It requires some trial and error to find the perfect sound, and that exploration process is fun only when the interface doesn't work against you. The EssenceFM is full of small details that makes workflow better: 1024 undo/redo steps while editing, copy/paste on every element, clear navigation using 4 modes and a breadcrumb, real-time envelope level display on the operators and much more. All that makes for a powerful and enjoyable synthesiser.

What you can do with it:
Create your own FM algorithms by drag and dropping operators on the touch screen. An almost infinite number of configurations is possible
Layer up to 128 voices per patch, each consisting of 6 operators, for incredibly rich sounds
Draw your custom waveforms on the touch screen to use them as oscillators or LFOs
Thicken the sound with the built-in effects
Take advantage of its 16 part/300 voice multi-timbrality to create full songs with it
Use it to make analog-like sounds with the built-in resonant filter
Connect it to your audio recording gear and effect modules in many different ways with the four balanced stereo outputs
Explore FM synthesis in the most convenient way possible with the Undo-Redo buttons, allowing for any action to be undone
Try microtunings, layer splits, round robin, MPE, and many other advanced features.

Package Contents:

EssenceFM synthesizer (MKII version)
Printed user manual
2x 3U 19" rack mount brackets
4x screws
Universal (100-240V) AC adapter
IEC power cable
2x rubber strip

Notes: Unique digital instrument based on bitmask synthesis and resonant filters. Raw and distinctive tones, with notes interacting in unorthodox ways.

Supplier's Notes:
Expressive & Characterful

The Kodamo MASK1 is a musical instrument focused on the interaction between the player and the keyboard. With its exclusive Bitmask engine combined with resonant filters, the MASK1 makes raw, gritty and ethereal sounds that respond in incredible ways to your playing style.

It's not just the notes

Most synths just play the notes you press. Kodamo went a bit further, by looking at how the notes interact with each other. Only by playing the keyboard, you can control when the attacks are triggered, how notes are tied or separated from each other, or if they should keep resonating or stop each other like if they were played on the same string on a stringed instrument. You will discover new ways of playing the keyboard.

Built with love

The MASK1 uses a high quality, 5-octave Fatar keyboard with velocity and aftertouch. It's fully made of painted metal, with two ALPS knobs and 23 KAILH mechanical switches. Everything is assembled in France with high attention to detail. A lot of time was spent on selecting parts and suppliers to balance price and work ethics, while always aiming for the highest quality.

For live and studio players

With its compact size and light weight, the MASK1 will easily fit in your studio and is ideal for gigs. It remembers settings between sessions. With its unique sound, premium keyboard and MIDI connectivity, it can become the main keyboard of your setup.

Explore the sounds

The MASK1 invites you into a zen and relaxed sound exploration. Press a button, turn the knob and listen how the sound changes. The MASK1 is designed to have very few parameters, but well-thought ones. The Bitmask synthesis engine makes rich and warm sounds ranging from classic analogue tones to voice-like formants, glitchy 8-bit noises and ethereal pads. Sounds are fully editable and can be stored in one of the 400 user memory slots. They can be transferred to your computer and shared with other people.

What is Bitmask synthesis?

Bitmask synthesis is the method the MASK1 uses to generate its sound. Internally, oscillators do only have one waveform. Various tones are created by applying what is called a bitmask. This is a technique inherited from computing, which alters a number by masking some of its digits. Here, this technique was adapted to make sound. Bit-masking creates complex wave shapes that are full of harmonics and give the MASK1 its sonic character.

Specifications

Synthesis type: Bitmask, subtractive
Polyphony: 10 voices with optimized allocation
Multitimbrality: 4 parts (5 in layered/split mode)
Oscillators: 2 bitmask per voice with 256 masks each, transpose and detune
Noise: 1 per voice with programmable sample-and-hold frequency
Filter: 1 per voice, two poles (12dB/oct) state variable, self-resonant with pitch tracking and 4 modes (low, high, band pass, notch)
Envelopes: 4 loopable ADSR per voice (osc1, osc2, noise, filter), 3 delta-decay (osc1 mask, osc2 mask, pitch)
LFO: 2 per part with 7 waveforms and noise, delay, decay and 16 destinations
Arpeggiator: 26 patterns with adaptive or fixed chords, latchable, retrig or pitch change modes. Arp do send note events to MIDI out.
Looper: Up to 10000 events, unlimited duration, single track. Records notes, pitch bend, mod wheel, aftertouch and sustain pedal.
Effects: Two stereo effects in series. First effect: chorus, phaser, distortion, bitcrusher, tremolo and ring mod (64 types). Second effect: delay, comb filter, reverb, room simulations and distortion (48 types)
Modulations: Velocity (6 destinations), modulation wheel (16 destinations), aftertouch (16 destinations), LFO1 and LFO2 (16 destinations each)
Play modes: Polyphonic, monophonic, slurred, mono portamento on legato, paraphonic, hybrid poly-mono on legato, slurred paraphonic, mono retrigger, poly retrigger
Split: Configurable split point, balance between voices, transpose, panning and tuning
Layer: Configurable balance between voices, transpose, panning and tuning
Misc: Voice pan spread, polyphonic portamento, keyboard envelope rate scaling
Memory: 120 factory presets, 400 user voices. EEPROM-based (no battery required)
Audio outputs: 2 balanced 1/4" TRS jack, pro audio level with +/-12V internal power supply, 1/4" jack headphones
MIDI: 2 DIN (in, out), class-compliant USB type B, SysEx voice transmit/receive, CC-mapped voice parameters
Keyboard: 61 full-size keys, weighted Fatar action with 6 velocity curves and 6 aftertouch curves
Controls: 23 buttons, 2 rotary encoders, pitch bend wheel, modulation wheel
Display: 4-digit red display
Pedal input: Sustain, 1/4" TS jack, adaptive polarity
Tuning: 400-470Hz. 6 temperaments including arabic tuning.
Size: 89 x 26 x 8cm including knobs and feet.
Weight: 7.5kg
Power: External 12V DC adapter, AC 100-240V in
Chassis: Powder-coated, screenprinted steel. Light grey (RAL 9002) colour
Sides: Black ABS

Notes: 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: Premium version of the excellent Opsix, Korg's contemporary take on FM synthesis. Full 61-note natural-touch keybed with aftertouch, 80-voice stereo polyphony and full metal construction.

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


Premium version of the excellent Opsix, Korg's contemporary take on FM synthesis. Full 61-note natural-touch keybed with aftertouch, 80-voice stereo polyphony and full metal construction.

Supplier's Notes:
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: 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: Top-of-the-range take on the powerful Wavestate synth concept, based on wave sequencing with 120-note stereo polyphony, natural-touch 61-note keybed and aftertouch.

Supplier's Notes:
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.

Ultimate protection

Whether travelling to a studio or setting out on a world tour, ensure your Wavestate SE arrives safely with the included hard case. The custom design even provides space for cables and pedals.

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

Notes: Gorgeous experimental system based around Make Noise's brilliant Maths, Morphagene, QPAS and Mimeophon modules. Capture and process sounds in stereo and warp them into new dimensions.

Supplier's Notes:
The Tape & Microsound Music Machine music synthesizer is a small stereo system devoted to capturing external sounds and sculpting them into new ones. The Morphagene operates as a recorder that also allows the artist to mulch, layer and rearrange the sound and manipulate the speed and direction of playback. The Mimeophon repeats sounds and subjects them to further manipulation, and when combined with the Quad Peak Animation System (QPAS), incredible stereo sculpting of the spectrum. The Wogglebug and MATHS work to animate these effects, and the XOH provides a final stereo mix and line level or headphone outputs for monitoring and/or performance.

Notes: An absolute powerhouse of a synth with 16-voice polyphony, stereo architecture and a four-part multitimbral digital sound engine. Built-in sequencers, sample playback and effects make it a true all-rounder.

Supplier's Notes:
MD900 is a polyphonic desktop synthesizer, multitimbral with 4 parts. A polyphony of up to 16 voices are shared by the 4 multi-timbral parts. All of these 4 parts have their own effect stack [Mod-Delay (flanger, chorus, vibrato), Reverb, Tube-AMP, EQ, LP-Filter, DYNAMIC (Limiter) , Stereo Delay ...].

The overall audio path is stereo. Rationally, the oscillator, mixer filter, amps and effects are all in stereo.

Four independent arpeggiator und step sequenzer assigned to each of the four synth parts. The trigger sequencer may trigger the built in transient sample player (Drum Kit .wav) or send triggers to MIDI-Out (USB-DIN or USB-MIDI)

The housing is made of aluminum with real walnut wood on the front and back.

All components are industrial grade. On the operator panel we use precision potentiometer with aluminum covered knobs.

For some parameter entries we use endless encoder without rest.

This kind of encoders feels like a potentiometer.

All of this feels very valuable and it feels great to work with.

The MD900 XVA engine is patch compatible with the M800-R2 synthesizer.

Overview Firmware OS:

The XVA-Sound Engine of the MD900 runs on top of a Linux OS with real time extensions. The overall boot time is < 30 sec.

All contents like Wavetable-, Sample-files, preset and sub-preset files are stored on the internal filesystem.

The filesystem is accessible over ethernet (USB-Lan Adapter).

Managing presets, samples, wavetables configurations & updates are possible and easy to handle.

Operation Panel:

The operation panel gives you real time control to the major voice parameters with a dedicated knob. All parameters are accessible via touch-display and the endless rotary encoders. The part (timbre) has to be selected to alter the parameter on the dependent timbre.

The module specific info display gives the necessary detailed feedback on the parameter changes.

Specifications

Dimensions: 460mm x 295mm x 65mm
Power: External 15V DC power brick 50W
Audio In : 6.3mm stereo jack
Audio Out: Left 6.3mm mono jack, right/left 6.3mm stereo jack
Headphone: 6.3mm stereo jack
MIDI DIN: 1x Midi Input, 1x Midi Output, 1x Midi through
USB 2.0: 2x Hot connect for USB/Ethernet, USB-Midi Host
Pedal SW: 1x Pedal switch input 6.3mm jack
Volume pedal: 1x Standard expression pedal
TFT Display: 5" 800x 480 Colour (24bit) capacitive touch display.
Frontpanel: 37x Potentiometer, 12x linear slider, 12x endless encoder, 30x switches, 42x Leds

Notes: Killer digital drum machine from the excellent Modor. Six instruments, 128-step sequencer and some of the freshest, most innovative drum sounds we've heard in a long time.

*** New upgrade - July 2023 ***

Introducing this new upgrade for the DR-2, OS010. Built in cooperation with Berlin-based Canadian electronic music artist Nicolas Bougaieff!

Bougaieff frequently uses polyrhythmic structures, dividing bars or musical phrases of different instruments into different numbers of steps. Have one instrument play 17 steps in the time another instrument plays only 16 steps, or 8 steps in 5 steps, or... Like stretching N steps of one instrument over M steps of a second one, giving them an N:M speed ratio.

He felt that there were only rather limited possibilities in hardware sequencers and drum machines to achieve this.

The process of achieving this was quite challenging, but the result was worth it! This is a very intuitive way to work with polyrhythms, making use of stretched clocks. It is ready for download now on Modor's download page on their site!

Apart from the main sequencer clock, the DR-2 now has 2 polyrhythmic clocks (or 'polyclocks'), called polyclock A and B. Each of these 2 clocks relates to the regular 'main' clock with a certain N:M ratio. The polyclock takes N steps in the time the main clock takes M steps.

Next, every instrument can separately choose a clock:
the main clock,
the A polyrhythmic clock,
or the B polyrhythmic clock.

This means, you can let, for example, a snaredrum play 7 steps while the rest of the instruments plays 8 steps. The 7 steps are stretched equally in time over the 8 steps of the other instruments.

How is this done?

Keep the A or B button down, and set the N:M ratio using the SELECT/BPM (for N) and VALUE/SWING (for M) knobs.

Keep an instrument button A...F down and hit the A or B button to assign that instrument to one of the polyrhythmic clocks. Hit it again to return to the main clock.

Supplier's Notes:

The DR-2 is a 6 instrument digital DSP drum synth, with a built-in 128-step drum sequencer. At first sight, it will feel recognizable in some ways. There are sounds that will remind you of the good old classic drum machines, and the step sequencer will get you building drum riffs from the first second you touch it. But Modor uses digital sound synthesis to get beyond the possibilities of a classic drum machine, and the step sequencer does more than just hitting drums...

First of all: although it's digital, the DR-2 is not about sampling. It's a drum synthesizer, like a classic analog drum machine, but it uses digital sound synthesis algorithms instead of analog circuitry. There are no samples in the DR-2, and there's no sample memory.

Just like the Modor NF-1, the DR-2 is not built to recreate the classics of the past. The DR-2 uses digital sound synthesis to innovate drum sounds and rhythms. Many sounds will be recognizable. It is possible to make classic sounding bass drums, snares and rimshots. It's not difficult to program classic floorfillers with the DR-2. But with 12 synthesis parameters per drum, you'll easily find yourself creating your own individual sound.

The DR-2 has 6 drum 'channels', drumsets made of 6 drum instruments. These channels don't have predefined instruments. You can choose freely which instruments you want in your 6-channel drumsets. The DR-2 works with drum 'models', of which you can pick one for every channel. You can consider these 'models', or synthesis algorithms, as a collection of small but dedicated drum synthesizers, of which you can pick 6 to form a drumset. There are models for bass drums, snares and cymbals, but also for some more unusual drum sounds, clicks and ticks.

Every model has up to 12 sound synthesis parameters: Pitch with pitch decay, curve and amount, amp volume with panning, amp decay and curve, and parameters X, Y, Z and T that have a different function in every model, see the table below.

The DR-2 has an output jack connector for each of the 6 channels A-F, and 2 master L/R outputs. If there's no cable connected to a channel output, the corresponding channel is sent to the master L/R outputs. The individual channel outputs are mono, but have a panning parameter to give it a stereo position in the master mix.

But there is more! The A-F output connectors are actually insert points, you can use 6.35mm (1/4") TRS jack connectors to route a channel out of the DR-2, and send it back in if you want. This way, you can use external effects, equalisers, compressors, ... on each of the 6 channels individually, and still have them panned and mixed in the master outputs of the DR-2.
Next to the audio connectors, the DR-2 has 6.35mm (1/4") TS connectors for 24PPQN clock input and output, and has classic din-5 MIDI IN, OUT and THRU connectors.

The sequencer of the DR-2 has a lot more options than just the classic 16-step sequencer. First of all: you can use 32nd notes, so the DR-2 doubles the resolution of a classic 16-step sequencer. The DR-2 has 16 step buttons but you can see 32 step leds on the front panel. Keep the '16/32'-button pressed to access the steps-between-the-steps.

A pattern can use up to 4 of these 16/32-step pattern parts, these can be accessed with the 1-16/17-32/33-48/49-64 buttons. Using SHIFT + one of these buttons sets the pattern length. So, it's actually a 4x32 or 128-step sequencer.

But there's more: each instrument has it's own Accent, Flam, Tuplet, Break and Reverse patterns. Keep the ACC, FLAM, SHIFT+FLAM, BREAK or REV button pressed while using the step buttons.

MEASUREMENTS
Width: 440mm without rack ears, 480mm with rack ears (19")
Height: 267mm (10.5"/ 6U)
Depth: 40mm (front) - 80mm (back)
Weight: +/- 6kg

CONNECTIONS
9V, 600mA adapter connection, positive voltage on center pin
MIDI IN/THRU/OUT connections, 3x 5-pin DIN connection
Clock In/Out connections, 2x 6.35mm mono jack
Audio Instrument Outputs/Inserts, 6x 6.35mm TRS or mono jack, unbalanced
Audio Left/Stereo output, 6.35mm TRS or mono jack, unbalanced, capable of driving headphones
Audio Right output, 6.35mm mono jack, unbalanced

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


Killer digital drum machine from the excellent Modor. Six instruments, 128-step sequencer and some of the freshest, most innovative drum sounds we've heard in a long time.

*** New upgrade - July 2023 ***

Introducing this new upgrade for the DR-2, OS010. Built in cooperation with Berlin-based Canadian electronic music artist Nicolas Bougaieff!

Bougaieff frequently uses polyrhythmic structures, dividing bars or musical phrases of different instruments into different numbers of steps. Have one instrument play 17 steps in the time another instrument plays only 16 steps, or 8 steps in 5 steps, or... Like stretching N steps of one instrument over M steps of a second one, giving them an N:M speed ratio.

He felt that there were only rather limited possibilities in hardware sequencers and drum machines to achieve this.

The process of achieving this was quite challenging, but the result was worth it! This is a very intuitive way to work with polyrhythms, making use of stretched clocks. It is ready for download now on Modor's download page on their site!

Apart from the main sequencer clock, the DR-2 now has 2 polyrhythmic clocks (or 'polyclocks'), called polyclock A and B. Each of these 2 clocks relates to the regular 'main' clock with a certain N:M ratio. The polyclock takes N steps in the time the main clock takes M steps.

Next, every instrument can separately choose a clock:
the main clock,
the A polyrhythmic clock,
or the B polyrhythmic clock.

This means, you can let, for example, a snaredrum play 7 steps while the rest of the instruments plays 8 steps. The 7 steps are stretched equally in time over the 8 steps of the other instruments.

How is this done?

Keep the A or B button down, and set the N:M ratio using the SELECT/BPM (for N) and VALUE/SWING (for M) knobs.

Keep an instrument button A...F down and hit the A or B button to assign that instrument to one of the polyrhythmic clocks. Hit it again to return to the main clock.

Supplier's Notes:

The DR-2 is a 6 instrument digital DSP drum synth, with a built-in 128-step drum sequencer. At first sight, it will feel recognizable in some ways. There are sounds that will remind you of the good old classic drum machines, and the step sequencer will get you building drum riffs from the first second you touch it. But Modor uses digital sound synthesis to get beyond the possibilities of a classic drum machine, and the step sequencer does more than just hitting drums...

First of all: although it's digital, the DR-2 is not about sampling. It's a drum synthesizer, like a classic analog drum machine, but it uses digital sound synthesis algorithms instead of analog circuitry. There are no samples in the DR-2, and there's no sample memory.

Just like the Modor NF-1, the DR-2 is not built to recreate the classics of the past. The DR-2 uses digital sound synthesis to innovate drum sounds and rhythms. Many sounds will be recognizable. It is possible to make classic sounding bass drums, snares and rimshots. It's not difficult to program classic floorfillers with the DR-2. But with 12 synthesis parameters per drum, you'll easily find yourself creating your own individual sound.

The DR-2 has 6 drum 'channels', drumsets made of 6 drum instruments. These channels don't have predefined instruments. You can choose freely which instruments you want in your 6-channel drumsets. The DR-2 works with drum 'models', of which you can pick one for every channel. You can consider these 'models', or synthesis algorithms, as a collection of small but dedicated drum synthesizers, of which you can pick 6 to form a drumset. There are models for bass drums, snares and cymbals, but also for some more unusual drum sounds, clicks and ticks.

Every model has up to 12 sound synthesis parameters: Pitch with pitch decay, curve and amount, amp volume with panning, amp decay and curve, and parameters X, Y, Z and T that have a different function in every model, see the table below.

The DR-2 has an output jack connector for each of the 6 channels A-F, and 2 master L/R outputs. If there's no cable connected to a channel output, the corresponding channel is sent to the master L/R outputs. The individual channel outputs are mono, but have a panning parameter to give it a stereo position in the master mix.

But there is more! The A-F output connectors are actually insert points, you can use 6.35mm (1/4") TRS jack connectors to route a channel out of the DR-2, and send it back in if you want. This way, you can use external effects, equalisers, compressors, ... on each of the 6 channels individually, and still have them panned and mixed in the master outputs of the DR-2.
Next to the audio connectors, the DR-2 has 6.35mm (1/4") TS connectors for 24PPQN clock input and output, and has classic din-5 MIDI IN, OUT and THRU connectors.

The sequencer of the DR-2 has a lot more options than just the classic 16-step sequencer. First of all: you can use 32nd notes, so the DR-2 doubles the resolution of a classic 16-step sequencer. The DR-2 has 16 step buttons but you can see 32 step leds on the front panel. Keep the '16/32'-button pressed to access the steps-between-the-steps.

A pattern can use up to 4 of these 16/32-step pattern parts, these can be accessed with the 1-16/17-32/33-48/49-64 buttons. Using SHIFT + one of these buttons sets the pattern length. So, it's actually a 4x32 or 128-step sequencer.

But there's more: each instrument has it's own Accent, Flam, Tuplet, Break and Reverse patterns. Keep the ACC, FLAM, SHIFT+FLAM, BREAK or REV button pressed while using the step buttons.

MEASUREMENTS
Width: 440mm without rack ears, 480mm with rack ears (19")
Height: 267mm (10.5"/ 6U)
Depth: 40mm (front) - 80mm (back)
Weight: +/- 6kg

CONNECTIONS
9V, 600mA adapter connection, positive voltage on center pin
MIDI IN/THRU/OUT connections, 3x 5-pin DIN connection
Clock In/Out connections, 2x 6.35mm mono jack
Audio Instrument Outputs/Inserts, 6x 6.35mm TRS or mono jack, unbalanced
Audio Left/Stereo output, 6.35mm TRS or mono jack, unbalanced, capable of driving headphones
Audio Right output, 6.35mm mono jack, unbalanced

Notes: Originally released in 1970, Minimoog Model D was the world's first portable synthesizer and served as the archetype for all electronic keyboards that followed. The all-analog instrument gained acclaim for combining the colossal sound of the 1960s Moog modular synthesizers with the accessibility of pre-wired modulesimeaning that it could be played instantly and intuitively with no patch cables required. It was quickly embraced by a diverse roster of performers, with artists like Herbie Hancock, Kraftwerk, Rick Wakeman, Sun Ra, Piero Umiliani, Giorgio Moroder, Bernie Worrell, and Gary Numan all shaping unique sounds and forging new musical genres using the instrument.

More than a half-century since its invention, Minimoog Model D is back in production at the Moog factory in Asheville, North Carolina. An exceptional sonic tool and one of the most beloved and iconic synthesizers ever designed, it returns to the hands of synthesists of all kinds and serves as inspiration for the next generation of electronic musicians.

The three-oscillator, monophonic, analog synthesizer is securely housed in a locally sourced Appalachian cherry cabinet and hand-finished aluminum chassis. Sounding as vibrant and deep as ever, its legendary low-pass ladder filter, powerful oscillators, and rich saturating mixer retain the exact component placement and through-hole design of a 1970s-era Minimoog Model D.

While no changes have been made to the original sound engine or audio signal path, the 2022 Minimoog Model D includes a series of popular functional modifications that expand this legendary instrument's sonic capabilities. These modifications include a dedicated analog LFO with triangle and square waveshapes, a premium Fatar keybed with velocity and after pressure available via top panel CV jacks with onboard trimpots, MIDI integration, and a mixer feedback modification which allows the Minimoog Model D to overdrive and scream with the turn of a knob. And, for the first time in its history, the Minimoog Model D now features a spring-loaded pitch wheel with center deadband, allowing for improved playability and wild performance flourishes. This newest edition also includes updates to the MIDI functionality, allowing for improved modern studio integration.

SPECS
NUMBER OF KEYS
44
KEYBOARD RANGE
F0 to C4
KEYBOARD ACTION
Synthesizer (Spring)
NOTE PRIORITY
(Low, High, Last): User Selectable
SOUND SOURCES
3x Oscillators, Noise Generator and External Audio Input
OSCILLATOR FREQUENCY RANGE
0.1 to 20 kHz (In Six Overlapping Ranges)
OSCILLATOR STABILITY
(short term) > 0.25 %
OSCILLATOR WAVEFORMS
Triangle, Triangle-Sawtooth (Oscillator-1, Oscillator-2), Reverse Sawtooth (Oscillator-3), Sawtooth, Rectangle, Wide Pulse and Narrow Pulse.

Notes: Cost-effective all-in-one bundle from Moog: two semi-modular instruments, mixer, cables, accessories and educational materials. Just add speakers or headphones and you're all set.

Supplier notes:
Moog Sound Studio: A complete analog synthesis studio in a box. Everything necessary to start patching today. All you need is a pair of headphones!

Ready to take the next step in your analog synthesis journey? The Moog Sound Studio has you covered. Moog Sound Studio is an all-inclusive bundle of semi-modular synthesizers and accessories created to provide users with all of the equipment, cables, accessories, and educational tools needed to enter the world of analog synthesis for the first time or to continue to explore sound in an immersive new way. All you need is your own headphones or personal speaker and you're ready to get started!

Moog's Mother-32 and DFAM synthesizers are a perfect pairing to anchor any electronic studio. Mother-32 is a versatile performance and production synthesizer with a powerful step sequencer and 64 slots of sequence memory. Its classic Moog synth voice delivers raw analog sound, deep Moog bass, and soaring synth leads, forming an excellent compliment to DFAM's rich analog rhythms and percussive patterns. Equally impressive on their own, these synths become truly magical when combined into a single system. By patching Mother-32 and DFAM together, a symbiotic sonic relationship is formed that unlocks new capabilities and empowers new ideas.

Along with a duo of semi-modular analog synthesizers, each Moog Sound Studio includes a personal stereo summing mixer with 3-way power distribution to provide flexible signal routing and power your entire system conveniently from a single power supply. Also included are a series of guided exercises, exploration games, experimental patch sheets, imaginative studio art, and more to outfit your studio and take your synthesis skills to the next level. And of course, all of the cables and accessories needed to connect everything are included as well!

Moog Sound Studio takes the magical environment and hands-on learning experience of Moog installations found at events around the world and presents them in a way that empowers you to explore synthesis with joy and confidence from the comfort of your own home or studio.

This is an exciting time to be a part of the growing synth community. The Moog Sound Studio is here to provide a meaningful electronic experience that informs, inspires, and nurtures synthesists at any point in the creative journey.

Mother-32
Mother-32 is an intuitive and expandable semi-modular synthesizer that adds raw analog sound, powerful sequencing, and extensive interconnectivity to any creative, electronic, or modular ecosystem. Mother-32 Excels at: Classic analog bass & leads and powerful step-sequencing with pattern memory.


DFAM
DFAM (Drummer From Another Mother) is a semi-modular analog percussion synthesizer that empowers an expressive hands-on approach to percussive pattern creation. DFAM Excels at: Rich electronic drum patches and organic analog sequencing that breathes.

Personal Stereo Summing Mixer and Instrument Cables
This 4-input analog summing mixer (1/4" IN, 1/8" stereo OUT) features selectable mono or stereo configurations for versatile routing options, and the built-in 3-way power distribution hub supplies power throughout your Moog Sound Studio conveniently from a single power supply. The included instrument cables come in lengths and colors to compliment the system and reduce clutter.

2-Tier Rack Kit
Conveniently stack both synthesizers and the summing mixer together as one connected system to maximize studio space and orient instruments vertically for optimal interconnectivity.

Cable Organizer and Custom Patch Cable Set
The included patch cable organizer connects to the two-tier rack or mounts directly to any wall, keeping patch cables neat and orderly for a hassle-free workflow. A custom set of patch cables has been selected in lengths, colors, and quantities to maximize system patchability.

Guided Exercises, Exploration Games, and Experimental Patch Sheets
Learning synthesis doesn't have to be intimidating! Included games and educational materials allow the player to explore at their own pace while enjoying the journey. Developed with artists who know these instruments best, these detailed and fun exercises are designed to accelerate your synthesis experience by exploring new skills to support your ongoing synthesis practice - A perfect jumping-off-point for beginners or source of inspiration for the seasoned pro.

Studio Art
All original artwork, created by Jim Stoten (M32/DFAM) and Philip Lindeman (SUBH/DFAM), has been thoughtfully designed to aid users in the exploration of new imaginative worlds. The characters, poster, and objects that accompany each Moog Sound Studio come together to transform any space into an immersive creative environment.

Notes: A revolutionary keyboard controller that puts the world's best sound library at your fingertips. Get direct, hands-on control of virtual instruments from NI and thousands more from developers like Arturia, Heavyocity, Korg, Output, Spitfire Audio, and u-he.

Browse and tweak everything from synths and drums to orchestral libraries and scoring tools - all seamlessly integrated with Kontrol's tactile controls and large, high-res screen. Then play with a new level of expression and freedom thanks to a best-in-class keybed, polyphonic aftertouch, Light Guide, and Play Assist features. And with a comprehensive package of included software, featuring the industry-leading sampling platform Kontakt 7, you'll be ready to go from day one.

Polyphonic aftertouch

Take expression one step further with the slightest pressure on individual keys. Bring new layers of nuance to your playing with cutoff, pitch, vibrato, and much more, without reaching for an extra encoder or dial. All three models come complete with polyphonic aftertouch on an industry-leading keybed developed in collaboration with Fatar.

Thousands of instruments made real

Kontrol brings the world's best virtual instruments to life in a genuinely immersive experience. Whatever you're playing, get in-depth control thanks to an unparalleled direct connection to Kontakt. Find sounds quickly with intuitive on-screen navigation, then adjust and play them with intelligent auto-mapping that understands the parameters.

Included software

Kontrol comes with a host of creative music production tools - all fully integrated with the hardware, to give you everything you need to start making music straight out of the box.

Included software
Kontakt 7
A free Kontakt instrument of your choice
Komplete 14 Select
Komplete Kontrol Software
Stradivari Cello

An internet connection and a graphics card that supports Direct 3D 11.1 (feature level 11_0) or higher are required to download and activate this product. Once installed and activated, the product can be used offline.

NKS 2 NKS (Native Kontrol Standard) is NI's technical standard for virtual instruments and effects. It's used across the industry and ensures that all compatible plugins are precisely mapped to controls. Kontrol marks the launch of NKS 2, which powers the unmatched software integration experience.

S88 MK3 Dimensions: 1353 × 347 × 120 mm
Weight: 6kg

Hardware specifications:
1 high-resolution colour screen with glass surface (1280 × 480)
CNC machined, bead blasted and anodized aluminum, 8 × encoder caps, 1 × 4D encoder cap, 2 × wheels (pitch and mod)
RGB illuminated pitch and mod wheels
New button-islands that form a continuous dustproof control surface and are grouped by function

System requirements

MIDI 2.0 compatible
Intel Core i5, Apple M1 (and equivalent or higher)
macOS 13 (Ventura) or higher (compatible with macOS 12 in MIDI 1.0 mode)
Windows 10 (latest service pack) or higher
8 GB RAM

Notes: ***POWER SET FOR EU AND AUSTRALIA 220-230V:
The Pittsburgh Modular Structure 208 and Structure 360 eurorack enclosures use a switching power supply that needs manually set to the correct AC input voltage. The internal switch has already be properly set for 220-230 VAC. This setting works for the EU and Australia or other countries that use 220-230 VAC power.
For use in countries that use 100-120 VAC power, such as North America and Japan, the switch inside the case on the AC/DC regulator needs to be switched to the left. The switch is marked with a Yellow sticker printed with "AC input voltage can be selected by switch. Check input voltage avoiding damage before power on." The switch is located on the side of the enclosure below the arrow.
Please contact Pittsburgh Modular with any questions. service@pittsburghmodular.com***

Structure EP-360 Eurorack Enclosure

Maximum Power for a New Generation -

Beautifully stained hardwood triple row, 360hp powered eurorack travel case with lid. A huge case to house a monster synth. Features include a professional, heavy duty, internal power supply designed to exceed the needs of the most demanding analog and digital eurorack systems.




Everything is New:
With years of research and two case lines under our belt, we decided to start over and produce a line of cases for the next generation of eurorack synthesizers. The eurorack modular ecosystem is expanding faster than ever and manufacturers are constantly pushing eurorack cases and power supplies to the limits. What started as a power supply designed to drive primarily analog synthesizers has transformed into a supply that needs to simultaneously meet the unique demands of sensitive analog circuitry, power hungry digital processors, and ground sensitive user interface modules.

We started with what matters most. Clean power. A lot of it. Up to 3x the amount of clean power available in cases from other brands. Next we turned our focus to the enclosure itself and there was only one goal. Make the case stronger. Our engineers tested countless combinations utilizing different types of wood, joints, adhesives, assembly techniques, and hardware to ensure that Structure cases are as durable as they are beautiful.

With a clean and gorgeous design that promotes creative exploration, the Structure enclosures are our most robust and refined case line yet. With massive amounts of both room and clean power, you can reach completely new heights in your creative performances.






Includes:
Structure EP-360

Power
:
6 Amps of Clean +12v Power

6 Amps of Clean -12v Power

5 Amps of Clean +5v Power

Custom Powered Bus Board with 15 Keyed Eurorack Power Headers Per Row, 45 Power Headers Total

External On-off Rocker Power Switch with LED

Universal IEC Power Connector Works Anywhere

Structure EP-360 Enclosure
:
Hardwood and Steel Construction (No cheap plastic here)

Triple 120hp Rows

Removable Lid

Lid Fits Over Fully Patched System (No need to remove patch cables)

Edge to Edge Rail Design Reduces Gaps Between Modules and the Side of the Case

24 Smooth Sliding Square Nuts Per Rail (Holds up to 72 modules)

Beautifully Hand-Stained Hardwood

Matching Black Steel Hardware Set




Structure EP-360 Dimensions
:
External Depth with lid:9 1/4"
External Depth without Lid: 5 1/2"
External Height: 17"
External Width: 25 1/2"
Internal Depth Above Power Supply: 2 3/4"
Internal Depth Above Bus Board: 3 3/4"
Internal Depth Above Nothing: 4 1/4"

Notes: Keyboard version of Pittsburgh's superb Taiga synth, combining Moog-style East Coast elements with Buchla-inspired West Coast synthesis. Premium 37-key model with velocity, aftertouch and 24 HP expansion bay.

Supplier's Notes:
Modern Analogue Keyboard with Expansion Bay

Taiga Keyboard is an evolution of the award-winning Taiga synthesizer. Taiga gave users a boundary-smashing suite of unique modern Pittsburgh Modular analogue synthesizer innovations. Now in Taiga Keyboard, that same powerful suite of tools acts as a foundation in this expressive keyboard instrument.

Exploring the larger keyboard format, spreading controls out, and adding larger knobs makes sound sculpting while performing easier than ever. We've also added additional modulation sources, additional controls, a full-size 37 key premium aftertouch-enabled keybed, and a first-of-its-kind, modular expansion bay.

Taiga Keyboard oscillators

Waveforms generated by the three Taiga Keyboard oscillators stretch beyond the basic geometric shapes and sounds associated with analogue synthesis. Taiga Keyboard waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga Keyboard. Dedicated coarse and fine controls deliver maximum flexibility & control over the full range of each oscillator.

The "Pittsburgh Filter"

The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga Keyboard's oscillators.

Pittsburgh Dynamics Controller

Pittsburgh's new Dynamics technology imparts Taiga Keyboard 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 voice of Taiga Keyboard.

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 Taiga Keyboard sounds more natural or complex compared to other instruments.

Analogue Echoes

Echos is a beautifully dark analogue delay tuned to enhance the source material by repeating it over and over. Echos utilizes a pair of bucket brigade delay chips to produce a classic voltage-controllable analogue delay effect that helps to place the sounds of Taiga Keyboard in a simulated environment.

Open Architecture

Taiga Keyboard has an internally defined signal path. Patch cables are not necessary to begin exploring. Attach a midi keyboard and plug the output into a speaker or DAW and Taiga Keyboard is ready to go with a robust but familiar workflow. When your ideas grow beyond the pre-defined signal path, a 64 point patch bay opens up a fully modular instrument with access to an even deeper set of features and tools.

Modular Expansion Bay

Staying true to our modular roots, we've added a 24hp powered eurorack Modular Expansion Bay that lets you personalize your Taiga Keyboard to your sound and performance needs. Simply remove the metal plate that covers the bay and add eurorack compatible modules. The modular bay helps you make Taiga Keyboard's sound completely your own.

Complete Set of Modular Tools

Taiga Keyboard includes a host of fully modular, analogue, and digital synthesis tools to support and enhance its core functionality. Analog tools include a flexible dual mixer, a pair of plucky four-stage envelope generators, noise, and sample and hold. Digital tools cover external MIDI, arpeggiator, clock sync'd modulation tools, and a robust collection of random generators. The Taiga Keyboard toolset is deep enough for any type of sonic exploration.

Keybed and additional MIDI control

Taiga Keyboard as its name would suggest, has an integrated 37 key keyboard with aftertouch, as well as pitch bend and modwheel. The keyboard can be used as a separate USB / Din MIDI controller using the Local On/Off modes.


Taiga Keyboard's key range can be easily changed using the dedicated octave up and down buttons that are located adjacent to the pitch bend and modwheel.

Taiga Keyboard features and other info:

Paraphonic synthesizer with unique additive elements
37 note aftertouch equipped keybed with full-sized keys
Fully patchable - use Taiga Keyboard's components as separate modules with external devices or reroute its internal patching.
24hp powered Eurorack Modular Expansion Bay
64 point patch bay for rerouting internal signal flow and integrating external sound and modulation sources
Controllable via MIDI, CV, and integrated pseudo random sequencing mode

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: Upgraded FS version of the Fireface 802 features improved digital connectivity and DC-coupled analogue outputs. Same TotalMix DSP, high-end pre-amps and low-latency conversion as the original version.

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

Supplier's Notes:
The Fireface 802 FS is a highly integrated pro audio solution for live and studio use, designed for users who require stability and ultra-low latency operation, as well as an unrivalled professional feature set.

Alongside 60 channels (30 inputs / 30 outputs) of analogue and digital I/O, the Fireface 802 FS benefits from newly developed analogue and digital circuitry with improved performance, as well as a host of professional features.

Like all RME audio interfaces, the Fireface 802 FS benefits from TotalMix FX, RME's digital high-end mixer and signal router. Driven by powerful DSP with integrated EQ, Dynamics and Reverb/Echo effects at up to 192 kHz, plus a built-in monitoring controller, TotalMix FX offers powerful, flexible control of all audio channels.

The full-blown feature set also includes optional Class Compliant mode and operation with TotalMix FX for iPad, RME's app to fully control the 802 FS from the iPad, without any computer. The easy-to-use app includes metering for all 60 channels plus effects bus, different setup screens, and complete control of all features.
A high-end recording, mixing and mastering solution, the RME Fireface 802 FS is packed with professional features including:

DC-Coupled Outputs
SteadyClock FS
Class Compliant Operation
Powerful integrated DSP
TotalMix FX
TotalMix Remote
Support for the Advanced Remote Control USB (sold separately)

Enhance Your Recording Setup - Discover Unmatched Flexibility

The Fireface 802 FS benefits from ultra-low latency operation thanks to RME's renowned USB driver technology and driver stability. SteadyClock FS jitter suppression, individually switchable reference levels for all inputs and outputs and identical operation on Windows PC and Mac completes the package.

The Fireface 802 FS is based on a newly developed analogue and digital board. While the analogue board offers DC-coupled analogue outputs as well as new AD and DA converters, the digital board also enables interesting new features thanks to updated high-tech components.

The front panel of the Fireface 802 FS provides four high-performance XLR/TRS combo inputs for microphone, instrument and line signals and two stereo headphone jacks with +17 dBu output level, to provide high volumes even with hi-impedance headphones.

The rear panel reveals the full connectivity of the Fireface 802 FS. As well as MIDI and Word Clock I/O, the Fireface 802 FS is equipped with two optical ADAT I/Os, an AES/EBU I/O, and eight balanced analogue line-level inputs and outputs.

With the new Multi-Mode, the two ADAT I/Os can be used as separate optical SPDIF inputs and outputs in addition to the AES I/O. Users will also find a USB A port for connecting directly the optional ARC USB, offering tactile control of TotalMix FX.

Professional High-Transparency Preamps

The Fireface 802 FS features four crystal-clear preamps with ultra-low latency converters, using the classic technology of the OctaMic II, a high-end preamp providing supreme sonic quality.

All four preamps deliver extremely low distortion, excellent signal to noise ratio and a perfect linear frequency response, providing a premium solution for transmitting and amplifying any audio input exactly as it is heard, be it high-level stage or typical studio signals, lower level and high-impedance instruments, or dynamic, condenser and ribbon microphones.

The four inputs on the front use balanced XLR/TS combo sockets and operate alternatively as Hi-Z inputs. Directly plug in up to four guitars or other instruments - no other hardware required. Each channel can be individually switched to 48V phantom power or instrument mode. LEDs for signal, clip, TS operation and activated phantom power provide overview on the unit's status.

The Fireface 802 FS continues RME's tradition of designing full-featured, flexible and expandable audio systems. Adding additional preamplifiers or more analogue inputs is easily done via the dual ADAT optical I/Os on the rear.

SteadyClock FS - FemtoSecond Clocking Technology

The RME Fireface 802 FS also features RME's latest digital clocking and jitter rejection technology, 'SteadyClock FS'.

Originally developed for RME's award-winning ADI-2 Pro FS range of high-end converters, SteadyClock FS reduces intrinsic jitter to a new all-time low, when converting to and from analogue over all digital formats.

All clock modes provide excellent performance and astonishingly high-quality analogue conversion, allowing you to hear your mix exactly as it is.

What's more, RME's digital format conversion occurs without any loss to the signal, and SteadyClock FS ensures your sonic image will never experience any kind of degradation, ensuring the soundstage is replicated to the fullest depth and clarity.

Powerful Applications for Mixing, Monitoring and Measurement included

The Fireface 802 FS comes with the TotalMix FX DSP mixer offering comprehensive routing and monitoring options, as well as the DigiCheck Analyzer allowing to measure and analyse the digital data feed in both directions with maximum precision.

TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.

The additional TotalMix Remote is a remote control for TotalMix FX, to control the hardware mixer and effects in RME audio interfaces. TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real-time. Easily adjust all the mixer and FX settings from a distance, via Ethernet and WiFi.

General Specifications

Power supply: Internal switching PSU, 100 - 240 V AC, 30 Watt
Idle power consumption: 15 Watts
Typical power consumption: 22 Watts
Dimensions including rack ears (WxHxD): 483 x 44 x 242 mm (19" x 1.73" x 9.5")
Dimensions without rack ears (WxHxD): 440 x 44 x 235 mm (17.3" x 1.73" x 9.3")
Weight: 2.8 kg ( 6.2 lbs)
Temperature range: +5- up to +50- Celsius (41- F up to 122-F)
Relative humidity: < 75%, non condensing

Notes: Ultra-high-quality audio interface with unbeatable versatility. Up to 94 channels I/O, 64 MADI channels, DSP and extensive digital options including two optical ADAT I/Os.

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

Supplier's Notes:
RME Fireface UFX III: The Flagship Multi-channel Interface

The Fireface UFX III is a powerful all-in-one solution for modern recording studios, live audio playback systems and multi-channel location recording rigs, handling up to 188 channels (94 Inputs / 94 Outputs) with ease.

Unprecedented flexibility and compatibility combines with RME's famous low latency hardware and driver designs, guaranteeing flawless operation for any multi-channel recording application, whilst the inclusion of DURec (Direct USB Recording) provides extensive options for backup recordings and stand-alone operation.

The ultimate professional tool for multi-track recording, mixing and mastering, the RME Fireface UFX III is packed with professional features including:

USB 3.0 (full 94 channel I/O Class Compliant; USB-C compatible)
SteadyClock FS
Powerful integrated DSP
TotalMix FX
TotalMix Remote
DURec (Direct USB Recording)
MADI I/O (64 channels)
And support for the Advanced Remote Control USB (sold separately)

Powerful USB 3 Performance

The front panel of the Fireface UFX III provides four high-performance XLR/TRS combo inputs for microphone, instrument and line signals, two stereo headphone jacks with +19 dBu output level, MIDI I/O, and a USB port.

In combination with the DURec function (Direct USB Recording), the USB port allows independent recording of selected input and output signals (up to 80 channels) to a connected USB storage medium.

The rear panel reveals the full connectivity of the Fireface UFX III. Besides another MIDI I/O, the two optical ADAT I/Os, an AES/EBU I/O, and eight balanced analogue outputs with line level (including XLR stereo monitor outputs) are available.

With the new Multi-Mode, the two ADAT I/Os can be used as separate optical SPDIF inputs and outputs in addition to the AES I/O. Furthermore, the Fireface UFX III offers an optical MADI interface (SC) with 64 bidirectional channels. The Word Clock connectors (BNC) work as additional coaxial MADI input and output if required.

Comprehensive MADI Connectivity

The Fireface UFX III opens the doors to a host of RME and 3rd party digital and analogue I/O solutions.

Expanding your analogue channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.

To further enhance MADI flexibility, the Fireface UFX III boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analogue plus 16 ADAT plus AES), the MADI I/O is still available via RME's integrated hardware mixer TotalMix FX.

Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

SteadyClock FS - FemtoSecond Clocking Technology

The RME Fireface UFX III also features RME's latest digital clocking and jitter rejection technology, 'SteadyClock FS'.

Originally developed for RME's award-winning ADI-2 Pro FS range of high-end converters, SteadyClock FS reduces intrinsic jitter to a new all-time low, when converting to and from analogue over all digital formats.

All clock modes provide excellent performance and astonishingly high-quality analogue conversion, allowing you to hear your mix exactly as it is.

What's more, RME's digital format conversion occurs without any loss to the signal, and SteadyClock FS ensures your sonic image will never experience any kind of degradation, ensuring the soundstage is replicated to the fullest depth and clarity.

Powerful Applications for Mixing, Monitoring and Measurement included

The Fireface UFX III comes with the TotalMix FX DSP mixer, offering comprehensive routing and monitoring options for all analogue and digital audio channels, as well as the DIGICheck Analyzer, which allows users to measure and analyze digital audio data feeds (in both directions) with maximum precision.

TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, including main monitors, submixes, and headphone mixes for musicians.

A free companion app, TotalMix Remote is a network-controllable remote for TotalMix FX, enabling control over interface's hardware mixer and effects from another Mac, PC or iPad, including wirelessly over Wi-Fi.

TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real time.

DC-Coupled Outputs - CV/Gate Voltage Control

Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.

Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.

All of the Fireface UFX III's line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers formats) and other studio hardware.

USB 3 Class Compliant Audio

The Fireface UFX III operates in two different modes: driver-based and Class Compliant.

Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions, allowing for Plug 'n' Play operation of the Fireface UFX III. No proprietary drivers are required, the device will be directly recognised when the CC firmware is loaded.

The Fireface UFX III is RME's first audio interface with full USB 3.0 support in Class Compliant Mode. This makes all channels available in driverless operation for Linux, Mac and iPadOS.

An iPad Pro with USB-C can manage up to 94 channels for recording and playback in TotalMix FX for iPad and on system level.

ARC USB Remote Control (sold separately)

The ARC USB is an optional remote control for the Fireface UFX III, along with all other RME devices that use TotalMix FX.

15 user-assignable illuminated buttons, one encoder wheel, and a TS jack (for connecting a foot switch) provide access to all of the most used functions of TotalMix FX.

The ARC USB can be connected directly to the Fireface UFX III via the second USB port on the back of the interface, or directly to a USB port on a Mac or PC.

Operating as a UAC 1 class device, the RME ARC USB is natively compatible with Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX III.

DURec (Direct USB Recording)

DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX III records on USB thumb drives or hard drives with up to 2 TB capacity.

The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer. The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks.

Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium - even completely stand-alone without computer or software.

General Specifications

Power supply: Internal switching PSU, 100 - 240 V AC, 36 Watts
Idle power consumption: 19 Watts
Typical power consumption: 22-25 Watts
Dimensions including rack ears (WxHxD): 483 x 44 x 210 mm (19" x 1.73" x 8.5")
Dimensions without rack ears (WxHxD): 440 x 44 x 210 mm (17.3" x 1.73" x 8.3")
Total depth: 240 mm (9.4")
Weight: 3 kg ( 6.6 lbs)
Temperature range: +5- up to +50- Celsius (41- F up to 122-F)
Relative humidity: < 75%, non condensing

Included Accessories:

Cable USB 3.0, 1.8 m (6 ft), USB-A/B
Cable USB 3.0, 1.8 m (6 ft), USB-C/B
Optical cable
4 rubber feet, self-adhesive
Power cable
Printed Manual