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Cat: 739915 Rel: 24 Oct 19
 
Full voltage-controlled instrument interface
Notes: Interesting MIDI option for Eurorack. Eight faders and buttons, mappable to MIDI note, CC and lots more parameters, then controllable using CV and gate signals. Versatile.

Supplier's notes:
A fully editable MIDI controller with eight faders and push buttons. Each of them with a CV or Gate input associated to automate their functioning via external signals or to be configured independently for further control.

Each control on VCMC can be edited on its OLED screen and will be output either via DIN-5 or USB as a class compliant MIDI device.

- Current needs: +12V: 64mA, -12V: 12mA
- Width: 20 HP
- Depth: 30 mm
- Aluminium, heat-treated front panel
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 7 in stock $323.07
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quote 739915
Cat: 682317 Rel: 26 Mar 18
 
Vactrol based combination of resonant 12dB lowpass filter and/or VCA - inspired by the Buchla 292
Notes: A Low Pass Gate (LPG) can be a low pass filter, a VCA or a combination of both. This means both the harmonic content and volume can be controlled simultaneously which resembles the behaviour of many instruments: the louder, the more harmonics.

The A-101-2's mode of operation is set with a switch: left position is low pass, right is VCA and the combo mode is in the centre. Alternatively, you can activate the modes with gate signals which is the reason for two gate inputs; this is very interesting in combination with clock dividers or trigger sequencers.

- Gate 1 high & gate 2 low = low pass mode
- Gate 1 low & gate 2 high = VCA mode
- Both Gate 1 & 2 high = combo mode

The A-101-2 has an aggressive sound, compared to other LPGs and its resonance goes up to self-oscillation which not many LPGs offer. The oscillation is rather dirty and far from being a sine wave.

Vintage edition with black faceplate and custom knobs.

3U Eurorack module, 8HP wide, 50mm deep.
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 1 in stock $101.56
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quote 682317
Cat: 671595 Rel: 29 Nov 17
 
Thru Zero VCO - uses quadrature trapezoid as the fundamental waveform
Notes: A-110-6 is a Trapezoid Thru Zero Quadrature VCO. The module is based on an idea by Donald Tillman from 2003 but has been revised for the use of modern electronic circuits (no OTAs/CA3280). Because of its unique trapezoid core it's totally different compared to other VCOs. But the trapezoid core is not the only specialty: it is also a quadrature VCO and features linear thru zero frequency modulation.

The term "quadrature" means in this connection that the oscillator outputs two trapezoid waves with 90 degrees phase shift. The same as sine and cosine of a standard quadrature oscillator like the A-110-4 or A-143-9. These waveforms are called TRASIN (trapezoid sine) and TRACOS (trapezoid cosine).

The term "Thru-Zero" means that even "negative" frequencies are generated. But this a bit a misleading term as negative frequencies do not really exist. "Negative" means in this connection simply that the TRASIN/TRACOS waves will stop when the linear control voltage reaches 0V and continue with the opposite directions as the linear control voltage becomes negative and vice versa.

The module has two control sections: linear and a exponential. The exponential section consists of the XTune control, the 1V/Oct input and the XFM input with the corresponding attenuator XFM. The exponential control voltage is the sum of these three voltages. The linear section consists of the LFrq control and the LFM input with the corresponding attenuator LFM. The linear control voltage is the sum of these two voltages. A dual colour LED is used to display the polarity of the linear control voltage. The pitch of all outputs is determined by the control voltages of both sections. The linear section is used to control the pitch in a linear manner. When the LFrq control (LFrq means Linear Frequency Control) is fully CW the module works like a normal VCO and the LED lights red. The pitch is then controlled by the exponential section with the manual Tune control XTune and the exponential frequency control inputs 1V/Oct and XFM. 1V/Oct is used to control the pitch by a 1V/Oct CV source (e.g. sequencer or Midi/USB-to-CV interface). XFM is used to apply an exponential frequency modulation with adjustable depth (e.g. from an LFO or another VCO). As the LFrq control is turned counter-clockwise starting from the fully CW position the frequency is lowered in a linear manner until the TRASIN/TRACOS waves (nearly) stop at the centre position of LFrq (provided that no LFM signal is present). As the LFrq control is moved from the centre towards the CCW position the waves start again but into reverse direction and the LED turns yellow. When the fully CCW position of LFrq is reached the module works again like a normal VCO. But much more exciting is the usage of the LFM input to modify the linear control voltage by an external control voltage (typically another VCO). Linear modulation by another oscillator using the thru zero feature in combination with the trapezoid waveforms generates audio spectra than cannot be obtained from any other oscillator without the thru zero function. The reason is that a "normal" VCO will simply stop as the linear control voltage becomes zero or negative. But a thru zero VCO will start again with "negative" frequencies as the linear control voltage becomes negative.

Other waveforms like triangle, sawtooth, rectangle and sine can be obtained from the TRASIN/TRACOS signals (triangle e.g. simply by subtracting TRISIN and TRICOS, SAWSIN and SAWCOS by switching the other waveforms). All five waveforms are available as quadrature pairs (i.e. with 90 degrees phase shift):

- Trapezoid (TRASIN + TRACOS)
- Triangle (TRISIN + TRICOS)
- Sinus (SIN + COS)
- Rectangle (RECSIN + RECCOS)
- Sawtooth (SAWSIN + SAWCOS)

By means of a toggle switch the frequency range can be selected between VCO (audio range) and LFO. In LFO range the frequencies are about 1/100 compared to VCO mode.

A dual-colour LED display the polarity of the linear control section. Another dual-colour LED shows the signal TRASIN which is helpful in LFO mode.

Technical note regarding linear FM: The LFM CV input is DC coupled. If the input is used for linear FM in audio range and the signal applied to this input has a DC offset it will cause a small pitch shift that depends upon the value of the DC voltage. Especially when a VCA is used to change dynamically the level of the modulation signal this may generate a pitch shift caused by the control voltage feedthrough of the VCA. The control voltage feedthrough adds a DC voltage at the output which depends upon the control voltage of the VCA. For this application VCAs with a very low CV feed though should be used or the signal output of the VCA should be AC coupled to the LFM input of the A-110-6 (e.g. by inserting a capacitor).
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 1 in stock $233.38
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Cat: 751699 Rel: 23 Oct 19
 
Two separate slew limiters for generating portamento effects - 8HP
Notes: Module A-170 contains two separate slew limiters, also known as portamento controllers or integrators. The first SL has just one joint control, which sets both rise and fall times (c. 0 ...10 sec). The second SL has separate controls for rise and fall times, and can therefore be used as a simple AR envelope generator. Over and above this, you can set the overall range for these parameters, with a three-position switch, as on the full ADSRs.

Both slew limiters have two LEDs each, to show the state of the rising and falling voltages.


Additional technical remarks: If the upper slew limiter is used for precision applications (e.g. portamento/glide of one or more VCOs) a buffer (e.g. A-185-1 or A-185-2) is recommended between the A-170 output and the VCO(s) input(s). The reason is a small voltage drop that is caused by the protection resistor at the A-170 output. An A-185-1 or A-185-2 connected between the A-170 and the VCO(s) avoids that voltage loss. For all A-170 manufactured later than May 2009 (recognizable by the label "Version 2" on the pc board) this remark is not valid as these modules are equipped with an additional voltage buffer at the output.

The lower slew limiter cannot be used for precision applications because of the voltage loss caused by the diodes of the circuit.
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 1 in stock $63.74
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Cat: 751728 Rel: 23 Oct 19
 
Dual passive attenuator - 4HP
Notes: Module A-183-1 is a simple passive dual attenuator. Passive means, that each unit is made of two sockets and a 50k linear potentiometer only. There are no active parts like amplifiers or buffers and no power supply is required.

This is how the A-183-1 works: At the output socket appears the attenuated input signal, i.e. zero level at the fully CCW position and max. level and the fully CW position.

Applications:

Adjustable level of CV or audio signals to control other modules that do not have attenuators (e.g. Dual VCA A-132-1, Quantizer A-156, CV-to-Midi interface A-192 and modules of other manufacturers).
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 1 in stock $41.05
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Cat: 714521 Rel: 22 Jan 19
 
4 stereo channels performance mixer - 6HP wide
Notes: More than just a mixer - The Cockpit can not only be used to sum up mono and stereo signals with modular or line level, but as an effect insert for smartphones and tablets as well. Additionally, the module offers a ducking compressor plus sidechain input. Several Cockpits can be daisy-chained to form a large mixing setup. The audio paths feature a completely analog design to guarantee high-class sound.
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 2 in stock $249.58
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Cat: 563544 Rel: 10 Mar 15
 
Dual oscillator subtractive synth voice module, 40HP wide
Notes: The Atlantis is heavily inspired by the architecture and sound of the classic Roland SH-101. It has always been one of our favorite synths and we really liked how the seemingly limited architecture allowed for all sorts of creative and musically useful sounds to be easily generated.

Just like the 101 it is quick to dial in beautifully rich bass and lead sounds. However this module uses triangle core VCOs (based on the Dixie core) instead of Saw core which respond much more musically to FM. The modulation oscillator can be used as an LFO or VCO (audio rate) and both track very precisely over 8 or more octaves.

In the mixer section you can adjust the balance of the primary oscillators waveforms including a sinewave which is normalled to the EXT IN jack. You could also patch in one of the modulation oscillators waveforms into this channel and be able to operate the Atlantis as a proper two oscillator synth. There is a switch labelled "LINK" which enables the modulation vco pitch to be based as an offset of the primary VCO. This is useful when using it as a stacked dual vco or when you have the mod VCO acting as the linear FM source for the primary vco and wish to maintain the ratio.

The filter section is a Roland style cascaded 4 pole multimode filter with LP, BP and HP modes. The LP Boost switch engages a special mode useful for the LP that produces a much fatter and prominent sound that is not drowned out by resonance (unlike the original SH-101). The filter self-oscillates to produce a very clean sine wave which also tracks 1V/Oct. Between the Mod VCO, Primary VCO, Sub Oscillator and resonating filter it is possible to layer up to four different pitches at one time.

The envelope section is an ADSR with a dual range switch. It also can be set to a looping mode which can be gated on/off externally.

The output VCA feeds into a two level output clipping circuit that you can use to get a much ballsier/dirtier sound.
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 2 in stock $646.14
Cat: 643382 Rel: 27 Mar 17
 
Headphone & stereo output module
Notes: This is a simple 1U module designed to allow the monitoring of a system using headphones. However, if your cat isn't easily scared, the headphone jack doubles as a TRS stereo line level output. Simply connect the signal that you want to monitor to the 1/8? jacks, plug in your headphones, and adjust the volume as desired.
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 3 in stock $69.14
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Cat: 563664 Rel: 10 Mar 15
 
Complex multi stage pitch and gate sequencer synth module, 34HP wide
Notes: The Metropolis is a unique and powerful musical sequencer inspired by the Ryk M-185 (a Roland System 100m format sequencer.) but with many additional enhancements and functions.

The Metropolis comprises eight "STAGES", each with its own assignable gate mode, pulse count and pitch value. Each stage can also have a special slide or skip function activated too. The slide functionality is a constant time portamento very similar to the Roland TB303 (unlike most synths/sequencers that use constant rate portamento) which produces a very musical and interesting result.

In addition to the base sequencer settings set with the sliders and switches there is a full menu of controls and auxiliary modifiers that allows the user to control and manipulate the sequence in many powerful ways including sequencer direction modes, pitch quantization and scale manipulators, clock dividers, shuffle and much more
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 4 in stock $538.08
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Cat: 677563 Rel: 26 Feb 18
 
Dual multi-mode self-oscillating VCF & crossfader - 20HP
Notes: This is the third generation of Intellijel's much loved Korgasmatron filter designed in collaboration with David G. Dixon. The Morgasmatron features two completely independent six-mode filters (labelled "A" and "B") - each with its own mode-select knob, input, output, cutoff, resonance, Q-drive and gain control. Each filter has a pair of CV inputs (one with a built-in attenuator and the other with a built-in attenuverter) for modulating cut-off, and another CV input for modulating resonance. Both filters self-oscillate at maximum Q, and produce pitched sine waves that track the two separate 1V/OCT inputs.

You can use the two filters independently of one another, or you can use them together (in either a series or parallel connection) and smoothly crossfade between them using either the XFADE knob or the XFADE CV input and built-in attenuverter. You can flip the DRY switches to instantly bypass either or both filters; invert the phase of Filter B; or overdrive Filter A by switching on the new Overdrive circuit. A MIX output provides (as you might suspect) a mixed output of the two filters.
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 5 in stock $360.89
Cat: 677564 Rel: 24 Aug 18
 
Joystick/vector mixer for CV or Audio - 14HP
Notes: The most complex modulator is you. The Planar 2 puts macro control over six outputs - including a quad panning mixer - into your hands with a buttery smooth joystick. Record up to 30 seconds of your own movements, stretch it or mangle it with scan mode, use a trigger for playback, or just loop it - synced or not. Add yourself to your patch.

With its smoothly responsive precision joystick, Planar 2 facilitates hands-on vector control of two entirely independent sets of outputs (quadrants A-D, and axis X/Y), plus the ability to capture and playback your gestures. Recording your joystick movements enables the creation of organic and complex envelopes, wild and wobbly LFOs, or extended sonic evolutions. It mixes, morphs, routes and pans audio inputs; triggers gates; outputs control voltages and is itself, CV-controllable. Planar 2 puts the 'joy' back in 'joystick,' and the 'fun' back in 'function generator.' Its multitasking and tactile interface makes it a flexible and unique control device, no matter what your musical genre.
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 4 in stock $323.07
Cat: 602206 Rel: 04 Apr 16
 
USB/DIN MIDI voice and clock interface in 1U rack size - 22HP wide
Notes: The uMIDI 1U provides all the essentials to control and sync your Eurorack modular from your computer, iPhone/iPad, or hardware MIDI device with a minimum of fuss. No menu diving or configuration scripts, just two buttons. The connectivity, feature set, and compact size make the uMIDI 1U ideal for integrating your modular with the rest of your rig while not taking up too much space in your case.

The upper clock section features a dedicated 16th note clock output ideal for synchronizing a Eurorack sequencer like the Metropolis. A second clock output with selectable divisions can be used when difference sync events are needed. The run and reset outputs can be used to reset your Eurorack sequencers in tandem with any external sequencer or DAW.

The lower half of the uMIDI 1U gives you everything you need to control a single voice synth via MIDI. Just connect either a USB or DIN MIDI cable to the module, LEARN a channel, and start playing.

Future firmware updates over USB are made easy with the Firmware Updater software.

This module connects via ribbon cable to the uMidi JACKS 1U module or to the MIDI I/O jacks on the back of the 7U performance cases.
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 2 in stock $133.97
Cat: 563709 Rel: 10 Mar 15
 
Dual 3:1/6:1 unity gain mixer (for cv or audio) synth module, 2HP wide
Notes: Dual 3:1 audio and cv mixer (up to three buffered inputs with a single buffered output).

NOTE: Version 2 of the Unity Mixer has two sets of jumpers on the main pcb. These allow the top and bottom sum to be set to -6dB attenuation instead of unity gain. This creates more headroom when summing higher amplitude sources like raw VCO signals.
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 5 in stock $74.55
Cat: 716898 Rel: 30 Jan 19
 
2-channel Eurorack oscilloscope - 16HP
Notes: Sometimes your ears are not enough and you really need to see the sounds and control voltages you are generating. Zeroscope's two channel design lets you display and compare both control voltages and audio. It's a good old fashioned sci-fi light show!

The Zeroscope 1U is an adaptation of the excellent 3U Zeroscope by VPME.DE.

Three Modes Packed Into 1U:

- Scope: Standard graphical display, with time displayed on the X-axis and voltage displayed on the Y-axis.
- X-Y: Alternate graphical display with CH 1 driving the X-axis and CH 2 driving the Y-axis.
- Tune: Alphanumerical tuning display, which you can configure to show either Hz values or note names.

The Scope displays have adjustable display offset for each channel and an adjustable trigger threshold, while the tuner has options for reference pitch and average update speed.
Ins & Outs

The inputs are DC coupled and accept signals between -10V and +10V. The Signal on the input is normalled to the output below; this allows you to monitor or tune a signal without a mult or re-patching.
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 4 in stock $138.30
Cat: 620699 Rel: 10 Aug 16
 
USB/DIN MIDI voice and clock interface synth module in Eurorack format - 6HP wide
Notes: The uMIDI provides all the essentials to control and sync your Eurorack modular from your computer, iPhone/iPad, or hardware MIDI device with a minimum of fuss. No menu diving or configuration scripts, just two buttons. The connectivity, feature set, and compact size make the uMIDI ideal for integrating your modular with the rest of your rig while not taking up too much space in your case.

The upper clock section features a dedicated 16th note clock output ideal for synchronizing a Eurorack sequencer like the Metropolis. A second clock output with selectable divisions can be used when difference sync events are needed. The run and reset outputs can be used to reset your Eurorack sequencers in tandem with any external sequencer or DAW.

The lower half of the uMIDI gives you everything you need to control a single voice synth via MIDI. Just connect either a USB or DIN MIDI cable to the module, LEARN a channel, and start playing.

Future firmware updates over USB are made easy with the Firmware Updater software.
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 5 in stock $224.74
Cat: 643387 Rel: 21 Aug 17
 
Physical modelling percussion synthesiser module - 12HP
Notes: Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds - both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.

Plonk does this by breaking sound creation into two distinct elements - the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it's percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.

Plonk provides numerous parameters that let you shape, mould and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object - real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.

Best of all, the sounds created by Plonk are not static - any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!

Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk's built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.

Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems - physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.
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 3 in stock $349.00
Cat: 705386 Rel: 23 Oct 18
 
High-quality amplifier for audio signals - 12HP
Notes: The KOMA Dual Discrete VCA offers two independent high quality VCA channels, both built up out of discrete transistor cells with low CV and audio bleed, very low noise and distortion. The VCA's feature set also enables you to experiment with the linear/exponential response curve, changing the dynamics of your sound. Play around with the gain settings for creative distortion effects in the classic KOMA style:

High quality sound by default, noise by choice!
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 1 in stock $158.83
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