Back in stock: All genres

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: Erica's flagship drum machine is a thing of beauty. Hybrid four-voice architecture with digital sound engines feeding into analogue filters and overdrive. Beautiful design, brutal sound. A creative and original instrument.

Supplier's Notes:
It's rather sudden- the bolt of lightning strikes quickly, but the roar follows behind, as if giving one time enough to inhale. Finally, it strikes your ears like the skies breaking apart and in all its magnificence it rides the wind. PERKONS - a deity of old known by many names and also by ours on the eastern coast of the Baltic Sea - THUNDER, lord of the skies. Erica Synths proudly present our newest creation - PERKONS (THUNDER) - a drum machine and synthesizer that will change your approach to electronic rhythm synthesis - an instrument which bears the weight of a storm beneath its sturdy casing.

PERKONS features four sonically versatile hybrid voices (digital sound engine + analogue multimode filter with overdrive) and a sequencer with simultaneous control over all four percussion tracks.

Each voice has 3 sound engine modes, a HP/BP/LP filter and 8 controls for nuanced sound design, including an internal BBD FX send. All voice parameter settings can be saved as KITS. To add dynamics to the performance, parameter automation is implemented and a modulation LFO can be assigned to all parameters.
For a real thunderstorm, integration with external gear is considered - each voice has a dedicated velocity-sensitive trigger input, individual output and FX send and return with 6.3mm jack sockets, along with extensive MIDI implementation. All voices are summed and run through a built-in optical compressor and master overdrive.

PERKONS HD-01 is a unique live performance and sound design instrument that tears down the borders between drum machine, synthesizer and drone instrument. Time to ride the skies!

Features:

4 hybrid voices (digital sound engine and analogue multimode filter with overdrive)
8 controls per voice
Velocity sensitive trigger inputs for drum pads
Individual voice outputs
Individual sends and returns
64 kit and 64 pattern memory + additional memory on the SD card
Built-in bucket brigade delay and optical compressor
Modulation LFO with morphing waveforms; up to 8 modulation destinations per voice
4 track sequencer, 4 time divisions and 4 time multiplications per track
Per-step ratchets and probabilities
4 shuffle algorithms
MIDI IN and MIDI OUT

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


A proper bargain here. Ecler's flagship rotary mixer offers all the benefits of audiophile sound quality and organic, hands-on control at a surprisingly low price point.

Supplier's Notes:
WARM4 is a professional four channel analogue rotary DJ mixer, designed and manufactured by ECLER in Barcelona. Featuring 4 phono/line channels, 2 MIC inputs, classic sharp filters and a 4th order Isolator. WARM4 includes an unique feature, an Analogue Subharmonic Synthesizer selectable per channel, specially designed to generate and reinforce ultra-low frequencies.

Applications

Night Clubs
DJ studios
Itinerant DJ performances

Audio performances

Inputs:

Number of Inputs:
LINE: 4 Stereo Unbalanced Inputs
PHONO: 4 Stereo Unbalanced Inputs
MICRO: 2 Mono Balanced Inputs
FX RETURN: 1 Stereo Unbalanced Input

Connectors type:
LINE 1-2-3-4: RCA STEREO
PHONO 1-2-3-4: RCA STEREO
MICRO 3: XLR3-F
MICRO 4: Combo XLR3F-6.3mm TRS BAL
FX RETURN: RCA STEREO

Inputs Sensitivity nom/Impedance:
LINE: 0dBV/50kO
PHONO: -40dBV/50kO
MICRO: -50dBV/>1kO
FX RETURN: 0dBV/>6kO

PERFORMANCE:

Frequency Response:
LINE: 10Hz#30kHz -1dB
MICRO: 10Hz#25kHz -1dB
PHONO: RIAA i0.5dB
FX RETURN: 10Hz#50kHz -1dB

THD+N:
LINE: <0.004%
MICRO: <0.7%
PHONO: <0.06%
FX RETURN: <0.001%

CMMR:
MICRO: >75dB @ 1kHz

Signal Noise Ratio:
LINE: >105dB
MICRO: >90dB
PHONO: >100dB
FX RETURN: >110dB

Trim control / Tone control Inputs 1-2-3-4:
INPUTS 1-2-3-4: i 15dB
BASS: +10/-30dB
MID: +10/-25dB
TREBLE: +10/-30dB

Trim control / Tone control Isolator:
BASS: +12/-70dB
MID: +12/-40dB
TREBLE: +12/-70dB

Tone Filter cut frequency at -6dB (slope 12dB/oct):
BASS: 200Hz
MID: 200Hz#6.8kHz
TREBLE: 6.8kHz

Isolator cut frequency at -6dB (slope 24dB/oct):
BASS: 300Hz#4kHz
TREBLE: 4kHz

Analogue Subharmonic Synthesizer:
Input selective filter: 50#120Hz
Harmonics synthesis: 25#60Hz
Max Output level: +12dBV

OUTPUTS:

Number of Outputs:
HOUSE: 1 Stereo Balanced Outputs / 1 Stereo Unbalanced Outputs
BOOTH: 1 Stereo Balanced Outputs / 1 Stereo Unbalanced Outputs
HEADPHONE: 2 Stereo Unbalanced Outputs
FX SEND: 1 Stereo Unbalanced
REC: 1 Stereo Unbalanced

Connectors Type:
HOUSE: XLR3-M STEREO / RCA STEREO
BOOTH: XLR3-M STEREO / RCA STEREO
HEADPHONE: Jack Stereo 6.3mm / Jack Stereo 3.5mm
FX SEND: RCA STEREO
REC: RCA STEREO

Outputs Level/Minimum Load:
HOUSE (BAL): 0dBV/600O 1V *(+12dB 4V)
HOUSE (UNBAL): 0dBV/2.2kO 1V *(+12dB 4V)
BOOTH (BAL): 0dBV/2.2kO 1V *(+12dB 4V)
BOOTH (UNBAL): 0dBV/2.2kO 1V *(+12dB 4V)
REC: 0dBV/10kO
HEADPHONES: 200mO/200O THD 1%
FX SEND: 0dBV/2.2kO

Max Undistorted Output Level:
HOUSE (Electr.BAL): 21dBV (23dBu)
BOOTH (Electr.BAL): 21dBV (23dBu)
HOUSE (UNBAL): 21dBV (23dBu)
BOOTH (UNBAL): 21dBV (23dBu)

MICELLANEOUS
Control Mode: Rotary with Alps Blue Velvet Potentiometers and Alps RK09L potentiometers
Phantom Voltage: 18VDC/5mA Max (Default ON)
Input VU-Meter: LED 12 segments (-38dBV # +10dBV)
House-Mix-Booth VU-Meter: LED 12 segments (-30dBV # +20dBV)
Subharmonic Output VU-Meter: LED 3 Segments (-20dBV / 0dBV / +4dBV)

ELECTRICAL

Power Supply: Internal
AC Mains Voltage: 90-264VAC 47-63Hz
AC Main Connector: 15A IEC inlet connector
Rated power consumption: 39 VA

PHYSICAL
Operating Temperature: -5-C # 45-C / 23-F # 113-F
Operating Humidity: 20 - 90% RH (no condensation)
Storage Temperature: -10-C # 50-C / 14-F # 122-F
Storage Humidit : <90% RH (no condensation)
Operating Humidity: 20 - 90% RH (no condensation)
Installation Options: Desktop or Rack mount with optional accessories
Included Accessories: IEC Cable EU
Dimensions (WxHxD): 34.0 x 8.1 x 37.2 cm / 13.39 x 3.19 x 14.65 in
Weight: 5.32 Kg / 11.73 lb
Shipping Dimensions (WxHxD): 49.5 x 17.5 x 43.5 cm / 19.49 x 6.89 x 17.13 in
Shipping Weight: 6.74 Kg / 14.86 lb

MECHANICAL

Dimensions (without wooden sides) : 400 x 185 x 100mm / 15.7" x 7.2" x 3.9"
Weight : 3.6Kg / 7.94 lbs

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: ***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: 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.