Back in stock: All genres

Notes: Inamp is a dual pre-amp in just 4 HPs. Featuring 6,3 Jacks inputs as well as Minijacks.

Both inputs are summed so you can use them at the same time as an input mixer.

The unit is designed to amplify up to x20 the input signal, allowing to amplify most of the music machines out there (Domestic line levels) as well as some guitars (Humbucker-like pickups and so).

The first channel is normalled to second one in series, so it's possible to have two stages of amplification or two separate ones.

Notes: Befaco's new Output Module is designed to be the master output for your modular system, providing an extra Cue Input to monitor any signal.

Left IN is routed to both channels when no Right signal is present. Both Outputs are TRS balanced.

A Headphones out is available. You can route Headphone OUT to the main out or an independent signal with CUE switch. Like this you can either pre-listen your sounds with the CUE Input or listen to your main out without disturbing your neighbours!

Level LEDs are available to monitor levels of each signal on the module.

Notes: The Benchmark in Guitar Distortion

The DS-1 Distortion is a true icon in the world of guitar effects. Introduced in 1978, BOSS's first distortion pedal defined a bold new sound, delivering hard-edged attack and smooth sustain that's been a staple of players for generations. The DS-1 is the top-selling BOSS compact pedal ever, and its original, unchanged design continues to inspire the creation of great music everywhere. The classic DS-1 tone is behind the signature sounds of numerous rock legends, and is ready to fuel your own signature sound today.

Genre-Defining Distortion

Before the DS-1, most distortion pedals produced harsh, buzzy tones and muddy sound at high gain settings. In 1978, BOSS engineers changed all that by developing a unique distortion circuit for the DS-1 that produces tight, hard-edged gain with rich harmonics while retaining the unique characteristics of different guitars and playing techniques. Hard rock, metal, and punk styles began to flourish in the '70s and '80s, and the DS-1's tone had a defining influence on these genres. That trend has endured through multiple generations, and players around the world continue to seek out the classic DS-1 sound.

Gain from Mild to Heavy

From its modest three-knob interface, many different sound colours can be coaxed from the DS-1. Its pioneering two-stage circuit incorporates both transistor and op-amp gain stages. This approach is critical to the DS-1's characteristic low-frequency fullness, which is loved by guitarists that play heavy music genres. The distortion knob offers an extremely wide range, from a mild boost for driving amps and pedals to full-throttle gain for monster rock riffs.

Powerful Tone Shaping

Unlike typical tone controls that only cut highs, the DS-1's tone circuit features an innovative design that offers far more range. Turning the knob clockwise increases highs and decreases lows, while going counter-clockwise has the opposite effect. This lets you dial in everything from tight, cutting rhythm sounds to smooth, fat lead voices. The tone control is particularly effective for maintaining low-end definition when using the DS-1 as a booster with vintage-style amps, which often sound muddy when driven with other distortion pedals.

Nominal Input Level-20 dBu
Input Impedance: 1 M ohm
Nominal Output Level-20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Controls: Pedal switch, TONE knob, LEVEL knob, DIST knob
Indicator: CHECK indicator (Used for indication of check battery)
Connectors:
INPUT jack: 1/4-inch phone type
OUTPUT jack: 1/4-inch phone type
DC IN jack
Power Supply:
Alkaline battery (9 V, 6LR61) or Carbon-zinc battery (9 V, 6F22)
AC adaptor (PSA series: sold separately)
Current Draw10 mA

Expected battery life under continuous use:
Carbon: Approx. 50 hours
Alkaline: Approx. 80 hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Carbon-zinc battery (9 V, 6F22)
Option (sold separately)AC adaptor (PSA series)

Size & weight (incl. battery)
Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height59 mm / 2-3/8 inches
Weight: 360 g / 13 oz

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: Digital 12-bit oscillators meet analogue filters in this creative little synth module. Six-voice polyphony, preset storage and MIDI control make for a compelling instrument with its own distinctive sound.

Supplier's Notes:
The Tooro is Fred's Lab's new 6-voice 4-part hybrid "digilog" polysynth.

Including the latest discoveries in mixed electronics, the original FL A847 analog filters, this is the perfect module for demanding sound designers and every musician seeking distinctive tones with a strong personality, in a very compact form factor.

Each voice offers 2 complex digital oscillators with waveform morphing, 2-operator linear phase modulation and self-sync features plus a noise source, a ring modulator, the unique FL A847 lowpass filter accompanied by a digital shaper, 2 advanced LFOs and 2 ADSR envelopes.

A modulation matrix with 8 slots allow the animation of most of synthesis parameters.

A master stereo digital FX offering various modulated delays is also included.

Tooro is shipped with a printed version of the QuickStart Guide (in English) and a 1 meter black USB cable.

Technical aspects:

All Fred's Lab instruments are produced and manually assembled locally in Germany.

The Tooro is a polyphonic and multitimbral synthesizer module with 6 voices, 4 parts, per voice analog filters and a stereo signal path.

Sound Engine

Per voice

Oscillators:
Two 12bit digital oscillators with:
waveform morphing
additional sine modulator (for linear through zero phase modulation)
auto-sync feature - hardsync

Filter:
A single FL A847 12dB/Octave low-pass filter with auto-oscillation and saturation features.

Shaper:
A selection of digital filters algorithms from Fred's Lab.

Noise:
A regular white noise source.

Ring modulator:
An audio rate multiplication of osc1 output by osc2 output.

Envelopes:
Two ADSR envelopes with hold stage and multiple triggering options.

LFOs:
Two complex LFOs with various waveforms and their own AD envelope.

DCA:
A digitally controlled attenuator with volume and panning control.
Per part
MIDI channel selection, overall part volume and panning.

A syncable arpeggiator with multiple modes is included.
Global
Multi-FX
A 12bit digital multi-FX module with various modulated delays.

Instrument:
Memory
The Tooro can store:
100 sound presets
10 multis

Connectivity:
2 line-level unbalanced 6.35mm jacks (mix left & right)
2 instrument-level 3.5mm jacks for separate voice outputs (for voice 1-4 only)
1 DIN5 MIDI-IN
1 DIN5 MIDI-OUT (OUT + smart THRU)
1 USB 1.1 B compatible port (for power and MIDI over USB)
1 power switch

UI:
4 high-quality metal encoders
14 tactile switches
dual digit 7-segment hexadecimal display
12 leds

Mechanics:
aluminum industrial enclosure
quality rubber feet
170 x 120 x 45 mm
550 grams

Notes: 3xMIA is a 6-channel attenuverting mixer/offset/scale/polarizer.

3 blocks of 2-channel attenuverting mixers, using dual concentric pots. Each channel can be switched to mix with the subsequent channel, allowing for 2-2-2, 4-2, 6 mix configurations.

With nothing plugged into an input, an offset is normalled to that channel. The inner knobs control the A inputs, while the outer knobs control the B inputs.

DC coupled, so it can be used for audio, CV, or both at the same time.

80 mA +12V
80 mA -12V
35 mm Depth
6 HP wide

Notes: Mix up to four stereo channels in just 4hp, or chain multiple modules together to add channels. Inputs are normalled for mono operation. Simple, compact and high quality at a reasonable price.

Supplier's Notes:
4xSt.Mixer is 4 HP quad stereo mixer.

Right inputs are normalled to Left inputs for easy mono operation

Several 4xSt.Mixers can be chained together or with other HN stereo modules via sockets on the back side

65 mA +12V
50 mA -12V
35 mm deep

Notes: 1U version of Happy Nerding's effects module, offering a total of 32 effects, with user-storable presets and CV control. Great value in a convenient package.

Supplier's Notes:
32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analogue Dry/Wet control with dedicated CV input. High quality stereo signal pass. Assignable CV input to effect controls or to Sample Rate reducer (changes internal clock). Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, assigns and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other effects in any order.

Reflashing procedure is quite easy: playing 40 sec long .wav file of line level amplitude to CV input.

Reflashing mode: hold both buttons for 10 sec.

By default it runs on 32.77 kHz and, if sample rate reduction assign is used, this sample rate can be decreased down to 2000 Hz or brought up to 48 kHz.

Dimensions

24 HP
40 mm deep
Module is a 1U tile in Intellijel format

Current Draw

80 mA +12V
30 mA -12V

Notes: 32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analogue Dry/Wet control with dedicated CV input. High quality stereo signal pass. Assignable CV input to effect controls or to Sample Rate reducer (changes internal clock). Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, assigns and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other effects in any order.

Reflashing procedure is quite easy: playing 40 sec long .wav file of line level amplitude to CV input.

Reflashing mode: hold both buttons for 10 sec.

By default it runs on 32.77 kHz and, if sample rate reduction assign is used, this sample rate can be decreased down to 2000 Hz or brought up to 48 kHz.

Dimensions

24 HP
40 mm deep
Module is a 1U tile in Intellijel format

Current Draw

80 mA +12V
30 mA -12V

Notes: *** NO POWER SUPPLY INCLUDED - USES GENERIC 12VAC ADAPTER ***

Basically, the Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit.

The Moisturizer was developed with the help of Jason Willett (Half Japanese, Leperchaun Catering), Martin Schmidt (Matmos, Instant Coffee), Joshua Atkins (Polygons, Major Powers), mom & dad and many more.

The Ekdahl Moisturizer contains exactly:
Preamp (up to 10 times gain)
Reverb
Reverb / Preamp wet/dry crossfader (Knob & CV/EP controllable)
State variable filter with
Lowpass/Bandpass/Highpass seamless crossover (Knob, CV/EP & LFO controllable)
Cutoff (Knob, CV/EP & LFO controllable)
Resonance (WITHOUT resonance limiter)
LFO with
Speed control (Knob & CV/EP controllable)
Square / Triangle crossover
External output with output amplitude knob
Filter / No filter wet/dry crossfader (Knob & CV/EP controllable)

The preamp section is designed for a max of 10 times gain, this to accomodate for low level output instruments such as guitars etc. The reverb tank has normal reverb signal gain on it, meaning that if you hit the springs hard they'll distort like crap which is real nice, if you hit them softly the sound won't be distorted.

The filter in the Ekdahl Moisturizer is abrasive, the fact that it doesn't have any resonance limiting makes it possible to get the filter to sound *really* bubbly & metallic (way more then any filter i've ever heard), but it's also of course capable of sounding completely "normal" - it all depends on the amount of resonance and/or gain. The fact that you can seamlessly fade inbetween lowpass, bandpass or highpass filter (or lowpass+bandpass and highpass+bandpass) makes the unit pretty damn versatile and by using the wet/dry filter/no filter crossfader there's some neat shit that can be done too. Now it should be said that due to the fact that there's no resonance limiter, if using very high gain, with high resonance and turning the cutoff frequency very high the filter might cut out - not to worry, just turn the cutoff back a bit and the filter pops in again. This happens because the filter gets overloaded and can be avoided with a resonance limiter, however if i had one of those all the super-awesome bounce would be gone and it'd sound like all the other filter out there.

The Ekdahl moisturizer has six CV/Expression pedal related jacks on the back, one of them is a LFO output so you can control other shit with The Moisturizer's LFO. All the other jacks are inputs and takes either CV or Expression pedal, they are: Reverb Mixture, VCF Cutoff, VCF Filter Mode (LP/BP/HP), Filter Mixture and LFO Speed.

Notes: MOOER is well known for producing highly versatile multi-effect pedals, but its latest product announcement, the Prime Stomp S1, is not just a multi-effect pedal. It is an all-in-one pedalboard for guitar effects and tones, looping, and music production, complete with a unique portability-focused design.

Initially, guitarists will be impressed by its 126 internal guitar effects and tone presets, which are editable, sharable, and downloadable through the MOOER Cloud platform, fostering unlimited tonal flexibility. However, these capabilities shine particularly brightly when combined with the pedal's recording features.

This includes a looper module, which facilitates up to 80 seconds of looping, whilst also providing functionality for real-time playback, loop deletion, and overdubbing. Loops and arrangements can also be recorded directly onto a mobile phone or tablet through a USB/OTG cable.

When combined with the pedal's 40 synchronizable drum machines, 10 metronomes, and tuner, these looping and recording capabilities empower guitarists to craft complete musical arrangements within a single unified pedalboard, without the need for studio equipment. All features can be controlled by four simple footswitches, making for a powerfully minimalist user experience.

Whilst MOOER offers several pedalboards that offer similar functionality, the Prime Stomp S1 stands out due to its focus on portability. Instead of being powered by a mains power supply, it is powered solely by an integrated lithium battery. This battery is charged by a USB C port, enabling users to charge the pedal with a portable power bank, laptop, or regular USB C charger. The device also weighs just 350g, making it effortless to carry in a backpack.

Whilst the Prime Stomp 1 primarily caters to traveling musicians, it still includes industry-standard pedal features, such as a 1/4" input, stereo 1/4" outputs, and an independent headphone output. All of these features are presented in a sleek case and are visualized by MOOER's signature digital LED display, making for an unbeatable unified toolkit for traveling guitarists.

Notes: Easily one of the best looper pedals on the market. Huge power from this six-track effect, allowing you to perform in new and creative ways. Great clear sound and user-friendly design.

Supplier notes:
6 Track, Stereo Looper Pedal with Touch Enabled Screen, Hands Free Mixing, and Simultaneous Parallel and Sequential Looping

The Aeros Loop Studio includes 3 hours of mono recording time (1.5 stereo), upgradeable to 48 hours when using SD card

This pedal includes 2 x 1/4" (6.35mm) inputs, 2 x 1/4" (6.35mm) outputs, expression pedal support, MIDI in/out, 1/4" (6.35mm) stereo aux input, and 1/4" (6.35mm) stereo aux output.

Built in wifi and bluetooth for over the air updates, the Aeros Loop Studio offers a revolutionary looping experience

Featuring the ability to create 36 unique loops per song, the Aeros Loop Studio goes beyond what's expected of a looper pedal. Add unlimited overdubs for each loop, and record up to 48 hours (when using an SD card).

Blurring the lines between traditional loopers and audio workstations, the Aeros Loop Studio allows you to mix your tracks live during a performance using the built-in scroll wheel, and gives the ability to save and export songs. This will let you share your best loops with your fans.

With its 4.3" touch-enabled screen and color coded cues and waveforms, the Aeros looper will never leave you wondering where you are in the loop.

Additionally, the Aeros Loop Studio packs tons of power into a small form factor. Coming in at just 7.8"? x 5.6" (198 x 142 mm), the Aeros lets you add a 6 track, stereo looper to any pedalboard.

Of course, the Aeros had to be fully compatible with Singiular Sound's drummer pedal: The BeatBuddy. Using the two together is a plug and play experience.

This new looper also features bluetooth and wifi, enabling us to add exciting new features with over the air updates. Simply put, there's no other pedal that can match the Aeros Loop Studio.

SPECIFICATIONS
Quantize your tracks in any time signature or play in freeform mode.

6 parallel tracks and 6 song parts for a total of 36 distinct loops per song and in an industry first, but also, simultaneous parallel and sequential looping.

Unlimited overdubs enable you to create layers and depth in your loops without worrying about restrictions.

Save your loops with the USB port or an SD card.

3 hours mono, 1.5 hours stereo recording time (20 minutes per song) using internal storage and up to 48 hours storage when using an SD card.

32-bit floating point processing, 24-bit recording, professional DACs, <1ms latency, and 20hz - 20kHz range for studio quality recordings.

Digital dry through bypass.

In addition, wifi compatibility for over the air updates and exciting, yet to be announced features.

Bluetooth for reasons.

Four built-in footswitches with our comfort+ switch tops (perfect for playing barefoot or in socks).

There is a built-in scroll wheel for hands-free mixing during a performance.

MIDI in/out ports for syncing seamlessly with the BeatBuddy, other drum machines, effects, and more.

Additionally, it is compatible with any external expression pedal.

I/O: two 1/4" (6.35 mm) inputs, two 1/4" (6.35 mm) outputs, one 1/4" (6.35 mm) stereo aux input, one 1/4" (6.35 mm) stereo aux output.

9v (center negative), 360mA power supply included.

4.3" (109 mm) touch-enabled display.

Small form factor: 7.8" x 5.6" x 2.2" (198 x 142 x 56 mm).

Lightweight: 2lbs 4oz (936 g).

Aluminum construction with chip resistant black coating.

Requires Male to Male MIDI Cable for connecting to the MIDI Maestro and Male to Male MIDI Cable as well as MIDI Breakout Cable for connecting to the BeatBuddy

Notes: In the high woodlands of the north, undiscovered by most inhabitants, there ruled a clan of old, mystic Treefolk. On the first new moon of spring, these Treefolk could be heard grafting limbs to grow their young - splicing bits of branches from each generation to produce the next line of Treefolk. These new beings keep the lifeblood of all who came before in their new skin. These sounds are in part very old, but in part very new. They are referred to as... Fable.

Let your storybook adventure grows with the Fable Granular Soundscape Generator. The Fable gives you five all-new programs centered around sample and chop delay algorithms to create bizarrely beautiful networks of sampled and resampled sounds. The Fable uses a powerful dual DSP architecture to combine delay programs in series with granular sampling algorithms, each with its own analogue feedback path. Find unique soundscapes ranging from smooth, flowing ambience; to bizarre, organic reverberance; to chaotic, glitchy swarms.

So, what exactly is this granular effect and why is it a magical experience when combined with delay? Granular is a digital processing technique of micro-sampling, wherein short samples called grains are read from a delay buffer. In the Fable, players can adjust these grains by manipulating their sampling length, position, and buffer size from which they're read. They can be played at double or half speed for pitch shift and time stretching effects, play them in reverse, read from multiple positions, and more, in order to achieve different effects.

It's a powerful but complex technique and Walrus Audio created five streamlined programs in the Fable that explore different aspects of its sonic range.

Programs

I. Reverse Delay into Reverse Granular

Program 1 runs a reverse delay into a reverse granular algorithm, in which sampled grains are played backwards. Reversal and re-reversal build up in the feedback paths, creating a complex and organically shifting soundscape. Turn grain size down for long, smooth reversed transients, and grain size up for stuttering reverse glitch madness.

II. Forward Delay into Octave Up Granular

Program 2 runs a forward delay into an octave-up granular program, in which sampled grains are played at double speed. Swarms of double-speed grains build up in the feedback path for bright and airy cascades of sound.

III. Analog Delay into Octave Down Granular

Program 3 runs a warm, dark analogue-style delay into an octave-down granular program, in which sampled grains are played back at half speed. Slowed down repeats combine with analogue-style processing to create deep, thunderous footfalls and thick, murky ambience.

IV. Multi-Tap Granular into Multi-Tap Granular (Grain-Verb)

Program 4 runs two multi-tap granular algorithms in series, in which multiple samples are played back from each granular buffer simultaneously. Multiple points of sampled sound build upon each other in the feedback paths to create glitchy clouds and unique organic reverberance. Time in this program controls time-stretching of both granular algorithms, changing both the length and tonal character of the granular effect.

V. Forward Delay into Randomized Pitch Granular

Program 5 runs a forward delay into a randomized pitch granular program, in which each grain is played back at a randomly selected speed and direction, varying between pitched up double speed, pitched down half speed, normal speed, plus forward and reversed playback from grain to grain. Pitch changes with each new grain, so play with the X knob in this program to control the rate of randomized pitch modulation.

Granular soundscape generator
Unique soundscapes ranging from smooth ambience to bizarre reverberance to chaotic glitchy swarms
Powerful dual DSP architecture with individual feedback paths
Combine delay programs in series with granular sampling algorithms
5 programs centered around sample and chop delay algorithms
Program 1: Reverse Delay into Reverse Granular
Program 2: Forward Delay into Octave Up Granular
Program 3: Analog Delay into Octave Down Granular
Program 4: Multi-Tap Granular into Multi-Tap Granular (Grain-Verb)
Program 5: Forward Delay into Randomized Pitch Granular
Manipulate sampling length, position and buffer size of grains (short samples)
Play grains at double- or half-speed, reverse or from multiple positions to achieve different effects
Tap Tempo switch
Top-mounted Input and Output
Coated in a slate grey enclosure with white, black, cream, red, and orange ink
9-volt DC, Centre Negative, 300mA minimum
Buffered bypass
Power supply not included.
Designed and assembled in USA

Notes: Analogue Ring Modulation Pedal With LFO, MOD, Frequency & RATE Controls.

Reviving An Avant-Garde Pedal For Music's Trailblazers

From light Lo-Fi modulation all the way to the piercing sound of infinity ring-modulation, the Warm Audio RingerBringer accurately recreates the ultimate all-analogue ring modulation effect used for experimental tones. Like the original, loved by artists like Jeff Beck, Radiohead, Omar Rodriguez-Lopez, Trent Reznor, and many more, RingerBringer delivers the original distinct set of controls, extensive in/out options, and rich sonic textures to inspire boundless sonic experimentation.

Don't Just Play, Create

The ideal platform for the sonic tinkerer, RingerBringer inspires you to generate layered frequencies and harmonics, explore a wide range of sonic possibilities for guitar & beyond, and design your own sounds from the ground up. Extensive controls including LFO, MOD, Frequency & RATE open up sonic possibilities that range from subtle overdriven textures all the way to wobbling, warped leads soaked in texture and tone. RingerBringer is 100% analogue and sports premium components including hand-selected op-amps and transistors. RingerBringer is no emulation or "patch", instead it delivers true-to-spec performance of the boutique, analogue original.

For Original Artists Building Memorable Sounds

Delivering tones ranging from nuanced drive to out-of-this world modulation, RingerBringer helps develop a unique sonic signature for any instrument, on any track.

A Sandbox For Synths & Keys:

Send any keyboard or synth through the WA-RB for added harmonic content and endless modulation. Try sending digital synths, keys, and pads from your interface through the WA-RB for added analogue vibe and "fattened up" tone on otherwise dry digital signals.

Technical Specifications

100% Analogue Ring Modulation Pedal With LFO, MOD, Frequency & RATE Controls
Accurate Recreation Of The Ultimate Ring Modulator For Experimental Tones
Premium Components Including LM13700M & TL072ACDR Op-Amps + Hand-Selected Transistors (DMMT3906W & MMBT3904) For True-To-Spec Performance
LFO Controls: Amount, Rate, & Sine/Square Wave Switch
Modulation Controls: Mix, Frequency, & Lo/Hi Switch
Universal Drive Control + LED Indicators For Level, LFO, & Bypass
CV Inputs: Rate | Amount | Mix | Frequency
1/4" Input Jacks: Audio In | Audio Out | LFO Out | Carrier IN/Out
Output Impedance: 600 Ohms | Buffered Bypass
9-Volt Battery Or /External 9V Regulated (Centre-Negative) DC Adapter
Nominal Current Draw: 100 mA (9V)
Custom Black Panel Enclosure With Retro Faux-Wood Sides
Dimensions: 6.5" x 5.25" x 3" | Product Weight: 1.90 lbs