New releases this week: All genres

Notes: 80 ohm version of Beyerdynamic's open-backed DT 990s, ideal for most studio applications. Open backs give the benefit of airier, more realistic sound for mixing and mastering as well as production and sound design tasks.

Supplier's Notes:
For decades now, professional users all around the world have placed their trust in our classic range: Dt 770/880/990 PRO. These benchmark-setting studio headphones boast extremely detailed resolution and very transparent sound. The DT 990 PRO headphones is the range's open-back model offering impressive spaciousness.

These open-back studio headphones are a reliable tool for any sound enthusiast. The wide stereo image and three-dimensional sound reproduction make the beyerdynamic DT 990 PRO headphones a loyal companion for producers. Outstanding tonal depth ensures that even small changes in the positioning of the acoustic source can be perceived while mixing.

With it's open design, the circumaural receiver has outstanding spatialityand detailed depth gradation. The 80 ohm version impresses with the proven sound signature of the DT 990 PRO: prominent bass and extroverted highs. Compared to the 250 ohm version, the high frequencies are slightly reduced.

The soft velour ear pads also offer breathability for a high level of comfort and long-lasting durability. The robust spring steel hoop gives the headphones a secure fit. At 375 grams - including the cable - the headphones are surpisingly light and yet sturdy - so nothing stands in the way of long studio sessions.

The DT 990 PRO headphones are and alwaus have been handcrafted in Germany. With their high-quality materials and meticulous workmanship, these studio headphones are a sound, long-term investment.

Notes: Black Lion's professional quality patchbay offers extreme versatility as well as top-notch, reliable sound. 48 point TRS design with clear LED display, customisable using PatchCAD files on a USB drive.

Supplier's Notes:
Eliminate confusion and non-aesthetic labeling when routing your racks of precious gear with the PBR TRS3 LIT patchbay from Black Lion Audio. Built to proven Black Lion standards of build quality and signal conductivity, the PBR TRS3 LIT patchbay features customisable, brightly-lit LED displays for every input and output. Simply connect a USB keyboard directly to your LIT to customise the displays, or use the included PatchCAD software to create custom text to export directly to your patchbay using a USB drive.

To customise the displays, you have two options: simply connect a USB keyboard to the front of the unit and start typing... or you can use the included PatchCAD software to create your custom digital labels on your computer, and export them to a USB drive to load directly into the unit.

PatchCAD (Mac/Win) lets you customize your digital labels using a quick, familiar spreadsheet-like interface. Simply type out how you want your labels to appear, export the file to a USB drive, and connect the USB drive to your LIT patchbay and press the Update button.

Your studio needs more than accessible patching - audio quality throughout the entire signal chain is essential. Black Lion Audio has been trusted for years to modify the best gear to perform beyond its original spec, and they leveraged every bit of that know-how when designing their patchbays.

Every PBR product uses audiophile-grade connectors. Every contact point is gold-plated; a major factor that's missing from most patchbays that you might have encountered. Black Lion's team of engineers have worked tirelessly to ensure that the PBR series delivers proper quality through-and-through.

The PBR patchbay series is built Black Lion-tough, with black-anodised aluminium faceplates that make for a matched and sophisticated look.

Notes: Meet Xkey Air - the ultimate mobile MIDI keyboard, able to go wherever the music takes you. Featuring an ultra-slim lightweight design, Xkey Air is made for creation wherever inspiration strikes you. From the studio to your living room and everywhere in between, this keyboard brings professional performance anywhere. Simply link Xkey Air to your device and
play along with the best apps and recording software. Xkey Air is a fully class compliant, USB and Bluetooth MIDI controller that works with all MIDI apps on virtually all platforms.

Notes: Compact Size, Big Performance - The Perfect Creative Companion

Meet the Fluid Audio C35BT, a compact yet powerful studio monitor pair designed for creators who need high-quality sound in limited spaces. With accurate sound reproduction, versatile connectivity, and a sleek design, the C35BT offers a professional audio experience for musicians, content creators, and casual listeners alike.

Precision Sound in a Compact Form Factor

Despite its small size, the C35BT is engineered to deliver precise audio with a balanced and flat frequency response from 80Hz to 20kHz. Unlike many small-format monitors in this price range, which tend to boost bass or high frequencies, the C35BT maintains a neutral tonal balance, making it ideal for detailed listening and mixing in tight spaces.

Front-Panel Volume Control and AUX Input

Convenience is key when working in fast-paced environments. The C35BT's front panel features:

Volume control for quick adjustments without reaching behind the speakers
AUX input for instant connection to smartphones, tablets, or other portable devices
BT 5.0 Connectivity
Seamlessly stream high-quality audio wirelessly with BT 5.0. Whether you're referencing mixes or simply enjoying music, you can switch effortlessly between BT and wired inputs with minimal latency and no loss in audio fidelity.

Auto-Standby Mode with Manual Override

Designed to save energy without interrupting workflow, the C35BT automatically enters standby mode after 5 minutes of inactivity. For uninterrupted use, the auto-standby feature can be disabled via the rear-panel switch, offering flexibility depending on your setup.

Versatile Connectivity Options

Whether you're using professional audio equipment or consumer devices, the C35BT offers multiple input options to suit any setup:

"Balanced TRS inputs for pro-level audio interfaces
"Unbalanced RCA inputs for consumer electronics
"Front-panel AUX input for quick and easy device connection
"BT5.0 for wireless streaming without compromise
Advanced Features for Every User

Class D Amplification: Delivering 32W per speaker, the C35BT provides clean, distortion-free sound even at high volumes.

3.5" Composite Woofer + Silk Dome Tweeter: This combination ensures detailed mids, tight bass, and smooth high-frequency response.

Compact and Portable Design: With a footprint of just 125mm x 150mm x 185mm, the C35BT is perfect for desktop setups, home studios, or mobile creative spaces.

Rubber Feet Included: Designed to reduce vibrations and improve sound clarity by providing a stable base on any surface.

Recommended Use Cases

Music Production: Ideal for producers needing accurate sound representation.
Content Creation: Perfect for YouTubers, podcasters, and streamers who require professional audio monitoring.
General Listening: Whether wired or via BT 5.0, the C35BT offers exceptional clarity for casual music listening.

What's Included
1 x Active C35BT speaker
1 x Passive C35BT speaker
Speaker connection cable
Power cable
4 x Rubber feet
User manual

Additional information

Woofer: 3.5" composite cone
Tweeter: 0.8" silk dome tweeter
Frequency response: 80Hz-22kHz (+/- 3db)
Crossover frequency : 4.2kHz
Amplifier Power: 2 x 32 watts (64W total)
Mains Voltage Input: 85 VAC to 265 VAC universal
Protection: RF interference, output current limiting
Over temperature
Turn-on/off transient
Subsonic filter
External mains fuse

Cabinet: Vinyl-laminated MDF
Size (single monitor): 7.28" x 4.92"

Notes: Precision Meets Versatility - Designed for Creators, Perfect for Any Space

The Fluid Audio C50BT studio monitors are crafted for music producers, audio engineers, and serious enthusiasts seeking accurate sound reproduction without compromise. Compact yet powerful, the C50BT offers a feature set typically found in more expensive monitors, making it the ideal choice for near-field monitoring in studios or home setups.

Flat Frequency Response for Critical Listening

Unlike many other monitors in this price range, the C50BT delivers a flat and neutral frequency response. This ensures you hear your audio as it truly is, making it easier to make accurate mixing and mastering decisions. Competing models often color the sound, but the C50BT maintains the balance and clarity professionals demand.

Convenient Front-Panel Controls and Inputs

The C50BT's front panel provides instant access to the most important controls:

Volume knob: Easily adjust your listening level without reaching behind the speaker.
Input selection: Switch seamlessly between multiple input sources, including wired and BT 5.0.
AUX input: A convenient front-panel AUX input lets you quickly connect devices like smartphones and tablets.
Auto-Standby Mode with Manual Override

Energy efficiency meets user control. The C50BT features an automatic standby mode, activating after periods of inactivity to reduce power consumption. If you prefer continuous operation, simply disable the feature using the rear-panel switch.

Versatile Connectivity for Any Setup

Whether you're connecting to professional audio gear or consumer devices, the C50BT has you covered:

Balanced TRS inputs for professional audio interfaces and mixers
Unbalanced RCA inputs for connecting to various consumer audio devices
BT 5.0 for high-quality wireless audio streaming
Front-panel AUX input for quick and easy device connections
Compact, Space-Saving Design

With dimensions of 175mm x 195mm x 256mm, the C50BT fits comfortably on any desk or small studio space.
The sleek, minimalist design ensures it looks great in any environment while minimizing footprint.

Advanced Features for a Superior Experience
Balanced Subwoofer Output: Expand your low-end capabilities by connecting a subwoofer via the balanced sub-out. This makes the C50BT a scalable solution for those needing deeper bass.
High-Efficiency Class D Amplification: Delivering 42W per speaker, the C50BT ensures powerful, clean audio output without distortion, even at high volumes.
Precision-Engineered Crossover: The carefully tuned 3.4kHz crossover ensures smooth frequency transition between the woofer and tweeter, resulting in a well-balanced soundstage.
Premium Components: The 5.25" composite woofer and 1" silk dome tweeter are optimized for low distortion and accurate sound reproduction.
Rubber Feet Included: The included rubber feet help reduce vibrations and provide stability on any surface, improving overall sound clarity.

Recommended Use Cases
Music Production: Ideal for producers needing accurate sound representation.
Content Creation: Perfect for YouTubers, podcasters, and streamers who require professional audio monitoring.
General Listening: Whether wired or via BT 5.0, the C50BT offers exceptional clarity for casual music listening.

Notes: A new method of sonic experimentation, communication, and connection has arrived. Say hello to Messenger, a next-generation analog synthesizer that celebrates classic Moog circuitry and introduces modern features to shape the future of sound design.

Messenger is a new Moog monophonic analog keyboard synthesiser designed for the electronic musicians, producers, sound designers, sonic tinkerers, and analog dreamers of today and tomorrow. Engineered to open new portals of art and expression through sound, the instrument is ready to be a trusted creative companion for any musical genre or style at any point in your synthesis journey.

If you're new to synthesis, welcome. You're exactly where you need to be. Messenger's intuitive layout with clearly labeled controls invites immediate hands-on exploration and encourages a deeper understanding of how to shape and sculpt sound. For experienced synthesists and sound designers, Messenger is packed full of innovative twists on beloved analog circuitry, blending the iconic, raw Moog sound with flexible, modern features designed for use on stage or in the studio. This synthesiser has two oscillators with wavefolding functionality, a sub-oscillator with continuously variable waveshapes, dual looping ADSR envelopes, 32 semi-weighted full-size keys with velocity and aftertouch, and the legendary Moog ladder filter augmented with resonance bass compensation, multiple filter slopes, and true multimode functionality. Messenger's 256 on-board presets allow for immediate saving and recall of your favorite sounds. An intuitive arpeggiator and expression/sustain pedal inputs make this an indispensable live tool, while its unique sequencer with probabilistic controls and modular connectivity set Messenger up to be at the core of your studio or home setup.

Craft soaring leads and deep, rumbling basses. Create delicately textured pads and flowing arpeggios. Build beats with custom kicks, snares, and toms. Explore dense drones and inharmonic metallics. Pay attention to how these sounds impact the way you hear the world around you.

Timeless and Intuitive: Messenger builds on the DNA of Moog's most iconic and prolific monosynths - Minimoog Model D, Voyager, Grandmother, Subsequent 37 - and puts a new spin on a familiar format with innovative circuits and timeless analog sound.

A Legend Reborn: The legendary Moog transistor ladder filter gets some new tricks up its sleeve. A unique pole-mixing design allows the ladder filter to preserve bass frequencies as resonance is increased via the RES BASS switch while keeping its sonic legacy intact. Low-pass mode adds a 2-pole filter slope in addition to the classic Moog 4-pole low-pass filter slope.

Inspiration at Your Fingertips: 32 full-size semi-weighted keys with velocity and aftertouch, a robust metal panel, 256 presets, and knob-per-function controls mean Messenger is endlessly playable and ready to bring to your next gig.

Compositional Powerhouse: Effortlessly record sequences of up to 64 steps, integrate chance operations, and introduce random fluctuations and parameter recording. Experiment with a plethora of arpeggiator patterns and cascade notes into infinity.

Sound Design and Modulation Playground: Two loopable ADSR envelopes, two LFOs, and expanded frequency and audio rate modulation options via Oscillator 2 provide a wealth of modulation options and deeper assignable possibilities.

Comprehensive Connectivity: Messenger integrates seamlessly into any studio or live setup with six analog control voltage (CV) patch points, an external audio input to the filter, expression and sustain pedal inputs, and 5-pin DIN MIDI in/out as well as MIDI over USB-C.

Notes: The super compact Nord Drum 3P combines stunning playability with unlimited sound design possibilities. New features include integrated multi-pad, Reverb and Delay effects, a simplified sound selection mode and new Sound Banks for quickly creating custom kits on the fly.

The Drum Select feature lets you browse a wide selection of great sounding drums sounds, simply assigned to each pad individually. Easily replace toms, cymbals or kicks in seconds by selecting from our new preset library. The Drum Select banks feature 9 categories of great preset sounds that can be easily assigned to any of the six pads/channels - and is a great starting point in rehearsal situations when you need to find the right sounds in a matter of seconds. The categories include Bass drums, Snare drums, Toms, Hi-hats, Cymbals, Percussion, Bells, Tuned Percussion and Effects.

The Sound generation takes place in the three sections Tone, Noise and Click. The sounds of the Nord Drum 3P are all synthesized in real-time - allowing you to both sculpt and play sounds with a unique dynamic response, regardless if you prefer to play with drum sticks or from a sequencer. The Tone Section is specialized for creating tonal and harmonically complex sound spectras and has four synthesis modes - Resonant synthesis, Subtractive Synthesis, Frequency Modulation and Ring Modulation synthesis. The Resonant synthesis mode offers a wide range of complex spectras inspired by materials like drum heads, marimba, vibraphone, tines and cymbals. A unique feature includes the possibility to tune harmonic spectra. The Subtractive Wave types include Sine, Saw, Square, Pulse waveforms and T-Bridge Oscillators and are brilliant for creating classic synth-type drum sounds and effects. The FM Synthesis mode features 6 different FM algorithms where the Frequency parameter controls modulation amount and Spectra controls modulation frequency. The Ring Modulation mode features 2 different types of Ring Modulation.

The Nord Drum 3P offers great control over the dynamic response of the harmonic spectras. When using Resonant synthesis waveforms the upper parts of the harmonic spectra be controlled with velocity, giving it a brighter timbre when played hard. When using the Subtractive synthesis mode, the Frequency parameter controls the cut-off frequency of a Low-Pass filter and the Dyn Filter controls how much the filter should respond to velocity. The Decay controls the decay of the whole spectra, with a choice of Linear and Exponential decay envelopes. A Dynamic Decay mode lets you set different Decay lengths for soft and hard strokes. The Punch Decay adds more attack to the Tone by giving the fundamental pitch an ultra-fast envelope at the very beginning of the sound. The Bend parameter provides a powerful, velocity sensitive pitch envelope. Use it to create attack-like effects but also more radical bending sounds that travel up or down when played such as the sound of a raindrop, tablas or the classic 80's - pioouw - tom-sound.

The Noise section is all about producing noise and is very powerful. Create anything from silky smooth hiss to gritty gravel to give the Tone part of the sound more texture. The Noise can be sculpted with Low-Pass, High-Pass or Band-Pass filters with Cut-Off and Resonance controls. Once you've found the noise of your choice, it can be adjusted to respond dynamically to velocity in the same manner as with the Tone section with the Dyn Filter control. The Decay control is just as powerful, with a choice of Linear, Exponential and Gated decay types. A Dynamic Decay mode lets you set different Decay lengths for soft and hard strokes. Combine this with the equally powerful dynamic controls of the Tone Section and it won't take long before realizing the potential for creating complex sounds with fascinating material-like behaviors!

The Click-section is a specialized section for an ultra-short attack to the sound. A wide range of different click types are available as well as a level control for finding the sweet spot where the Click merges with the other elements and becomes one coherent sound.

Each of the 6 channels of the Nord Drum 3P has its own powerful effects - Drive, EQ and Ring Modulation. Adding just a touch of Drive to your sounds can make a huge difference in terms of realism, while the Sample-Rate reduction is perfect for Lo-fi crackling effects. Ring Modulation can be used for slow tremolo-like effects to total atonal mayhem.

The Mute Group gives you the option to create sounds that can cancel each other out. Only one of the members of the group can sound at a time, and can be used for creating a close/open hi-hat behavior and emulating muting techniques from hand percussion.

Tuned Percussion kits can be created instantly by selecting one of the Scale Presets, which include Chord Scales, Pentatonic, Hang Tunings and Hexatonic.

The handy Edit All mode let's you edit all 6 channels simultaneously, for example reverb, distortion or delay.

MIDI in/out is also available for using the Nord Drum 3P with any kind of MIDI pads or sequence it from an external MIDI Sequencer. All of the Nord Drum 3P sound parameters can be controlled via CC-controls over MIDI. If you own an iPad don't miss our free iPad app Nord Beat, specifically designed for sequencing the Nord Drum 3P via MIDI.

The Channel Mixer sets the level for each channel and also features a Pan control for creating a lush stereo image. If you like to send the kick to a separate output, just pan that channel all the way to the left and the other channels to the right.

Everything you play when using the multipads and external input is automatically output to the MIDI output, making the Nord Drum 3 a brilliant controller for other sound sources via MIDI.

Notes: The Nord Lead A1 is a 4-part multitimbral synth with a classic layout, extensive filter options and effects. With its powerful panel interface and pre-programmed modulation matrix, creating unique and exciting sounds is very inspirational and quick.

At the heart of the Lead A1 is our new analog modeling engine. Taking our virtual analog synthesis to the next level, this modeling recreates a total analog signal path with uncanny realism, and is capable of immense sonic variety. With 26-voice polyphony and four simultaneous synthesizer parts, the Lead A1 is a true synthesizer powerhouse that goes far beyond the current trend for limited capability analog reissues.

Fundamental to the design of the Lead A1 is a brand new simple yet sophisticated front panel interface. The design is in fact the result of requests from professional players - even the most experienced programmers - who need to create the perfect sound as quickly as possible for today's live or studio time demands. The Lead A1 allows easy patch creation and experimentation thanks to a new and unique oscillator section, pre-programmed modulation matrix, and simplified ADR envelopes. Dive in and create incredible patches far quicker than would normally be possible with a synthesizer of such power.

The Lead A1's new Oscillator section generates 47 different waveforms from classic analog to digital harmonic and inharmonic waves, whilst unique Oscillator Configuration Shortcuts make programming more immediate than ever. Start with a single Oscillator waveform select an Oscillator Configuration Shortcut - Pitch, Detune, Shape, Sync, Sub Mix, FM, AM or Noise - and use the Adjust knob to adjust the settings of the configuration. The end result is high speed programming without the need for the usual complexity of routing and patching, and with the opportunity for ready experimentation. A fast track to stunning sound design for both advanced and less experienced programmers.

The Lead A1's filter section features classic 12 and 24 dB Low Pass, a High Pass and a Band Pass filter, together with stunning emulations of the diode and ladder filters from the legendary Mini and the TB-303 synthesizers as used in the Lead 4. The Lead A1's modeling of these filters capture the true character and response of the originals, allowing supremely flexible and precise sound design. The filters are super-smooth with a warm analog character.

The Lead A1's effects section features two stunning brand new analog models of an Ensemble and Chorus, modeled on specific vintage synths and adding classic warmth and analog feel. Alongside these, choose from great-sounding Ring Modulation, Phaser, Flanger, or Drive per slot, and in addition a separate Delay and Reverb for each slot.

A classic Nord feature, the Morph function via Mod Wheel, Velocity or pedal, allows you to control multiple parameters of the Lead A1 simultaneously. Morph is exceptionally easy to set-up and use - just hold the Morph button and adjust any desired knob.

The Lead A1 features four separate Arpeggiators with Up/Down and Random modes and a 4-octave range. Any or all can be sync'd to the Lead A1's master clock.

The Master Clock function of the Lead A1 allows the LFO, Arpeggiator and Delay to be synchronized, either internally or slaved to external MIDI clock. A Tap Tempo button allows you to easily tap to the tempo of a drummer or to playback tracks.

Having four identical, equally powerful synthesizers at once opens breathtaking layering possibilities. The Split-mode gives you two 2 slots on each side of the split. A flexible Hold functionality lets you latch and hold slots independently in the background while playing something else on top.

New in the Lead A1 is the Multi-Focus Mode that allows editing and control of all four slots simultaneously. Save this mode as part of a Performance and you have live realtime control over all four slots of the Lead A1.

The Lead A1 features four independent audio outputs with the ability to route each slot to a different output. Plus control of Pan via the front panel knob is a welcome new addition in the Lead A1.

Unique to the Nord Lead A1 is the new 'Like' function, a simple and brilliant practical feature to use during patch creation. When programming a patch it's often not clear if it's yet perfect. Now with the Lead A1 you can simply 'Like' what you've done into a temporary location and continue editing. You can Like up to 50 variations, with the ability to scroll between them to compare your favourites or go back to a specific Liked version to edit in a different way. When you're ready, save your favourite patch or patches to the Lead A1's memory.

A popular feature of the Lead 4, the Mutator function allows variations of a patch to be created by adjusting one, some, or all elements of a patch by set percentages. There's also a wild Randomize mode to create an entirely new patch with all parameters randomized.

A newly designed "Fat-As-Fat-Can-Be" Unison Mode let's the Lead A1 challenge any vintage analog instrument.

Notes: To the casual observer SiX looks like any other compact desktop mixer. Look a little closer and like all SSL consoles, SiX reveals a carefully considered feature set that is driven by an obsessive desire for total flexibility, to encompass every creative eventuality. It may be small but SiX is a classic SSL design. It carries the DNA of 40 years of true expertise in creative studio workflow. Listen to SiX and you will experience the impeccable sonic performance that is the hallmark of every SSL console. It is powerful and intuitive. Inspired and rewarding.

SiX is a condensed professional console for use in the studio, in post-production, on stage, and for podcasting. SiX offers big console sound and an impressive set of utility features in a format that is small enough to stick in a bag a go wherever you need it. SiX is stunning value; it offers two recording channels with SuperAnalogueTM mic pres, two band EQ, an essential one knob version of the classic SSL Channel Compressor, a new two-band Channel EQ, inserts and 100mm faders.

There is a two-knob version of the legendary G-Series Bus Compressor on the main mix bus and the unique Listen Mic Compressor on the Talkback. In mixdown mode it is a very capable twelve channel summing system that offers analogue detail, depth and width to your mixes

SiX is an SSL SuperAnalogue design - it gives you the sonic signature of a large format SSL console on your desktop or in your backpack. Its signal path is fully balanced from front to back on everything except the headphone output. It delivers pristine, detailed audio with wide dynamic range, ultra-low noise, ultra-low distortion and superb imaging. If you want to know more about the technical reasons why SSL mixers sound so good read our Lifting The Veil document.

In addition to Mic Pre's, SiX's SuperAnalogue Recording channels feature classic SSL feed-forward Channel Compressor circuit and two band SSL EQ with shelf and bell curves. It has two mono SuperAnalogue - Mic' Pre's taken from large-format duality and AWS consoles, offering phantom power, 75Hz HPF and independant line-level inputs.

SiX has a G Series Bus Compressor on the main mix bus. This uses the same circuit design as the legendary SSL Bus Compressor from our larger consoles but with a fixed ratio, attack, and release settings and a more modern quad-VCA chip. Easy to get that SSL glue and punch on your master bus. It has two mono channels with SSL SuperAnalogue - Mic' Pre's; these are transparent, fast and have a much wider available gain range than you would typically get on a compact desktop mixer - 66dB of gain compared to the more typical mid-40s or 50dB found in desktop mixers. They have phantom power, 75Hz high pass filter and an independent line-level input which can be switched to instrument level input with high impedance.

Moving down the channel strip we have a brand-new one knob compressor circuit. This design is based on and has the same sound as the classic SSL feed-forward Channel Compressor circuit. It has a program-dependent attack time, a fixed release time and fixed ratio. Simply adjust the threshold, watch the traffic lights flash to see how much compression is happening and rely on the circuit to automatically adjust gain to match input levels. This is a cool-sounding circuit that makes it simple to dial in a consistent level and get signals sitting right in the sweet spot.

Both mono channels have a new two-band SSL EQ that may be independently switched between shelf and bell curves, with different centre frequencies for each type. This approach draws upon the SSL design legacy of specifying response curves and centre frequencies for channel EQ that are immediately intuitively pleasing in their response; these curves and frequencies were selected by our team as the most "musically useful" for a wide range of sources.

SiX has 100mm faders. We spent some time working on alternate fader tapers and settled on a law that gave us the most control over the most useable gain range, making on-stage level control far easier than it would be with a rotary or a 60mm fader as found on other compact mixers. Each channel has a fully balanced insert point for integrating other signal processors which is after the EQ and Compressor circuits, and like all SSLs the insert send is always active - meaning you can use this as a "dry" record send to your DAW if required. At the bottom of the mono channels we have an ALTernate input switch which can source 2 extra mono channels from a connector on the rear of the console which can be used at mixdown.

SiX has two stereo input channels with -10/+20 dB trim for line sources such as synthesisers, drum machines, output from soundcards etc. These have their own balance controls and 100mm faders. If only the Left input of a stereo channel is connected (and the right left free) the channel will automatically switch to mono, panned centre. While SiX might be small it can handle a lot of inputs at mix-down! Using the two mono input and the two stereo input channels gives SiX its name, but we also have two stereo EXTernal inputs (with volume controls in the master section) which can be sent to the mix bus. Include the ALT inputs and we have up to 12 channels that can be summed into the main mix bus.

SiX has a collection of professional routing & monitoring features taken directly from our large format console heritage. It has two Stereo Cue buses (with level and pan controls) for individual artist foldback mixes. The Master Section has main and alternate monitor outputs with a proper monitor source matrix, as well as mono check, dim and cut. The fader channels all have proper PFL and a Mute button that routes the muted signal to a 'Bus B'. Bus B can be used as a convenient DAW record send but it can also be routed to the monitor matrix. This means that the muted signal can be monitored without it feeding the main mix bus and then switched in to the main mix with the Mute button - perfect for live webcasting because a remote feed can be monitored 'offline' and punched in to the broadcast feed. There is a talkback mic' input with phantom power and SSL's unique, crunchy Listen Mic Compressor, which of course also serves as a unique processing tool that delivers that classic 1980's slammed drums sound.

Notes: The UDG Equipment Cover is a high-end accessory designed to safeguard your essential DJ and audio gear - whether it's controllers, mixers, players, turntables, or interfaces. Engineered for precision, it's tailored to fit the most popular models perfectly.

Crafted from ultra-durable ABS polymer infused with eco-friendly recycled materials, this sleek, protective cover delivers rugged performance with a touch of class, thanks to its luxurious high-gloss black finish. It shields your gear from accidental spills, dust, and impacts - keeping your setup in pristine condition, gig after gig.

Lightweight and travel-ready, it slips easily into flight or soft cases for extra protection on the road. The UDG Equipment Cover is where sustainability meets style, reliability, and pro-grade functionality - perfect for DJs and audio pros, at home or on the move.

This is what UDG stands for: bringing quality, innovative DJ gear to the global community - built to perform, built to last.

Notes: Protect the faders on your favorite modules while making them more comfortable to use at the same time!

Perfect size for modules like the WMD Performance Mixer, Malekko Voltage Block, STG Graphic Sequencer, TTSH, Roland JU-06, and more. Custom sized to fit faders snug and clear in color so you can still see the LED indicator. The WMD clear fader cap is a must have for any module with plastic faders.

Review: 20/20 Soundsystem were a four piece live band fronted by 20/20 Vision boss Ralph Lawson, leaving their stamp on events Sonar Barcelona, Glastonbury, Space Ibiza, EXIT, Love International, Creamfields Argentina, fabric London and Manchester WHP. They released two studio albums, the latter, 2008's Falling, lending its title track to a clutch of new mixes here courtesy of Random Factor and Fernando. The new versions bring a modern touch and fresh dancefloor-ready energy while never forgoing the spirit of the original. Random Factor's offering is a gritty and dubby electro version and Fernando offers a cosmic chugger with plenty of sci-fi sounds and wispy acid details. Sound.

Review: For Record Store Day 2025, Bloom Japan presents a lovely 7" from the 45TRIO, who reimagine Minnie Riperton's classic 'Inside My Love.' This reinterpretation delivers a lush, jazz-infused instrumental take that honours the original's unique sensuality while introducing a fresh, soulful groove for modern 'floors. 45TRIO's tasteful blend of live instrumentation and vintage tones helps breathe new life into this timeless gem while the B-side offers a stripped-down version perfect for late-night spins or sample hunters. This is one to pick up and drop during those loved-up moments.

Review: Acid For The Grandma's fourth release is another boundless trip into warped rhythms and surreal soundscapes with acid liquid textures that make for a psychedelic experience that sparks the imagination while pulling you into otherworldly dimensions. 'Login Beat' casts you adrift amongst circling snares over jacking beats and 'Biancone Interno' then cuts loose with freewheeling arms and sci-fi motifs that leave long neon trails. 'Strobe Transforms Thinking' taps into more taught dub tech with sinewy leads and last of all, 'Light And Illusion' places you in a colourful world of refracted rhythm and slivery tech house drums sent back from a distant planet.

Review: Ross Alexander debuts on Yore and brings with him a more tech-leaning sound that you might expect of this traditionally techno-centric outlet. It still calls on plenty of Motor City signifiers, however, such as warm synth soul, machine grooves and a dusty depth. 'Soul Roots' has all that and a cosmic melodic air, 'Cycles' gets more twisted with a pressurised baseline and drums full of rebound while 'All I Need' sets off on freewheeling, psychedelic pads and serene grooves that carry you away in a reverie before 'Reflections' shuts down with twinning cosmic pads and gurgling low ends. A classy and escapist EP of futuristic bliss.

Review: Lempuyang is a label you will know and respect for its high quality stream of immersive dub techno and now the man behind it, Alastair Kelly, debuts a new label with none other than revered UK techno mainstay Ibrahim Alfa Jnr. He opens up with 'Component A' which is a moody melange of slow, broken dub beats and fizzing synths. There is further experimentation on 'Untitled B2 1' which pairs a churning dub rhythm with naive and innocent melodies and lots of li-fi static. 'Entangled' ups the ante with the suggestion of a fast paced rhythm through a skeletal groove and the flip brings broken beat dub weight, meaning and percussive bass with a 2-step swagger then deep introspection on the closer. A classy EP that suggests this label is one well worth watching.

Review: Given his long-held love of fusing elements of different musical cultures from around the world, Auntie Flo (real name Brian D'Souza) is almost the perfect Multi-Culti artist. It's something of a surprise then to find that this is only his second outing on the label. He begins in confident mood with 'Esperanto', a delightfully melodious, bubbly and synth-heavy slab of chugging sonic joy, before wrapping waves of mind-altering electronics and sun-bright synths around a slipped Afro-tech beat on 'Unua Libro'. Over on side two, D'Souza takes us to a deeper and more immersive place on 'El Heine', explores hybrid cosmic/ambient soundscapes on 'Ho Mia Kor', and doffs a cap to the new age ambient pioneers of times gone by on blissful closing cut 'Mia Penso'.

Review: Rising Glasgow-based quartet Azamiah return with another engaging new EP that bridges their acclaimed debut In Phases and what's to come. Blending UK jazz roots with atmospheric electronics, dub-infused basslines and James Blake-esque textures, this one showcases the band's evolving sound and emotional depth as tracks move fluidly between moody introspection and radiant optimism, all played with a raw, fresh intensity. This outfit's promise as one of the UK jazz underground's most exciting crossover prospects is more than realised with this deeply moving new outing.

Review: Germany's Bacao Rhythm & Steel Band's profile skyrocketed in 2024 when their hypnotic steel pan cover of 50 Cent's 'Pimp' became a surprise emotional core in the Oscar-winner Anatomy Of A Fall. So pivotal was the track that steel pans would here make their first ever Academy Awards orchestra debut. But for longtime heads, 'Pimp' first turned heads in 2008, where it was pressed on Bjorn Wagner's Mocambo label and was often mistaken afterwards for a 50s sample source. The 'Big Crown Vaults' series now swoops in to save and preserve the group's best contributions to the music world, in addition to and in excess of the 'Pimp' version. A true archive-delving if we've ever heard one, the tracks so preserved include Bob James' breakbeat classic 'Nautilus' and a thunderous take on Khruangbin's 'Maria Tambien'. Then there's the B's funked-up flips of the Jackson 5 and Billy Jones, plus one original, 'Kaiso Noir'.

Review: Following the cinematic jazz-funk of 2021's 'Ufo Bar', Banda Maje returns with a new 7" single via Four Flies, which serves as a preview of their upcoming sophomore album Costa Sud. Composer Peppe Maiellano deepens his Mediterranean sound here while honouring his Italian and Neapolitan roots with a heartfelt cover of Peppino di Capri's 'Mo...' on Side A. On Side B, Maiellano explores Brazilian influences with '(Roda De) Samba Maje' featuring Amor Pela Roda and infused with vibrant percussion and cavaquinho. This lovely 45 rpm reflects a rich blend of South-inspired sounds while bridging Italy, Brazil, Africa and modern grooves.

Review: Doncaster-based reggae producer (you don't read that often, do you?) Lewis Bennett teams up with veteran vocalist Donovan Kingjay for this new single, which is a heavyweight slice of spiritual roots and steppers. 'Jail House' delivers deep basslines, militant rhythms and conscious lyrics in classic sound system style. Kingjay's commanding vocal presence brings a timeless message of justice and resistance, while Bennett's production strikes a perfect balance between movement and meditative depth. This is a powerful, no-frills release for true roots heads, designed for the dubwise dance and built to shake speaker boxes.

Review: New York's Joe Claussell offers three blistering takes on 'So In Love' by Black Rascals, the early 90s project from Blaze. This red-label 7" is a pricey one, but the contents justify it: deep house from the source, reworked by one of its most spiritual selectors. 'Rough Mix 1' leans into swirling vocal loops and expansive FX, full of Claussell's signature dynamics, while 'Rough Mix 2' dials back the drama slightly for something more floor-focused. Flip it for 'Drums', a stripped-down tool that reimagines the track as raw percussive hypnosis. Essential NY house lineage, revived in style and pressed loud-just don't expect it to hang around.

Review: After a wild shelf-clearer came by way of a reissue of 'Ordinary Joe' earlier this year, we've now a second Outta Sight reissue of yet another gladly intoned Terry Callier deep cut on our hands. Born and raised in Chicago's Cabrini-Green, Callier came up alongside a generation of soul and jazz innovators but always stood apart. After his debut LP The New Folk Sound fell into obscurity, and his 1968 Cadet single 'Look At Me Now' slipped past unnoticed, he was brought into his mentor Jerry Butler's Songwriters Workshop, a game-changing move. This stirring early statement works in much inner commentary on manhood, stage fright and vital moment seizure - "now my people think I just fake it / I know I do things they don't understand / so I've got to show them I can take it / I've got to show 'em I can be a man" - aches with the strain of double consciousness in a performance society.

Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. "Don't You Care" is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. "Never Did I Stop Loving You", meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way. You will care about this.

Review: Widescreen bass portamenti and steady-state textures predominate on this new Cleyra release through Timedance. Reflecting the Bristol artist's preference for heavyset bass and hydrop(h)onic textures, we were first turned on to their sound like heliotropic plants to red supergiants, whence in 2022 the 'Soft Bloom' EP offered our ears an ironic floral hardness. Since then, the artist has been hard at work on another five tracker of irreplicable sound, with 'Tumble Turn' and 'There's Nothing Happening Between Us' offering the best of the EP's tresillos and stereo-ecstatic percussions, which seem to paradoxically texturally vary themselves both much and not so much. How did they do it, we wonder?

Review: After a seven-year hiatus, Concept e25 is back which will, quite literally, be music to the ears of deep house heads. This is the alias of French producer Frederic Boeuf who has been crafting his own grooves since 2012 on labels like Skylax, Copie Blanche and Swedish Brandy. The 'Thesis' EP shows what he is all about with deep, cuddly drums, infectious kick patterns and subtle, painterly synths that help smooth the grooves and get your mind wandering.

Review: Released in 1977 on Buddha Records, Norman Connors' heartfelt number 'Once I've Been There' is a lush piece of honest-to-goodness soul music that's long been held in high regard by diggers. It features a powerful vocal performance from Prince Phillip Mitchell, warm orchestral instrumentation, and a gentle groove arranged by Jerry Peters. Blending elements of classic r&b with jazz sophistication, the track has a timeless, cinematic feel. It's a standout in US drummer Connors' catalogue. Released in the same year, 'Captain Connors' is a loose and limber soul-jazz workout, with energetic horns and deinty keys riding over a sprawling arrangement. Well worth adding to the collection.

Review: Coyote and Peaking Lights form a perfect pairing on this latest drop of bliss from Is It Balearic? They are artists who are drenched in dub influences and that comes to the fore on this direct collaboration which marries swirling dub with dreamy vocals and ghostly acid arpeggios to bring to mind a serene sunset after a long, hot and lazy day. 'Love Letters' is pure horizontal bliss, 'So Far Away' gets even slower and will drown you in synth succulence and Coyote's dub mix is laden with soothing delays and warm bass that transports you to an exotic world of weed-laced wonderment.

Review: Italian producer D-Leria and Argentine artist Translate hop by the the AMTK+ series for its fifth volume, inning four sharp tunes flaunting respective precision and range. 'Filterbank' brings relentless low-end pressure and gritty, bunker breaching pounds, while 'Let It Be' veers into more unexpected territory, looping chopped vocals round a tight coil of laryngeal copper. Flip over for Translate's 'Notation, a wirier mesh of bleeps and spatial design, before the murkier, throbbing layers of 'Shifted Communication' flick us round the face with spring-loaded, space hopper bass design.

Review: American neo-soul pin-up D'Angelo has released a couple of the smoothest records of the last 30 years. He even made a welcome comeback in the mid 2010s and added some more magic to his cannon. Here Kero Uno remixes a couple of his tunes and ups their funky quotient to make them more suitable to dancefloors. First, he flips 'Spanish Joint' into a key-laced and funky workout with low-slung, hip-swinging grooves sure to seduce next to the zippy synth leads. On the flip is his hot take on 'Feel Like Makin' Love', another bona-fide gem full of heart and soul.

Review: Deenamic steps up on French label Syncrophone with the aptly titled 'Dub Reflections EP'. Having released on high-grade imprints like Neroli, Yellow Jackets, Visions Recordings and Mate since debuting in 2019, David Pradera has been slowly but surely carving out a fine reputation with his profound house sound. His latest effort features four dubbed-out house jams full of atmosphere and texture. Opener '800 Mistakes' sees moody chords drifting over stripped-back drums, staccato noise and understated bass, before 'Hal 2024' maintains the rich atmospherics with simmering swells, driving stabs and propulsive bass notes. The chord progressions on 'Moonbus' echo into the night as a pounding kick maintains the rhythm, while the undulating bass and piercing drums of 'Think It's Not Illegal Yet' combine with a dramatic arrangement for a gorgeously nocturnal finale.

Review: The Dells were a legendary soul and doo-wop group defined by Johnny Carter's soaring falsetto and Marvin Junior's rich baritone. After first forming in 1952, their most iconic era came during their time with Chicago's Cadet label from the mid-60s to mid-70s. Their 1966 track 'Run For Cover' became a staple of the Northern Soul scene and remains highly sought-after today, with mint copies fetching over L100. Equally beloved is their 1968 dancer 'Wear It On Our Face' featuring a powerful Charles Stepney arrangement and the group's signature harmonies-both songs showcasing The Dells at the height of their soulful brilliance.

Review: Talk about things that make you go "oooh." The moment we heard that Daniel Avery, Working Men's Club and Ghost Culture were working together on a "new musical project" we had a lot riding on the results being particularly potent. Quite what they might sound like was anyone's guess mind, and there was an underlying worry that we might be left with another supergroup disappointment - where the parts are strong but don't necessarily understand how to gel. Demise of Love prove that doesn't have to be the case every time. It sounds like all of the above and yet none of them, it's ripe with emotion, fraught with punk ferocity and outwardly romantic in an electronic sense. Rave-y, weird, melancholic, angry, sleazy and infinitely re-playable, believe the hype.

Review: Developer returns to his own label with another deep dive into the American's own production archives. What he finds is plenty of his signature groove-centric and mind-melting techno for connoisseurs only. 'Niburian 19' is anxious and urgent with its tightly looped synths and hurried drums. 'Niburian 22' is just as much in a hurry with restless synth motifs busying about the dubby drum loops. 'Niburian 10B' brings a psychedelic twist with synth scribbles bringing real panic to the low ends, and 'Niburian 11' then provides some comfort with a long-form tapestry that weaves melancholic pads with thudding rubbery kicks and a more forlorn, introspective mood.

Review: Founded in 2023, Category 1 Music (C1M) builds on deep roots in house music, focusing on soulful house vocal productions on a fine international scale. Beyond digital releases, they're now diving into vinyl with a series of exclusive drops; the first is a Category 1 Music Sampler, a 12" of four standouts by Terry Dexter, Michael Gray, Dr Packer, Richard Earnshaw, and DJ Spinna. Organic but still well cooked Ibiza house predominates the set menu, whether by way of the ultrasoul wateriness of Terry Dexter's 'You Saved Me' or the tighter but still dreamy entreaties of Shawn Christopher's 'He's Got It', both translated in exquisite mashup form by the likes of Gray and Packer.

Review: Detroit's DJ 3000 has always operated at the futuristic crossroads between techno and electro, and his latest Ep does that again but also comes with heavyweight remixes by pioneers Aux 88 and DJ Stingray 313. The Motor City's rich musical heritage shines through here right from the off: 'Waiting In The Dark (Midnight mix)' is a grinding and mechanical electro-techno jam, then Aux 88 delivers a bass-heavy, machine-driven remix while DJ Stingray 313 brings high-velocity precision. DJ 3000's own 'Voyager (The Journey Mix)' is then a dusty deep house groove layered up with star gazing chords that slowly unfold with a sense of beauty.

Review: For the last couple of years, DJ AL has been serving up creative edits that breathe new life into iconic tracks from hip-hop and r&b. He's already dropped a big one in 2025 but quickly backs it up with two more razor-sharp reworks. First up is 'MVP (DJ A-L Blahzay Blahzay remix)' which has big old school energy, dusty and raw drum breaks and hard bars a plenty. 'Jump Around (DJ A-L Shoot Your Shot remix)' is a more soulful sound with a deep cut groove but still plenty of 90s hip-hop energy and some hip-swinging claps. A great return that is sure to fire up many a 'floor this summer and beyond.

Review: Keith Tucker aka DJ K-1 is back with more of his stripped-back electro magic, complete with trademark vocoder flair. His 'My Name Is DJ K-1' is a six-tracker EP that is reminiscent of his classic K-1 Agenda era on Direct Beat. The original mix here leans into Kraftwerk-style futurism while DMX Krew's remix adds a darker, sample-heavy twist full of Motor City-style techno and bass brilliance. The 'Beat Mix' is pure looped funk so is perfect for seamless blends while the 'Detroit Jit Mi' offers a full vocal rap with local flavor. The goodness keeps on coming with the 'SPOCK Mix' and its eerie, spacey strings, and the 'NAVI Mix' is a hypnotic bonus beat version soaked in synth puddles and absorbing rhythmic tension. Irresistible stuff.

Review: DMC and IDA World Champion Ritchie Ruftone returns with the latest edition of the essential DJ scratch tool series. Practice Yo! Cuts volume 12 is again pressed on eco-friendly 'bio-vinyl' and is a non-skip ultra-pitch record packed with brand-new content designed for battle DJs and turntablists. Whether you're sharpening your routines or building new ones, this high-performance vinyl is precision-crafted to deliver smooth, reliable cuts every time. It's a vital tool for any battle-ready DJ.

Review: Puerto Rico-born, Chicago-raised DJ Sneak returns with four cuts that do exactly what they need to. There's nothing flashy about 'The Test Of Time' - just a looping groove, clipped vocal and low-end built for long blends. 'Spinnin Around' digs deeper into his filtered disco heritage, slathering soulful stabs over crunchy drums with that unmistakable Henry Street swing. On the flip, 'Return Of The 1200' tips its hat to the decks of choice with a chugging, percussive build and low-slung funk, while 'Dirili Da Da Disco' plays things looser - an elastic roller full of rhythmic oddities. This isn't reinvention. It's Sneak doing Sneak. Real house music, no gimmicks, from a man who's been too consistent to care about trends.

Review: Brazilian Jesse "Dreams" Pimenta has been roaming around underground circles for a decade plus. He has a stylish sound that is about heady excursions into deep rhythms. 'Losing Control' opens up with a warped and flabby baseline over buoyant drums for peak time deployment. 'Dangerous When Wet' is a tightly programmed and kinetic cut with flappy drums and snares, aliens in the machines and psychedelic vocal swirls. 'XTC Messenger' then hits hard with thudding kicks and hints of 90s tribal techno. Last of all, 'Pressure Points' flips out with broke beats and dubby undercurrents.

Review: Amulanga, operating out of Thailand, emphasise beauteous atmospheric progressive house, pairing each compilation with exquisite, extra-worldly sci-fi themes. Their latest, sixth vinyl V/A hears additions from Dulus, Acrobat, Ilias Katalenos & Plecta, Taleman and Shri & Alej, each track a seamless infusion of living, writhing organic sound. More than just music, the aim is to imply a narrative, shuttling and transforming listeners over and beyond centrifugal, interplanetary orbits - not just dancefloors.