Suchergebnisse: Dance Music

Notes: NOON is a passive analogue drum/synthesizer. Each of the eight channels uses a unique analogue circuit with its own characteristics. No power supply is needed. Each circuit is triggered and powered individually from incoming gates or control voltages provided by voltage sequencers or modular systems. By using this unique method, we can increase instability and magnify organic aspects of traditional analogue electronic instruments. The sound of analogue, at its core, is the sound of sculpted electricity. By removing the stabilizing elements of a constant power source, we can listen to the sound of electronic circuits loading and unloading, powering up and powering down, and we can increase the natural chaotic movement of electricity. The loading of circuits creates natural ways to access swing and groove or ways to deconstruct a programmed rhythm sequence to make surprisingly new ideas.
Each channel is represented by a tuning fork. Incoming voltage can be thought of as a way to "strike" each fork with momentary voltage. Between every channel there are Link buttons which allow voltage sharing between channels. Linking them provides a wide mix of results depending on incoming voltage, active or inactive channels, slider settings, gate lengths and multichannel linking. The results can be described as cross modulation, growth (creating a larger and more complex circuit), or processing (filtering, distortion). Due to the cycles of voltage and this inherent instability, a definition of what is actually occurring between channels can be hard to pin down. The eight Mod buttons, which are located at the bottom of each tuning fork, change the behaviour and sound of each circuit. The eight latching CV buttons along the top allow the "?" Even and "?" Odd CV modulation inputs to route to even and odd channels. When incoming CV is unmuted, a channel's behaviour can change drastically and this behaviour can change further when channels are linked. These CV inputs are a way to add microtonal pitch changes and/or large textural movement to voices. The Even and Odd CV inputs are summed to their respective channels to provide a rhythmic modulation reference between multiple channels.

Limitations & Recommendations

A voltage sequencer, modular system or some form of external control voltage is required for use. This is a powerless instrument which relies upon receiving voltage and control from external sources.
Using sequencers which have the ability to vary gate length is highly encouraged due to the increase in sound possibilities and rhythmic movement.
Each model of voltage sequencer can have slightly different effects on the tonality of the instrument due to variations between manufacturers and feature sets.
Given the passive design of the device the reaction of the touch plates will vary greatly based upon what voltages are being received in which channel, if channels in are being touched in tandem, skin moisture and gate lengths. Using only trig signals can significantly lessen the touch plate response.
Channels 7 & 8 (Larynx & Bacid) will give best results being fed gate and cv voltage simultaneously. Sending trigs instead of gates to these channels may have less interesting results than found in other channels.

Specifications

Dimensions: 32cm x 18cm x 2.5cm / 12.5" x 7" x 1"
Materials: Gold plated PCB (2mm fiberglass) / routed Birch plywood case with clear coat / metal shaft sliders with rubber caps / concave and dual LED latching push buttons
Weight: 0.9 kg. / 2 lbs.
CV Inputs: 10 x 3.5mm jacks
Audio Input: 1 x 3.5mm jack
Audio Outputs: 10 x 3.5mm jacks

Notes: You're making tomorrow's music... so why settle for yesterday's interface? AudioFuse is the revolutionary pro audio interface that sets a new standard in sonic quality, creative production and value. It fuses the superior sound of high-end analog studio consoles with the flexibility of a solid mobile interface- with all the connectivity you need for any recording or performance.

Whatever sound you need to capture, from the most delicate ambience to the heaviest cacophony, AudioFuse will reveal the beauty in everything.

Pro studio quality was the mantra right from the start with AudioFuse. Now you can transform your desktop, hotel room, concert- whatever, wherever- into a studio with world-class sound.

No compromises, each element of the AudioFuse has been selected to perfectly serve your sound, such as the two proprietary DiscretePROr microphone preamplifiers and the set of top-notch AD/DA converters.

Saving the purity of your sound and the passion it conveys is what AudioFuse is all about.

When creating and recording, you need an interface that lets you focus on the task at hand and keep distractions to a minimum.

With AudioFuse, we didn't want to settle for merely bringing you the sound quality of a pro studio, we wanted to bring you its workflow too. That's why you have detailed metering, talkback for instant communication with talent in the next room, inserts to add professional effects processing to your recording chain, A/B monitor switching, and direct access to the essential features so you can spend more time creating and less time setting up.

Wherever it comes from, whatever it has to travel through, and wherever it needs to go, AudioFuse will guide your sound.

AudioFuse connects with virtually everything: mics, instruments, turntables, studio equipment, Mac, PC, tablets, even iOS and Android phones. It all happens with a round-trip latency as low as 3 milliseconds so you'll feel right in the groove every time.

When you know your equipment is the best of the best, creativity can take care of itself.

When it is all about giving the best of yourself being able to rely on the best technologies becomes crucial. The lowest harmonic distortion, the most linear frequency response, the highest signal-to-noise ratio and the shortest latency, these technical terms may seem far removed from your creative process, but they are essential to delivering your music in the highest quality possible.

Capture the moment- at home, in the studio, on the road, or wherever creativity strikes.

AudioFuse has a super-solid aluminum chassis you can trust, complete with a hard cover to protect it from damage in your bag- or even just dust on your desktop. The build quality goes far beyond a great-looking exterior, as well. Your unit has to pass rigorous testing before it can be packed and shipped. It even comes with a test specification printout of your exact unit. Meet your new best friend for the studio and stage.

Notes: The Control Voltage Processor from Verbos Electronics GmbH is a suite of control voltage processing possibilities divided into 3 sections in a slim 18HP package. The lower 2 sections are DC coupled mixers that allow mixing, inverting, offsetting, scaling, multiplying, dividing, crossfading or a combination of these functions. The top section is a voltage controlled slewing processor with independent control of Positive and Negative slew rate, with some unique tricks. The Positive and Negative slew, or Rise and Fall rates if you like, have reversing attenuators. The slopes can be blended from linear to RC curves (starting all slides fast and ending slow, like a proper "East Coast" Portamento) without a change in speed. It can be triggered like an AD envelope and has a Gate out that goes high when the CV out is below 100mV. Of course it can loop by patching the Gate out to the Trigger in. The Bounce control adds a unique flare of overshoot to CV changes, a bit like the effect of stopping a tape reel from turning and then letting it go. The combination of multiple voltage processors offers the user the functions of analogue computer.

Notes: Deckard's Voice is an entry level semi-modular synth from Black Corporation for eurorack systems. Sharing the same paradigm and circuit as it's bigger brother Deckard's Dream, trimmed down for eurorack and supplemented with the flexibility available only in a modular format.

Features:

VCO with pulse, glitch saw and sine outputs
Dedicated LFO for PWM
Noise source
External audio input to a filter
Discrete hipass and lowpass filters with resonance and IL-AL-ADR envelope
LFO with sine, saw, ramp, square, smooth and stepped random output
Output VCA with ADSR envelope and velocity control over volume
ADSR (0-10V) and LFO (-5V/+5V) outputs
Master and line level outputs
32HP size
+12/-12V standard eurorack power
38mm deep

Notes: A typically unique take on multi-effects from Soma, designed to induce meditative states. Hybrid analogue-digital delay/reverb/granular processing gives a range of creative approaches.

Supplier's Notes:
COSMOS is a drifting memory station designed to work with meditative states through music. The design of the controls, functions and generated soundscapes are intended to evoke, in both performer and listener, states and experiences inherent in meditation, such as limitless space, fluidity, spontaneous development, presence, the ability to hear, tranquility, the experience of subtle harmony and happiness enveloping the whole world.

From a functional point of view, COSMOS is a large array of sound memory, in which recorded sounds undergo constant recombinations, spontaneously generating an ever-changing soundscape. This is achieved in three ways - by a mathematical shift based on the relationships between large prime numbers (the size of all delay lines are different primes), an asynchronous operation of the LFO, and modulation with a slowly changing chaotic signal. As a result, it allows the endless layering and processing of various sounds, as in a looper, but without an intrusive, repetitive loop.

COSMOS generates rich, fluid and evolving soundscapes perfect for ambient music. Using COSMOS, you can play an entire meditative solo concert while being in a spontaneous flow and without using studio-prepared sequences, backing tracks and other things that can't be a reflection of the "here and now".

Specifications

Minimum input voltage: 0.35 V peak-to-peak
Maximum output voltage at line outputs: 11.3 V peak-to-peak
The maximum output voltage at the headphones output: 10.4 V peak-to-peak
Frequency response: 10-22000 Hz
Sound memory: 44.7 sec
Supply voltage: 12 V *
Power connector polarity: centre plus
Current consumption: 0.25 A
Dimensions: 342 x 153 x 68 mm
Weight: 2.2 kg

* Use only the power supply supplied with the device! In case of failure, it can be replaced with a high-quality modern switched-mode power supply with an output voltage of DC 12 volts, the center is plus and an output current of at least 0.5 amperes (more is fine). The power supply must have a wide AC input voltage range of 100-240 volts. Such power supplies have excellent output voltage stabilization required for the device. It is forbidden to use COSMOS with nonstabilized voltage from transformer power supplies. It can lead to damage to the device, which is not covered by the warranty repair!

Notes: Unlock limitless creativity with the SQUID multitrack sequencer. Part of our TORAIZ series of musical instruments and production equipment, this inspiration tool will be the heartbeat of your studio and live setups. The SQUID will control your workflow and give you the chance to develop new styles of music as you create unique sequence patterns and phrases at the touch of a button. Connect, sync and simultaneously control up to 16 instruments via its multiple input/outputs. The terminals are compatible with various equipment, from your DAW and hardware instruments to modular synths, vintage synthesizers and drum machines.

Perfect for on-the-fly music production, the layout and controls are effortless to navigate so your ideas will come to life the moment inspiration strikes. This production tool enables you to randomize sounds, sequences, and drums - all in key. Access endless polyrhythmic-looping options and instantly change the playback direction and speeds. With the world-first Groove Bend feature, you'll really feel the groove as you generate original rhythms in real time. And by controlling everything in one place, you can focus on developing phrases.

Intuitive workflow:

Have fun creating phrases by tapping the 16 multicoloured LED rubber pads in the Step Edit section. Set step parameters and play live as if the pads were keys on a keyboard. Combine various sequence functions such as Interpolation and Harmonizer to help build your sounds.

Arrange phrases in real time:

Rearrange phrases you've created in the Step Edit section to craft your ideas the instant they spring to mind. Enhance your sounds with performance features, such as Running Direction, Speed Modulation, and Groove Bend.

Save your 'happy accidents':

The SQUID records performance information in the background so you'll never lose phrases you create accidentally. When you're experimenting and hear something you love, use the Time Warp feature to recall and save it as a sequence pattern for your next track.

Connect various instruments:

The SQUID has a USB B terminal, MIDI terminals, 2 sets of CV/Gate outputs, and Clock and DIN Sync input/output terminals. This means you can combine the power of your DAW with modern, modular and vintage synths, as well as drum machines. Signals are converted automatically.

Import and export fast:

Quickly transfer sequence patterns, projects and Midi clips between the SQUID and your PC or Mac with the SQUID Manager function. Easily import a sequence pattern created on your DAW to the SQUID, instinctively arrange it using the sequencer's features, and return it to your DAW.

Notes: Typically experimental stuff from Soma, the Enner is a five-voice synth with an array of filters, electro-acoustic noise options, analogue effects and huge creative potential.

Supplier's Notes:
ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: The Allen & Heath ZED-24 has an incredibly advanced feature. It has 23 independent sources to the mix, 10 independent outputs and 4 aux sends. Configurable USB audio input/output makes it easy to capture stereo recordings, playback and effects, a unique dual stereo input capability and some very advanced monitoring facilities. In fact, the ZED-24 mixer is so packed full of great features that you'd think it would cost much, much more.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED-24 is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED-24, select the USB routing on the mixer and the device on your computer and that's it.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

Send options:
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

Return options:
1) To Stereo 3 channel

ZED-24 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-24 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Serious mastering-grade kit. Stereo interface with high-end converters and headphone amp circuit for pristine sound quality. Proper clarity for critical listening.

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

Supplier's notes:
The RME ADI-2 Pro FS is a two channel 24-bit / 768kHz AD/DA converter and USB 2 Digital Audio Converter, audio interface and high-end headphone amp with new jitter rejection SteadyClock FS technology.

The RME ADI-2 Pro FS is the most flexible converter available with balanced and unbalanced I/O, two headphone outputs, DSP-based signal processing and RME's latest Steady Clock FS jitter rejection technology. It offers Class Compliant USB compatibility, sample rates up to 768kHz as well as DSD record and Direct DSD playback.

It boasts a raft of analogue and digital I/O, including two servo-balanced analogue XLR/TRS Jack inputs, two separate balanced and unbalanced outputs on XLR and TS as well as two headphone outputs. Digital I/O include optical ADAT, Optical and coaxial SPDIF and AES accessible via a breakout cable.

Furthermore, its Class Compliant UAC 2 USB 2.0 port offers iOS compatibility and is necessary for firmware updates. It can also work as a 6-in / 8-out audio on Mac OSX and Windows via WDM and ASIO.

Using the latest in A-to-D technology the ADI-2 Pro FS offers best possible sound with highest signal-to-noise ratio, super low THD and noise. It supports sample rates up to 786kHz PCM and DSD recording in dual mono design, with 3dB improved signal to noise ratio. Two digital-to-analogue converters are used for the separate stereo outputs. The latest Integrated Sample Rate converter takes care of clocking issues between S/PDIF and AES thanks to RME's latest SteadyClock FS technology.

A high-resolution display shows controls for the ADI-2 Pro FS unique features including DSP effects like 5-band parametric EQ, binaural crossfeed, adjustable loudness filter, selectable AD/DA filters and four analogue reference levels. Furthermore, M/S processing is provided with stereo width control as well as phase loop. The display also shows RME's famous Spectral Analyser and 30-band bi-quad filtered analysis tool.

Notes: USTA is a 4×4 tracks sequencer for voltages and gates with variable stage duration, designed to quickly see and edit multiple voltage relationships in real time.

Variable stage duration means that every single stage duration can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one stage per every clock impulse).

4×4 tracks means that every stage can store and generate up to four separate voltages (two CVs and two gates), and that up to four independent stage sequences can be arranged into as many different tracks.

Its architecture is based on an array of 16 'Stages' which form a 'Pattern'; 16 patterns form a 'Track', and four tracks form a 'Project'. Within each track, each stage can provide two gates and two CVs, and a wide set of options is available to define and modify the value of each output ('Layers') and the way it is played ('Colours').

Every Stage is related to a dedicated stepped encoder for quick and intuitive editing, and all the 16 encoders are arranged in an oval layout with a circular playhead. Every encoder is surrounded by a ring of 16 LEDs and a RGB led, to provide a visual feedback of the current setting of that step basing on the layer you are working on (like raw CV, quantized CV, length, gate...) and the way it should play depending on the RGB colour.

Notes: The NTG5 is a short, ultra-lightweight shotgun microphone ideal for use in the most demanding recording applications. Featuring a revolutionary acoustic design with circular ports replacing the linear slots found in other shotgun mics, it offers unmatched transparency and a more natural, uncoloured sound. Combined with a tightly controlled frequency response, smooth off-axis response, and very low self-noise (just 10dBA), the NTG5 sounds spectacular in a wide variety of applications, particularly location recording and demanding filmmaking scenarios where superlative audio is the imperative. No excuses.

The NTG5 is a boom operator's dream, weighing a mere 76g and measuring just over 20cm, making it ideal for use on long, demanding shoots. It also features RF-bias circuitry to ensure reliable performance in adverse environments, with excellent resistance to high humidity, severe cold, damp, and dust. The perfect location recording mic.

Revolutionary Acoustic Design:

The NTG5's body design has been completely overhauled, with circular acoustic ports replacing the linear slots found in other shotgun mics. The revolutionary design - the result of many months of specialised testing - delivers unmatched acoustic transparency, and a natural, uncoloured sound that will sound superb in a wide variety of applications.

A Boom Operator's Dream:

The NTG5 features a short, super-lightweight aluminium body (just 76g!), making it one of the most compact professional shotgun mics out there - a dream for boom operators who find themselves on long shoots, or filmmakers and sound recordists looking for a more portable and lightweight rig that delivers broadcast-grade audio.

The Perfect Location Recording Mic:

With a tightly controlled frequency response, low self-noise, highly directional supercardioid polar pattern, and smooth off-axis response, the NTG5 sounds spectacular in a wide variety of applications, while RF-bias technology and conformal coating ensure superior performance in harsh environmental conditions. It's the perfect mic for location recording and demanding filmmaking scenarios where superlative audio is imperative. No excuses.

Includes:

1 x NTG5 Microphone
1 x PG2-R Grip
1 x WS10 Windshield
1 x ZP1 Small Pouch Bag
1 x RM5 Microphone Clip
1 x PG2-R Pro Cable
1 x Foam Windshield

Notes: Analogue mixer, audio interface, effects and stereo digital recorder all in one box. Clever, versatile idea that makes a cost-effective entry point for various types of recording.

Supplier's notes:
Don't let the classic analogue mixer design fool you - the StudioLive ARc-series mixers were built to record. With a pristine analogue front-end, high-gain XMAX-L mic preamps, and a 24-bit, 96 kHz, USB-C compatible USB 2.0 audio interface, its hybrid design makes it simple to record studio productions and mix live shows from a single intuitive console. Add in a musical 3-band analogue EQ, mic/line boost for low-level vintage synths and broadcast microphones, all-new digital effects with rich reverbs and lush delays, Bluetooth connectivity, and a stereo SD recorder... and you have a mixing and recording powerhouse that fulfils the needs of both modern musicians and content creators.

A full-featured audio interface:

The StudioLive AR16c audio interface operates at up to 96 kHz for high-definition mixing and recording. Record each of the 16 inputs, plus the main mix for even more flexible recording options. Play back up to four streams for monitoring previously recorded tracks - plus a click. Twelve lauded XMAX mic preamps provide all the gain you need to capture even the most subtle details without adding any extra noise. The analogue mixer front-end makes connecting your gear to your computer intuitive, and creating monitor mixes is quick and easy. With a USB-C compatible connection, your StudioLive AR16c is ready to use as an audio interface for nearly any computer.

The channel that does it all - even Bluetooth connectivity:

The unique Super Channel can handle four stereo sources at once and makes it easy to integrate consumer devices into your studio workflow. Connect a turntable to the RCA inputs, use the 1/8-inch stereo input to plug-in your smartphone, or forget the cable and connect it via Bluetooth wireless technology. You can also toggle between a stereo playback stream from your computer and playback from the onboard SD recorder, making rehearsal a snap.

A complete recording solution for studio and stage:

The StudioLive AR16c audio interface and analogue mixer is tightly integrated with state-of-the-art recording software to help you realize your creative vision. Record multitrack live performances with one click thanks to PreSonus' Capture live-recording software. Create complete studio productions with our award-winning Studio One Artist DAW. With two professional recording applications included with your StudioLive AR16c, you're ready to record right out of the box.

Stereo recording without a computer:

Imagine you're rehearsing with your band and want to record your session to analyse later. Or perhaps you're in the middle of a songwriting session and want to capture your ideas as quickly as they come to you. Either way, the StudioLive AR16c's stereo SD recorder has you covered. Insert any SD/SDHC card and you're ready to record your main mix to listen to later, so you'll never forget a great song idea or an amazing guitar solo. Doing mobile interviews for your podcast? Leave the computer at home and record straight to SD.

Effects without latency:

Monitoring with reverb and delay helps to create better recordings. Any vocalist or guitarist will tell you that a little reverb makes them feel more comfortable while performing. The StudioLive AR16c mixer's onboard effects processor lets you add high-quality reverb, delay, or chorus to any channel for a professional monitor mix. Like what you hear in your headphones? Record the Main Mix and capture the effects mix, too - with or without the dry channels - to blend with your multitrack recording. Experiment in post-production to your heart's content.

All the connections you need with a familiar look:

Packed with all the connections and controls needed to mix and record in the studio and on the stage, the StudioLive AR16c is the ultimate recording solution. The eight mono channels and four stereo channels include a musical three-band EQ, plus one of PreSonus' famed XMAX high-gain mic preamps. Two dedicated monitor mixes with balanced outputs provide your musicians the custom mix they need. The USB-C compatible connector ensures your StudioLive AR16c audio interface will be the centre of your studio for years to come. And with high-resolution 96 kHz recording, a full complement of connections, and an instantly familiar workflow, the StudioLive AR16c is the perfect recording and mixing solution for the modern musician and content creator.

Notes: A typically unique take on multi-effects from Soma, designed to induce meditative states. Hybrid analogue-digital delay/reverb/granular processing gives a range of creative approaches.

Supplier's Notes:
COSMOS is a drifting memory station designed to work with meditative states through music. The design of the controls, functions and generated soundscapes are intended to evoke, in both performer and listener, states and experiences inherent in meditation, such as limitless space, fluidity, spontaneous development, presence, the ability to hear, tranquility, the experience of subtle harmony and happiness enveloping the whole world.

From a functional point of view, COSMOS is a large array of sound memory, in which recorded sounds undergo constant recombinations, spontaneously generating an ever-changing soundscape. This is achieved in three ways - by a mathematical shift based on the relationships between large prime numbers (the size of all delay lines are different primes), an asynchronous operation of the LFO, and modulation with a slowly changing chaotic signal. As a result, it allows the endless layering and processing of various sounds, as in a looper, but without an intrusive, repetitive loop.

COSMOS generates rich, fluid and evolving soundscapes perfect for ambient music. Using COSMOS, you can play an entire meditative solo concert while being in a spontaneous flow and without using studio-prepared sequences, backing tracks and other things that can't be a reflection of the "here and now".

Specifications

Minimum input voltage: 0.35 V peak-to-peak
Maximum output voltage at line outputs: 11.3 V peak-to-peak
The maximum output voltage at the headphones output: 10.4 V peak-to-peak
Frequency response: 10-22000 Hz
Sound memory: 44.7 sec
Supply voltage: 12 V *
Power connector polarity: centre plus
Current consumption: 0.25 A
Dimensions: 342 x 153 x 68 mm
Weight: 2.2 kg

* Use only the power supply supplied with the device! In case of failure, it can be replaced with a high-quality modern switched-mode power supply with an output voltage of DC 12 volts, the center is plus and an output current of at least 0.5 amperes (more is fine). The power supply must have a wide AC input voltage range of 100-240 volts. Such power supplies have excellent output voltage stabilization required for the device. It is forbidden to use COSMOS with nonstabilized voltage from transformer power supplies. It can lead to damage to the device, which is not covered by the warranty repair!

Notes: A mini-modular synthesizer for real-time composing, sound processing, and having fun.

Pluto is compact and portable, with abilities that belie its small size. Five channels of modulation (named for the five moons of Pluto), two voices, two sequencers, a mini-keyboard, and onboard delay make Pluto its own complete sound environment, but it can happily play with all your other gear.

The design of Pluto draws from a legacy of portable electronic instruments, from the Buchla Music Easel to 80's Casio synthesizers. With a focused, approachable interface, Pluto invites exploration.

Features

Portable 2-voice, 2-sequencer patchable synthesizer
Easily create complex, randomized sequences
Low-aliasing digital oscillators, wavetable oscillators
Rechargeable battery
Built-in delay and reverb effects
Mini touch keyboard
Audio input for audio processing
Audio output (stereo headphone, line)
Quantize to preset scales, MIDI, or even audio input
Eurorack-compatible patch signals (5v)
Sync In & Out
MIDI In & Out (TRS, USB)
2 channels CV Out (0-5v, 1v/oct)
USB-C cable included

Notes: Explore modulation beyond the standard ADSR with Verbos's complex polyphonic envelope, opening up the potential of ADAsR and AHDsR slopes. Use the four envelopes independently or trigger sequentially in three separate modes.

Supplier's Notes:
The Verbos Polyphonic Envelope module is a set of four envelope generators which can be used together or independently. Cascade logic allows the four envelopes to trigger sequentially with subsequent envelopes starting at the Hold, Decay or End of the previous envelope.

Each envelope offers its own gate input, CV output and end pulse output, so it can be used in up to four-voice polyphonic patches. The three skew controls allow the times to change as each new envelope is switched on. All parameters can be voltage controlled.

Power consumption: 75mA at +12 V and 30mA at -12 V

HP : 22

Notes: The ultimate Eurorack case.

At home, stage or into the studio, the Befaco 7U Case brings your system to the next level.

Power to the people

Equipped with Befaco's latest and most sophisticated power supply (Trolley Bus), the Befaco 7U Case supplies up to 5000mA of power. Ready to feed the most modern and power-hungry modules.

Connected to the world

The Befaco 7U Case rear panel count with a vast array of connections to pair your system with external devices. Each connector follows the Intellijel format, making them fully compatible with Intellijel's 1U modules.

Build to last

Designed with a high-quality Unibody Black Anodised Aluminum frame, the Befaco 7U Case is a slim and sturdy solution to travel with. The included PET-G clear cover keeps your modules safe even patched.

Designed to fit any situation, the Befaco 7U Case metal frame is a lightweight and strong device by itself. With a maximum depth of 53mm (power supply side) and 70mm (rest of the case), it can house the vast majority of modules out there. Equipped with a high-quality anti-vandalic power button and a Kensington lock connector, the Befaco 7U Case is also a safe device to travel with.

Because power is important for us, this new Trolley Bus systems drop up to 5000mA on the +12V rail, 2500mA on -12V, and 4000mA on +5V with high voltage stability under load and low noise. The case drives up to 36 modules over its 208HP (3U) and 104HP (1U) rows (Intellijel format).

6x 6,3" Jacks I/Os with Balanced and Unbalanced configuration, MIDI In/Out/Thru ports, USB Device Type B, and Apple compatible USB-A charging ports. The Befaco 7U Case offers a huge amount of connections fully accessible from its internal I/O Board.

Created with compatibility in mind, the rear panel ports are fully compatible with Intellijel 1U modules. The 1U row can be easily customized to be at the centre of the case with just two screws.

To keep your modules safe and dust free, a custom PET-G clear cover is included with the case. The cover has been designed to close patched, and a custom velcro belt is included to keep it safely closed.

To save space in your studio desk, the Befaco 7U Case is also Vesa mount fully compatible. It counts with Vesa threads at the bottom to easily attach it to desktop or wall Vesa stands.

Technical Specifications

External Dimensions (without cover): 53.5cms x 31cms x 8cms
External Dimensions (with cover): 53.5cms x 31cms x 14cms
Internal Row Dimensions: 2x 3U 104HP and 1x 1U 104HP (Intellijel format)
Power supply Specifications: +12V: 5000mA, -12V: 2500mA, 5V: 4000mA
Module Depth: 53mm (power supply side), 70mm (rest of the case)
Module Slots: 36
Weight (without cover): 2.6kg
Weight (with cover): 3.4kg
Rear connectors: 6x 6'3" Jack I/O (Balanced or Unbalanced), MIDI DIN In/Out/Thru, USB Device Type B, Apple compatible USB-A charging ports.
Power brick: 120W 2.5mm Barrel connector centre positive (included)
Cover: PET-G Clear cover (included)
Finish: Black Anodised Aluminum
Vesa 100 format threads. Recommended Vesa stand: >12kg
Kensington Lock

Notes: Specially tuned for bass sounds, the Minilogue returns in this new format. Same great analogue synth architecture, updated to create a low-end monster.

Supplier's Notes:
Minilogue Bass is the evolution of the iconic Korg Minilogue into an all-analogue bass powerhouse.

An expandable poly-synth that retains the hands-on control and immersive playability of the original, Minilogue Bass drops deep, dark, thunderous low-end for cutting production-ready bass.

Production-ready bass

Minilogue Bass includes patches optimized by professional bass and synth programmers, ready to drop into your track or performance. But that's just the beginning - everything can be customised- the analogue possibilities are virtually endless.

All 100 preset patches are exclusive to Minilogue Bass, and can be further expanded with an additional 100 user programs for a total of 200 slots.
Powerfully analogue

The thickness, presence, and immense sonic palette provided by Minilogue Bass is due to an all-analogue signal path. It has two VCOs, a VCF, two EGs, a VCA and an LFO, while retaining the hands on control and unique wave shaping through oscillator harmonics from Minilogue.

Minilogue Bass includes cross modulation, oscillator sync, and a ring modulator, alongside a high pass filter delay to further expand your sound creation possibilities.

Eight voice modes

Minilogue Bass is a four-voice poly synth, with eight voice modes for broad versatility. Alongside POLY and CHORD modes, DUO stacks two voices in unison, UNISON works as a 4 part mono synth, MONO is monophonic but with a sub-oscillator playing an octave lower, DELAY plays 3 voices in sequence after the first, ARP is a 4 voice arpeggiator, and SIDE CHAIN lowers the volume of previously played notes.

16-step sequencing

Minilogue Bass offers powerful and intuitive sequencing possibilities. The 16-step polyphonic sequencer also captures the motion of up to four real-time controls, and can be overdubbed or step-sequenced, alongside the ability to change the root position of the playback by playing a key.

Overview

Sound visualisation

Minilogue Bass has an OLED oscilloscope that shows you the waveform as you sculpt your sound.

Sound librarian

The Minilogue Bass Sound Librarian allows for easy organisation of programs inside your synth, and can also save the entire library to a computer. It even gives the ability to load any existing Minilogue patches alongside factory and bonus libraries from Korg.

Solid looks

The sand-blasted 2mm aluminium front panel on Minilogue Bass features an edgy appearance, which is emphasised by the inverted black and red keys. A red-coloured wood rear panel further adds to a unique appearance.

Minilogue bass is also roadworthy - with metal shaft chassis-mounted potentiometers and rubber coated knobs complementing its powerful and dynamic sound creation possibilities.

In sync

Alongside MIDI and USB, Minilogue Bass has a sync connector for effortless connectivity with Volcas, Electribes and SQ-1 sequencer.

Specifications

Keyboard: 37-keys (Slim-key, velocity sensitive)
Sound Generation: Analog synthesis
Maximum Polyphony: 4 voices
Program

200 programs (100 Presets / 100 Users)
Each program includes voice mode and sequence data settings
Up to eight favorite programs can be registered
Voice Modes: 8 modes (Poly, Duo, Unison, Mono, Chord, Delay, Arp, Side Chain) -
VOICE MODE DEPTH can vary different parameters in each mode

Main Synthesis Parameter
VCO1: Octave, Wave (Saw, Triangle, Square), Pitch, Shape
VCO2: Octave, Wave (Saw, Triangle, Square), Pitch, Shape
VCO2 MODULATION: Cross Mod Depth, Pitch EG Int, Sync, Ring
MIXER: VCO1, VCO2, Noise
FILTER: Cutoff, Resonance, EG Int, Filter Type (2-Pole, 4-Pole), Keytrack, Velocity
AMP EG: Attack, Decay, Sustain, Release
EG: Attack, Decay, Sustain, Release
LFO: Wave (Saw, Triangle, Square), EG Mod (Int, Rate, Off), Rate, Int, Target (Pitch, Shape, Cutoff)
DELAY: Hi Pass Cutoff, Time, Feedback, Output Routing (Post Filter, Pre Filter, Bypass)

Sequencer
16-step polyphonic sequencer
Motion sequence can be used on up to four parameters

Controls
41 dedicated panel controls deliver immediate parameter access
A slider can control different parameters for each program

Display: Real-time OLED oscilloscope provides visual feedback of parameter changes
Connectors: Headphones (6.3mm stereo phone jack), Output (6.3mm monaural phone jack), Audio In (6.3mm monaural phone jack), Sync In (3.5mm monaural mini jack), Sync Out (3.5mm monaural mini jack), MIDI In, MIDI Out, USB Type B
Power Supply: AC adapter (DC9V)
Power Consumption: 8 W
Dimensions (W x D x H): 500 x 300 x 85 mm / 19.69" x 11.81" x 3.35"
Weight: 2.8 kg / 6.17 lbs.
Included Items: AC adapter

Notes: Powered by the Engine DJ OS, this updated take on Numark's Mixstream Pro features built-in Wi-Fi and speakers plus large 7-inch touchscreen and full integration with Amazon Music Unlimited streaming.

*** Update March 2024- Engine DJ 3.4 Performance Software for Hardware (OS) ***

New Features
Bluetooth Audio Input and Keyboard Connection for Supported Devices

Bluetooth Audio Input - Wirelessly play audio from a Bluetooth-capable device on your supported Engine DJ hardware

Assign to any individual hardware channel or main audio output
Assign to layer A or B on the Denon DJ SC6000 and SC6000M
Bluetooth transport controls allow you to play, pause, and track skip using the touch screen or hardware controls when connected to a capable Bluetooth device
Hardware screen displays Track Title, Artist, and track progress when connected to a capable Bluetooth device

Bluetooth Keyboard Support - Search for songs on your Engine DJ hardware more quickly and efficiently
Bluetooth menu option in the Control Center allows you to connect and manage Bluetooth keyboards and audio devices

Additional Bluetooth Compatibility Information

It is recommended that you confirm the Bluetooth connectivity and functionality of your computer, smartphone, or other device before using it in a live situation

Not all Bluetooth devices and audio applications provide support for Bluetooth Transport controls and track information

Track Progress is not updated on Engine OS when it is adjusted using the originating software/app

Engine DJ Preparation Software (Desktop)
Improvements and Fixes

Fixed an issue where sync manager export would take longer if SoundSwitch content is being packed

Fixed an issue where tracks would not pack via drag and drop if there are 2 drives with the same or similar names connected

Various other stability enhancements and improvements


Supplier's Notes:
Millions of tracks at your fingertips

The Mixstream Pro + integrates with Amazon Music Unlimited and other popular streaming services, giving you instant access to over 100 million CD quality (aka "lossless") songs across all musical genres. The built-in Wi-Fi and lightning- fast onboard song analysis lets you practice and perform for hours on end without owning or preparing any music ahead of time. Tracks are analyzed for bpm and key as they are loaded and buffered into the internal memory, ensuring uninterrupted playback at every party, gig, or livestream.

Immersive built-in speakers

The Mixstream Pro + features high-quality built-in speaker monitors with dedicated volume control. These custom-tuned drivers produce rich, full sound and are the perfect sound solution for casual listening, cookouts, and parties with family and friends. For professional DJs, the built-in speakers are the ultimate, convenient solution for practicing, livestreaming, video content creation, and personal monitoring when connected to a larger sound system.

Set your smart home to party mode

The Mixstream Pro + connects wirelessly to Phillips Hue and Nanoleaf smart home lighting, making it easy to add dynamic visuals to your next party or livestream. Using the built-in Engine Lighting embedded control, connecting to a Philips Hue lighting hub or Nanoleaf system only takes a few taps. Once connected, the smart lighting will instantly and automatically change color and brightness perfectly on-time with whatever song is playing. The impressive on-screen lighting controls provide hands-on control over custom color selection, strobing, and more! The lights even respond to the movements of the crossfader, volume controls, and scratching for an amazing, immersive audio/visual experience!

Advanced lighting integration and control

For advanced lighting options and features, professional DJs can pre-analyze their music library with SoundSwitch desktop software, export their library to a USB drive, SD card, or to their Dropbox cloud, and have full control of DMX lighting using the touchscreen of the Mixstream Pro +. This functionality makes it simple to provide a professional lighting experience at events and gigs without the need to bring along a laptop or DMX controller.

Enjoy the freedom of laptop-free performances

The Mixstream Pro + features 2 USB inputs and 1 SD card slot for external media drives for optimum versatility when it comes to music selection and library curation. Quickly prep playlists from Serato, rekordbox, and iTunes using the Engine DJ desktop software, export to a USB drive or SD card, insert the drive in the Mixstream Pro +, and then perform your entire show without the need for a laptop or computer.

Multiple DJ performance options

In addition to being able to DJ in Standalone Mode with Engine DJ OS, the Mixstream Pro +'s Computer Mode allows you to use the device as a DJ software controller for Serato DJ and Virtual DJ (Serato DJ Lite is supported for free, a paid license is required for Serato DJ Pro and Virtual DJ). When in Computer Mode, the Mixstream Pro +'s touch screen offers hands- on control over library navigation, song selection, FX control, and more. This incredible flexibility gives you the option to choose exactly how you'd like to perform at your next show.

Ultimate control for musical creativity

The intuitive layout and 7" high-definition touchscreen lets you browse, load and play with your music like never before. The 4 built-in effects (Echo, Flanger, Delay, and Phaser) are perfectly timed to the beat when they are triggered with the fun, interactive toggle switches. The large Filter knobs and 3-band EQ add even more excitement by providing hands-on control over the low, mid, and high frequencies to create dramatic mixes, blends, and transitions.

Scratching with the large, 6" touch-sensitive platters is easy thanks to the Smart Scratch feature, which ensures that the music always stays on beat after a scratch is added to the mix. The 8 dual-layer Performance Pads feature 4 pad modes (Cue, Saved Loop, Auto Loop, Roll,) providing limitless possibilities for live mixing and ultimate creative musical freedom. Plus, since the Mixstream Pro + harnesses the power of the Engine DJ ecosystem, DJs have direct access to an ever-expanding set of advanced, professional-grade performance features.

The Mixstream Pro + offers a new level of music access, performance capability and connectivity in a DJ controller. All in an easy to use, intuitive package that makes it simple and fun for DJs to connect, stream and play!

Technical Specifications

Connections

Audio Outputs

(1) XLR output pair (main left/right, balanced)
(1) RCA output pair (main left/right, unbalanced)
(1) 1 1/4" (6.35 mm) stereo output (headphones)
(1) 1/8" (3.5 mm) stereo output (headphones)

Audio Inputs

(1) 1 1/4" (6.35 mm) microphone input Other
(2) USB port (for USB drives)
(1) USB port (to computer
(1) SD card slot
(1) power adapter input

Audio

Main Outputs

Frequency Response: 20 Hz - 20 kHz +/- 1 dB
Dynamic Range: > 114 dB (A-weighted)
Signal-to-Noise Ratio: > 94 dB (A-weighted)

Headroom

Mic: > 16 dB
Outputs: > 16 dB

Channel Separation: < -110 dB (1 kHz, unity)

T.H.D

Line: < 0.01% (1 kHz, unity)
Microphone: < 0.05% (1 kHz, unity)


Speakers

Frequency Response: 20 Hz - 20 kHz +/- 1 dB

Analogue Input

Microphone: -40 dBu (unity) / -60 dBu (minimum)

Analogue Output

Master, Balanced: +20 dBu (maximum) / +4 dBu (unity
)Master, Unbalanced: +16 dBu (maximum) / 0 dBu (unity)
Headphone Output: < 30 mW

Power

Connection: DC, Center Positive
Voltage: 12.0 V 3.0 A

Dimensions (width x depth x height)

Width x Depth x Height: 22.3" x 11.2" x 2.9" / 566 x 284 x 74 mm
Weight: 8.11 lbs.3.68 kg

Notes: Gorgeous retro-inspired synth. Heavily based on 70s string synthesisers and vocoders, updated in a modern format. Proper lush vibes.

Supplier's notes:
The string section starts with an oscillator bank using octave dividers, followed by a complex mixer, an equalizer and the ensemble effect, just like string machines from the 70's. A single registration knob sweeps through mixer and EQ settings for Violin, Viola, Cello, Brass, Organ, Choir and more for creating rich and creamy sonic textures.

The Solo section is a 16-voice synthesizer that complements the string sounds. A single Tone knob sweeps through many useful settings. Solo is the sidekick to the strings, but it is powerful enough to be the lead character every now and then.

The Vocoder replaces the equalizer in the string section with the filter bank that models the vocal tract from the speech input. This can produce quite intelligible speech or singing using the fully polyphonic oscillator bank. Formants can be modified, which can result in a perceived change of gender. Adjustable jitter of the string oscillators renders the voice hoarse, creaky or a complete whisper. Solo can pass through the Vocoder or play in parallel.

The Freeze button lets you freeze a short speech fragment, which is then repeated by the Vocoder whenever a key is pressed. Change of playback speed, like faster, backwards or a complete stop are possible and fun, as well as formant change.

A novel Tweak function allows for modification or modulation of details, like e.g. the solo cut-off frequency or the Chorus LFO rate. It is similar to a modulation matrix, but it also allows to alter implicit settings with a fixed value or an offset.

Three Effects operate simultaneously - Animate is in fact a modulation of the string or vocoder registration, while a Phaser is a must for any decent string machine. A high-quality Reverb with adjustable size can be mixed to the output.

STVC comes with a high-quality gooseneck microphone that plugs right into the front panel where it belongs.

Notes: Meris describe the MercuryX as the most flexible studio reverb pedal ever made. A bold claim, but hear them out. Immense power with eight custom algorithms in a modular architecture. Full stereo with a wealth of programs from lush plates and twangy springs to experimental weirdness.

Supplier's Notes:
The Meris MercuryX takes the heart and soul of Mercury7 and expands it far beyond sci-fi into the highest quality and most flexible studio reverb ever created in a pedal format. Its modular reverb system format breaks the paradigm of pre-set reverb types and inspires new discoveries. MercuryX features the same easy to use UI as LVX, making it immediately intuitive to navigate.

All of Meris' passion for pro audio has made it into both the algorithms and hardware performance of this pedal. MercuryX combines 8 custom Meris reverb algorithms and incorporates those into a modular system architecture that first introduced with the award winning LVX pedal. It features discrete processing elements and control signal modifiers that can be connected as desired for infinite flexibility in crafting custom reverbs.

Here is a deep dive into the 8 different reverb structures in MercuryX. Each Reverb Structure has Gate controls that can be used to dial in a range of gated reverb effects including the classic percussive gate sound, reverse tail reverb sounds, and slow breathing textures.

Similar to the Dry Blend control of the Predelay, each Reverb Structure features a Predelay Blend control that allows you to put some or all of the predelay reflections in parallel with the reverb tank.

Ultraplate - Adapted from Mercury7, Ultraplate is an inspiring and lush plate with a fast build. Use the Ultraplate's flexible decay range to create a wide range of studio textures.

Cathedra - Adapted from Mercury7, Cathedra is a massive and ethereal algorithm with a slow build. Cathedra is perfect for scifi textures and recreating C-beams glittering in the dark near the Tannhauser gate.

Spring - A flexible algorithm that can be voiced to replicate both the amp based reverb sounds and the classic studio spring tanks featured on early recordings.

78 Room - A lively and direct sound. This algorithm is great for transforming static sounding virtual amps into the difficult to capture sound of a great amp live in the room with you. The Room algorithm features a unique infinite mode (Maxed out Decay controls) that interacts with the Tank Mod to provide deep chorused and flanged reflections.

78 Plate - Fast and dense, the 78 Plate algorithm is a good match for beefing up percussion and vocals.

78 Hall - A large hall with a medium build up of reflections. Great for building up ambient walls of sound. The Hall algorithm's extended reflections are a great base for sculpting with the Bass/Mids/Cross controls. Deep rumbling bass caverns and ethereal upper mid emphasized halos of sound are easy to create. Explore the additional sparse mode for the Hall when Diffusion is set Low.

Prism - The Prism Strucure is an dual tank that allows you to build your own geometric rooms by specificying the size and distance and reflectivity. Prism features a highly configurable modulation section which allows different modulation phases per side to further increase the stereo image.

Gravity - The Gravity Structure works by accelerating indivual windows of your signal and stretching them across the horizon.

Notes: Live or in the studio, the ZED60-14FX is a compact, portable mixer that is ideal for small bands.

This mixer is a guitarist's dream. Two of the 8 mono channels have high impedance jack inputs that can take a normal line level or a low level input from a guitar pickup, so guitars can be plugged straight into the mixer without the need for DI boxes. These inputs have been crafted to recreate the sound of a classic tube preamp in a combo or head amp for incredible definition and warmth. Two stereo inputs are provided for MP3/CD players or keyboards.

The ZED60-14FX comes with a configurable USB audio in/out, making it easy to capture a stereo recording at the gig or in the studio. The mixer is also equipped with professional XLR main stereo outputs, a flexible monitoring section with headphone and speaker feed outputs and 16 stunning FX.

Most important of all, the ZED60-14FX lives up to the audio and build quality standards that have made Allen & Heath one of the most trusted names in professional audio for more than 40 years.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS:
1) Main Mix Left + Right (Post master Level)

2) Aux + FX bus (Aux is a pre-fade send, FX is a post-fade send)

3) Record Bus Left + Right (Separate stereo bus to Main Mix)

RETURN OPTIONS:
1) To Playback input (through jack socket break contacts)

2) To Stereo 2 channel (through jack socket break contacts)

ZED60-14FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

ZED60-14FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point - this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

ZED60-14FX's pre-amps are similar in design to our MixWizard range of mixers, but with a twist! Inputs 7 & 8 have a high impedance jack input capable of taking either a normal line level or a low level input from a guitar pickup. These newly designed inputs have been crafted with the aim of replicating the sound of a classic guitar or instrument tube pre-amp in a combo or head amp. An extremely high input impedance ensures loading on pick-ups is minimal and a Class A FET (field effect transistor) circuit powered from 48V is employed to give the valve-like gain stage. There is a gain "Boost" switch associated with the guitar inputs which boosts gain by 26dB to cater for instruments with very low level outputs and the overdrive characteristics of the guitar inputs are very similar to a valve (tube) circuit, being asymmetric and soft. All this makes for a wonderfully natural sound to be reproduced from the instrument, full of warmth and character.

Notes: A full-on digital modular system in a single module. Eight-voice polyphony, audio processing and CV/MIDI functionality, all customisable via the PC/Mac editor. Serious DSP power in 22 hp.

Supplier's Notes:
Integrate the power of EaganMatrix Sound Technology into your Eurorack! The EaganMatrix Module is a full-featured EaganMatrix Sound Engine for Eurorack, and can be controlled by control voltages and/or Midi. This versatile module can act as a sound source, a sound processor, a CV source (via connection to an external Control Voltage Converter), a Midi source, or a customizable combination of all these capabilities.

The EaganMatrix Module provides a truly versatile framework for both studio and live performance. Flexibility is key, due to its audio inputs and outputs, integrated CV inputs, external CV outputs (via Control Voltage Converter), and robust implementation of MPE and MPE+ Midi.

A single EaganMatrix Preset can give completely different sonic results, depending on how it is patched into a particular Eurorack ecosystem. Hundreds of System Presets are included with the EaganMatrix Module. In addition, an external cross-platform (Mac and PC) Haken Editor may be connected to modify and customize the supplied EaganMatrix System Presets, or create completely new presets from scratch.

The EaganMatrix Sound Technology, originally created for the gesturally highly sensitive Continuum, is now available to you in a Eurorack module. The EaganMatrix Module will quickly become a 'goto' component in your modular sound design and sonic composition.

Haken Audio's EaganMatrix Module offers:
Polyphony: Nominal 1, Maximum 8
Direct CV note control is limited to 1 voice at a time, but higher polyphony avoids voice stealing when EaganMatrix presets have long decays, and higher polyphony is often useful for Midi input.
4 Per-note CV Inputs: W, X, Y, Z
Gate (W) - Triggers at 1V, with max range -10V to +10V
Pitch (X) - 1V per octave, with programmable offset for Middle C; useful input voltages are a subpart of -10V to +10V (depends on the programmable offset selected)
Timbre (Y) - Function depends on EaganMatrix preset; voltage range is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
Loudness (Z) - normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
4 Global CV Inputs: i, ii, iii, iv

Functionality depends on EaganMatrix preset; these CV affect all voices (notes from WXYZ and Midi); each global CV is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
2 Analog Audio Inputs: Left and Right, or Mono
2 Analog Audio Outputs: Left and Right, or Mono Sum
-12dB switch selects between Eurorack Level and Line Level
Midi over USB
Allows bidirectional MPE and MPE+ connection to other devices; allows connection to the Haken Editor for editing and archiving EaganMatrix presets (USB-A cable included with purchase)
Universal 3.5mm Midi In (Type A, Type B, and TS)
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi In included with purchase)
Type B 3.5mm Midi Out
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi Out included with purchase)
i2c Port for Communication to the Control Voltage Converter
(a switch selects between 3.5mm Midi Out and i2c functionality)
12 Switches, 1 Rotary, and LED Matrix

A menu system allows stand-alone operation without need of computer, and provides monitoring for notes being played and CV input levels
The EaganMatrix is a modular digital synthesizer invented by Edmund Eagan, utilizing a DSP engine designed by Lippold Haken. This is the same EaganMatrix Sound Technology internal to the Continuum Fingerboard, the ContinuuMini, and Expressive E's Osmose keyboard. The EaganMatrix allows the user to finely craft their musical sound by digitally connecting audio and control modules via a patching matrix. The EaganMatrix Module contains a sophisticated digital modular patching world of its own, ready to interact with your other Eurorack modules to make musical results never before possible.

Power and size

The EaganMatrix Module requires +12V, +5V, ground, and -12V from your Eurorack enclosure.

A 16-pin standard Eurorack power cable is included with purchase.

Current requirements: 25mA at +12V and -12V. 300 mA max (190 mA avg) at +5V.

The processing power of the EaganMatrix Module is 2x, same as the ContinuuMini.

The EaganMatrix Module dimensions are 22 HP and 3cm depth.

Notes: Numark take on the mid-range controller market with this excellent offering, powered by the Engine DJ OS. Built-in Wi-Fi and speakers plus large 7-inch touchscreen for intuitive, creative mixing.

*** Update March 2024- Engine DJ 3.4 Performance Software for Hardware (OS) ***

New Features
Bluetooth Audio Input and Keyboard Connection for Supported Devices

Bluetooth Audio Input - Wirelessly play audio from a Bluetooth-capable device on your supported Engine DJ hardware

Assign to any individual hardware channel or main audio output
Assign to layer A or B on the Denon DJ SC6000 and SC6000M
Bluetooth transport controls allow you to play, pause, and track skip using the touch screen or hardware controls when connected to a capable Bluetooth device
Hardware screen displays Track Title, Artist, and track progress when connected to a capable Bluetooth device

Bluetooth Keyboard Support - Search for songs on your Engine DJ hardware more quickly and efficiently
Bluetooth menu option in the Control Center allows you to connect and manage Bluetooth keyboards and audio devices

Additional Bluetooth Compatibility Information

It is recommended that you confirm the Bluetooth connectivity and functionality of your computer, smartphone, or other device before using it in a live situation

Not all Bluetooth devices and audio applications provide support for Bluetooth Transport controls and track information

Track Progress is not updated on Engine OS when it is adjusted using the originating software/app

Engine DJ Preparation Software (Desktop)
Improvements and Fixes

Fixed an issue where sync manager export would take longer if SoundSwitch content is being packed

Fixed an issue where tracks would not pack via drag and drop if there are 2 drives with the same or similar names connected

Various other stability enhancements and improvements


Supplier's Notes:

The Mixstream Pro operates on Engine DJ OS, the ever-evolving embedded software platform that powers forward-thinking DJ hardware in DJ booths and on stages worldwide. Equipped with intuitive and familiar touchscreen workflows, lighting fast library navigation and song loading, expanded connectivity, plus a multitude of performance features, Engine DJ provides DJs with the tools they need to always be at their creative best.

BuiltiIn WiFi for streaming music- No laptop required to access millions of songs from top streaming services.

Built-in Speaker Monitors- Instant audio gratification! Start the party with the high-quality, custom-tuned built-in speakers.

Play With Your Music Like Never Before- The large, 7" high-definition touchscreen is your gateway to Engine DJ and hands-on control of your music.

Wireless Smart Lighting Control- Make your Philips Hue smart home lighting dance to the music for the ultimate party atmosphere.

Connect- WiFi | Philips Hue | DMX

Plug into an entire universe of music with the onboard WiFi. Wirelessly sync to Philips Hue smart home lighting for on-screen control of beat-synchronized light shows and custom color selections. DJs can take things even further with never-before-seen onboard control over DMX lighting.

Stream- Streaming Apps | Personal Cloud | No Computer Required

Experience the freedom of standalone streaming without the need for a laptop. Access millions of tracks from TIDAL, Beatport/Beatsource Streaming, Soundcloud GO+, and your personal Dropbox cloud. Tracks are buffered into internal memory for uninterrupted fun during your next party or gig.

Play- Engine DJ | Built-In Speakers | Pro DJ Features | USB/SD Card Slots

With the Engine DJ embedded operating system, an ever-evolving set of pro-level DJ features are literally at your fingertips via the 7" HD touchscreen. The USB and SD Card slots make it easy to access your current music library, and the high-quality, built-in speaker monitors let you practice and play whenever and wherever you like.

Powered by Engine DJ- The Mixstream Pro operates on Engine DJ OS, the ever-evolving embedded software platform that powers forward-thinking DJ hardware in DJ booths and on stages worldwide. Equipped with intuitive and familiar touchscreen workflows, lighting fast library navigation and song loading, expanded connectivity, plus a multitude of performance features, Engine DJ provides DJs with the tools they need to always be at their creative best.

Specs

Frequency Response: 20 Hz - 20 kHz +/- 1 dB
Dynamic Range: > 114 dB (A-weighted)
Signal-to-Noise Ratio: > 94 dB (A-weighted)
Headroom- Mic: > 16 dB, Outputs: > 16 dB, Channel Separation: < -110 dB (1 kHz, unity)
T.H.D.- Line: < 0.01% (1 kHz, unity), Microphone: < 0.05% (1 kHz, unity)

Speakers

Frequency Response (speakers) 20 Hz - 20 kHz +/- 1 dB

General

Analogue Input

Microphone: -40 dBu (unity), -60 dBu (minimum)

Analogue Output

Master, Balanced: +20 dBu (maximum), +4 dBu (unity)
Master, Unbalanced: +16 dBu (maximum), 0 dBu (unity)
Headphone Output: < 30 mW

Connections- Audio Outputs

2 XLR outputs (main left/right, balanced)
1 RCA output pair (main left/right, unbalanced)
1 1/4" (6.35 mm) stereo output (headphones)
1 1/8" (3.5 mm) stereo output (headphones)
Audio Inputs: 1 1/4" (6.35 mm) microphone input
Other: 2 USB port (for USB drives), 1 USB port (to computer), 1 SD card slot, 1 power adapter input

Power
Connection: DC, Center Positive

Voltage: 12.0 V 3.0 A

Dimensions (width x depth x height): 22.3" x 11.2" x 2.9"/566 x 284 x 74 mm
Weight 8.11 lbs. / 3.68 kg

Notes: Wow. Oscillators don't come much more special than this. Two contrasting, fully independent VCOs with waveshaping and complex cross-modulations, plus the 'Thru Zero Trinity' of FM, phase and amplitude modulation. Beautiful.

Supplier's Notes:
Thru Zero Complex Oscillator

A new complex oscillator, featuring two independent VCO's. Both voices have a unique signal path and flavour. Complex cross modulations entangle them together, opening up completely new timbral territories.

Features include the Thru Zero trinity; Frequency, Phase and Amplitude modulation.

Each oscillator also has its own Low Pass Filter, which works great to mellow the harsher tones from complex intermodulations.

Each VCO has great tracking and temperature stability, there is no distinction between a carrier and modulator.

The FM bus lets you modulate the index of each individual voice, with linear and exponential inputs for external sources. There are also inputs for Sync in, with both soft and hard sync.

VCO 1

The left VCO signal chain starts with a shape function, that let's you morph between triangle and saw. This waveform is also available as a separate output.

Next is a sinusoidal wavefolder, which changes its response dramaticaly based on shape of the waveform. The circuit is based on a modified version of a design by Barrie Gilbert from 1977, popularized by Open-Music-Labs (used with permission).

This circuit also creates the possibility of Thru Zero Phase Modulation, here the depth is controlled with the third slider. The source is normaled to VCO 2, but external modulation sources can be patched in, and the depth can also be modulated with CV.

Lastly there's a 2-pole Low Pass Filter, before going out the MAIN output. All parameters can be CV controlled, and feature handy attenuators at the inputs.

VCO 2

The first slider is a continuous waveform shaper, that morphs from sine to tri to saw.

This waveform then enters the Thru Zero Amplitude Modulation (Ringmod) section. The slider sets the depth of modulation, with the source normalized to VCO 1. The depth can be CV controlled, and an external source can be patched as well. The result is also available on a separate output, pre wavefolder/filter (VCO 2 sine).

The third slider is a wavefolder, it's based around a novel wavefolding topology, with a unique and more aggressive sound compared to the sinusoidal folder of VCO 1.

The wavefolded signal goes into a 2 pole Low Pass Filter, and out of the MAIN output.

Dimensions
26 HP
27 mm deep

Current Draw
190 mA +12V
190 mA -12V
0 mA 5V

Notes: 24-channel flagship version of Korg's hybrid mixer, combining analogue and digital features designed by mixer royalty Greg Mackie and Peter Watts. Supremely flexible with great sound.

Supplier notes:
A mixer should not only sound good. It should be very easy to use.

Korg has collaborated with the legendary mixer design team of Greg Mackie and Peter Watts to create hybrid/analog mixing consoles that make creative mixing easy. Both the 24- and 16-channel models give you instant analog control for live mixing with stunning sound quality and more musician-friendly features than the competition - paired with the power of high-quality digital where it counts.

Use a SoundLink and you discover all the typical Greg Mackie features that are unique to SoundLInk; hear your first live mix and discover why Peter Watts helped design legendary Trident consoles and then hundreds of high-end studio processors and preamps. Besides designing mixers, Greg Mackie has been mixing on them for over 40 years.

When you listen to the "White Album", Rhianna's "Rated R" and "Loud", "Goodbye Yellow Brick Road" and literally hundreds of other familiar albums, you're listening to the legendary Trident mixing console sound. Peter Watts had an important role in Trident technology; he brings the same rich, warm preamp, EQ and dynamics quality to the products he designs today. HiVolt mic preamps give you the most headroom of any comparably-priced analog or digital mixer (16.5V internal voltage, even on stereo channels where other mixers skimp). They sound warm and musical.

It is the only small mixer that has Mute Groups. They let you instantly call up different combinations of channels for various groups on stage, different songs, sound checks, a solo acoustic number, a drum solo or different parts of a church service (choir, praise band, pastor. You get four Group options, each easily programmable and recallable.

Some musicians want to hear more of their own instrument or voice in their in-ear or floor monitor, a process that is complicated to change on other mixers. SoundLink's Musician's Phone feature provides one-knob boost of the complete left/right mix into the musician's individual track. Instead of having to change main mix settings or take up a bus, you have dedicated knobs for two musician's "more me" monitor mixes.

Instead of a generic digital effects processor chip, SoundLink mixers use a high-quality proprietary Korg custom chip that builds on all of Korg's multi-decade expertise: twenty four ultra-realistic digital effects. For example, all six reverb effects include an alternate "WARM" version - a touch veteran Korg users will tell you is very useful. Parameters of all effects can be tweaked, saved and recalled, and activated by an optional footswitch. Plus, you get test tone generators for use with the built-in 24-band Spectrum Analyzer that's another SoundLink exclusive in a mixer in this price range.

Digital processing and effects are frustrating if they're buried in some long, scrolling menu inside a menu. For EQ and other control features, and a row of individual L/R, AUX 1 and Aux 2 assign buttons for both Equalization and Dynamics makes mixing easier. SoundLink's Limiter, Compressor, Noise Gate are both effective without being harsh or exaggerated. Each has tweakable, recallable parameters. Coupled with a 31-band Spectrum Analyzer, our super-practical 31-band/9-band ParaGraphic EQ solves acoustical problems other small mixers can't handle.

Notes: One of our favourite small live/studio mixers, shown here in 16-channel form with built-in digital effects. Clean sound, decent three-band semi-parametric EQ and built-in audio interface. Very impressive.

Supplier notes:
The ZED-16FX is ideal for groups who need to travel light. It gives musicians, venues and hire companies access to 10 full mono channels, 3 stereo channels and a high quality effects unit in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED is super-flexible and super-easy: No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your Zed, select the USB routing on the mixer and the device on your computer and that's it. CD quality audio to and from your PC or Mac.

The ZED-16FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ, with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, the ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge, 69dB of range to be exact, and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

The ZED-16FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Allen & Heath's DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point, this quality and integration is only available from the ZED-FX. The ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing, in fact, it's just as easy as using effects pedals. To alter effects parameters, the Tap button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on Plate Reverb, or the depth on Chorus.

Based on the proven pre-amps from the hugely successful PA series, ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: A premium option from Hercules, the Inpulse T7 is a Serato-compatible controller with motorised platters for 7-inch vinyl. Two-channel design with Serato DJ Lite and Djuced software included.

Supplier's Notes:
Are you an aspiring DJ who wants to start spinning on vinyl? The Hercules DJControl Inpulse T7 is the perfect motorized DJ controller to help you take your first steps towards mastering the art of vinyl turntables! This modern take on a classic tool combines the genuine feeling of real vinyl discs with the benefits of digital technology. With 2 motorized platters for 7" discs that go from 0 to 33? RPM in just a tenth of a second, you can practice DJing on vinyl and experience the authentic feeling of real turntables. The separate vinyl record, slipmat, and platter even allow you to remove the vinyl record, giving you full control of your performance.

Serato

DJControl Inpulse T7 includes the Serato DJ Lite software and all of its features. It's compatible with Serato DJ Pro, so that you can enjoy the maximum number of features.

Beatmatch Guide

The Inpulse T7 features the same built-in beatmatch guides as the rest of Hercules' award-winning DJControl Inpulse line to assist DJs in the art of spinning on motorized platters.

Elevate your controller

DJControl Inpulse T7 is 3.5" / 9 cm tall with its feet extended. Elevate your mixing: run wires underneath and protect the controller from spilled drinks.

Experience the sensation of turntables

DJs can mix, beatmatch or scratch on standard-sized 7" platters that go from 0 to 33? RPM in just a tenth of a second. They can also separate the authentic vinyl discs and felt slipmats from the metal platters for a genuine turntable feeling.

Built-in audio

-2 pairs of Master outputs (speakers): 2 x XLR + 2 x RCA
-2 headphones outputs: 14" / 6.35 mm stereo jack + 1/8" / 3.5 mm stereo mini-jack
-Microphone input: 14" / 6.35 mm jack (balanced)
-Audio resolution: 44.1 kHz / 24-bit

Motorised platters

-33 1/3 RPM motorized metal platters (can switch to 45 RPM in Serato DJ Pro)
-Felt slipmats and vinyl records are held in place by the central axis

Controls

-Per deck: 1 filter knob, 3 EQ knobs, 1 gain knob, 1 volume fader, 1 VU meter

-General:

1 crossfader, master volume knob, microphone volume knob, headphones volume knob, Cue to Mix knob, Master VU meter
Effects rack: 2 x 3 Fx Select buttons

-2 paddles, 1 control knob, Beat -/+ buttons

-Platter with touch detection, 3.9-inch / 10-cm tempo fader, Play/Pause, Cue, Shift, Sync

-8 pads × 8 modes (Hot Cue, Loop, Stems)

-Browser knob, Assistant, Range, Loop, Loop In/Out, Instrumental/Vocal, Pitch Bend << / >>

What's in the box:

Hercules DJControl Inpulse T7
2 x felt slipmats + 2 x 7-inch / 17.8-cm replica vinyl records
Braided USB cable
Power adapter + removable power cable
Quick start guide and warranty information leaflet
DJUCEDr and Serato DJ Lite licenses

Notes: Featuring a new cabinet, improved motor and a magnetic clamp to secure your record and speed up the cleaning process, the VC-S3 is Pro-Ject's flagship record cleaner, designed for larger collections. Great quality, great cleaning power.

Supplier's Notes:
The new VC-S3 is Pro-Ject's new premium record cleaning machine with completely new superior features. Vinyl records need a specific maintenance. The dry brush cleaning before playing the record is good to roughly remove dust. To effectively clean the grooves you need to wet clean the record. To achieve the perfect cleaning we also need a suitable cleaning fluid. Alcoholic cleaning fluids can destroy musical micro information of the grooves. That's the reason why Pro-Ject's designed our new eco-friendly non-alcoholic cleaning fluid called "Wash it 2". The new Wash it 2 is a pre-mixed liquid, so you don't have to dilute the concentrate yourself anymore. This avoids acidentally using unsuitable tap water for mixing. With Wash it 2 you can optimize the cleaning performance again. The VC-S3 is very powerful and cleans records completely in one to two revolutions.

Made in Europe!

The new magnetic clamp not only seals the record label from cleaning fluid to avoid damage on the label, it also speeds up the whole cleaning process. Place your record on the machine, put on the clamp and you are ready to go - no more tedious screwing of the clamp anymore. The robust easy to use metal arm is mechanically stable and focuses all suction power directly onto the record surface. Paired with new self-adhesive arm strip your records get cleaned perfectly. The large internal container (2,5 litres) collects used fluid and is effortlessly easy to empty. When using the Wash it 2 cleaning solution, the fluid will also evaporate in the container, meaning the container will almost never need to be emptied even after cleaning thousands of records. It shows fill-up capacity and guarantees no spillage of used cleaning fluid. The new VC-S3 is made in Europe with high quality materials and an excellent build-quality. With many practical features and excellent mechanical operation, the VC-S3 effectively combines industrial design appeal with an easy solution to great sound from your vinyl records.

Technical Specifications

Cleaning speed: 30 RPM
Included accessories: Brush
Vacuum Arm
Self-Adhesive Arm Strip
Magnetic clamp
Wash it 2 (100ml)
Power cable

Power connection: 110/120 or 230/240 Volt; 50 or 60 Hz

Dimensions: 415 x 325 x 272 mm (W x H x D)
Weight: 8,0kg

Please Note: Pro-Ject Record Cleaning Machines are not intended for commercial use. They are home-use products.

Notes: ZED-18 has an incredibly advanced feature-set for a mixer at this level - it gives musicians, venues and hire companies access to 10 full mono channels and 4 stereo channels in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

ZED-18 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-18 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Analogue synth percussion, melodic bleeps and mutating zaps are the name of the game from this clever module. Sequencing options allow you to introduce randomness and organic evolution of the sound.

Supplier's Notes:
Zaps is a percussion-line-synth voice designed for creating organic percussive sequences that can mutate over time.

It uses a combination of different techniques like controlled randomness, morphing, and storing (or locking) synth-voice parameters in externally sequencable CV-controlled slots.

The synth voice is a digitally-controlled-two-oscillator-FM and AM-analog engine with two envelopes and cross-modulation.

These are some of the things that can be done with it:

Sequence Preset Slots externally for changing percussion or synth lines
Add subtle randomness to any parameter for slightly changing sounds, or go wild for unpredicted surprises on every trigger
Morph sounds between Slots
Assign accent to any parameter for added expressiveness
Randomly generate full banks of sounds
Capture any randomly generated sound into a preset slot for further editing
Freeze/Revert the state of the module for careless editing during live performances
Live editing of a single or multiple Slots simultaneously for expressive tweaking
Generate melodic percussion or synth lines with the V/O tracked oscillators
Use CV-in control of any parameter or CV-out control for external modules (control FX-sends or automate external-synth parameters)

The synthesis board is an analog circuit with two VCOs, two envelopes, AM, FM, high-pass filters, and a two-channel mixer.

VCOs:

Triangle core VCOs with V/oct inputs and Fine and Coarse controls.
VCO 1 waves: Sine, Triangle, Sawtooth, and Square.
VCO 2 waves: Sine, Triangle, Sawtooth, Square, Double Sine, and White Noise.
VCO2 has two separate wave outputs, one for the AM and the other for the FM and the Mixer-Channel 2.

ENVELOPES:

Two AHR (Attack, Hold, Release) envelopes.
The hold time can be set internally or externally (Gate ON) for each envelope.
Envelopes can be faded from logarithmic to linear responses.
Each envelope can control the Pitch/Tone of the VCOs (Pitch Envelope), the amount of AM or FM (Envelope 1), the VCA for both channels (Envelope 2).

AM:

The amplitude modulation goes from VCO2 to VCO1.
It can be set in two ways: straight to VCO1 or through a VCA controlled by Envelope 1.

FM:

The frequency modulation goes from VCO2 to VCO1 and from VCO1 to VCO2 (XFM).
FM can be set in two ways: straight to VCO1, or through a VCA controlled by Envelope 1.

MIXER:

Two-channel mixer for the two VCOs.

HIGH-PASS FILTER

There are two HPFs. HPF1 filters the mixer output. HPF2 filters the white noise.

DIGITAL CONTROL

STRUCTURE:

Each project contains twelve banks; each bank contains twelve slots; each slot contains a sound.
All projects are stored on an SD card.

RANDOM:

Randomize values on a per trigger basis
Independent random control for each synth parameter
Set ranges to any random value for controlled randomness
Relatively attenuate all parameter-random amounts with a single global random fader
Populate slots or banks with randomly generated sounds

FREEZE/REVERT :

Take a snapshot of the whole project, modify it and go back to the original state.

MORPH:

Parameter interpolation between two slots on a per trigger basis.
Control the balance between the two slots with one fader - crossfade style!

CV ASSIGN:

Any of the six CV-connectors can be configurable as both inputs or outputs and set to different ranges (0/10V, 0/8V, -5/5V, 0/5V).
CV-inputs can be internally attenuated
Control almost any synth parameter, value, or setting on a per trigger basis. For example, Accent, Slot Selection, Morph assignments, Next/Prev Slot, Random Slot, Oscillator-Wave Selection, any of the synth parameters (Pitch, Release, AM, FM, Global Random...) or any of the random parameters (Random Pitch, Random Filter, Random Hold)
Output any parameter-CV values through any of the assignable I/Os
Alt-fader-CV output for controlling external parameters, like Send-FX for each slot.
CV-slot/Gate out - Useful for externally recording finger drumming!

ACCENT ASSIGN:

. Add dynamics by assigning the accent input to control any one of the synth parameters

COPY:

Copy Slots (also between banks)

SNAPSHOT:

Take a snapshot of the last sound heard (flatten the values for further editing), including the effects of CV-in, Morph, and Random. Very useful for easily creating banks from scratch!

EDIT ALL:

Action over faders has an effect on the twelve Slots. Use hints: Live tweaking, homogenize, "tame" a Sound Bank, or modify all Slot parameters while sequencing the Slots via CV-input.

FILE SYSTEM:

Save, Load, Name, and Rename projects, banks, sounds and sort them into folders.

Notes: Second-generation version of 1010's outstanding Bitbox sampler module, featuring improved processing power, higher-quality touchscreen and new effects.

Supplier's Notes:
Next Generation Sampling Module for Eurorack

The bitbox mk2 is a follow up to 1010's successful bitbox module. Do more with bitbox mk2's more powerful processor and improved touch screen. This module has all of the features of the original bitbox and adds effects and mixing capabilities that take advantage of the faster and more powerful processor.

Sample Playback

Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Sample Recording

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes

Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode - no need to look up CC numbers
Module Features
Use the 3.5" diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

When you purchase a bitbox mk2, you will receive:

a bitbox mk2 Eurorack module
a microSD card with with a bank of demo presets and samples loaded on it
a Eurorack power cable
a bitbox mk2 Quick Start guide
a MIDI Adapter

Technical Specs

Supports 1 and 2 channel WAV files with 16, 24 or 32-bit resolution at any sample rate (48kHz preferred)
26 HP
Module dimensions including knobs: 5.25" x 5"x 1.75"
Depth behind front panel with ribbon cable: 1.25"
+12V: 400mA
-12V: 0mA
5V: 0mA
24-bit ADC and DAC

Inputs and Outputs

Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

Notes: Limited-edition Zanzibar blue version of Soma's unique memory station, combining looping effects with real-time performance options, allowing you to craft and perform soundscapes while manipulating live sound.

Supplier's Notes:
COSMOS is a drifting memory station designed to work with meditative states through music. The design of the controls, functions and generated soundscapes are intended to evoke, in both performer and listener, states and experiences inherent in meditation, such as limitless space, fluidity, spontaneous development, presence, the ability to hear, tranquility, the experience of subtle harmony and happiness enveloping the whole world.

From a functional point of view, COSMOS is a large array of sound memory, in which recorded sounds undergo constant recombinations, spontaneously generating an ever-changing soundscape. This is achieved in three ways - by a mathematical shift based on the relationships between large prime numbers (the size of all delay lines are different primes), an asynchronous operation of the LFO, and modulation with a slowly changing chaotic signal. As a result, it allows the endless layering and processing of various sounds, as in a looper, but without an intrusive, repetitive loop.

COSMOS generates rich, fluid and evolving soundscapes perfect for ambient music. Using COSMOS, you can play an entire meditative solo concert while being in a spontaneous flow and without using studio-prepared sequences, backing tracks and other things that can't be a reflection of the "here and now".

Specifications

Minimum input voltage: 0.35 V peak-to-peak
Maximum output voltage at line outputs: 11.3 V peak-to-peak
The maximum output voltage at the headphones output: 10.4 V peak-to-peak
Frequency response: 10-22000 Hz
Sound memory: 44.7 sec
Supply voltage: 12 V *
Power connector polarity: centre plus
Current consumption: 0.25 A
Dimensions: 342 x 153 x 68 mm
Weight: 2.2 kg

* Use only the power supply supplied with the device! In case of failure, it can be replaced with a high-quality modern switched-mode power supply with an output voltage of DC 12 volts, the center is plus and an output current of at least 0.5 amperes (more is fine). The power supply must have a wide AC input voltage range of 100-240 volts. Such power supplies have excellent output voltage stabilization required for the device. It is forbidden to use COSMOS with nonstabilized voltage from transformer power supplies. It can lead to damage to the device, which is not covered by the warranty repair!

Notes: Based around the logical assumption that a decent drum pattern starts with kick, snare and hi-hat, the Trinity is a three-voice digital module designed to cover all the main elements. A lot of versatility in a nice format.

Supplier notes:
TRINITY is a 3 channel Digital Drum Synth Array packed into a 20hp eurorack synthesizer. Effectively, Trinity performs as 3 powerful drum voices packaged into one beastly drum module with a few tricks up its sleeve.

The name Trinity refers to the 3 drum channels and tips its hat to the core elements of any modern beat driven composition which is typically Kick, Snare and Hat. Trinity takes this simple idea and flips it on its head with 3 channels and an array of drum synth algorithms that use various types of synthesis (Analogue Inspired, Additive, FM & Noise) allowing for a wide array of drum design capability that achieves and reaches far beyond the conventional. Trinity's array of digital drum synth algorithms are very malleable by way of the 7 knobs and 4 mini-pots, each of which control a specific parameter and characteristic (Pitch, Sweep, Time, Shape, Grit, Decay, EQ, Clipper, Hold, Volume and Character) for each drum voice. Each drum channel has its own trigger and v/oct in addition extensive CV input options per channel.

Trinity takes its capabilities a few steps above and beyond most with the addition of its Cycle modes (Round Robin& Random) and Stack modes (2 Stacks & 3 Stacks).

Round Robin cycle mode cycles through the drum algorithm types one after another with each trigger. Random cycle mode randomizes the parameters of a channel's chosen drum algorithm type with each trigger.

Stack modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out depending on the content of the chopped source material. Trinity's take on it? Stack modes allow 2 or 3 drum channels to be triggered by the primary channel's trigger and v/oct inputs. 'Stack Spread' allows for fanning the stacked drums out to taste.

Trinity's uniquely performable and switchable output matrix allows for the routing of each drum channel's output to the mix output, the individual drum channel output or both. This makes for easy performability, mutable output, parallel processing, or side chain source.

Lastly, Trinity's midi over USB connection allows for midi control over various parameters via one USB cable. USB midi makes integration a cinch by connecting one USB wire from Trinity to a groove-box or computer-instant integration.

All in all, Trinity packs a hefty punch and weighs in at 20hp, 11 knobs, 3 drum channels, 3 trigger buttons, 4 drum synth algorithms based on 4 different types of synthesis, 24 CV inputs, 3 way output switching with 3 individual outputs, a mix output and a midi over USB connection.

Notes: Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.

Notes: The ZED-12FX is ideal for groups who need to travel light. Even with its small footprint, the 12FX squeezes in 4 auxiliary channels and swept semi-parametric EQ on top of the already impressive feature set including configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED-12FX is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it.

USB AUDIO FLEXIBILITY
Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

MUSIQ
ZED-12FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

ZED-12FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point - this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

Based on the proven pre-amps from the hugely successful PA series, ZED-12FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a
higher input impedance.

Notes: Designed for Serato and Algoriddim Djay, the long-awaited Mixon 8 Pro is a four-channel hybrid controller with detailed jogwheel displays. Standalone mixer and four FX paddles give versatility for creative mixing.

Supplier's Notes:
Enhanced jog wheels with real-time displays

Boasting sleek, touch-sensitive gun metal platters and high profile rims, the enhanced jog wheel design of the Mixon 8 Pro allows you to control your music precisely. And thanks to the new vivid on-jog displays, DJs are kept well informed with real-time track information, including virtual needle illumination, a playhead position indicator, and track time remaining or elapsed.

Four FX pedals for instant effects

As an industry first, the Mixon 8 Pro features 4 sturdy onboard FX Paddles, providing instant tactile control of all your effects. Each channel also has a 3-band EQ and dedicated sound colour filters to shape your music even more (LPF/HPF).

Stand-alone mixer inside

The powerful inbuilt standalone mixer with independent level meters for inputs and outputs gives you flexible connections to either turntables or media players so you can mix digital and analogue sources simultaneously (2x Phono/4x Line). For even more convenience, you can also route the dual Mic inputs (XLR/Jack) with dedicated talk-over functions into the mixer channels to perfectly EQ your live vocals with onboard controls.

Technical data

In- & outputs: XLR Master-Output, 6.3 mm jack Booth-Output (TRS), RCA Master-Output, 2x RCA-Input (Phono/Line), 2x RCA-Input (Line), 1x Combo-Mic-Input (XLR/jack (TRS)), 1x Mic-Input 6.3 mm jack (TRS), 1x USB-B, 1x USB-C/USB-B, 2x Headphones (6.3 mm/3.5 mm jack)
Dimensions: 657 x 68 x 391 mm
Dimensions docking station: 320 x 9 mm
Weight: 5,7 kg
Minimum system requirements: Please refer to the manufacturer's specifications for the system requirements of your DJ software.
Incl.: Controller, manual, USB cable (USB-A to USB-B), power supply (12V/3A)

Notes: The Buchla Music Easel Program Manager Card

Store your best sonic memories on the Program Manager Card! The PMC takes full advantage of the program interface, storing up to 48 Easel presets and interfacing with your computer with a class-compliant MIDI connection. The Buchla Program Manager App for Mac and Windows gives you the power to manage banks, create programs, and import and export your presets for sharing.

Evolution of an idea

The program interface's edge card connector was originally designed to let artists create presets by wiring resistors to a circuit board to fix the positions of the sliders and banana connections. Each preset was its own card. Simply swapping cards in the program interface completely changed the sound. This was valuable, if not outright necessary, to musicians who needed to easily recreate patches for performance and create repertoire. The 2013 "iProgram Card" created a vital link between computer and Easel. Now, in 2022, Buchla USA has refreshed and simplified the design, giving it more memory, embed-ability, and making it easier to use.

Virtual Solder Station

While you can still solder up some sounds for all generations of the Easel, the new Program Manager Card provides microcontroller precision and computer convenience. Serving as the digital bridge between your computer's USB port and the 28 pins of the Program Interface, the PMC gives you instant recall and easy access to 48 unique programs that control almost every parameter and patchpoint on the Easel's front panel. Repeatability and repertoire are made instantly available.

Computer Precision

Using the Buchla Program Manager Application in Mac or Windows to design presets gives you even more programming options than the Easel's front panel controls. The unique "Depth" controls for the patch cords put a virtual knob on every cable, allowing gradual and even inverted connection for every patch point. The fine resolution provided by high resolution controls means you can dial in extremely precise values for parameters, in a way not easily achieved by hand. The application serves as an endless extension to the Program Manager, with nearly unlimited space for presets and banks.

Sharing is Fun

Import and Export features make it easy to backup or share your presets and complete banks with other Easel musicians in a simple, small file.

Adventure Awaits

With the optional embed kit, you can install the Program Manager card directly into your easel, replacing the Program Interface connector with the screen and buttons. Embedding the card makes it easier to control and travel with.

What about the iProgram Card?

The Program Manager Card is an updated version of the iProgram Card. With a firmware update that we'll be providing very shortly, you can use the new software with your iProgram Card over a USB connection.

Compatibility

The Program Manager Card is compatible out-of-the-box with the Easel Command 208C and upcoming Music Easel. It can be used with the 2013-2017 Music Easels with a DIY modification to the card's connectors or to the Easel itself.

Getting Started

The Program Manager system is composed of the card itself that installs into your 208 Program Interface, and Mac/Windows software where you design and manage presets.

Notes: Simple and straight to the point, ARS's five-band EQ allows you to tweak and adjust the balance of frequencies to get the most from your system. Pristine audiophile sound quality.

Supplier's Notes:
The MODEL-5000 5 Band Equalizer is designed to adjust to all genres of music, and various sound sources such as vinyl, CD and PC.

Source sounds remains lively, while 5 Band Equalizer allowing effective and precise equalization that is not possible with isolators.
Wide Q filter gives instantaneous adjustment.
ARS MODEL-5000 will become your essential item on the site.

* 5 bandwidth of frequencies, HI / HI MID / MID / MID LOW / LOW, are finely level-controlled.
* For the input sources, either RCA unbalanced jacks or XLR balanced jacks (2HOT) can be connected.
* For the output sources, both RCA unbalanced jacks and XLR balanced jacks can be connected simultaneously since both jacks has independent output circuits.
* Knobs have brims on the centre point to easily identified the centre with a little light in the clubs.
* 50 mm width intervals between knobs give smooth operation to improve DJ performance.
* No power switch avoiding accidentally turning power off while playing.
* Minimizing the power noise by designing the main circuit board and the power circuit board independently and setting them apart.

Specs

Frequency Response: +-1dB 20Hz-20Khz (With no EQ)
Input: RCA Unbalanced Impedance 20K Ohm/ XLR Balanced Impedance 40K Ohm
Output: RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Maximum Output Level: +20 dB
Equalizer Control: 75Hz, 300Hz, 1Khz, 3Khz, 10Khz, 5 Bands
Adjustable Range: i12dB
EQ In/Out Switch: Selector switch on the right side of the front panel.
Power Requirement: US-115V/EU-230V(Selectable)
Power Consumption: 10w
Dimensions: Front Panel 1U (W)482 x (H)44 x (D)195 mm
Front Panel Colour: Black

Notes: The Michigan Synth Works SY-1 Drum synth is a full size, exact replica of the Pearl SY-1 Syncussion. Every detail has been replicated from the original board layouts to the mechanical construction. The assembled version has been modernized to use current manufacturing processes while still using the original board layouts and all parts have been carefully chosen to match the behaviour of the original. Case, boards, and I/O Boards are all interchangeable with the original Pearl device

The Syncussion:

The Syncussion is a 2 voice drum synthesizer with two oscillators per voice and six different modes. Five modes mix and modulate the oscillators plus a noise channel. Each voice has controls for TUNE, DECAY, SWEEP amount, SWEEP Speed, Sweep up/off/down, LFO amount, and LFO speed, LFO Shape (Tri or Square), and sample and hold

OSC Modes:

A: One oscillator sound, at this position the regular drum synthesizer sweep can be effected.

B. Sound of one oscillator adjusting the other osciIIator frequency; produces a metallic sound.

C. Sound of a mix of two oscillator outputs; sound is similar to that of a vibraphone.

D. Sound of mix of two oscillator outputs; produces a low to high sweep and is done by hitting pad softly or hard; there is no connection to SWEEP SPEED and SWEEP RANGE

E. Sound of one oscillator adjusting the other oscillator frequency with a mix of noise; produces a sound similar to hitting thin metal.

F. Sound of only noise

Triggering:

The SY-1 is designed to be triggered via drum triggers which output a very low pulse signal. Modern 5V trigger signals (v-trig) can be used, how it i recommended experimenting with simple audio samples or more dynamic triggers. One of the more interesting features of the Syncussion is the dynamic response to the drum triggers and just sending a straight pulse which maxes out the trigger inputs does not do the device justice.

Tuning:

The original SY-1 uses a tune pedal to adjust the pitch of both oscillators while playing. This functionality has been retained in the original configuration but is of limited use without the pedal. The expanded version DOES have per voice CV control (1v/Oct) as well as the MIDI.

MIDI equipped I/O Configuration: This is the same as the expanded i/o configuration but adds MIDI in place of the MOD input. The MIDI responds to velocity to gate level and pitch for each channel. 2 TRS-TS and TRS MIDI cables are included

Trig 1,2 In - MIDI In - Mute - Tune 1,2 CV in - Output 1, 2

The SY-1 ships with a metal base panel but the DIY wood case can be used instead. It is provided UNFINISHED and sold separately.

What's included:
SY-1 Synthesizer
Universal Power adapter (100-240V, 12V DC out, Tip Positive)
MIDI I/O: 2x 1.5m TRS 1/4" Phone to 2x TS 1/4" Phone, 1x 1.5M 3.5mm TRS to MIDI, 1x TRS 3.5mm to 1/4" TRS Adapter

Notes: Warp is a novel synth engine that combines the best of additive and wavetable synthesis.

In the center of Warp's control panel is a colorful XY LED matrix that represents the sound space from which Warp draws its sounds. This XY sound space consists of 32x16 frequency spectra. Each of Warp's four voices can move freely and independently across the XY space. It always uses the surrounding frequency spectra to calculate a wavetable based on 512 sine waves in real time using additive synthesis. By changing the position, wicked wavetable sounds are possible, playable with four voices and eight oscillators and navigable in two directions. An intuitive integrated editor allows playful modeling of your own frequency spectra.
With Warp's SPEC effects the frequency spectrum can be filtered and deformed in realtime before a wavetable is calculated. The wavetable can then be modified with WARP effects like wavefolder, PWM bend, overdrive and redux. The resulting wavetable serves as source for two oscillators per voice, which can be detuned and also synchronized to each other. Each voice is followed by a 12/24dB/octave high pass and low pass filter.

Warp offers an integrated editor, with which you can playfully draw and modify your own frequency spectra. The XY-Sound Space is seen as a canvas on which you can draw your own frequency peaks. Several drawing algorithms are available as tools to edit single or a group of harmonics in a musically meaningful way. There is also the possibility to derive frequency spectra from audio samples from the SD card or to put whole wavetable audio files into the XY sound space. Likewise, the XY sound space can be exported to the SD card as a wavetable audio file of any length and bit depth, so Warp can also be used as an intuitive wavetable generator for other synthesizers.

Also on board are two internal ADSR envelopes and two LFOs, which can be routed to a variety of internal destinations using a modulation matrix. To keep the overview, all modulations are color-coded and are additionally visualized by pulsating LEDs in the modulation matrix view.

Navigation through the menu is as intuitive as with our QUASAR module and is simply done via a push-encoder and a back button. The display always shows which function the four surrounding aluminum encoders currently have, and colored LEDs next to the encoders provide visual assistance. Likewise, the tuning of the module is done via a detented encoder, which adjusts the pitch either in fine steps, in semitones or in octaves. An octave switch is thus already integrated.

For all its feature-richness, Warp still remains a playable and performance-oriented instrument. The large potentiometers serve as macro controls to control several parameters under the hood at once. This keeps the instrument straight forward with a manageable number of controls, but they are all very expressive.
Likewise, the module offers the ability to save and load presets and also comes with audio files and presets on board. Thus, Warp is ideally suited for both detail-oriented sound design and hands-on performance.

In the standalone version, Warp is a monophonic four-voice synth voice that can also be used as an oscillator. With an expander module, it will also be possible to play Warp four-voice polyphonic via MIDI and CV/Gate in the future.

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.



Main functions
4 Voices & 2 oscillators using a hybrid additive-wavetable synth engine
Big knobs act as macro controls for underlying parameters and enable expressive Hands-On playability
Polyphonic with expander, monophonic as standalone unit
Usable as a full synth voice or as an oscillator module
Additive synthesis with 512 sine waves per oscillator = 4096 sine waves in total
XY sound space as a collection of 32x16 frequency spectra
Each voice travels independently across the XY space and uses the underlying spectra to synthesize a wavetable in real-time
Spectral FX are applied on the spectrum before a wavetable is generated
Wavetable FX are applied once the wavetable is generated, e.g. Wavefolder, PWM-Bend, Redux, Overdrive
Two Post-Filters per voice: 12/24dB Lowpass and Highpass with resonance control
Independent oscillator settings per voice, e.g. volume, pitch, stereo pan, detune, sync, X/Y position
Integrated modulation by 2x ADSR, 2x LFO with many waveforms
Modulation matrix view to see everything that is going on at once
Integrated editor for playful drawing of own frequency spectra
Algorithms for musically meaningful drawing of harmonics

Width: 24 HP
Depth: 30 mm
Current draw +12V: 205mA
Current draw -12V: 20 mA
Current draw +5V: 0 mA

** Includes 3mm screws, 16-Pin to 10-Pin eurorack power cable, USB cable for firmware updates **

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.

Notes: Updated version of Korg's excellent Wavestate, drawing on the iconic Wavestation synth to create a modern take on wavetable synthesis, now with added polyphony.

Supplier's Notes:
Wavestate mkII

Extended polyphony. Extended possibilities.

Korg's legendary Wavestation introduced the world to wave sequencing, and the 37-key Wavestate mkII builds on that legacy with a reimagined, compact synth designed to satisfy today's demanding musicians and producers. MkII expands polyphony to 96 stereo voices and adds a fresh look. It's completely compatible with sounds and samples for the original Wavestate.

Overview

Korg's legendary Wavestation introduced the world to Wave Sequencing, transforming raw samples into sounds that no-one had ever heard before. The flagship OASYS, Kronos and Nautilus keyboards developed Wave Sequencing even further, expanding on its unique palette of lush, evolving pads and driving rhythms.

Now, Korg is proud to present the new Wavestate mkII, with improved polyphony (96 stereo voices) and a fresh look. It's completely compatible with sounds and samples for both the original Wavestate, Wavestate SE and Wavestate Native software, including many excellent third-party libraries. Updated sounds and software keep it fresh and the compact form-factor, with 37 full-size keys, still transports easily and fits neatly into any stage, studio, or desktop setup.

Keyboard: 37-keys, velocity sensative
Sound generation: Wave Sequencing 2.0
Polyphony: 96 stereo voices
Configuration: Performance: 4 layers, reverb, EQ
Layers: Program, Arpeggiator, Key, and Velocity Zones
Programs: Wave Sequence, Filter, Amp, Pre FX, Mod FX, Delay
Presets: 261 Performances,799 Programs, and 1042 Wave Sequences
Controllers: MOD wheel, PITCH wheel, Vector Joystick, 8 x program/Performance Mod knobs.
Effects: Pre FX x4, Mod FX x4, Delay x4, Reverb, Performance EQ

Inputs/outputs:

Audio Outputs L/MONO, R (6.3mm TRS phone jack, impedance balanced)
Headphones (6.3mm stereo phone jack)
Damper (6.3mm phone jack)
MIDI in,out
USB Type B

Power: AC adapter (DC12V, 2500mA)
Power consumption 5w
Dimensions: 565 W x 338 (D x 92 (H mm
Weight: 2.9kg

Notes: This long-awaited FM voice module from Jomox is a self-contained synth in Eurorack format, patchable and compatible with other modules but capable of creating eight-voice polyphonic patches all on its own. Vastly powerful.

Supplier's Notes:
The Mod FM is a completely self-contained 8 voice FM synth in eurorack format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM, although the FM engine is digital of course.

Each voice has own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM has Midi in and out in TRS type A format and a USB C connector which handles Midi too.

Even without diving too much into complicated modular setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds.

Furthermore, the Mod FM offers a variety of external cv modulations in order to e.g. modulate each operator individually or control the FM envelopes.

The Mod FM is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but editings made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Modular is great but can be very complex, and you might be trapped in a system where you never reach again the desired sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

Because it gets pretty quickly uncontrollable if you turn all the knobs because of the feedbacks, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-VCA which is important for snappy sounds. The same transistor-VCA is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

Notes: A typically unique take on multi-effects from Soma, designed to induce meditative states. Hybrid analogue-digital delay/reverb/granular processing gives a range of creative approaches.

Supplier's Notes:
COSMOS is a drifting memory station designed to work with meditative states through music. The design of the controls, functions and generated soundscapes are intended to evoke, in both performer and listener, states and experiences inherent in meditation, such as limitless space, fluidity, spontaneous development, presence, the ability to hear, tranquility, the experience of subtle harmony and happiness enveloping the whole world.

From a functional point of view, COSMOS is a large array of sound memory, in which recorded sounds undergo constant recombinations, spontaneously generating an ever-changing soundscape. This is achieved in three ways - by a mathematical shift based on the relationships between large prime numbers (the size of all delay lines are different primes), an asynchronous operation of the LFO, and modulation with a slowly changing chaotic signal. As a result, it allows the endless layering and processing of various sounds, as in a looper, but without an intrusive, repetitive loop.

COSMOS generates rich, fluid and evolving soundscapes perfect for ambient music. Using COSMOS, you can play an entire meditative solo concert while being in a spontaneous flow and without using studio-prepared sequences, backing tracks and other things that can't be a reflection of the "here and now".

Specifications

Minimum input voltage: 0.35 V peak-to-peak
Maximum output voltage at line outputs: 11.3 V peak-to-peak
The maximum output voltage at the headphones output: 10.4 V peak-to-peak
Frequency response: 10-22000 Hz
Sound memory: 44.7 sec
Supply voltage: 12 V *
Power connector polarity: centre plus
Current consumption: 0.25 A
Dimensions: 342 x 153 x 68 mm
Weight: 2.2 kg

* Use only the power supply supplied with the device! In case of failure, it can be replaced with a high-quality modern switched-mode power supply with an output voltage of DC 12 volts, the center is plus and an output current of at least 0.5 amperes (more is fine). The power supply must have a wide AC input voltage range of 100-240 volts. Such power supplies have excellent output voltage stabilization required for the device. It is forbidden to use COSMOS with nonstabilized voltage from transformer power supplies. It can lead to damage to the device, which is not covered by the warranty repair!

Notes: Dark grey version of the 8030C, part of Genelec's iconic range of compact monitors. Max SPL of 104 dB and frequency response of 47 Hz - 25 kHz mean that the 8030Cs pack a bigger punch than their 30 x 19 cm dimensions would suggest.

Supplier's Notes:
If you love the compact format of the 8010 and 8020 models but demand higher SPL and more bass extension, meet the 8030C.

Welcome to the sweet spot

Short term max SPL: >104 dB

Maximum short term sine wave acoustic output on axis in half space, averaged from 100 Hz to 3 kHz at 1 m.

Long term max SPL: >96 dB

Maximum long term RMS acoustic output in same conditions with IEC weighted noise (limited by driver unit protection circuit) at 1 m.

Self-generated noise: <5 dB SPL

Self generated noise level in free field at 1 m on axis (A-weighted).

Weight: 5 kg (11.0 lb)

Dimensions

Height: 285 mm (11 1/4 in)
Height with Iso-Pod: 299 mm (11 3/4 in)
Width: 189 mm (7 1/2 in)
Depth: 178 mm (7 in)

Enclosure

Enclosure material: Die cast aluminium
Enclosure type: Reflex port

Drivers

Bass

Driver type: Cone
Diameter: 130 mm (5 1/8 in)

Treble

Driver type: Metal dome
Diameter: 19 mm (3/4 in)
Harmonic distortion

50-100 Hz <2 %
> 100 Hz <0.5 %

Amplifiers

8030C bass amplifier: 50 W Class D
8030C treble amplifier: 50 W Class D

Mains voltage: 100-240 VAC 50/60Hz

Power consumption

ISS Active: <0.5 W
Idle@ <3 W
Full output: 60 W

Signal processing section

Connectors

Input: Analogue signal input connector XLR female, balanced 10 kOhm.

Crossover

Bass/Treble: 3000 Hz

Notes: Make Noise's 208hp 7U 4 Zone CV Bus Case arrives ready to use. Just add modules, patch cables and inspiration. The powder coated metal construction offers excellent mechanical durability. The lid is removable and can be closed with the system fully patched. The sleek matte black finish was selected to match Make Noise's line of Black & Gold modules, and it looks great with just about any module installed. This finish will show the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power Bus Board is a new approach to accommodating the ever-growing universe of Eurorack modules. The multi-zone solution is like having 4 independent bus boards in a convenient single bus board package. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. The +5VDC supply is shared amongst all 4 zones.

The multiple section of the CV Bus was originally designed in 2013 for Alessandro Cortini's personal Make Noise system. It provides visual indication of level, rate and polarity for up to 4 control signals that will be shared throughout a patch. These 4 control signals are colour coded and distributed across the centre of the system allowing for quick, clean and intuitive patching. The distribution method is unlike the typical multiple since the control signals will appear beneath their possible destinations allowing for the use of shorter patch cables. The colour coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch such as your Master Clock.

This new version of the CV Bus also includes useful modular utilities:

The Voltage Math is found at the left end of the CV Bus. Like the similar circuit on the 0-Coast, it is a small collection of universally useful modular utilities. The two inputs are summed at the output, one at unity and one adjusted by the input attenuverter. The attenuverted input is also normalled to a DC offset, for purposes of level shifting, voltage mirroring etc. The output strength and polarity is indicated by the Green and Red output LEDs.

A high quality Stereo Line Driver converts powerful modular synthesizer signal levels to the commonly used Line Level. There are mini-jack inputs for Left or Mono, and Right for Stereo sound, a single master volume control, as well as a stereo line output pair, and finally a TRS line/headphone out on a single jack. This output is capable of driving a long cable out to a PA System or a set of Headphones. It is AC coupled with a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

Includes

Two 104 hp 3U rows for Eurorack modules, One 104hp 1U row fitted w/ CV Bus
Hybrid switched/linear power solution for low noise and excellent load regulation
Multi-Zone, allowing isolation of noise-prone modules from noise-sensitive ones
Black powder coated metal w/ embossed logo on lid
Sealed to keep dust out during travel or storage
Lid offers space to close w/ your system patched
Recessed side mounted on/off switch and power inlet for safe travel
Locking power connector helps prevent on-stage power loss accidents
Solid carrying handle and rubber feet so the case travels w/ ease
Meets carry-on luggage size requirements for most airlines
Universal AC power adapter works world wide (Need IEC Cable for non-US outlets)
Blued Steel Stand sold separately

Specifications

Size: 7U
Total HP: 208 @ 3U, 104 @ 1U
Outer Dimensions:
22.25" x 14" x 7.25" w/ lid
Max Module Depth: 2.5"
Weight: 12.75 lbs. (w/ powered bus board, CV Bus installed)
Power: +12VDC @ 4A, -12VDC @ 2.4A and +5VDC @ 1A
Connectors: 32
Includes: CV Bus, Powered Bus Board, 120 Sliding M2.5 nuts w/ Black screws, AC Adapter

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

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

Polyphonic aftertouch

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

Thousands of instruments made real

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

Included software

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

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

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

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

S61 MK3 Dimensions: 967.4 × 323 × 86 mm
Weight: 6kg

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

System requirements

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

Notes: Second-generation version of Korg's superb ModWave synth, building on the legacy of the iconic Wavestation with 60-voice polyphony, Kaoss Physics and Motion Sequencing 2.0.

Supplier's Notes:
Modwave is a synthesis powerhouse with distinctive wavetable timbres, Kaoss Physics, and Motion Sequencing 2.0. The new Modwave mkII provides an astonishing 60 voices of polyphony almost double that of the original Modwave. All LFOs have been updated with options for free running, delayed start, and retriggering, and a pre/post switch for reverb sends has been added, alongside new modulation sources, and more.

Modern monster synth

In 1985, Korg introduced the DW-8000 - a synth which combined digital wavetables with rich analogue filters to give users sounds which were impossible to create with analogue oscillators.

Modwave builds on the DW legacy, transforming it into a modern monster synth, featuring incredibly deep wavetable oscillators, gorgeous filters, wildly flexible modulation, unmatched polyphony, comprehensive pattern sequencing, and immediately satisfying hands-on control to deliver unique, powerful, and easily customizable sounds and phrases.

Over 200 factory wavetables each contain up to 64 waveforms. 30+ Modifiers can be used to change their basic character, and 13 Morph Types to process them in real-time. Using the unique, realtime A/B Blend, it's possible to create new hybrids from any two wavetables.

Expanded possibilities

Modwave can be expanded by importing new wavetables using the free Editor/Librarian software. There are many free and commercial wavetable libraries in the standard Serum format, or you can create your own using the free, cross-platform WaveEdit software (available in a custom version for the Modwave). Wavetables can be layered with samples from the built-in, multi-gigabyte PCM library, or import your own 4 GB of samples using the Sample Builder software.

Each Program has two full-featured wavetable oscillators, plus a sub oscillator/noise generator and any of a dozen stereo filter types, including the aggressive MS-20, sweet Polysix, and the newly enhanced Multi Filter. Animate almost any parameter using the massively flexible modulation system, with four triggerable envelopes, five LFOs, dual mod processors and two key-track generators-plus multi-lane Motion Sequencing and Kaoss Physics.

Even with all that synthesis power, playing up to four simultaneous wavetables per voice in a single Program, the Modwave mkII achieves 60-voice polyphony, incredible for a wavetable synth. Layer two Programs together for double the possibilities.

KAOSS in motion

Modwave introduced two unique new tools for creating dynamic motion: Kaoss Physics and Motion Sequencing 2.0. KaossPhysics combines an x/y Kaoss pad with modulatable game physics to create a responsive, interactive controller that is extraordinarily powerful.

Motion Sequencing 2.0 brings the organic, continuously evolving patterns of the Wavestate Wave Sequencing 2.0 into the world of motion sequencing, including multiple lanes and real-time recording to help you create complex and evolving phrases that other step sequencers cannot.

Modwave's evolved wavetable synthesis delivers its own brand of completely unique sounds and a knob-per-function layout that makes customizing those sounds fast and easy. There are hundreds of preset sounds empowered by this new architecture, organised by front-panel category buttons, and all instantly customizable via the four Mod Knobs. Modwave'sdistinctive wavetable timbres start with aggressive basses & leads, and lush ambient pads which will add a new dimension to your tracks. But that is just the beginning.

Those who want to dig deeper will find an endless source of discovery; with the Modwave's unique synth architecture, you'll be finding new things for a long, long time. Save as many of your sounds as you like; there's room for thousands more. You can also load your own samples, import wavetables in standard formats, and create your own wavetables using the free WaveEditsoftware.

KAOSS Physics

Kaoss Physics models a ball rolling on a surface and bouncing off walls. The surface can tilt in any direction, and a bump with variable height/depth and location attracts or repels the ball. Adjustable friction slows the ball's travel, and adjustable time controls the speed of the entire model. All of these characteristics are modulatable, so you can change them in real-time!

Start the ball by flicking a finger on the x/y pad, or launch the ball automatically using another modulation source. You can even directly control the ball by holding your finger on the pad. The position of the ball produces eight modulation signals, which can be used to control any modulation destination: the X and Y locations, the distance from the centre, the angle relative to the X axis, and separate signals for +/- X and +/- Y.

Walls can slow down the ball, as if they were padded, or accelerate the ball, like bumpers in a pinball machine. The walls can also be removed entirely, so that the surface wraps around to the opposite edges like a vintage arcade game.
The modelled environment can create specific modulation effects. For instance, use a centered bump with negative height so that the modulation values always eventually return to 0. Or, position a bump with positive height on a side or a corner, to push modulation values away from that zone.

The result is an interactive controller that amplifies your physical gestures, transforming them into complex musical results.

Motion Sequencing 2.0

Motion Sequencing 2.0 is evolved from the Wavestate's Wave Sequencing 2.0. Timing, Pitch, Shape, and four sets of Step Sequence values are separated into "Lanes," each with their own loop start and loop end, adding a deeper, more customizable level of phrase and modulation recording.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a step sequence value may be matched with a different duration, pitch, and shape every time that it plays. You can modulate each Lane's loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different!

Lanes can also randomize the step order every time they play. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The dual onboard arpeggiators can interact with Motion Sequences for even more possibilities.

Wavetables

Wavetables are sets of single-cycle digital waveforms, arranged in a specific order. The wavetable's "position" determines which waveform is played. Moving the position with an envelope, LFO, or other modulation source creates subtle or dramatic changes in timbre. Some wavetable systems switch abruptly from one waveform to another; others crossfade smoothly between them. Modwave can do either one.

Modifers

Use over 30 Modifiers to alter the character of any wavetable at load time. For instance, isolate the odd or even harmonics, add weight through anti-aliased quantization or saturation, or revisit the gritty character of old-school wavetable synths with the Vintage 8 & 12 options.

Morph

The 13 Morph Types let you stretch, squeeze, reflect, and otherwise alter the wavetables in real-time, changing their timbre andiwhen modulatedicreating additional motion in the sound. Sync creates classic swept-sync timbres, using only a single oscillator. Three special Morph TypesiFM, AM, and Ring Modimodulate Osc 2 with Osc 1, and the last two even apply to samples.

A/B Blend

Using the unique A/B mode, oscillators can blend any two wavetables with phase-synchronous precisionidifferent from simply layering voicesiopening up a dimension of intermediate waveforms. Add body to otherwise "thin" waveforms, for instance, or a touch of sizzle to a mellow timbre. Even fade between two different "modifier" versions of the same wavetable. A/B Blend can be modulated in real-time, of course.

Or, step outside the box with Korg's unique Multi Filter, which creates modulatable blends of multiple modes simultaneously - now with presets on a front panel knob, for easier exploration of its many possibilities.

An arsenal of effects

Modwave's superb effects deliver production-ready sounds. Each Layer has three dedicated effects, plus a send to the Performance's master reverb, followed by a master parametric EQ. Along with standards such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you'll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS and Kronos), plus modeled effects including VOX guitar amps, VOX wah, multi-head tape echo, and a collection of classic guitar pedals.

Notes: Updated version of Rode's outstanding podcast/video/streaming mixer. Fully integrated audio production setup with microphone and instrument inputs, audio interface and built-in effects.

Supplier's Notes:
The RODECaster Pro II is the ultimate audio production solution for streamers, podcasters, musicians and content creators. Combining revolutionary features with superior sound quality, unmatched ease of use and endless customisability, it is all any creator will ever need to record incredible audio.

Combining all of the elements typically found in a professional podcasting, streaming or studio setup into one powerful, easy-to-use console, the RODECaster Pro II simplifies the audio production process, allowing any creator to get set up to record high-quality content in seconds.

The large (5.5-inch) high-definition, full-colour touchscreen with haptic feedback, tactile rotary encoder, bright RGB colour-coding and hands-on controls makes navigating the RODECaster Pro II super simple.

Pre-loaded presets and the intuitive VoxLab processing editor make capturing professional-quality sound effortless. Every feature, from setting up a microphone channel to programming the SMART pads, has been designed to maximise creativity, and every function can be controlled on-board via the user-friendly interface or with a computer via RODE Central for maximum convenience. Incredible audio, incredibly easy.

The RODECaster Pro II offers an unparalleled feature set designed to make anyone sound exceptional every time they hit record. Four studio-grade Neutrik combo inputs with our ultra-low-noise, high-gain Revolution Preamps deliver astonishing clarity and transparency with any microphone or instrument. Users can craft their own unique sound with a full suite of studio-quality APHEX processors, including the legendary Aural Exciter, Big Bottom and Compellor, and powerful on-board effects, including reverb, delay, pitch shifting, robot effects and more. A high-performance quad-core audio engine delivers significantly more processing power than any other content creation console on the market and unlocks huge potential for future updates.

The RODECaster Pro II features four high-end studio preamps that have been designed from the ground up to deliver pristine audio quality with any microphone or instrument. With an ultra-low noise level of just -131.5dBV and a whopping 76dB of gain on tap, they eliminate the need for microphone boosters, lifters or external processing, even with the most demanding dynamic mics. They are highly transparent, allowing every detail of what's plugged in to shine and providing a clean platform to shape and enhance the signal using the on-board processing and effects.

Every great recording starts with a great microphone and a great preamp. The RODECaster Pro II features four phenomenal preamps that rival boutique designs that cost thousands of dollars per channel, complete with broadcast-quality faders for precise gain adjustment, accurate digital level metering, and high-power headphone and speaker outputs for monitoring in stunning definition . Just add a RODE mic and you're golden.

To compliment these high-end preamps, the RODECaster Pro II offers studio-quality signal processing powered by one of the most revered names in pro audio: APHEX.

On-board is a suite of legendary APHEX processors each painstakingly remodelled for the RODECaster Pro II to deliver authentic emulations of classic hardware units. This includes the Aural Exciter for adding sheen and sparkle, Big Bottom for adding richness and depth, and the legendary Compellor master compressor/leveller for adding that all-important final touch. There is also a de-esser, noise gate, high-pass filter and equaliser, also powered by APHEX.

These can be tweaked to taste using the RODECaster Pro II's innovative VoxLab processing editor, which utilises three intuitive controls to change multiple parameters on multiple processors for achieving pro results in seconds, or via the advanced editor for granular editing (either on-board or with a computer). All settings can be saved as presets and re-loaded at any time on any channel.

Every podcast, every stream, every studio is different. The RODECaster Pro II is designed to adapt to any creative vision, with endless customisability allowing users to design their perfect setup no matter what kind of content they are creating.

Specifications

Acoustic & electrical

Processor: 1.5Ghz quad-core audio engine
Bit Depth: 24-bit
Sample Rate/s: 48kHz
Equivalent Noise: -131.5 dBV EIN
Gain Range: 76dB
USB Connectivity: 2 x USB-C connectors (dual audio interfaces)
Bluetooth Connectivity: Wide-band speech Bluetooth
MicroSD Card Transfer Rate: USB 3.0 130 MB/s
Screen: HDR with haptic feedback and auto brightness

Mechanical

Dimensions (mm): 305 x 270 x 60
Weight: 1950g
Included:1 x RODECaster Pro II
1 x SC27 USB-C to C cable
1 x USB-C Power Adaptor
1 x AC Power Cable

Notes: ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: Designed for Algoriddim djay PRO AI and fully compatible with the Neural Mix functions for real-time stem mixing, the RMX-95 is a next-generation digital DJ mixer with built-in dual 24-bit interface.

Supplier's Notes:
Standard redefined

The professional RMX-95 4+1 channel club mixer blurs the lines between analogue workflow and digital technology. The RMX-95 is a cutting-edge, extraordinarily versatile creative tool thanks to its dual-USB 2.0 interface, redesigned effects section, optional MIDI mapping of all controls and smooth integration of the djay PRO AI DJ software. The club mixer has a familiar and user-friendly interface, making it suitable for both professional and hobby DJs.

Connections galore

The RMX-95 also excels in terms of connectivity: Four CD, two line, and two phono inputs are available on the four input channels. The separate microphone channel has two microphone connections (1 x jack, 1 x jack/XLR combination jack) and an additional AUX input. The master output offers RCA or balanced XLR cable connections. The booth output has two jack connections for stereo operation. However, it can also be used in mono mode. A recording device can be connected to the Rec output via RCA jacks to record DJ sets - regardless of the master output level. Last but not least, the DJ mixer has two jacks for headphones.

Maximum flexibility:

Dual-USB audio interface

Superior 24-bit sound quality is provided by the ten inputs and outputs of the high-quality dual-USB 2.0 interface. The two USB ports allow smooth transitions between DJs and maximum flexibility when using different setups in a single club night. In addition, the active USB hub enables the connection of additional USB devices.

Fully digital architecture

The RMX-95's digital architecture transforms the DJ mixer into an individually mappable MIDI controller. As part of this, the setup menu provides a wealth of customisable options, such as EQ frequency range, Neural Mix™ EQ mode, audio interface routing, and zone routing for the booth output.

DVS-enabled for djay Pro AI & Neural Mix

The RMX-95 works with Algoriddim djay PRO AI via plug and play. The DJ app's ground-breaking Neural Mix function lets you isolate beats, melodies, and vocals in the mix in real time. The RMX-95 supports djay PRO AI's advanced DVS integration with Mac, PC, iPhone and iPad. The DJ software is also compatible with streaming services like Tidalj, Soundcloudj, Beatport Linkj or Beatsource Linkj.

Crisp cuts and smooth blending
The adjustable curve of all faders provides DJs with the creative flexibility they want while mixing. Turntablists and scratch wizzards can also upgrade the crossfader with the contactless RMX innoFADER.

Indestructible design
The club mixer's sleek black metal surface is not only eye-catching but also highly durable. The solid metal housing and hard-wearing metal shafts in all of the built-in potentiometers and switches provide a long service life, even with heavy club use.

RMX-95

High performance DJ Club Mixer with premium sound
24-bit dual 10 In/Out USB audio interface and USB hub
Beat FX & sound filters with frequency and resonance control

Technical data

Frequency Range: 20 Hz - 20 kHz +2/-3dB
Inputs: 7x line RCA, 2x phono RCA, 1x mic combo-XLR/jack, 1x mic 6.3mm jack (TR), 2x USB port
Outputs: master XLR (balanced), master RCA (unbalanced), booth (TRS) (balanced), rec RCA (unbalanced), 1x headphones 6.3mm jack, 1x headphones 3.5mm jack
EQ range classic at 70 Hz, 1 kHz, 13 kHz: -26 dB/+9 dB
-EQ range isolator at 70 Hz, 1 kHz, 13 kHz: -90 dB (total kill)/+9 dB
EQ range mic at 100 Hz, 10 kHz: -12 dB/+ 12dB
EQ headphones at 100 Hz, 10 kHz: -29dB
Power Source: AC100-240V, 50/60Hz
Power Consumption: 29 W
Dimensions: 322(W) x 387(D) x 107.5(H) mm