The SDRUM stores up to 36 different songs. Beats are played from a choice of 5 different kits covering a wide range of genres. The pedal also supports three different parts (e.g. verse/chorus/bridge) for each song that can be switched on the fly for enhancing live performances and exploring song ideas.
SDRUM is the fastest way to go from a beat idea to a working drum track.
The synth has two oscillators, three distortion modes, plus one multi-mode filter with high-pass, low-pass or band-pass. With Circuit Mono Station, the sync and tuning parameters of its two oscillators can be individually controlled. It also offers four waveshapes (sawtooth, triangle, square and sample + hold), a sub-oscillator, ring modulation and noise generation. Users can get the frequency band they want by applying high-pass, low-pass and band-pass filters with slopes of 12dB and 24dB.
In addition, Circuit Mono Station introduces a powerful overdrive. Both monophonic and paraphonic modes are available, with each oscillator individually controlled by its own sequencer. There are three sequencer tracks: two oscillator sequencers and one modulation sequencer. Users can alter Gate length, switch patterns instantly, choose sync rate and mutate patterns.
A four-by-eight modulation matrix makes it possible to route from LFO with four waveshapes, envelope, sequencer or velocity, enabling complex modulation for pitch, pulse-width, amp, filter, distortion or CV. Up to 64 patches can be loaded and saved on the device, right at the user's fingertips. Circuit Mono Station controls separate hardware via CV, Gate and modulation outputs, and has MIDI In, Out and Thru, so other MIDI gear can be connected. Via USB, Circuit Mono Station can be plugged into Mac or PC, where unlimited patches can be managed using Components.
The synth has a resonant multi-mode analogue filter for each voice, and three distortion points for each voice - pre-filter, post-filter and global - in an analogue signal chain. Peak is capable of receiving polyphonic aftertouch, which puts expression right at your fingertips. Reverb, delay and chorus effects are at one's disposal, and there is also an on-board arpeggiator.
The modulation system puts a 16-slot modulation matrix and 16 direct assignments in the main controls, cleverly arranged for intuitive patch design and sound editing. There are three ADSR envelopes and two LFOs for each voice, and more elaborate movements and secondary 'via' assignments are made just a few menu button presses away. In addition, two animate buttons give live performers instant one-touch transformation of patches.
Peak connects to modular systems via a CV modulation input, and has MIDI I/O on five-pin DIN ports, so other MIDI gear can be connected. Via USB, Peak can be plugged into Mac or PC, where unlimited patches can be kept using the Components software.
The design consists of a high fidelity resonant filter, 2 stage slope generator (rise/fall) with independent slope shaping, a high fidelity VCA and discrete transistor saturation circuitry. Every parameter on the Entity Bass drum is voltage controllable.
By applying a trigger of any length and at least 2V amplitude, we excite the resonant filter to produce a percussive sine wave. The pitch control tunes the output with a range of 8Hz to around 2.2KHz. Both higher and lower levels are achievable using the FM input for modulation etc. The internal filter will track 3-4 octaves reliably and the tracking device is temperature compensated.
The slope generator (ENV) can be switched into the circuit via the 3 way switch below the FM LVL control. This control is a bipolar attenuator which affects the level of the slope generator and/or external modulator that affects the pitch of the output.
The 3 way switch selects FM, FM+ENV or just ENV as a mod source.
The rise/fall envelope is a two stage function generator. The controls provide slope timing from 1ms to about a minute. To the right of these controls is the shaping section where logarithmic, linear and exponential slope shapes are selected independently for the two envelope stages.
The envelope is designed to re-trigger at a set point. This allows for changing dynamics to occur to pitch and amplitude when the slope times are greater than the output transient time. For instance the sound can vary between any number of triggers that fire before the envelope set point is reached. Setting the slope time fast enough (below roughly 1 o'clock) provides for nominal operation. Settings will vary depending on trigger and ring decay timing.
The envelope can also be used exclusively or in a more complex patch via a direct +ENV output. Additionally, a novel DUCK output provides a means to control external VCAs - to work like slow compressors. DUCK is an inverted and positively offset version of the +ENV out. This keeps VCAs open when the envelope is off and effectively 'ducks' the VCA when the envelope fires. Of course, mod sources for these outputs are not limited to VCAs...
BODY is a subtle, yet novel control. This control simulates the tightness of a drum head. All the way tight, we get a softer and somewhat muted sound, to the right we achieve a more flabby sound. The middle region is the sweet spot for a nearly perfect resonant drum. BODY can have a greater effect depending on the other parameters and can be very useful for fine tuning the sound in a mix and designing original drum sounds.
RING controls the resonant decay time. Both short and plucky and an infinite ring are obtainable. The filter is tuned so that it will always resonate a little, even when RING control is all the way down.
Before the output section, we have the discrete transistor saturation. We like this because of the vintage low end distortion from overdriven class-A discrete amplifiers. This one is tuned a bit more aggressively and just a touch is necessary to add some bite. However, you can go over the top and get brutal if you so desire... ;-)
The saturator will overdrive the output stage for more of a hard clipping effect that can be tuned out by adjusting the output level control without sacrificing signal amplitude - its a hot signal by intention.
The OUTPUT section is a parallel signal processor design. The OUTPUT control blends the nominal output with a secondary input (or nothing) depending on the 2 way switch setting below the control and/or whether an external signal is patched into the AMP CV input. In 'AMP' mode, the OUTPUT control works like a volume control. If a signal is active on the AMP CV input, the control will blend between the nominal output and the CV control level. Similarly, in 'ENV' mode we get the same blending action using the internal envelope.
The VCA can also be accessed directly via the A-MIX input. This allows you to use the output section as a standalone VCA (modulated via the envelope or not) or to mix other sounds with the Entity. Feedback patching is a possibility using a stackable or mult to feed the output into the A-MIX input. This produces a juicy distortion effect of a different flavour, you may like it.
The filter can be used independently or in combination with the nominal output via the F-MIX input. This input is used as an aux trigger input that is sensitive to pulse/trigger width. As the effect is less dramatic than the main trigger, dynamic rhythms are achievable using both inputs and creative triggering.
The saturator is completely user configurable, allowing independent adjustment over the positive and negative clipping threshold levels. The unique response and wide harmonic palette makes this saturator stand in a class of it's own.
- Four inputs, Four outputs
- 3U Eurorack module, 6HP wide, 23mm deep
- Maximum current draw: 39mA at +12V and -12V
Known as one of the best voiced noise sources to date, the Quantum Rainbow is a surplus of true randomness. Unlike digital noise which will only ever be pseudo random at best, analog noise is the only real source of natural random fluctuations. This is because analog noise is the actual sound of real electron behaviour, as they break through a semiconductor junction. The QR uses a reverse biased transistor as the source of this amazing phenomenon.
Interesting fact - studies have been performed in order to prove that the power of thought is linked to statistical phenomena via the means of controlling random electron behaviour.
Special attention was paid when voicing the seven colours of noise in order to provide the most pleasing and accurate coloured noise pallet - that only a true analog noise source can deliver.
The URA was designed to maximize routing options both within the module itself as well as within your modular system.
- Twin analog white noise generator sourced sample and holds: A and B for producing bipolar stepped and slewed random voltages. External input jacks are provided for both units - for processing external signals, random or otherwise. Sample level attenuators provided for each. These units will pass digitized analog white noise at the outputs when high sampling rate is achieved - using an internal or external clock.
- A third stepped output (TOGGLE A/B) provides another unique stepped random output which alternates sampling from two sources in time with the sample clock. This function can additionally splice two external sources together or a single source with one of the internal random sources. In essence, a double throw switch with synchronous sample rate reduction.
- Very smoothly fluctuating random voltage (R-FLUX) provides a very organic random output with voltage controllable (via vactrol) slew speed and voltage controlled output level probability. Internal or external clock timing.
- Random pulse/gate output (R-PULSE) operates from sub-sub audio well into the audio rate for use as a random gate/trigger sequence, additional random clock or digital noise generator. The frequency is variable via panel control and FM (density) input. R-Pulse features 7 selectable levels of randomness through 7 stage divisions. Scroll up/down through divisions. Saves selection every 60 seconds.
- Opto-Integrator - a vactrol based Integrator for smoothing voltages. This integrator features an input jack for processing external signals but processes the R-Pulse output through internal normalization when nothing is patched in. Panel control and CV input provided for altering the integration slope.
- Built in clock with hi and low range selector. Panel speed control and 1V/OCT FM input. Temperature compensated for low drift. Clock output for timing external devices. Clock doubles as a full range pulse VCO.
- External clock input for optionally timing S&H-B, R-FLUX and TOGGLE outputs.
- All packed into a comfortably designed 10hp width.
The Gate Storm contains four complex pattern generators, A to D. They offer variable step length, variable speed (divisions or multiplications of the clock), adjustable pulse width, pattern rotation, various playback modes, inversion and random.
Furthermore there are four simpler clock generators E to H where you don't enter patterns step by step but determine the density i.e. the probability of playing a gate. These patterns also have a number of parameters like pulse width, random, time base, modulation sources, inversions and so on. Logic functions combine certain patterns with others, for instance "Pattern F plays gates only hen pattern C plays none."
The trigger inputs 1 - 4 are assigned to the four complex pattern generators. The two G-Trig sockets are global trigger inputs which are assignable.
The six scaleable CV inputs aren't assigned to certain parameters. Complex patterns, simple clock lines and the logic functions can be modulated. It's also possible to change several things at several patterns in several directions at the same time which is easy to do due to a modulation matrix.
From simple envelopes and LFOs to complex looped multi-stage curves, the mod1 delivers rich and endless modulation options - all based on pure analogue circuitry for everything from super- smooth curves to razor-sharp edges that never sound "digital".
From gently undulating LFOs to ultra-precise hard cuts, you get it all based on innovative analogue circuits for a truly musical touch.
Put A Little Tube In Your Tone:
The MIC500USB is perfect for studio and live applications. The balanced XLR and 1/4" TRS inputs give you maximum flexibility in either scenario. It derives its personality from a hand-selected 12AX7 tube with UTC technology for superior tube character and low-noise operation. The MIC500USB is ideally suited for use with standard digital recorders and sound cards, imbuing signals with the warmth, presence and classic tube compression that will bring your digital tracks to life.
The incredible MIC500USB's controls consist of: switches for +48 V phantom power, 20 dB pad, Phase Reverse and Limiter; plus vintage-style Gain and Output knobs. An 8-segment LED meter provides accurate monitoring of output levels. And when used as a high-end DI (Direct Injection) box in the studio or on the stage, the MIC500USB delivers flawless performance and outstanding signal integrity.
A Voice All Your Own:
To help you get the most from your new MIC500USB, we've provided 16 unique preamp voicings that cover a wide range of applications - including vocals, acoustic and electric guitars, bass, keyboards and more. Options include: Neutral, for a more natural sound; Warm, for adding the warmth typically associated with analog signals and vacuum tubes; Warm + Limiter, for additional warmth when working with high volume levels, sounds with frequent signal peaks, or directly recording an instrument with a mic (e.g., drums); and Limiter, for adding density and a consistent output level of all notes/sounds below clipping.
Although these voicings have been optimized for specific sound sources, feel free to experiment - you just might find that running vocals through the Warm E-GTR setting is perfect for your project. The amazing MIC500USB opens an entirely new and exciting world of creative possibilities!
There was a time when the recording process called for lots and lots of expensive gear, which meant the average musician had to buy time at a recording studio - and that time was pricey indeed. But modern technology has put personal recording well within the reach of virtually anyone with access to a computer. How do you get all that music flying around your brain into your computer? That's where the MIC500USB comes in. Thanks to the built-in USB audio interface, you can connect directly to your PC or Mac computer via a single USB cable. Now any signal source you connect to the MIC500USB can be recorded directly to your hard drive. Which brings us to software...
Free Would Be Nice!
Because you'll want to take full advantage of your MIC500USB's recording and podcasting potential, all the software you'll need for audio recording, editing and even podcasting is included - all free of charge and downloadable from behringer.com. You'll be ready to go live on your PC or Mac right out of the box! There is also a free download of more than 150 virtual instruments and FX plug-ins - turning your computer into a powerful home-based or mobile recording studio from input to output.
Vast World of Vibrato:
Nothing beats the organic warm warble of a classic true pitch vibrato pedal. You can use it at slow speeds to bring life and depth to slow chord progressions ala. Steven Wilson or you can wind it up a bit for eerie Mastodon-approved melodies or energetic Lonnie Mack solos. Heck, max it and behold the faces in the crowd as they begin to look for the hidden B3 organ on stage.
Feel The Mojo:
TailSpin Vibrato contains 100% vintage vibrato mojo put into play by the old-school bucket-brigade circuit design. This ensures that no matter where you set the dials, you'll always end up with a vibrato tone that sounds natural and is highly usable across the musical spectrum.
TailSpin Vibrato doesn't just pass the tone test, it also handles the pedalboard exam with ease. Built like a tank, yet very compact, has top-mounted I/Os AND a True Bypass design. So whether you're a pedalboard minimalist or think bigger is better, TailSpin Vibrato will always fit perfectly into your pedal plans.