效果器

Notes: Gorgeous analogue goodness in this all-rounder, featuring overdrive, filter, envelope, LFO and a nice retro spring reverb among others processing options. Tons of character.

Supplier's notes:
Today's digital effects and plug-ins can create almost perfect room simulations. However, when it comes to characteristic and charismatic reverb, analogue effect-processors are yet to beat. The reverberating sound of a spring is so lively and unique that its sound is almost impossible to recreate in the digital domain. In addition to this, Retroverb Lancet is not just a spring reverberation system - it is an analogue multi-effects-processor. It offers overdrive, filtering, VCA, envelope and LFO to manipulate the spring sound and create different sounds like auto-wah, tremolo, distortion, delay, gater and of course reverb.

The typical spring reverb sound is generated by a Belton/Accutronics type 4 spring tank with 3 individual springs. It can be placed pre or post the VCF/VCA section and equalized by the Tone parameter.

The Crash function generates the popular thunder effect that occurs when kicking an amplifier with spring tank. You don't have to kick Retroverb Lancet you simply can achieve this effect by pressing the Crash button. It also can be triggered by a Gate voltage.

The multimode filter works as lowpass or highpass with a slope of 24 dB per octave or as bandpass with 12 dB per octave. It is followed by a voltage controlled amplifier. The filter and amplifier can be modulated individually by different sources.

The Retroverb Lancet offers 3 internal modulationGorgeous analogue goodness
in this all-rounder, featuring overdrive, filter, envelope, LFO and a nice retro spring reverb among others processing options. Tons of character. sources:

Envelope follower: the envelope follower converts the amplitude characteristic of the audio input signal into a control voltage.
Envelope generator: the envelope generator can be triggered by the input signal itself, a second audio signal or a gate voltage. Depending on the trigger source it works as Attack-Decay or as Attack-Sustain-Release envelope.
LFO: the LFO offers saw up and saw down, square, sine as well as sample&hold. Additionally it can use the envelope generators settings as waveform. It can oscillate freely or reset by different trigger sources.

The Retroverb Lancet also offers a CV/Pedal input which can be feed by external control voltages or can be used with expression pedals.

Notes: Digital delay meets analogue filtering in this versatile little effects box. Single-tap delay with loop option and clever time multiplication, plus low-pass and high-pass filters.

Supplier's Notes:
Digital delay settings combined with analog sound shaping

SPECIFICATIONS:

Audio output: impedance balanced 1/4" TRS Jack

Audio input: impedance balanced 1/4" TRS Jack

DC Input: 12VDC, 500mA, centre positive, 2.1mm*5,5mm barrel type connector

Dimensions: 145mm x 130mm x 60mm

12VDC 1A power supply included.

Notes: Second-generation version of Boss's excellent looper gives you five stereo tracks, four simultaneous effects, hands-on control and full MIDI support. Ideal for live use but also a creative studio tool.

Supplier's Notes:
Looping Magic at Your Fingertips

Packed with inspiring tools for on-the-spot music creation, the RC-505mkII brings next-generation power and flexibility to the world's most popular tabletop looper. Elevate your performances with five stereo tracks and four simultaneous Input FX and Track FX, and soar even further with customizable buttons, expanded I/O, increased mixing control, and other enhancements requested by long-time RC-505 users. Built for free-flowing expression on stage and in the studio, the RC-505mkII is a dream machine for beatboxers, vocalists, multi-instrumentalists, and other fearless looping artists.

More to Love

The RC-505mkII retains everything that made the original so loved and adds a wealth of new features to make the looping experience even more creative and free flowing. The faders provide longer throw for finer adjustments, and they also have a more solid feel under the fingers. And each track now has dedicated FX and Track buttons, making it easier to colour and control your loops in the heat of the moment. Undo/redo has also been enhanced with a Mark Back function that lets you instantly jump back to a previous loop state while performing.

Customize Your Workflow

While the original RC-505 was very customizable, the RC-505mkII takes things to the next level with a vast range of user-configurable controls. You can assign various CTL parameters to the FX and Track buttons and trigger them with a press, hold, or double-click. Pressing the Undo/Redo button reveals a secondary layer, doubling your options. Two external control jacks are also available for connecting footswitches or expression pedals, and each has its own dedicated set of parameters. Crave even more? Then tap into the Assign screens to set up 16 different targets for hardware control and MIDI operation.

More Sonic Colours for Inspired Looping

Sonic variations help make loop performances more compelling, and the RC-505mkII provides a greatly expanded FX palette to colour your sounds during recording and playback. There are 49 Input FX and 53 Track FX types to choose from-including powerful new vocal harmony effects-and you can use up to four in each section at once. Going further, groups of four Input FX and Track FX can be stored in four banks for quick recall, along with toggle or momentary button settings for each type. A step sequence function is also available in some FX to automate parameter changes for dynamic real-time movement.

SPECIFICATIONS

Sampling Frequency: 44.1 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point

Recording/Playback
Number of Tracks: 5
Data Format: WAV (44.1 kHz, 32-bit float, stereo)
Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)

Rhythm Type: 200 types or greater
Rhythm Kit: 16 types

Effect:
INPUT FX: 49 types
TRACK FX: 53 types
MASTER FX: 2 types
Memory: 99
Nominal Input Level: MIC 1, 2 INPUT: -40 dBu/INST 1, 2 INPUT: -10 dBu
Maximum Input Level: MIC 1, 2 INPUT: 0 dBu/INST 1, 2 INPUT: +7 dBu/+20 dBu (selectable)
Input Impedance: MIC 1, 2 INPUT: 3k ohms/INST 1, 2 INPUT: 1 M ohms/25 k ohms (selectable)
Nominal Output Level: MAIN OUTPUT: -10 dBu/SUB 1, 2 OUTPUT: -10 dBu
Maximum Output Level: MAIN OUTPUT: +7 dBu/SUB 1, 2 OUTPUT: +7 dBu
Output Impedance: MAIN OUTPUT: 1 k ohm/SUB 1, 2 OUTPUT: 1 k ohm
Recommended Load Impedance: MAIN OUTPUT: 10 k ohms or greater/SUB 1, 2 OUTPUT: 10 k ohms or greater

Controls:
TRACK1--5 REC/PLAY button, TRACK1--5 STOP button, TRACK1--5 TRACK button, TRACK1--5 FX button, ALL START/STOP button, UNDO/REDO button, TAP TEMPO button, RHYTHM START/STOP button, RHYTHM EDIT button, INPUT FX A--D button, INPUT FX EDIT button, TRACK FX A--D button, TRACK FX EDIT button, MENU button, LOOP button, ENTER button, EXIT button, PAGE buttons, 1--4 knobs, OUTPUT LEVEL knob, TRACK1--5 LEVEL Faders

Display:
Graphic LCD (128 x 64 dots, backlit LCD)

Connectors:
MIC IN 1, 2 jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max
INST IN 1, 2 jacks, MAIN OUT jacks, SUB OUT 1, 2 jacks: 1/4-inch phone type
PHONES jack: Stereo 1/4-inch phone type
CTL1,2/EXP1 jack, CTL3,4/EXP2 jack: 1/4-inch TRS phone type
USB port: USB B type
MIDI (IN, OUT) connectors
DC IN jack

Power Supply: AC adaptor
Current Draw: 1.0 A (with phantom power), 0.9 A (without phantom power)
Accessories:

AC adaptor
Owner's Manual
Leaflet "USING THE UNIT SAFELY"

Options (sold separately):
Footswitch: FS-5U
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5

SIZE AND WEIGHT

Width: 420 mm/16-9/16 inches
Depth: 234 mm/9-1/4 inches
Height: 67 mm/2-11/16 inches
Weight: 1.8 kg/4 lbs

Notes: Erica Synths Acidbox III brings you the core of the famous Polivoks VCF in stereo version with a unique audio signal overdrive circuit, built in LFO and envelope follower in a compact, full aluminium case.

The Acidbox III has adjustable input gain, therefore it works with various sound sources - guitars, units with line level signals (synthesizers, grooveboxes, etc.) and modular synths. Configurable control input allows you to connect a bypass footswitch, expression pedal, external cut-off control voltage source and LFO synchronization trigger. This makes the Acidbox an ideal companion in almost every production or live performance setup.

Notes: Combining features from the DS01 dub siren and Benidub's Digital Echo, the DS01E is the best of both worlds. A complete old-school dub instrument in one box.

Supplier's Notes:
A mix ready, all-in-one dub sound system box

The DS01 unmistakable sound surely it's a staple when it comes to dub music. However, it transforms into the authentic dub sound system tone which everyone is seeking only when used in conjunction with a delay. In order to achieve that precise feeling, Benidub rewrote the DSP FV-1 used in othe Digital Echo to integrate it into the DS01.

The newest incarnation of one of Benidub's most beloved dub siren ever, now improved with a built-in delay effect.

Using an external delay gets complicated when it comes to wiring and it's not that practical for those going to play on an unfamiliar rig. That's why Benidub built a model that combines both units.

Features

Dub combo unit

Old-school inspired dub siren with a built-in delay, as featured in the Digital Echo, now enhanced to seamlessly integrate into a mix-ready unit.

Authentic dub-delay tones

DS01E features two HPF / LPF resonant filters with variable frequency, to fine tune the delay to your likings and necessities.

Echo integration

The echo not only provides an ambient to the dubsiren sounds, but also, through the dedicated filter and the ability to create rhythmic loops using the echo-cut button, it becomes an integral part of generating sound effects.

TIME: Sets the delay time from 50ms to 1 sec.
POWER INPUT: 12VDC,1A, Center positive, 2.1mm x 5.5mm barrel connector.
AUDIO OUTPUT: 1/4" bal. or unbal. MONO Jack.
MASTER VOLUME: Master output volume control.
MODE: Select between four classic DS01 dub siren tones.
RATE/MANUAL: Modulation rate selector. In manual mode the push-button triggers the modulation.
TRIGGER: Push upwards to trigger the siren temporarily or downwards for a continuous tone.
VOLUME: Sets the echo-section volume.
FEEDBACK: Sets the repetition intensity ranging from one single repetition to continuous oscillation.
FILTER: Combined HP-LP resonant filter to shape the echo tone.
ECHO CUT: Temporary button that mutes the echo output. It can be used to rhythmically cut the echo loop.
MASTER VOLUME: Master output volume control.
PITCH: Select between three preset audio oscillator base frequencies.

Notes: Fingertip looping for progressive music creators:
Perfect for club performers, electronic musicians, and beatboxers, the RC-202 packs powerful BOSS looping and multi-effects in an amazingly compact tabletop unit. Based on the popular RC-505 Loop Station, the two-track RC-202 offers the distinctive look and fingertip interface style of its big brother, plus a host of new features. Four Input FX and four Track FX are available at once, and loops can be saved to memories in real time for seamless creative expression while performing. Expanded foot control and MIDI capabilities are also included, ideal for looping musicians who have their hands occupied with guitar, keyboards, and other instruments.

Two Stereo Tracks and 64 Phrase Memories:
The RC-202 offers two stereo loops with dedicated fingertip controls and animated status indicators. You also have 64 phrase memories for storing and recalling your live loop creations, organized in eight different banks for easy access while performing. As you work, you can save your loops to the current phrase memory without ever stopping playback. This convenient feature lets you seamlessly save and switch memories to perform different song structures and ever-evolving arrangements.

Intensive FX:
Equipped with powerful multi-effects capabilities, the RC-202 offers more real-time processing than any other looper. Four Input FX and four Track FX are available simultaneously, with numerous effects types on tap for loop creation and playback. As you record, you can enhance the sound with Input FX like P. Shift, Lo-Fi, Ring Mod, and more. Track FX such as Beat, Filter, Slicer, and others provide DJ and sampler effects for high-impact processing during playback. The effects can be quickly adjusted with large, easy-to-grab knobs, and turned on/off as you go via dedicated panel buttons.

Powerful Performance Control:
The RC-202's panel is filled with hands-on buttons and knobs for maximum creative control while looping. There's also a jack for connecting up to two footswitches or an expression pedal. Via MIDI, extensive control is possible from a MIDI foot controller or keyboard. MIDI also allows for synchronization with an RC-505 or a second RC-202, as well as drum machines and other devices.

Audio Connections and USB:
The RC-202 is outfitted with an XLR mic input, mono/stereo instrument inputs, and a stereo aux input. All inputs can be used at once, letting you capture and mix multiple audio sources as you build loops. It's also possible to send a click track to headphones only, a great feature for monitoring while performing. Via USB, you can plug into your computer to archive WAV loops or load up RC-202 phrases with live backing tracks or sounds for sampler-style triggering. The RC-202 also functions as a USB audio/MIDI interface, making it easy integrate with music software for stage performing with a laptop, audio recording, MIDI sync, and more.

Notes: Beautiful combo of vintage tech and modern features from Benidub's boutique analogue phaser unit. Six-stage stereo processing with real-time switching to 12-stage mono mode. Excellent playability with large controls.

Supplier's Notes:
Old school mojo with a modern twist on versatility and sound quality
PHASE is an analogue optical phaser, featuring 12-stage in mono and 6-stage when used in stereo. You can switch between the two modes with the "Mode Select" control any time. We made it completely clickless, allowing you to flawlessly switch mode during your set! This unique control provides even more playability and a wide range of phaser tones.

100% analogue audio path for subtle-to-extreme true phasing colours and tones

Unlike many other phasers in the market, designed after guitar-frequencies needs, Benidub's PHASE has been built with a "studio" oriented design in mind, making it the best phaser for either producers and musician. From studio-standard headroom to balanced connections, everything is designed to improve sound quality while granting a smooth and precise excursion along a wide frequency spectrum.

Features

100% Analogue
As any other BENIDUB device, Phase is precisely built with high quality components for a complex and organic sound. The optical-based design not only ensures the best signal/noise ratio for a phaser circuit but also provides the iconic old-school timbre we all love.

Versatile Routing
PHASE can be used as a 12-stage mono or a 6-stage stereo phaser. We designed it as a playable feature, allowing you to switch between the two modes with the Mode Select, clickless control. Not just a "setting", but a tool to build new phasing effect possibilities.

Performance Oriented Design In A Sturdy Case
While designing PHASE we kept our easy-to-use, performance oriented philosophy. PHASE comes in a tank-built enclosures with every control you'll ever need on board, making it an extremely playful stompbox.

Specifications
1. Input L:

1/4" Balanced or Unbalanced jack. The "main" mono input of the unit.

2. Bypass:

Turns off the out of phase signal, thereby stopping the phaser effect.

3.LFO Depth:

Sets the amount of modulation.

4.Input:

In INSERT mode, you got the usual 50/50 dry signal. In AUX mode, you got the full wet signal.

5. Mode Select:

On MONO you get 12 stages. On STEREO you get 6-stages per channel. The stereo mode can be used with a mono input to generate a mono-to-stereo output.


6. Power Input:

12VDC, 500mA, center positive, 2.1mm*5.5mm barrel connector.

7.LFO Mode:

In LINEAR mode, all the 12 (6+6) stages will receive the same modulation. In MIRRORED mode, the first batch of stages modulation will be inverted.

8. LFO Rate:

Sets the modulation speed.

9. Centre frequency:

Sets the frequency that the phaser will revolve around. The Centre Frequency determines where the middle of the comb-filter will be on the spectrum.

10. Feedback:

The feedback knob controls the amount of phase-shifted signal that gets fed back to the phase-shifting circuit.

Notes: Third-gen version of Benidub's 'plug and play' spring reverb is better than ever. Lush, vintage spring reverb now with adjustable filter routing and built-in soft clipping circuits to add saturation.

Supplier's Notes:
Spring reverb preamplifier combined with a LP-HP filter

SPRING AMP III marks the third iteration in the renowned "Spring Amp" series: desktop effects designed to bridge the gap between audio mixers and spring reverb tank, offering dynamic filtering options in an intuitive and ready-to-play package. A culmination of Benidub's expertise and your feedback, combined to create the ultimate Spring Amp.

This new all-in-one dub reverb and filter machine features a full suite of powerful and intuitive controls, making it easy to dial in your favourite spring reverb tones in the studio or on stage.

Everything you loved about its predecessor it's still there, enriched with new features and even more playability than before.

Benidub added a push-button switch for routing settings, allowing you to place the filter before or after the spring tank for more mellow or dramatic swings. SAIII now features an in-built soft clip circuit on both input and filter which lets you push your sound even further without damaging your performance and get that classic, warm, musically pleasing saturation which adds rich complexity to your swells. Every feature is clickless and the circuit has an in-built low noise filter alongside Class-A discrete components.

The Spring Amp III is designed to be a plug-and-play dub reverb effect, delivering the classic dub sound instantly upon connection.

Features

Extra low noise reverb pick up amplifier and innovative power amplifier

Discrete transistors front end amplifier for the best achievable noise figure, and a 7.5W constant current amplifier drives 8ohm input reverb tanks for maximum volume and best treble response.

Inbuilt 12db/oct resonant HP-LP VCF

The Spring Amp III has an inbuilt analogue filter with controls on its cutoff, resonance, and modulation. It features a crossfader between low-pass and high-pass filters outputs and a click-less switch to place the filter before or after the spring tank.

Independent volume controls

Filter and preamplifier have independent volume controls, enabling the unit to function as a standalone filter or directly after an instrument with a line output.

Specifications

1. Power input: 12VDC,1A, centre positive, 2.1mm x 5.5mm barrel connector.
2. Audio input/output: 1/4" bal. or unbal. mono jack. Balanced connection improves the signal-to-noise ratio
3. Gain: sets the input amplifier gain, from unity gain to overdrive.
4. Cutoff: sets the filter's cutoff frequency.
5. Resonance: sets the amount of filter's resonance.
6. LFO wave: switches between 6 different LFO waveforms.
7. Spring tank connections: 1/4" unbal. mono jack to RCA.
8. Reverb volume: sets the spring reverb volume.
9. Dry to filter: sets the amount of dry signal that, after being filtered, is added to the unit's output.
10. Pre/post springs: click-less switch to change the spring signal routing, allowing for the filter to be placed before or after the spring tank.
11. LPF/HPF: crossfade between HP and LP filter outputs.
12. LFO rate/depth: dedicated controls to set the filter's cutoff modulation speed and amount.

Compatible spring tanks:

The Spring Amp III needs to be connected to a compatible spring-tank in order to work correctly. Please never connect the Spring Amp III to a tank without making sure that it is a compatible one.

Notes: The Ar Merc'het Brao pedal is comprised of two filters and two overdrive sections.

The filters are resonant with a slope of -12dB. A switch allows to switch each filter from LowPass to HighPass. The filter cut-offs are voltage controlled thanks to dedicated CV inputs. Additionally, the Ar Merc'het Brao features global controls for cut-off and resonance.

It can be used with a stereo signal or with two mono signals. The module is modular as well as guitar friendly.

Both overdrive sections offer the classic and well known TouellSkouarn distortion sound.

Notes: You've heard of parametric EQ, now meet the paranormal filter. Filter on steroids with experimental six-band EQ, delay and loads of LFO modulation. A powerful, creative take on a filter box.

Supplier's Notes:
Dementor Paranormal Filter is a powerful analogue filter with infinitive of option to modulate the sound, it's perfect to create field soundlandscape and introduce in the dark side of the sound with noise and harmonics feedback sounds.

The Dementor is a unique filter, EQ and delay that takes your signals and makes sure to add spice and character to your sound.

You send one or two signals through the machine by using the two independent signal inputs with level control. The special filter features cutoff and resonance control is LFO controlled - in fact, it's three LFOs for cut-off, resonance and time modulation. You also get an experimental six-band EQ called Nuances (not a usual EQ!) with level control and feedback. The echo/delay, is also LFO controlled.

Dimensions: 20 × 30 × 10 cm

Notes: The JMT Synth NOISY MIC-2 is a unique vocal instrument and processor designed for extreme textures stemming from the human voice. The multiplexer circuit combines the microphone output with a switchable internal VCO, this mixed signal is then passed through a high-gain distortion equipped with an equalizer for final tone-shaping. The VCO can be modulated by an LFO or an external CV source for complex FM-like timbres. This combination of simple circuits forms a unique vocal processor with a wide range of timbres and effects. The microphone is outfitted with a mute switch, making it suitable for live performance.

*Do not connect any other equipment except the included microphone. It is different from normal Midi terminals in that it has special wiring, so connecting other objects to it will damage the circuitry.*

Notes: An interesting creative take on delay from Lorre Mill. The Comb Room combines echo and filtering to create reverb and resonant feedback effects. Banana plug patch points allow you to tweak the signal routing.

Supplier's Notes:
Comb Room

The comb room effect combines a dual delay (room circuit) and a comb filter to make echo/reverb-type sounds and resonant feedback. The comb filter is in the feedback path of the delays. An envelope follower gives movement to either the comb filter or the room circuit. The comb resonance control in conjunction with the comb return control can create self oscillation. The preamp for the 1/4" input has selectable gain of 10x or 40x and a soft clipping characteristic. The comb and room circuits are both built around 1 bit delta-sigma converters. In the case of the delays, the analog to digital conversion is done in the PT2399 echo IC. The comb filter uses a simple and gritty A/D converter built of logic chips and op-amps. Which gives the filter a characteristic sound. Clock noise can be heard at lower frequency settings. Patching the room output to the return will bypass feedback through the filter, allowing all frequencies to echo.

Specs

Banana Patch Points
Banana CV inputs max voltage +/- 8v.
Banana Signal Inputs and Outputs are AC Coupled.

Audio Inputs
1/4" TS instrument input, gain of 2x or 12x
1/8" TRS line input summed to mono

Power Input
standard 12v DC 5.5mm x 2.1mm supplying at least 500mA of current

Audio Outputs
1/4" TS line or intstrument output (selected with push-pin switch)
1/8" TRS line output dual mono