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

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

Right inputs are normalled to Left inputs for easy mono operation

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

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

Notes: Great value for FL Studio users with this dedicated controller which channels Akai's expertise in order to offer a hands-on experience for your DAW. Quicker workflow and easier access to settings.

Supplier's Notes:
The new Akai Professional Fire represents the first of its kind, a dedicated hardware controller for the FL Studio Digital Audio Workstation (DAW) platform. Created in close partnership with Image-Line, Fire is a high-performance tool designed to enhance the workflow and music-creating experience for all FL Studio producers.

Fire features a dedicated browser function to navigate, audition and load your audio samples, recall project files and open plugins. Simply select browser and use the Select rotary encoder to preview and load content and devices within FL Studio - The graphical OLED display makes for easy browsing and controlling the various files, menus and parameters within your session a breeze.

Featuring plug-and-play integration, within seconds you'll be creating patterns and building tracks using Fire's 4 x 16 velocity-sensitive RGB pad matrix, designed for immediate interaction with FL Studio's celebrated step sequencer.

Get hands-on with your production with everything you need to control FL Studio's channels and patterns. With direct hardware control over your session, you can easily mute and solo channels, expand the grid matrix, select new channels, navigate through patterns and much more without touching a mouse.

From searing synth leads to lush pads, Fire's Note mode provides the ultimate platform to add melody and harmony to your production. Simply push the Note button and Fire's RGB pads switch-up to a MIDI keyboard giving you three octaves of note data, perfect for playing all of your instruments hosted in FL Studio.

Fire's pad matrix features an MPC-style 16-pad layout for seamless integration with FPC and SliceX. This is great for FL Studio producers who want a traditional beat-making experience or want to use their finger-drumming chops on the track.

Whether you're a studio producer refining an arrangement or live performer looking to take your sessions to the stage, Fire's Performance mode provides the ideal platform to remix and reimagine your tracks. Simply select Performance mode and launch MIDI clips and audio directly from Fire's RGB pad matrix for a truly inspiring live production experience.

Fire also provides immediate access to transport controls straight from the hardware. Record, Stop, Play, as well as a button to instantly switch between Pattern and Song mode are intuitively placed for mouse-free control of FL Studio. Plus, these all double up with secondary controls providing access to Loop Record, Countdown, Wait and Metronome.

Bringing a tactile, mouse-free mixing solution to the FL Studio environment, Fire includes 4 banks of 4 touch-capacitive knobs that enable the user to instantly see and adjust parameter values. Providing control over channel, mixer and user-assignable parameters, this enables a more intuitive and enjoyable workflow. From tweaking volume and pan within FL Studio's mixer to adjusting filter controls within the selected channel and recording automation, you'll spend less time clicking and more time executing.

Speed is power. Up to four Fire devices can be connected at once, enabling unprecedented hardware control over the FL Studio mixing and production workflow. Expand channels or make more in the sequencer accessible by selecting Multi-Device Mode from the OLED display. Instantly expand the 4 x16 matrix of one Fire unit to an 8 x 32 workflow.

Enter the ground-breaking, high-powered workflow heard all over the charts with the FL Studio Fruity Fire Edition software, included with Fire. FL Studio is a complete software music production environment, the culmination of more than 20 years of innovative development. The software features everything you need in one package to compose, arrange, edit, mix and master professional quality music. With access to FL Studio's piano roll editor, step sequencer, playlist, VST instrument support, full automation functionality, plus 18+ virtual instruments and over a dozen built-in effects and processors, FL Studio Fruity Fire Edition provides the ultimate platform to spark that initial idea, ignite your creativity and complete your masterpiece - all in an ultra-intuitive, inspiring environment engineered to keep you tuned in to what's important, your music.

Pads: (64) Velocity-Sensitive RGB Backlit Pads

Knobs:
4 x 360 degree Assignable Touch-Capacitive Knobs
1 x 360 Encoder for Display Navigation

Buttons: 20 x Dedicated function buttons; Red, Amber or Green backlit
Display: OLED Display
Connections: 1 USB Type-B Port

SYSTEM REQUIREMENTS
Windows 7, 8, 10 or later
4GB of RAM or higher recommended
4GB free disk space
FL Studio 20.0.5 or later

Mac OS:
10.11 or later
4GB of RAM or higher recommended
4GB free disk space
FL Studio 20.0.5 or later

Notes: The ultra-portable MPK Mini Play is based on the world's most popular midi controller - Akai Professional's MPK Mini-but now it comes packed with 128 sounds and its own built-in speaker. With 8 backlit MPC drum pads and a 4-way joystick for simple control, players have all they need to play their music anytime, anywhere. Four knobs (two banks capable of controlling eight different parameters) can be used to tweak sounds and edit multiple parameters in real-time, giving musicians even more performance possibilities. Powered by 3 "AA" batteries, the MPK Mini Play is built for hours of wireless fun.

Not just a mini keyboard, the MPK Mini Play can also connect to a computer via USB port for the same plug-and-play MIDI functionality as the classic MPK Mini controllers. If not disturbing others is a priority, players can use the mini-audio output jack to connect headphones to the MPK Mini Play. When you want a bigger sound, simply connect to external speakers using the same output jack. All-in-one, easy-to-use fun with "pro" features - that's the MPK Mini Play!

"We are extremely excited to introduce the MPK Mini Play," said Dan Gill, Product Manager for Akai Professional. "The MPK Mini was a huge hit with musicians and now having all those sounds on-board with a built-in speaker, along with its go-anywhere portability, Play opens up new musical possibilities that people are going to love."

KEY SPECS

Keys
25 velocity-sensitive

Pads
8 pressure and velocity sensitive
MPC-style Light-up Pads x 2 Banks

Knobs
4 assignable controller pots
1 x 360 Encoder for Display Navigation
1 Volume control

Computer Interface
USB-MIDI communications to Mac/PC

Octaves
10 with Octave Up and Down

Arpeggiator
Yes

Additional Controls
Pitchbend/Mod Joystick
Note Repeat Button
Full Level Button
Tap Tempo Button

Additional Inputs
1 14" (6.35mm) TS input for sustain pedal

Output
1 1/8" (3.5mm) headphone output
Built-in speaker

Power
USB bus powered
3 x AA batteries

Dimensions:
12.29" x 6.80" x 1.83" / 31.2 x 17.2 x 4.6 cm (WxDxH)
1.6 lbs

Review: 1975's Black Sabbath album, Sabotage, was written at a time when the band were caught up in an ongoing legal battle with their former manager. That is what gave the album its title and no doubt fuelled some of the more abrasive and angry tracks. The newly remastered reissue is now paired with a complete live show that was recorded during the band's 1975 tour. Of the 16 tracks, 13 have never before been released. As well as a special new booklet with further fan delights, two extra tracks feature on a bonus 7" with artwork that replicates a rare Japanese version of the single.

Notes: The new Akai Professional Fire represents the first of its kind, a dedicated hardware controller for the FL Studio Digital Audio Workstation (DAW) platform. Created in close partnership with Image-Line, Fire is a high-performance tool designed to enhance the workflow and music-creating experience for all FL Studio producers.

Fire features a dedicated browser function to navigate, audition and load your audio samples, recall project files and open plugins. Simply select browser and use the Select rotary encoder to preview and load content and devices within FL Studio - The graphical OLED display makes for easy browsing and controlling the various files, menus and parameters within your session a breeze.

Featuring plug-and-play integration, within seconds you'll be creating patterns and building tracks using Fire's 4 x 16 velocity-sensitive RGB pad matrix, designed for immediate interaction with FL Studio's celebrated step sequencer. Get hands-on with your production with everything you need to control FL Studio's channels and patterns. With direct hardware control over your session, you can easily mute and solo channels, expand the grid matrix, select new channels, navigate through patterns and much more without touching a mouse.

Get hands-on with your production with everything you need to control FL Studio's channels and patterns. With direct hardware control over your session, you can easily mute and solo channels, expand the grid matrix, select new channels, navigate through patterns and much more without touching a mouse.

From searing synth leads to lush pads, Fire's Note mode provides the ultimate platform to add melody and harmony to your production. Simply push the Note button and Fire's RGB pads switch-up to a MIDI keyboard giving you three octaves of note data, perfect for playing all of your instruments hosted in FL Studio.

Fire's pad matrix features an MPC-style 16-pad layout for seamless integration with FPC and SliceX. This is great for FL Studio producers who want a traditional beat-making experience or want to use their finger-drumming chops on the track.

Whether you're a studio producer refining an arrangement or live performer looking to take your sessions to the stage, Fire's Performance mode provides the ideal platform to remix and reimagine your tracks. Simply select Performance mode and launch MIDI clips and audio directly from Fire's RGB pad matrix for a truly inspiring live production experience.

Fire also provides immediate access to transport controls straight from the hardware. Record, Stop, Play, as well as a button to instantly switch between Pattern and Song mode are intuitively placed for mouse-free control of FL Studio. Plus, these all double up with secondary controls providing access to Loop Record, Countdown, Wait and Metronome.

Bringing a tactile, mouse-free mixing solution to the FL Studio environment, Fire includes 4 banks of 4 touch-capacitive knobs that enable the user to instantly see and adjust parameter values. Providing control over channel, mixer and user-assignable parameters, this enables a more intuitive and enjoyable workflow. From tweaking volume and pan within FL Studio's mixer to adjusting filter controls within the selected channel and recording automation, you'll spend less time clicking and more time executing.

Speed is power. Up to four Fire devices can be connected at once, enabling unprecedented hardware control over the FL Studio mixing and production workflow. Expand channels or make more in the sequencer accessible by selecting Multi-Device Mode from the OLED display. Instantly expand the 4 x16 matrix of one Fire unit to an 8 x 32 workflow.

Pads: (64) Velocity-Sensitive RGB Backlit Pads

Knobs:
4 x 360 degree Assignable Touch-Capacitive Knobs
1 x 360 Encoder for Display Navigation

Buttons: 20 x Dedicated function buttons; Red, Amber or Green backlit
Display: OLED Display
Connections: 1 USB Type-B Port

SYSTEM REQUIREMENTS
Windows:
Windows 7, 8, 10 or later
4GB of RAM or higher recommended
4GB free disk space
FL Studio 20.0.5 or later

Mac OS:
10.11 or later
4GB of RAM or higher recommended
4GB free disk space
FL Studio 20.0.5 or later

Notes: Nice dual-module gate/envelope generator which can run off any audio signal. Feed it drums, synths, samples or a mic input and and generate CV modulation signals.

Supplier's Notes:
The Percussion Interface (PI) and PI Expander are a pair of Eurorack modules that generate gates and envelopes from acoustic drums, samplers, drum machines, and virtually any audio source.

Converting microphone, instrument, line and modular signals into CV and clock/gate signals, the PI and PI Expander are suited for synchronizing sequencers or other modules to the rhythm of an audio track or live percussion. The modules can simultaneously be used as a pre-amp for microphones or line-level signals, while generating inverted envelopes useful for side-chaining. The PI module contains all the core functionality and can be used without the Expander to conserve space. The Expander requires the main PI modules and adds three gain stage options, a modular-level audio output jack, a 1/4" (6.35mm) input jack, and envelope attenuation capabilities. The two modules are only sold together, they are not available separately.

Electrical and Mechanical Specifications:
Module size (PI):
4 HP Eurorack formal module
0.98" (25mm) maximum depth with power cable
10-pin Eurorack power header

Module size (PI EXP):
4 HP Eurorack formal module
0.98" (25mm) maximum depth with power cable
8-pin cable connects to PI

Power consumption:
with PI Expander
+12V: 104mA
-12V: 65mA
without PI Expander
+12V: 69mA
-12V: 56mA

Audio Inputs:
1/8" [3.5mm] on PI main module, and 1/4" [6.35mm] on PI Expander
100k input impedance, AC-coupled

Audio Outputs:
Voltage range: -10.4V to +10.8V, DC-coupled
1k output impedance
Gain Characteristics
Gain range: < -100dB to +54dB (500x)
Clip light turns blue when signal (post-gain) exceeds 2.5Vpp
Gate is triggered when signal (post-gain) exceeds 6.3Vpp
Clip light flashes red when signal clips on Audio Out jack (exceeds +10.8V)
Gate Out Jack
1k output impedance
+8V gate/trigger signal
6ms - 0.5s pulse width
+ Env Out jack (jack on PI main module)
1k output impedance
+9V peak (sustain), -60mV resting (off)
15ms attack time
70ms - 6s exponential decay time (1% of peak voltage)
- Env Out Jack (jack on PI main module)
1k output impedance
+9V resting (off), -150mV peak (sustain)
15ms attack time
70ms - 6s exponential decay time (1% of peak voltage)
Env. Out jack (attenuated jack on PI Expander)
1k to 26k variable output impedance
+9V maximum
-60mV minimum
Inv. Out jack (attenuated jack on PI Expander)
1k to 26k variable output impedance
+9V maximum
-150mV minimum
Included with the PI+EXP:
8-to-16 pin power cable
8-to-8 pin cable for connecting to the Expander
M3 Knurlie screws (4)

Notes: High-resolution sound at a low price thanks to Tascam's US-HR range, provided here in 2-in, 2-out format with integrated MIDI in and out. Simple, no-fuss solution for hooking up to your DAW.

Supplier's Notes:
High-Resolution USB Audio/MIDI Interface (2 in, 2 out)

The US-2x2HR is a member of the Tascam US-HR series of high-resolution USB audio interfaces. It provides two mic/line/instrument switchable inputs and two balanced line outputs as well as MIDI I/O to your Windows or Mac computer or your iPhone or iPad. This interface is ideal for music creation and home recording with high demands on simple operation and studio-quality sound. The included loopback function and support for Open Broadcaster Software (OBS Studio), however, makes it also an excellent choice for podcast creation and live streaming.

The compact US-2x2HR incorporates a wealth of features, including high audio resolution up to 24-bit/192 kHz, ultra-low latency with a Windows buffer size starting at four samples, Ultra-HDDA mic preamplifiers with 48-volt phantom power for superior sound quality with ultra-low noise, a robust USB Type C connector, and a rich assortment of included software to start producing audio right away. This interface can also be used for mobile production or live streaming using your iPhone or iPad with the included Cubasis LE. Simply put, the US-2x2HR helps you create and distribute great-sounding audio wherever you go.

All US-HR models offer a unique dye-cast aluminum honeycomb structure on the side panels with a slight upward tilt. This design not only results in a sleek, eye-catching design, it also provides just the right amount of weight so the interface won't move when cables are connected or disconnected. Equally important, the upward tilt offers the ergonomic benefit of being angled in such a way as to make the interface easy to work with.

If you're a musician, producer or home-recordist who needs a solid, uncluttered, easy-to-use audio interface with superb sound quality, the Tascam US-2x2HR can be your reliable partner for many years.

The Ultra-HDDA (High-Definition Discrete Architecture) mic preamps used on the US-HR series feature a discrete construction. They have a higher number of components and are far away from mass-produced preamps. Their EIN (equivalent input noise) rating, which measures the absence of noise, is truly low for the US-2x2HR and US-4x4HR. Combined with a newly improved audio circuit and support for sampling rates up to 192 kHz, our in-house developed microphone preamplifier delivers enhanced audio performance with the most transparent and low-noise sound, reflected in a signal-to-noise ratio of 110 dB.

One issue when recording using a computer is latency, which is when audio signals are delayed through digital circuitry. Another is setting up the driver software that is used when connecting an audio interface to a computer. In order to eliminate these problems, our driver software introduces only very little latency and is easy to install. Furthermore, by making the external structure of these interfaces as simple as possible, the Tascam US-2x2HR and US-4x4HR allow users who are not expert users of audio equipment to operate them without concern.

The Settings Panel, which is installed on your computer, comes with a variety of functions. You can choose whether direct monitoring is done in mono or stereo and adjust the balance between input and computer signals. You can also switch the hardware inputs on and off individually and set the Windows buffer size according to your working environment.

For online broadcasting, Internet communication and other live streaming applications, the US-HR series interfaces offer a Loopback function which can merge input signals 1/2 with signals 1/2 coming from the computer (each can be set to mono or stereo) and send that mix to the broadcasting or other software on the computer. A software slider allows to adjust the final "broadcast" volume independently from the unit's line output level setting.

Instead of a computer, you can also use an iPad or iPhone together with the US-2x2HR/US-4x4HR to make music. Performance has been tested with not only the bundled digital audio workstation (Cubasis LE3), but also with other popular recording software - you can continue to use them even if you change DAW software. Since these units include MIDI inputs and outputs, you can connect MIDI keyboards, drum computers etc. to play sounds on the iPad or computer and thus expand your personal orchestra.

Maximum input level (Mic/Line/Inst): +10 dBu / +20 dBu / +10 dBV
Maximum input gain: 56 dB
Maximum output level: +20 dBu
Mic preamp equivalent input noise: 128 dBu
S/N ratio: 108 dB / 110 dB
Distortion (THD+N, mic to computer): 0,0013 %
Crosstalk: 95 dB
Power supply: USB / DC 5 V, 700 mA
Power consumption: 1.75 W
Overall dimensions (W x H x D): 186 mm x 65 mm x 160 mm
Weight: 1.1 kg

Notes: Sindikat is made to be placed in the heart of every modular setup: copy, invert, attenuate, scale, get different polarity versions simultaneously of two pair of mixes, mix CV as well as audio (up to 8 sources in total), mute or switch to add desired source to a bigger unity mix, scale two separate mixes with chosen gain.. All circuits can preserve their independent use and/or be combined!

Details & use:

The module consists of circuits designed to group the most useful operations for signal mingling in modular synth setups -but in the more fun manner!

It is designed in the way that the circuits can function independently -be patched to the other modules- or to be combined inside the module at the same time!

On the top of the module there is a buffered multiple (the bi-color led is indicating signal input and its polarity) : Next to the input there are two outputs giving the exact copy of the incoming signal. On the third output you'll get the 'attenuverted" version of that signal which is controllable by the dedicated attenuator/inverter potentiometer.

This signal can be further added (or muted) via its switch, internally to a unity gain mixer situated on the bottom of the module via its SUMM OUT.

This mixer has its own 3 inputs who will accept CVs as well as audio signals with an output gain of 1/3.

Its bi-color led will indicate the polarity of the incoming signals.

In the center of the module there is a CV Processor consisting of two mixers each mixing two signals- in the way that:
The first one takes two signals (A and B) and outputs simultaneously the positive version of their mix (AB+ OUT) and the negative version (AB- OUT).
Their gain is scaled by the potentiometer: going on 1x in the middle position to 2x fully turned. (After middle position with a stronger signal and due to higher gain it will start to saturate producing an distortion-like effect)
Further, via their switch, those mixes also can be added to a unity gain mix (SUMM OUT) and therefore creating a larger mix.
You'll do that by choosing which polarity output you want to send to a summing mix.
In the middle position of the switch the signal is "off" so you can use this to mute/un-mute the signal in the unity mix. Also, even if it is in "off" position this only breaks the internal link to a unity mix but you can still use their distinctive outputs to send your positive and negative mixes elsewhere in your system.

Goes the same for the second one: C and D inputs giving positive (CD+) output result and negative (CD-) simultaneously , all with gain select and the switch choice for summ positive or negative (or none) to a bigger unity mix.

You can also choose to use those two circuits as a simple attenuators for ex. by patching only one signal so you'll get an attenuator and polarizer at once!

The module can process CV and audio as well in every circuit.

Therefore, by summing eventually all the signals to a final "SUMM OUT" output you can create up to 8 sources -in the module- large mix!

Made for more fun with a modular!

This module fits perfectly well with Modulaire Maritime "Decca" switch-based manual control module.

As these modules are developed from practicing recording in "one take" (same for a live performing), combining them you get an extended control over CVs, gates and audio going on in the system, allowing to switch- stop/mute, change polarity, introduce/mix more gates, drums,.. on the fly.

8hp
25mm deep
Reverse voltage protected

Review: Song Cycle Records has put together a collector's edition box set of the Solaris original soundtrack as realised by Russian composer Edward Artemiev, who was once a member of the legendary Experimental Studio of Electronic Music in Moscow. Andrey Tarkovsky's masterpiece film from 1972 is a cosmic epic with a soundtrack to match thanks to its many eerie synthesiser sounds and lo-fi, alien ambient atmospheres. The pair also worked on Mirror (1975) and Stalker (1979), but Solaris might be their best, as this compelling box set proves.

Notes: Output Voltage : 7.5mV/1kHz (5cm/s)

Frequency Response: 20~20kHz

Channel Balance: <1.5dB

Separation: >25dB

Load Impeadance: 47kO / 200pF

Recommended Force: 2.5g

Cartridge Weight: 5.8g

Notes: The CTRL Case One is a super lightweight and compact carrying solution for your Rane One Controller. The case is crafted from lightweight Durashock molded EVA foam and water repellent polyester exterior. The lid is lined with high density egg-crate foam to protect the display, jog wheels, and controls.

Fits:

Rane One

Basics:

Lightweight Durashock molded 8 mm EVA foam and polyester exterior shell
Sturdy zipper
Incl. high density egg foam to protect knobs, faders, jog wheels and display
Comfortable, rivet reinforced carrying handles
Including detachable shoulder strap (metal buckles)

Specs:

Outer measures: 75 x 41 x 11 cm
Inner measures: 71 x 35 x 8 cm
Weight: 1,9 kg

Notes: Hizumitas was designed for the one and only Wata from the legendary experimental band Boris, one of the heaviest bands ever to come out of Japan. The trio of guitar sorceress Wata, drummer and vocalist Atsuo, and double-neck bassist, guitarist and vocalist Takeshi has almost 100 releases filled with genre and brain-melting music.

In their nearly three decades together, Boris has infused doom, hardcore, thrash, noise-core, ambient, free improv, drone, psychedelia, and more into their extensive discography. Boris is also known for their unique collaborations with mutually adventurous artists, including American Doom mongers Sunn O))), noise legends Merzbow, Keiji Haino, and Ian Astbury of The Cult.

Wata, always seen and heard on stage wielding her black Les Paul Custom, mixes killer riffs with searing, fluid, or jaggedly melodic leads and controlled walls of feedback, often with help from an EBow. It's a connection of chaos and melody that has enchanted Boris fans worldwide and influenced many bands that have followed in their considerable wake. Simply stated, no other band sounds like Boris, and no other guitarist rocks like Wata.

But with EQD's Hizumitas fuzz on your pedalboard, you can carve out your own singular, mega-heavy tone.

Hizumitas is a faithful recreation of Wata's go-to distortion pedal, the Elk BM Sustainar. The Elk is a Japanese variant of the very well-known "Triangle" BMP. The designers at EQD tried several vintage BMP's during development, found that each pedal was wildly different and realized that to truly capture the magic they needed the original. Wata graciously sent her beloved pedal halfway around the world, and EQD discovered that it had something special the others didn't have: heavy saturation with a gritty edge and massive bottom while maintaining a clear and dynamic tone with enough mids and top end to cut through any sludge. The studious wizards at EQD have built all of those characteristics into the Hizumitas.

Notes: The SVF is a 4hp 2 pole 12dB State Variable Filter Eurorack Module available as a Eurorack DIY Kit, PCB and Panel, or Built Module.

It provides Low Pass, Band Pass, and High Pass outs inspired by WASP and Thomas Henry filter topologies. The filter has 2 audio inputs, but channel 2 is jumper selectable between standard audio in or Ping-able operation. The 2019 revision also adds improved cutoff and resonance response and attenuversion through the ACV IN using the above pot. CV IN provides another unattenuated voltage input to modulate the frequency.

At the CV in, +10v will open the filter completely if the cutoff pot is CCW(counter clockwise). With the cutoff knob at noon the filter can be opened with +5v or closed with -5v. CV input at the ACV in is dependent on the CV attenuverter knob.

There are also several jumper selectable modes for max resonance, self oscillation or no oscillation based on the setting of the resonance pot. According to the jumper configuration, the filter is capable of clinical and clean, to juicy and drippy, to low pass gate sounding plonks, to screaming chaotic resonance. When set to self oscillation mode, the filter can produce a sine like wave with no input and a trapezoid like wave in the max resonance jumper setting. In max resonance mode, the filter output can exceed 10Vpp. On the newest version, there is a trimmer on the top pcb to set the lowest cutoff frequency.

The new black and white pcb/panel is reversible meaning, one side is classic (first picture) and the other side is soulless (second picture).

Notes: Clever FM module that does digital-style through-zero FM using analogue circuits. Use any signals from other modules as your carrier and modulator, then phase modulate or wavefold in the FM Aid.

Supplier's Notes:
FM AID is a module designed to perform through-zero linear Frequency Modulation (FM) in the analog modular world. Any arbitrary signals can be used as a Carrier and Modulator. The module copies FM in how it is done in digital implementation, but in a completely analog circuit free of digital aliasing artifacts. Digital or software FM oscillators are mainly based on a ramp waveform which is then shaped to other waveforms. This is also represented in the FM AID module: sawtooth signal is expected on the Carrier input to give the indicated sine, triangle, sawtooth and square waveforms on the respective outputs. However the user is not limited to only use sawtooth for the Carrier and any other signal can be plugged giving many complex waveforms at the outputs.

All known FM tricks from digital implementation are also applied - you can endlessly experiment with the Carrier/Modulator frequency ratios, Modulation index (FM knob), Modulator's amplitude shaping (CV knob), feedback FM (output is fed back to the Modulator's input) and many other.
Carrier input has normalled connection to the Modulator's input. This internal routing is disconnected each time a plug is inserted in the Modulator's input. That is a handy option which allows the module to be used with only one signal source - this single signal will act as Carrier and Modulator at the same time. There won't be any frequency differences between Carrier and Modulator in this case, but many interesting wave folding sounds will be available anyway.

Technically speaking FM AID uses Phase Modulation, not Frequency Modulation. The sonic difference is that the produces sound is brighter.

SPECIFICATIONS

Carrier input level: -5V ... + 5V (can also accept inputs ranging from -1V ... +1V] to [-12V ...+12V] / [-15V ...+15V] using onboard trimmer)

Modulator input level: preferably -5V ... + 5V

CV input level: preferably -5V ... + 5V

outputs level: -5V ... + 5V

outputs impedance: 1 kOhm

module depth: 3 cm or 1,5 inches

power consumption: +45 /-45 mA at +/-12 Vdc, +50 /-50 mA at +/-15 Vdc

Notes: All channels support headphones with 16 - 600 Ohm impendances.

Superb sound with low distortion and great low end.

Linkable channels (B to A and C to A).

All inputs with multiples, ie feeding different mixer channels.

Mono input is normalized to stereo.

Protected with relais, assuring soft starts and DC protection for your headphones (> +/- 10V input)

Width: 12 HP

Notes: Mighty oscillations, mini size.

An analog oscillator and LFO with pure waveforms and precise tracking in a compact package. Perfect as a utility modulation source but equally capable to be used as a primary sound source. Patch it up and let it rip!

Features
Four simultaneous pure waveforms: Sine, Triangle, Square and Sawtooth
Pitch input for 1V/Oct tracking and FM
SYNC input for Hard Sync. This input has a comparator so that you can use a variety of waveforms as triggers.
Switch to select VCO (audio) or LFO range of operation
Three position Octave switch to jump pitch up or down by two octaves
PITCH knob has three octave range in VCO mode (extended to seven with the octave switch) and seven octave range in LFO mode (extended to 11 with the octave switch).
Bicolor led indicates the state of the triangle core rate

Specs
Width 14HP
Depth 37.5mm
Power 19mA @ +12V
16mA @ -12V

Notes: Junction requires a +12V / -12v power supply with a 2x5 pin ribbon cable (included). The red line of the ribbon cable must be aligned with the -12V marking next to the module's power header and on your case's power distribution board. Junction draws 23mA from the +12 rail and 20mA from the -12 rail. Please ensure you have
enough power available before installing.

About Junction

Junction is a compact, 4 channel attenuverter, cascading mixer and multiple designed to fine tune the control voltages in your rack to the perfect range for their destinations. Junction can be used as a source of fixed voltage, offset another voltage, or mix multiple voltages together to create complex and dynamic modulation.

Features

Each channel on Junction has a knob (1) that acts as a manual control for the attenuverter. Center position (12 o clock) is 0V. The first channel input (2) is normalized to +5V when no cable is plugged into it.

A buffered copy of the input signal of the first channel is present on all of the other inputs from from the first (2) to the last (8). This duplication is "cascading" as shown by the arrow graphics on the panel - if a cable is patched into any input, it "breaks" the cascading multiple - all unpatched inputs carry the signal present at the uppermost patched input (or +5V if no inputs are patched). For example, if a signal is patched into the second channel's input (4) the third (6) and fourth (8) channel inputs would carry a copy of the second channel's input instead of the first channel input.

Junction's channels are mixed on the outputs. The output mixer is also "cascading" - when a cable is patched into an output, it carries a mix of it's own output and all unpatched channel outputs above it. For example, if only the last channel output (9) is patched, this output will carry a mix of all of the outputs. Patching the first channel output (3) would remove it from this mix.

Even though Junction's inputs cascade and outputs mix, Junction's output will clip at the Eurorack power rail voltages of +12 and -12V. It is not possible to output a voltage outside of this range, regardless of the signals patched into Junction.

23mA +12 / 20mA -12 4 HP / 25mm
Deep Reverse Power Protection

Notes: The Beautifier is a flexible OTA based filter, featuring a lowpass/bandpass switch and a selectable slope of 24db and 12dB. Two attenuated CV inputs for frequency cut-off and resonance. The filter self-oscillates at a given point and can be driven quite hard if you crank up the gain. All in all, a versatile analogue workhorse with a lot of character; from smooth and creamy to quite raw and screamy.

47 mA +12V
19 mA -12V
0 mA 5V
26 mm deep

Notes: Super-versatile dual digital delay in this all-round echo powerhouse. Analog, Tape, Digital, Modulation Delay and Verb modes give you all the options you need, plus a 40-second looper function for good measure.

Supplier's Notes:
Duo Time is a digital delay pedal with dual simultaneous delays, each with independent time and repeat settings. A choice of five very different sounding delay models include Analog, Tape, Digital, Modulation Delay and a unique shimmering Verb delay. A choice of fully independent stereo or mono signal paths are possible, with an option to process a mono input to separate stereo outputs with different delay settings. Controlled via an on/off foot switch and a Tap Tempo foot switch, which also functions as a toggle for the OLED display when held. Add to this versatility a full 40 second looper function and you may never need another delay pedal in your rig except this one.

Specifications:

Power supply: 9Vdc, 300mA (min) pin-negative (not included)
Controls: Level, Model, Parameter, Time 1+2, Repeat 1+2
Modes: Analog, Tape, Digital, Modulation, Verb
Delay time (seconds): Up to 1.8 seconds
Dimensions: 115 x 105 x 58mm
Weight: 440g

The box for this item contains :

Duo Time dual delay modeler pedal
Instruction manual

Notes: Expander module adds four more assignable CV inputs to Squid Salmple for advanced modulation and sample manipulation. A must for all Squid Salmple owners.

Supplier's Notes:
AXON-1 is a 4HP expander module for the SQUID SALMPLE that provides 4 additional freely assignable CV inputs.

The addition of AXON-1 brings Squid's total number of CV inputs to 7, greatly increasing the possibilities for vast modular sample manipulation.

Each modulation assignment includes digital attenuation and offset and behaves just like Squid's 3 built in CV inputs.

AXON-1 requires firmware 166 or later installed on the Squid Salmple to function!

Notes: Updated expander module for the Moskwa II sequencer. The Ostankino adds additional connectivity to the Moskwa II, allowing CV control of most parameters, plus extra outputs.

Supplier's Notes:
Ostankino II expander adds CV inputs for many Moskwa II functions, as well as a transpose input, clock out and individual gate/bit outputs for each step.

Notes: 4-input VCA stereo mixer w/ pan, stereo out, metering

50mm deep

Notes: Inspired and officially licensed from Teia's Stochastic Function Generator which was introduced in 2013 but is no longer available. This earlier version served as an inspiration, but with a completely rebuilt and reprogrammed mcu to a fully featured 4 voice 2 stage envelope and slew generator.

ADDAC System ADDAC506B VC Stochastic Function Generator Expansion Module (black faceplateADDAC System ADDAC506B VC Stochastic Function Generator Expansion Module (black faceplate
This expansion allows extra I/O to the ADDAC506, namelly:

Four trigger inputs for the random engine.

Four CV random outputs from the random engine.

Notes: 3xVCA offers three high class amplifier circuits with linear characteristic. Thanks to AC / DC compatibility, a very low noise floor and basically no distortion, the module is not only a great partner for control voltages, but audio material as well. Besides a signal input and output, each VCA has its own CV input. The dual potentiometers regulate levels and bipolar CV attenuation values of all amplifiers. Using these rather unusual, yet very practical components, it was possible to equip the 3x VCA with a front panel that is only 6 HP wide. Switches allow the user to feed the results of one amplifier to the output of the next amplifier, so we can get 1+2, 2+3, and 1+2+3 outputs mix. Two-colored LEDs visualize CV and output signals.

60 mA +12V
60 mA -12V
35 mm Depth

Notes: Excellent value from this uniquely versatile pedal. Load or record acoustic guitar impulse responses and apply them to your electric guitar, transforming the tone and sound.

Supplier's Notes:

The Optima Air pedal is a programmable digital modelling acoustic guitar simulator for electric players. Plug in your electric guitar and morph it into any of 15 internal acoustic guitar models at will. An Impulse Response (IR) loader enables you to capture the tone profile of your favourite acoustic guitar and store it as a model that can be played from your electric guitar. To enhance the acoustic tone, the Optima Air is furnished with a foot-switchable studio quality preamp with 3-band EQ and a digital reverb section to generate ambience. The Optima Air also has an audio streaming USB interface providing, which can be used as a recording device and the USB can be used for remote editing via software which is downloadable for PC or Mac computer. Inputs and outputs include standard jack in and out, a D.I. XLR output, send/return effects loop, headphone output and aux line input for a myriad of connection possibilities. Optima Air is the acoustic guitar in a pedal for electric players either on stage or in the studio.

Power supply: 9Vdc, 500mA, negative centre (not supplied)
Sampling format: 24-bit, 48-kHz
Internal programmes: 15 models, 9 preset patches
DI output: XLR
USB computer interface: Micro USB port

The box for this item contains :

Optima Air pedal

Notes: Upgrade to Studio One 4 Professional from any prior version of Studio One Professional OR Producer!

There's a very good reason why so many musicians have switched to Studio One from older, more rigid programs. Built on a modern foundation that's not bogged down by legacy code, Studio One provides an efficient, creative companion from initial inspiration to final master. Its efficient, single-screen interface houses an unlimited number of tracks, intuitive editing tools, advanced virtual instruments, mastering, and video player- you spend your time creating music, not wondering what to click next. The 64-bit double-precision mix engine is state of the art, while the smooth, analog quality of the virtual instruments comes from proprietary techniques that provide much higher controller resolution. That's why Studio One just plain sounds better.

The reason why Studio One resonates with musicians is simple: PreSonus listens. Many new features in Version 4 are the direct result of user feedback, including AAF import/export so users can bring song data from their old DAW into Studio One. Add the most flexible arranging tools of any music program, full integration with Notion for superior notation, over 20 GB of carefully curated content, analog console emulation, advanced step sequencing, unified hardware control with the FaderPort series of hands-on controllers, and much moreiit's no wonder that Studio One continues to gain new followers every day.

Create Without Boundaries - Produce Without Limits

System Requirements:
Windows

Windows 7 (SP1 + platform update), Windows 8.1 or Windows 10 x64
Studio One 4 operates on 64-bit operating systems only.
Intelr Core Duo or AMD AthlonX2 processor (Intel Core 2 Duo or AMD Athlon X4 or better recommended)
4 GB RAM minimum (8 GB or more recommended)
Internet connection (needed for installation and activation)
Monitor with 1366 x 768 resolution (high-dpi monitor recommended)
A multi-touch enabled monitor is required for touch operation
40 GB hard-drive space
Mac

macOSr 10.11 or higher
Studio One 4 operates on 64-bit operating systems only.
Intelr CoreTM 2 Duo processor (Core i3 or better recommended)
4 GB RAM minimum (8 GB or more recommended)
Internet connection (needed for installation and activation)
Monitor with 1366 x 768 resolution (Retina display recommended)
A multi-touch enabled monitor with TUIO support is required for touch operation
40 GB hard-drive space