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Notes: Great value from this entry-level rotary mixer. Simple two-channel design with three-band EQ and an intuitive multi-mode filter. A strong rival to the Omnitronic TRM-202MK3.

Supplier's Notes:
Introducing the Headliner R2, a 2-channel rotary DJ mixer that is perfect for DJ's looking for precise control and a warm sound, without breaking the bank. Don't let the price tag fool you. The R2 is packed with features, like an analog filter and 3-band isolator EQs on each channel, and uses only high-quality components, including genuine ALPS potentiometers.

Featuring two stereo channels with selectable Line and Phono RCA inputs, each channel on the Headliner R2 comes equipped with gain control with a peak LED, a 3-band isolator EQ, a headphone cue selector, a large channel volume control knob, and a filter activation switch.

The Master channel boasts an analog filter, headphone monitoring, and output control section. The analog filter features selectable High Pass / Low Pass Filter modes with Frequency and Resonance controls, giving you precise control over your sound. Independent Master and Booth outputs with volume controls, both with balanced XLR and unbalanced RCA connectors, give you the flexibility to connect to any sound system.

The headphone Cue control section is packed with features, including headphones volume control, headphones mix control (Cue/Master), and split monitor switch. You can easily switch between listening to the master output and the cue output, or blend them together in your headphones, giving you complete control over your mix. The high current headphone amplifier with, dual 1/4" and 1/8" jacks, allows you to use any type of headphones you prefer.

The Headliner R2 features genuine ALPS potentiometers, and a sturdy metal enclosure with stained wood side panels for a classic look that will complement any DJ setup. The modular internal construction, coupled with the external power supply connected via locking Mini XLR ensure superior audio performance.

The Headliner R2 is a reliable, high-quality mixer that will give your DJ performances that classic vibe. Whether you're spinning house, techno, or classic funk/soul/disco jams, this fun little mixer is the perfect addition to your setup.

Specifications

Microphone Input
Nominal Input Level: -50dBu
Frequency Response: 20Hz - 20kHz (+/- 0.1dB)
THD + N: < 0.1%
EIN: -120dBu (150O Load)
Input Impedance: 3 kOhm

Line Inputs
Nominal Input Level: -10dBV (-7.8dBu)
Gain Range: -12dB to +12dB
Frequency Response: 20Hz - 20kHz (+/- 0.1dB)
THD + N: < 0.05%
Input Impedance: 47 kOhm

Phono Inputs
Maximum Input Level: -40dBu
Gain Range: -12dB to +12dB
Frequency Response: RIAA
THD + N: < 0.05%
Input Impedance: 47 kOhm

Main Outputs
Nominal Output Levels, balanced: +4dBu
Maximum Output Level, balanced: +20dBu
Nominal Output Levels, unbalanced: -10dBV (-7.8dBu)
Maximum Output Level, unbalanced: +12dBu
Frequency Response: 20Hz-20kHz (+/-0.5dB)
Residual noise: <-80dBu Dynamic Range: > 100dB
Crosstalk: < -65dB
THD + N: < 0.05%

Headphone Output
Maximum Output Level: 70mA/channel into 150O
Minimum Load Impedance: 32 Ohms/channel

Power Supply
Type: External with locking mini-XLR connector
Input Voltage: 100-240v ~ 50/60Hz
Output Voltage: +/-15V; 500mA
Voltage Range: 32 Ohms/channel

Notes: Another update for WMD's clever dual VCA, this time a little bigger to give more control. Digital control of CV and attenuation gives lots of creative options. Third time's a charm.

Supplier's Notes:
WMD have done several designs of this circuit over the years, the first one had no knobs, the second was too small, the MKIII is finally how this circuit should be packaged. This module does some really cool stuff and is super useful in any system.

The Digital VCA lets signal through like a normal VCA, but the CV and attenuation level is controlled digitally. This lets us do things like wait until there is a zero crossing to change the amplitude, resulting in clickless amplitude changes.

The Trigger mode causes the VCA to only update when a trigger is received. The addition of a noise circuit for each side let us do a very quick and easy sample and hold that never droops. With no input, 5V is normaled to the attenuator, so you get a 0-5V sample and hold. In Bipolar mode, you can get -5 to +5V.

Both sides have bipolar VCA mode (polarizer), which lets them invert the signal when negative CV comes in. Also known as ring modulation. With the zero crossing detector, this can produce some super wild wave shapes.

Features

Dual VCA Design
Unipolar or Bipolar Operation
DC Coupled Analogue Signal Path
Low Distortion / Low Noise
VCA Closes Completely
Zero Crossing Detector Mode
Trigger Mode
Two Independent Noise Sources
8 bit CV resolution
Great for Fast Envelopes and Sine Bass Sounds

Specifications

Power: +65mA, -45mA
Width: 8HP
Depth: 35mm with cables
Height: Eurorack 3U (128.5mm)
Board Height Behind Panel: 112mm
CV/Signal Input Impedance: 100k
Output Impedance: 1k
UPD in 3.3V Threshold Schmitt Trigger
ZCD produces 15us 5V pulse
5V CV to fully open VCA
Linear VCA response
20Vpp signal handling

Notes: FM3's iconic generative music box gets an update for 2023. Simple to use, but capable of creating unique, evolving soundscapes. Available in a range of colours.

Supplier's Notes:
The classic loops of the original FM3 Buddha Machine evoke instant nostalgia for a slower, more simple world.

Born before the iPhone era, this iconic device has weathered two decades of pop culture and fashion trends, yet remains defiantly, heroically unique.

Its enduring simplicity cloaks an extraordinary power: the ability to transcend time. It is both a sonic portal to a hands-on analogue past and a bridge to a digital ever-present.

This is not just a re-issue; it is a revival and refinement of a sonic manifesto that unfolds softly, gently and organically, resonating with the subtle rhythms of life.

The Buddha 1 2023 edition from FM3.

Available now in 5 colours: Red, Orange, Green, Blue and limited-edition Pink. Features upgraded sound quality and user experience.

A louder speaker and 2 new individual side buttons make the device control more direct and intuitive.

Notes: A unique analogue take on granular synthesis, inspired by Yannis Xenakis, the Grainity pairs a granular filter with a multimode filter to create new textures and harmonics.

Supplier's Notes:
The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analog domain and goes through analog circuits from in to out.
The digital processor does not convert or generate audio signals; it is there to control the analog circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.
Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.
The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V

Notes: Plastic dust cover for Soma Laboratory Terra.

*** The Terra is not included, it is shown in the pictures for demonstration purposes only. ***

Notes: Celebrating the 50th anniversary of this truly iconic synth, the 'modern' take on the classic Buchla Music Easel doesn't mess with a winning formula, paring the 208C sound source with 218e touch-sensitive keyboard.

Supplier's Notes:
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel is available for pre-order starting June 16 at Buchla.com and your favourite Buchla Dealer. Delivery of the Music Easel (modern) is expected fall 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Notes: 'Nude' super-elliptical stylus of just 7.6 x 18 microns (0.3 x 0.7 mil), cut and polished from a single homogeneous piece of diamond. This makes for a lower effective tip mass of improved rigidity, which in turn means its ability to retrieve high-frequency detail is dramatically improved when compared to the 'bonded' elliptical stylus alternative. It's far less likely to 'mis-track' or overshoot when tracing high-frequency groove modulations, and because of its finely polished 7.6-micron profile it can more effectively fit into closely packed inner grooves. Lowerdistortion, improved transient response and a flat frequency response all contribute to superior fidelity when compared to any price-comparable alternative.

Technical specifications

Frequency Range 20 Hz - 20 kHz
Channel Balance < 1.5 dB @ 1 kHz
Channel Separation > 20 dB @ 1 kHz
Sensitivity 3.5 mV (1 kHz @ 5 cm/s)
Static Compliance 20 mm/N
Vertical Tracking Angle 20-
Stylus Radius 7.6 micron (0.3 x 0.7 mil)
Stylus Type Nude eliptical
Load Resistance 47 kO
Load Capacitance 100- 200 pF
Internal Inductance 400 mH
Internal Resistance 410 O
Cartridge Mass 6.9 g
Fixing Centre 12.7 mm (0.5 in)
Playing Weight 1.5 - 2.5 g (1.75 g recommended)

Notes: FM3's iconic generative music box gets an update for 2023. Simple to use, but capable of creating unique, evolving soundscapes. Available in a range of colours.

Supplier's Notes:
The classic loops of the original FM3 Buddha Machine evoke instant nostalgia for a slower, more simple world.

Born before the iPhone era, this iconic device has weathered two decades of pop culture and fashion trends, yet remains defiantly, heroically unique.

Its enduring simplicity cloaks an extraordinary power: the ability to transcend time. It is both a sonic portal to a hands-on analogue past and a bridge to a digital ever-present.

This is not just a re-issue; it is a revival and refinement of a sonic manifesto that unfolds softly, gently and organically, resonating with the subtle rhythms of life.

The Buddha 1 2023 edition from FM3.

Available now in 5 colours: Red, Orange, Green, Blue and limited-edition Pink. Features upgraded sound quality and user experience.

A louder speaker and 2 new individual side buttons make the device control more direct and intuitive.

Notes: Many monitoring setups contain a subwoofer as an essential ingredient. Although many studio monitors such as the aktiv 05, uniK 04 or uniK 05+ for example, provide sufficient bass frequency response for many applications, adding a aktiv 10s subwoofer will help you to provide a much better picture of the low frequencies in your mix. Whether you are producing classical 2.1 sound or 5.1 / 7.1 surround sound productions, aktiv 10s will easily and quickly become an important part of your monitoring setup. It's compact size with a stylish design, yet powerful output will easily convince you.

Features/specifications

10" bass reflex powered subwoofer
Amplifier power: 150W@100Hz, 4 Ohm, 0.1% THD
Subwoofer crossover frequency: 50Hz - 180Hz (adjustable)
Separate satellite output crossover frequency: @100Hz and flat (adjustable)
Phase control
Input level control
Power mode: standby and on
Inputs: balanced XLR, unbalanced 1/4" TRS
Outputs: balanced XLR
Input impedance: 20kOhm balanced, 10kOhm unbalanced
Foot switch input as mute control
Dimensions: 340mm(H) x 340mm(W) x 340mm(D)
Weight: 14 kg

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: OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing.

Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

Notes: A characteristically unique take on mixing from Buchla, with six mono inputs and a built-in mic/guitar pre-amp. Each channel can be cued to a monitor mix, while the first and last channels also include voltage-controlled panning.

Supplier's Notes:
The Tiptop 207t is a modern reimagining of the classic Don Buchla 207 Mixer/Preamplifier from the 1970s 200 Series. This stereo mixer comes with a built-in preamp that allows you to boost external instruments and microphones, making it a versatile tool for any modular setup. The 207t also features a six-channel mixer with a variety of signal routing options, including the ability to route channels to the monitor and L&R signal outputs, with per-channel control over loudness and panning.

Each channel has a Mon switch that sends the channel's signal to the monitor outputs, which are always full-volume and summed to mono, making it useful for basic monitoring applications or rudimentary mixing. The Prog switch sends the signal to the L&R signal outputs, with loudness controlled by the Level Adjustment slider and panning determined by the Channel Assignment knobs. The first and sixth channels offer voltage control of panning; these channels are hard-panned when no CV is applied.

The preamp section features a 1/4" input and multiple gain settings, making it suitable for use with external line level instruments, electric guitars, or dynamic microphones. The continuous amplification control provides added flexibility for your audio needs. Finally, the Expansion In is a stereo input that sums to the left and right main outputs, which is great for chaining multiple 207t modules or adding another stereo source at the final output.

While the 207t's functionality may be simple, it is an essential part of any 200t system, serving as the glue that holds everything together. The Tiptop 207t is a fantastic mixer/preamp option that delivers quality sound and reliable performance.

Buchla 207t Features

Mixer/preamp module based on Don Buchla's original 207 design
Six-channel mixer with per-channel level control and panning
Voltage-controllable panning on channels 1 and 6
Manual panning on channels 2-4
Program switches can act as channel mutes for main outputs
Mon switches route signal (in mono) to Monitor output
Expansion input useful for stereo chaining and more
Re-designed preamp for high audio fidelity
Preamp suitable for use with external instruments, electric guitars, dynamic microphones, and more

Eurorack module
28hp wide

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: Introducing the Ergonomic Studio Stand for Ableton Push 3: a game-changer in the world of music production. Designed with your comfort and productivity in mind, this stand is the ultimate solution for those seeking a more immersive and ergonomic music-making experience.

Crafted with precision, the stand offers a sleek and sturdy design that seamlessly integrates with your Ableton Push 3 controller. By elevating your controller to an optimal height and angle, it eliminates the strain on your wrists and neck, allowing you to focus on your creativity without any discomfort.

One of the standout features of this stand is its ability to enhance your visual experience. With a specially designed screen mount, it brings the Ableton Push 3's display closer to your line of sight, ensuring crystal-clear visibility of every detail. No more squinting or straining your eyes to read parameters or follow your music-making process. The screen becomes an extension of your creativity, effortlessly accessible at all times.

The stand's ergonomic design also promotes a more organized and efficient workspace. Its integrated cable management system keeps your cables neat and tangle-free, reducing clutter and allowing you to concentrate fully on your music production. Additionally, the stand's robust construction ensures stability, even during intense sessions, guaranteeing a secure and reliable platform for your Ableton Push 3.

Whether you're a professional music producer or an aspiring artist, the Ergonomic Studio Stand for Ableton Push 3 offers unparalleled comfort and convenience. It enhances your workflow, minimizes physical strain, and maximizes your creative potential. Take your music production to new heights with this exceptional accessory that is both stylish and functional.

Upgrade your studio setup today and revolutionize the way you create music with the Ergonomic Studio Stand for Ableton Push 3. Experience comfort, visual clarity, and an improved working environment that will elevate your musical journey to new levels of excellence.

Notes: FM3's iconic generative music box gets an update for 2023. Simple to use, but capable of creating unique, evolving soundscapes. Available in a range of colours.

Supplier's Notes:
The classic loops of the original FM3 Buddha Machine evoke instant nostalgia for a slower, more simple world.

Born before the iPhone era, this iconic device has weathered two decades of pop culture and fashion trends, yet remains defiantly, heroically unique.

Its enduring simplicity cloaks an extraordinary power: the ability to transcend time. It is both a sonic portal to a hands-on analogue past and a bridge to a digital ever-present.

This is not just a re-issue; it is a revival and refinement of a sonic manifesto that unfolds softly, gently and organically, resonating with the subtle rhythms of life.

The Buddha 1 2023 edition from FM3.

Available now in 5 colours: Red, Orange, Green, Blue and limited-edition Pink. Features upgraded sound quality and user experience.

A louder speaker and 2 new individual side buttons make the device control more direct and intuitive.

Notes: The classic loops of the original FM3 Buddha Machine evoke instant nostalgia for a slower, more simple world.

Born before the iPhone era, this iconic device has weathered two decades of pop culture and fashion trends, yet remains defiantly, heroically unique.

Its enduring simplicity cloaks an extraordinary power: the ability to transcend time. It is both a sonic portal to a hands-on analogue past and a bridge to a digital ever-present.

This is not just a re-issue; it is a revival and refinement of a sonic manifesto that unfolds softly, gently and organically, resonating with the subtle rhythms of life.

The Buddha 1 2023 edition from FM3.

Available now in 5 colours: Red, Orange, Green, Blue and limited-edition Pink. Features upgraded sound quality and user experience.

A louder speaker and 2 new individual side buttons make the device control more direct and intuitive.

Notes: If guitar is your passion, you need freedom and flexibility to explore all of its sound possibilities. The Zoom G3n Multi-Effects processor removes any creative barriers in your way.

The G3n is a versatile multi-effects processor that lets you defy genre with the most realistic stompbox, cabinet, and amplifier emulations Zoom has ever created. Its high-quality sound, portable design, 80 second Looper, and intuitive interface make it the perfect addition to your pedalboard. To put it simply, the G3n offers all the sounds and tools you need to improve your tone and sound greater than ever.

Boutique Pedals, Legendary Amps, and Superior Effects:

The G3n is pre-loaded with 70 expertly crafted and assembled DSP effects (68 effects, 1 looper pedal, and 1 rhythm pedal), plus 10 of the most realistic amp/cabinet emulators Zoom have ever created. Zoom have loaded the G3n with essential guitar sounds like overdrive, distortion, compression, EQ, delay, reverb, flanging, phasing, vibrato, and chorusing. Unique multi-effects such as Seq Filter, Reverse Delay, HD Hall, and OSC Echo are also included.

Create Complex Signal Chains:

Use up to seven effects and amp/cabinet models simultaneously, chained together in any order you like. It's like having hundreds of fully loaded pedalboards all in one compact and easy-to-use device.

Accurate, Realistic Amp and Cabinet Emulation:

Choose from five classic amp models and adjust the sound exactly as you would with the knobs and switches of the real thing - and then pair your amp with one of the five new cabinet emulators to complete the sound. Plus, you can download even more faithfully recreated amp/cabinet combinations such as Fender Bassman, Hi-Watt Custom 100, Mesa Boogie Dual Rectifier Orange Channel, Fender '65 Deluxe Reverb, and Orange Graphic120 - available now with more being released every month.

75 Custom-Crafted Patches and Counting:
Recreate essential guitar tones and pioneer new territory with 75 custom-designed patches created exclusively by Zoom guitarists. Use these patches to emulate the iconic sounds of Eddie Van Halen, Jimi Hendrix, Jimmy Page, Carlos Santana, Michael Schenker, and Brian May or explore something completely brand new.

Fast and Intuitive Editing:

The G3n's switches and knobs give you enhanced control and have the responsive, hands-on feel of a standard stompbox. The G3n combines three LCD displays to show whole effect-chains at a glance, making it easy to add, delete, or change the order of effects quickly. Plus, you can store up to 150 of your custom effects-chains as patches.

Practice and Perform:

There are 68 built-in rhythm patterns included with the G3n, making it the perfect practice rig and enabling "one-man band" performances. An onboard Looper (which can be used with the rhythm patterns) allows you to record and overdub phrases up to 80 seconds long through the effects of your choice. A built-in chromatic tuner lets you bypass the currently selected patch while tuning, or mute the signal altogether.

Inputs and Outputs:

The G3n can be easily integrated into any live performance or studio rig. In addition to a standard guitar input, there's an auxiliary stereo input for connecting smartphones or music players. It also includes a dedicated headphone jack for practice and dual outputs for mono or stereo L/R connection to guitar amps, PA systems, and audio interfaces. The Mic On/Off feature lets you optimize the G3n for use with a real amp and cabinet (Mic Off) as well as optimize for playing through a PA system or recording direct with amp and cabinet emulators (Mic On).

ZOOM Guitar Lab Software:

The free ZOOM Guitar Lab Mac/Windows software enables you to manage your patches and download new effects and amp/cabinet emulators. It includes both a Patch Manager for effects chains and an Effects Manager, with a simple graphic user interface that provides point-and-click control over re-naming or re-ordering your custom patches.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Third-generation version of NI's outstanding MIDI controller keyboard updates what was already a winning formula. Here in the 49-key version, offering outstanding control of software and immense playability.

Suppliers notes:
An intelligent keyboard controller in three size options, designed to be at the core of any studio. Virtual instruments meet the real world with seamless Kontakt integration and a high-resolution screen. Plus, polyphonic aftertouch delivers intuitive parameter control across all three models, in combination with weighted, hammer-action keys in the S88. All contained in an overhauled design that looks incredible and is built to last.

Dimensions: 802.2 × 323 × 86 mm
Weight: 5.5 kg

Thousands of instruments made real Virtual instruments are brought to life in a genuinely immersive experience. Whatever you're playing, get in-depth control and integration through advanced NKS technology. Find sounds quickly with intuitive on-screen navigation. Then fluidly adjust and play them thanks to intelligent auto-mapping. This unparalleled direct connection means you can play completely real-feeling Kontakt instruments, plus thousands of partner sounds, instruments, and effects, with no interruptions to your workflow.

Polyphonic aftertouch

Take expression one-step further and instinctively control parameters with the slightest pressure on each individual key. Modulate cutoff, pitch, vibrato, and much more without reaching for an extra control. All three models have an industry-leading keybed, developed in collaboration with Fatar to deliver the best possible polyphonic aftertouch experience.

Hardware specification

1 high-resolution colour screen with glass surface (1280 × 480)
CNC machined, bead blasted and anodized aluminium, 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

Included software

Komplete Select
Komplete Kontrol Software
Stradivari Cello
Guitar Rig LE
Elements Suite
Hypha

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
mode)
Windows 10 (latest service pack) or higher
8 GB RAM
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.

Notes: *** B-STOCK: Box opened, but product is in excellent condition and in perfect working order ***


Field recorder meets interface in this clever offering from IK's iRig range. Essentially a 4-in/2-out audio and MIDI interface with built-in mics, the Quattro is portable, versatile and high quality.

Supplier's Notes:
Pro recording and performing, in the palm of your hand

iRig Pro Quattro I/O is a professional-quality 4 in / 2 out portable audio and MIDI interface packed with everything needed for field recording and content creation, for serious sound and flexibility - anywhere.

Small enough to fit in the palm of your hand, the iRig Pro Quattro I/O still packs in four high-quality, low-noise mic preamps; instrument, RCA and TRS inputs; plus XLR balanced, 3.5mm stereo and headphone outputs - and full MIDI I/O!

iRig Pro Quattro I/O works right out of the box with iPhone, iPad, Android, Mac and PC, but can also serve as a stand-alone mic preamp or line mixer, with a built-in limiter and direct monitoring so you're always guaranteed the perfect take.

Packed with a swiss-army-knife's worth of tools, iRig Pro Quattro I/O ensures you're ready for anything, anywhere.

As a mobile interface

Connected to a computer or mobile device, the iRig Pro Quattro I/O will work as a high-quality, multi-channel audio and MIDI interface with a full array of inputs and outputs so you'll always be prepared for any recording or need. Fully MFi-certified, no adaptors are required for iPhone or iPad for reliable field performance on any device.

As a broadcast / podcast interface

Enable STEREO mode and iRig Pro Quattro I/O mixes all sources down to stereo for streaming or recording. Monitoring is easy thanks to a dedicated headphone output with independent volume control and direct monitoring. Or use MONO mode for streaming to social media; Loopback lets you duet your favourite videos easily.

As a field recording interface

With an onboard microphone and optional stereo mic capsules, iRig Pro Quattro I/O turns your iPhone, iPad, Android device into a full-featured, professional field recorder.

As a stand-alone mixer

iRig Pro Quattro I/O also works as a preamp and mixer: just power it via battery, USB or DC IN and use the full set of inputs/outputs to capture and mix multiple sources to your DSLR camera with professional quality.

Always perfect recordings with the safety backup channels

In STEREO and MONO mode, inputs 3 and 4 can be used as safety channels: recording the same signal as input 1 and 2 but reduced by 12dB as a backup in case the sound source unexpectedly overloads the main channels.

Audio quality without compromise... wherever you are

Up to 24-bit, 96 kHz sample rate Ultra-low-noise mic preamps with full +48v phantom power Professional-quality, transparent A/D and D/A conversion Built-in limiter, for input 1-2, to protect against clipping Multitrack, stereo or mono internal mixdown.

Specifications

Microphone Input
Microphone Input: balanced female 3-pin, XLR. Pin 2: hot / Pin 3: cold / Pin 1: ground
Microphone Input Level: from 6 mVpp to 1.4 Vpp
Microphone Input Impedance: 3.2 kOhms
Gain Range: 40 dB
Phantom Power: +48V i 4V
Frequency Response: 20 Hz - 20 kHz +/-1.5dB
Input Noise: -103 dB(A), -97 dB RMS

Instrument Input
Instrument Input: unbalanced, Hi-Z, TS 1/4" Jack, Tip: signal / Shield: ground
Instrument Input Level: from 30 mVpp to 6.9 Vpp
Instrument Input Impedance: 1 MOhms
Gain Range: 27 dB
Frequency Response: 20 Hz - 20 kHz +/-1.5dB
Input Noise: -103 dB(A), -97 dB RMS
Stereo Headphone Output
Connector: 1/8" TRS Jack. Tip: right / Ring: left / Shield: ground
Headphone Level Control numbered thumbwheel
Headphone Level Power 100mW into 50 Ohms

Stereo Headphone Output
Connector: 1/8" TRS Jack. Tip: right / Ring: left / Shield: ground
Headphone Level Power 100mW into 50 Ohms

MIDI Input/Output
Connector: 2x2.5mm TS Jack
Other Input/Output
DC barrel: 1x DC barrel. For power and device charging.
Device Connector: mini-DIN

Common
Conversion: 24-bit A/D, 24-bit D/A
Sampling Rate: 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz

Power:
- USB bus powered when used with a computer
- Battery powered (2xAA included) when used with an iOS device
- DC power supply (not included, iRig PSU 3A sold separately)*

Package includes
iRig Pro I/O universal Audio-MIDI interface
Lightning to Mini-DIN connection cable with charging features (60cm/23.62")
USB-A to Mini-DIN connection cable (60cm/23.62")
USB-C to Mini-DIN connection cable (60cm/23.62")
2.5mm TRS male to MIDI female adapter (10cm / 3.9")
2 x 1.5V AA Battery
Velcro strip

Dimensions
Size: 43mm/1.69" x 127mm/5" x 37mm/1.46"
Weight: 120g/4.23oz (batteries excluded)

Review: Steely Dan are the kind of band where everyone has their favourite album, with a fanbase who might well get a little heated debating which phase of the band is superior. But when it comes down to it, everyone will agree Aja is their masterpiece, where that exacting studio process and the elevated songwriting hit some magical sweet spot that yielded the semi-mythical perfect album. The grooves are so slinky as 'Black Cow' opens the record up, they spring with joy out of 'Peg' and they lock down heavy on 'Josie', and there's so much more in between. This faithful reproduction from Analogue Productions is a limited audiophile edition for a band who were made for audiophiles.

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: Candycords - 2x myVolts Halo audio cable, straight mini mono jack to straight mini mono jack, 15cm, liquorice black.

Connector 1: 3.5mm jack, mono, straight
Connector 2: 3.5mm jack, mono, straight
LED signal indicator: Red and Blue
Cable shape: straight
Cable length: 15cm
Colour: Liquorice Black
Unbalanced audio cable
Package includes 2 cables

Notes: Candycords - 2 x myVolts Halo audio cable, straight mini mono jack to straight mini mono jack, 30cm, liquorice black.

Connector 1: 3.5mm jack, mono, straight
Connector 2: 3.5mm jack, mono, straight
LED signal indicator: Red and Blue
Cable shape: straight
Cable length: 30cm
Colour: Liquorice Black
Unbalanced audio cable
Package includes 2 cables

Notes: Candycords - 2 x myVolts Halo audio cable, straight mini mono jack to straight mini mono jack, 50cm, liquorice black.

Connector 1: 3.5mm jack, mono, straight
Connector 2: 3.5mm jack, mono, straight
LED signal indicator: Red and Blue
Cable shape: straight
Cable length: 50cm
Colour: Liquorice Black
Unbalanced audio cable
Package includes 2 cables

Notes: Candycords - 2x myVolts Halo audio cable, straight mini mono jack to straight mini mono jack, 80cm, liquorice black.

Connector 1: 3.5mm jack, mono, straight
Connector 2: 3.5mm jack, mono, straight
LED signal indicator: Red and Blue
Cable shape: straight
Cable length: 80cm
Colour: Liquorice Black
Unbalanced audio cable
Package includes 2 cables

Notes: Desktop version of Plankton's modular saturation unit. A patchable combination of analogue distortion and digital processing, combined into a versatile standalone effects unit.

Supplier's Notes:
SPICE is a modular saturation unit capable of a huge variety of sounds and colors. From subtle tube warmness to extreme fuzz distortion.

Features:

Rackable (38HP eurorack) modular desktop unit.

8 CV inputs with led level indicators.

6 main functions: Prefilter / Digital / Analog / Mixer / Envelope Follower / Feedback

Prefilter: High Pass and Low Pass filters to shape the sound before being processed. Both controllable via fader + CV input.

Digital: 12 bit Bit Crusher / Bit mute, Biswap and Bit inversion + Sample Rate reducer. Both controllable via potentiometer and CV inputs. It also offer an analogue input control with led clip indicator and a low pass filter to smooth the output signal. All the code will be Open Source

Analog: 7 analogue distortion circuits selectable with a rotary encoder + a sweet resonant state variable filter. Drive and Cutoff parameters are controllable via potentiometer and CV inputs. 2 of the circuits use the new Korg NU-TUBE.

Mixer: Dry and Wet controls to mixed the processed signal with the clean one of the input. Both controllable via fader + CV input.

Envelope Follower: A dedicated envelope follower with gain control and normal and inverted outputs to convert an incoming signal to an envelope. With its output you can control any of the CV parameters and shape the processed sound in many creative ways.

Feedback: a triple feedback section that sends the Wet input to the Prefilter, Digital and Analog sections. It's capable from a subtle resonance to a collapsed hardcore self generating tone.

Semi-modular architecture with pre-patched sections that can be restructured using patch cables. Each section (minus the feedback) can be used as an independent function from the rest.

Notes: The OpticTone is a combination of a 12dB multi-mode Vactrol Filter and a Vactrol Voltage Controlled Amplifier.

It is a completely original circuit inspired by the singular nature of Vactrols and their fluid and natural character.

The Filter section provides the three fundamental filter types: Lowpass, Bandpass and Highpass.

A Resonance knob with voltage control input is available for improved modulation flexibility. The feedback knob interacts with the Resonance path, tempering it from creamy resonance to wacky self-oscillation.

Filter and VCA run in parallel, both are controlled by the Freq/Amp knob and it's associated voltage-control input. The combination of both signals can be crossfaded with a dedicated knob.

The Freq/Amp is also controlled with direct touch control on the panel via the 3 lines below the knob.

The filter frequency control can be inverted by the Inv Freq switch, providing the possibility to change the filter direction. This feature allows the filter to "close" when the VCA is "opening" or the other way around.

The Ping input allows to generate the well known vactrol filter percussive sounds if a gate or trigger signal is provided. The Ping frequency if controlled by the Freq/Amp knob, ranging from low kicks drums to high pitch bongos.

There is also a Drive knob to take care of your saturation needs. The Overdrive range is wide, from soft textural clipping to heavy distortion.

All voltage controlled inputs have an attenuator-inverter knob.

Features:

Vatrol based 12dB multi-mode Voltage Controlled Filter: Lowpass, Bandpass and Highpass.
Vactrol Based Voltage Controlled Amplifier.
Crossfade between VCF and VCA section.
Voltage controlled Resonance.
Ping Input for percussive sounds generation.
Cutoff Frequency polarity inversion switch. Doesn't change VCA polarity
Overdrive and Feedback controls.
Attenuator/inverter knobs on all voltage controlled inputs
Touch control over Frequency and Amplitude.


Specs:

Width: 10HP
Depth: 33mm
Power consumption: 55mA +12 / 55mA -12
Eurorack Format
Doepfer power connection

Notes: VastWave is a complex analogue Oscillator with advanced waveshaping capabilities that invites new textural and harmonic exploration beyond subtractive synthesis principles.

Crossfading between harmonically rich folded waveforms and waveforms with Odd/Even harmonics, the VastWave waveshaper expands on the Principal Oscillator heritage, bringing an additional set of waveforms with Odd and Even harmonics and a pulse waveform derived from the Waveshaper's Final output stage.

Furthermore the linear FM input has a dedicated VCA for external FM amplitude modulation and an on board linear Glide delivers a more musical approach to this classic feature.

Features:

Voltage controlled complex waveshaping.
Triangle core.
FM input with voltage controlled amplitude for FM amplitude modulation.
On board linear Glide.
Voltage controlled Pulse-width modulation for Pulse and Final Pls waveforms.
Modern temperature and tuning stability.
High Frequency (VCO) or Low Frequency (LFO) operation.
External Timbre input with sine wave normalization if no external source is patched.
Attenuator/inverter knobs on all voltage controlled inputs.
Inverted or double Sawthooth waveform (selectable by jumper).


Specs:

Width: 16HP
Depth: 33mm
Power consumption: ###mA +12 / ###mA -12
Eurorack Format
Doepfer power connection

Notes: Designed with versatility in mind, MapVolt is a dual-channel Universal Voltage Processor built for flexibility in handling audio and CV signals.

With only 6hp, Mapvolt is a multipurpose tool for voltage-controlled scaling, inverting, offsetting, subtracting, and mixing functions.

Each channel of MapVolt can operate in either Polarizer or Attenuator mode, allowing manual control via knobs or CV signals. In Polarizer mode, it functions as a Voltage Controlled Attenuator-Inverter, granting control over signal level and polarity. Additionally, it can be used as a Four-Quadrant Multiplier or Ring Modulator for audio signals, with the processor input serving as the carrier signal and the polarizer's CV input acting as the modulator.

In Attenuator mode, MapVolt operates as a VCA, providing control over signal levels. Its VCA CV input range of +5/-5 makes it well-suited for amplitude modulation (AM) with other +/-5V waveforms.

MapVolt is equipped with dedicated Voltage Offset knobs for each channel, which can be controlled via CV. If no input is patched into the Processor input channel, the Voltage Offset knobs can be used as Offset Generators.

With its dedicated mixing stage, MapVolt enables the combination of both channels into a shared output. Furthermore, if one of the processor channels is inverted, it allows for the subtraction of one signal from the other.

Dimensions
6 HP
33 mm deep

Current Draw
65 mA +12V
65 mA -12V

Notes: A Juno-inspired oscillator module? We're flattered, but credit has to go to Roland for this one. Based on the Juno-106's digitally-controlled analogue oscillators, the Castor & Pollux modernises the 80s design with a built-in LFO and hard sync.

Supplier's Notes:
Twins that dance in and out of phase, never completely together but never fully apart, bound to each other in the infinite universe.

Castor & Pollux is a dual oscillator that echoes back to the legendary Roland Juno but shines with its own unique, massive voice. It contains two digitally-controlled analogue oscillators implemented using a faithfully modernized version of the original Juno 106 design. It builds on the classic '80s sounds of its inspiration by using the second oscillator and internal LFO to layer in thick detuned sounds and harmonically complex hard synced waveforms.

Castor & Pollux II brings a redesigned interface and moves individual waveform outputs to an included expansion. Both versions have the same features and use the same firmware.

14 HP
+12 V @ 100 mA, -12 V @ 35 mA
25 mm deep
2 separate oscillators
7 octave range
9 total outputs with waveform outputs and onboard mixers
Pitch CV input jacks (0 V to 6 V) and pitch knobs (-1 to +1 octave, configurable)
Pulse width CV input jacks and knobs
Hard sync
Hardware chorusing
Internal low-frequency oscillator (LFO)

Notes: Yep, it's an attenuator. With a fancy name! And LEDs!

Sinc Defero's inputs are circularly normalled, too, so you can use it as a mult by leaving inputs unpatched.

Features:

Size and power:

4HP Eurorack
+12v: 45mA
-12v: 40mA
Sinc - from Old English sinc for "treasure" and Greek clastic for "easily removable"

Defero - from Latin for "sloping down"

"Portable treasure reduction"

What's in the box:

Module
Power cable
To reduce excess materials, screws will no longer be included with Noise Engineering's modules beginning in 2023.

Notes: The 2CVADD-HQ is a dual precision adder especially for adding 1V/octave (pitch-controlling) CVs. This makes it possible e.g. to transpose a sequence. Compared to general purpose CV mixers (like POLAMIX), this module does the summing of the CVs very precise (within a few millivolts), so the desired pitch is not affected.

The module offers three CV inputs for each of the both units; the first unit has an additional fourth input where the CV is subtracted - meaning "transposition downwards".

If you would like to have transposition buttons to shift by one or two octaves (or a free offset), take a look at the CVADDER-HQ module.

Notes: The classic ADSR envelope with CV control for all parameters

The ADSR module offers the classic four-stage envelope (Attack, Decay, Sustain, Release) that is not only loopable (patch the end output into gate input) but also accepts CV control over each of the stages! For the time values (A, D, R) the value set by the knob can be increased to five times the duration by the corresponding CV value. For the Sustain value the knob and CV value are simply added.

Notes: The CVADDER-HQ is a precision adder especially for adding 1V/octave (pitch-controlling) CVs. This makes it possible e.g. to transpose a sequence. Compared to general purpose CV mixers (like POLAMIX), this module does the summing of the CVs very precise (within a few millivolts), so the desired pitch is not affected.

The module offers four CV inputs where three of them are summed, and the CV at the fourth input is subtracted - meaning "transposition downwards".

This module also allows transposing the incoming CV by one or two octaves or a variable offset by buttons.

A separate output provides the voltage of the internal transposition (+1, +2 octaves / free).

If the transposition buttons are not necessary and you prefer to have a dual precision adder, take a look at the 2CVADD-HQ module.

Notes: The CVSHIFTER module is the AE version of the well-known analogue shift register modules that are around in the modular world since a long time. It works like this: The CV input is sampled with each trigger input signal and this CV is sent to the CV 1 output; at the same time, all CV outputs 1-4 are shifted by one.

Compared to the "classic" circuits, this module is digital based and therefore doesn't suffer from drift as some analogue ASRs and S&Hs do. The result is, that you can e.g. control the pitch of up to four oscillators which is a first step into polyphony.

The CVSHIFTER module offers three modes:

Classic: Each trigger shifts the CV outs by one position, the new CV goes to output CV 1
Cycle: Each trigger sends the CV to the next output channel, restarting at out 1; additionally a gate signal at the according output.
Random: The CVs are sent in random order to one of the four outputs, plus a gate at the according output.

Notes: Two decades in the game and the mighty MicroKorg remains a classic. Crystal version celebrates the anniversary with a fresh new look and the same punchy sound.

Supplier's Notes:
A shining homage to two decades of microKORG legacy

The microKORG was originally released in 2002 and has remained strong for two decades. Countless tracks and artists have made use of the amazing possibilities it offers and it continues to be one of the most popular choices for musicians on stage and in the studio.

The instruments that musicians recognise as "classics" are those that are loved and always in use, regardless of times and trends. The word "classic" symbolises musical instruments that are revolutionary in their field. There may be imitations of a classic, but the distinct character of the original shines more brilliantly and is only enhanced by time.

Two decades ago, the portable, battery powered microKORG was born with a radical new micro-keybed, a powerful Vocoder and ready-to-use sounds ideal for contemporary genres delivering countless hit performances, and instantly revolutionising the way musicians played. This compact sound monster introduced synthesis to a vast number of non-keyboard playing musicians and created a way of making music we now take for granted: a small keyboard resting unassumingly atop a larger one onstage, made for use by hobbyists and pros alike and finding itself front and centre of studios worldwide from the smallest bedroom to the largest pro recording facility.

To celebrate the 20th anniversary of its release, the special edition microKORG Crystal offers a unique and stunningly stylish take on this beloved synth - now a classic in its own right.

The microKORG was originally released in 2002 and has remained strong for two decades. Countless tracks and artists have made use of the amazing possibilities it offers and it continues to be one of the most popular choices for musicians on stage and in the studio. microKORG Crystal is the ultimate reincarnation of this iconic synth.

"Skeleton" type semi-translucent chassis, with matching knobs and controls

Previously unchanged, the microKORG Crystal features a new take on the structure of the microKORG, with a semi-translucent chassis that lets you see the electronics and internals. Even the controllers are semi-transparent, including the knobs, dials and wheels. As a commemorative model, the microKORG Crystal is great fun to look at from any angle, and as its name suggests, it "crystalizes" the energy and feelings of the KORG team behind its birth.

A panel with a beautiful sheen

The microKORG Crystal features a stainless mirror-finish front panel that blends perfectly with the semi-translucent knobs and dials, blurring the limits between you and your instrument and providing a cosmetic impact never seen in any other musical instrument.

Aluminium side panels for a sturdy feel

The original microKORG featured wooden side panels that suggested a retro feel, serving as an elegant accent to the analogue modelled synth engine. This new special microKORG features sleek aluminium side panels for a clean and depurated look.

Dedicated transparent carry bag

The microKORG Crystal features a stainless mirror-finish front panel that blends perfectly with the semi-translucent knobs and dials, blurring the limits between you and your instrument and providing a cosmetic impact never seen in any other musical instrument.

Specifications

Sound generation:
Analogue Modelling Synthesis System

Synthesizer program:
Multi Timbral: 2 (max, Split/Dual Mode)

Voices: 4 voices

Sound source:
2 Oscillator + Noise Generator
Multi Mode Filter (-24dB/octLPF,-12dB/oct LPF/BPF/HPF)
EG×2
LFO×2
Virtual Patch×4

Voices: 4 voices

Vocoder program

Voices: 4 voices

Sound source:
1 Oscillator +Noise Generator
EG×1
LFO×2 8
Channels vocoder
Level and pan of each channel can be edited
Formant Shift function

Programs: 128
Effects: Modulation effects (3 types), Delay (3 types), Equalizer
Arpeggiator: 6 types

Controllers
Real-Time control knob X 4 (3 level Selection),
Arpeggio ON/OFF

Keyboard: 37 Keys (mini-keyboard, keyboard has velocity)
Inputs: AUDIO IN 1,2, Level switch LINE/MIC, [AUDIO IN 1, 2 (LINE) ], [AUDIO IN 2 (MIC)]
Outputs: L/MONO, R, Headphones
MIDI : IN, OUT, THRU
Display : 3 characters×1 line with 8 segment LED
Power supply: DC 9V (AC adapter)
Power: 6.4w Max
Dimensions: 524 x 232 x 70mm
Weight: 2.4 kg (instrument only, without batteries or microphone)
Included items: AC adapter, condenser microphone, dedicated transparent carry bag

Notes: Part of Xaoc's Leibniz Binary Subsystem, the updated Drezno ADC/DAC module builds on the original with higher resolution converters, allowing you to use it for pitch quantisation.

Supplier's Notes:
Drezno II is an improved version of the original Drezno module. It is an essential member of the 8-bit Xaoc Devices Leibniz Binary Subsystem. The Leibniz subsystem is a family of modules that operate on 8 binary (two-state, on/off) signals. These signals are arranged as 8 bits of digital data and may represent analogue signals and voltages, or they may be whatever you want them to be (clocks, gates, rhythms, etc.).

Drezno features an ADC (analogue-to-digital-converter) and DAC (digital-to-analogue-converter), allowing it to act as an analog front-end of the system. In other words, Drezno allows one to convert analogue signals and CVs into digital numbers, as well as to obtain analogue signals back from some other digital numbers (or 8 binary signals). Between these two conversions there is a whole universe of digital shenanigans waiting to happen resulting in all kinds of signal transformations and modulations.

Both (ADC and DAC) sections of Drezno can work independently, or they can be linked. Input and output range of analogue signals may be adjusted using Gain and Offset sliders. Individual bit outputs (for the ADC) and inputs (DAC) allow for extensive cross-patching and the creation of complex waveforms and rhythms. A very fast clock (up to 2MHz) at which the conversions are performed may be replaced with any external clock (for each section separately).

Compared to its predecessor, Drezno II uses new converters of much higher resolution which results in much lower noise floor and higher accuracy. The lower bits are much more stable than before. It is easy now to use Drezno for quantizing pitch voltages with accurate results with 128 or 256 semitone steps. Potentiometer ranges are factory calibrated for precise chromatic scale. A new switch on the front panel allows the user to select the calibrated range of 10Vpp or 20Vpp, so that the lowest bit or the second bit correspond to 1 semitone.

Technical details

Eurorack synth compatible
12hp, skiff friendly
Current draw: +80mA/-50mA
Reverse power protection

Notes: Optional accessory replacement panel.

Black anodised alu + heavy duty screen printing.

Review: Who doesn't love a bit of Dolly Parton? The globally renown queen of country - and the unlikely cult hero who invested heavily in the quest for a Covid-19 vaccine once the pandemic hit - is still turning out plenty of new music. Rockstar is her latest full length and it comes via Butterfly Records and Big Machine Records. It is a collaboration with a variety of rockstars which marks her first moves in the world of rock. Legends like Simon Le Bon and Rob Halford, Pink, Brandi Carlile and Sheryl Crow all feature across eight sides of vinyl and an adventurous and accomplished long player.

Notes: A tiny studio microphone with a large-diaphragm capsule and groundbreaking features.

CM-1; the latest addition to Teenage Engineering's field system.

A versatile studio quality, ultra-portable microphone that comes with a built-in professional SUB-C audio interface with built-in preamp. Add a 3.5 mm jack and a 48v phantom powered mini XLR, and you have a truly one-of-a-kind battery-powered studio microphone.
A rarity in the field.

Large-diaphragm capsules are preferred for professional recording, but are rare within the world of portable equipment. CM-15 features an ESS sabre analogue-to-digital converter, preserving high-fidelity sound and capturing exceptional detail in any recording situation.

Clean, mean and lean mic-machine.

Clean, rich, transparent and natural sound. Period.

Use the gain switch on the back for padding those mean drums, or the other way around. Battery-powered with an integrated audio interface and preamp, cm-15 is always ready to use wherever you like to record. In other words: 'lean operation'.

CM-15 includes a standard 1/4" and 3/8" adapter, making it universally compatible with standard mic stands and tripods.

The included adapter allows for a 90- to 110- tilt, so you can mount the mic onto a boom arm or to better record overheads. Use tripod mini for portable setups (available separately).

Dynamic sound for any occasion.

Teenage Engineering's first microphone also means a unique sound quality to discover.

Rich, transparent and natural, cm-15 captures clear and clean sound for professional audio productions, always ready to set up wherever you like to record.

Pure craftsmanship.

CM-15 is an incredibly versatile microphone, both inside and outside the studio. The large-diaphragm condenser capsule essentially means you get a better signal, so there is less noise and better depth of sound.

Vocal recording

As a directional mic, CM-15 is perfect for the vocal booth, focused on picking up sounds in front of it.

Instrument recording

With the flattest frequency response at a 50 cm distance, CM-15 is perfect for capturing a variety of instruments, including your drum kit.

Interview/podcast

CM-15 is great for podcasts and interviews, where high audio quality and portability is necessary.

Field production

With a compact form factor and 10 hour rechargeable battery, it's a great tool for every 'trip'.

Camera mic

When filming with a video camera, connect CM-15 through the line out to record synced audio directly.

Multi-use connectivity.

CM-15 has multiple outputs that can be used simultaneously:

mini XLR, 3.5 mm jack and USB-C. It can also be powered three ways, through phantom power, battery or USB-C, instantly detecting the right power source for your connected device.

On the bottom side of CM-15, you will find three audio outputs: mini XLR, 3.5 mm jack and USB-C. The built in table stand can be used to rest and angle the microphone on a surface.

CM-15 includes a mini XLR to XLR cable for connecting to your recording console. The 3.5 mm jack can be used with headphones, while USB-C is used for digital audio interface connection, firmware updates and charging.

Technical specifications

CM-15 highlights

1-inch large-diaphragm capsule
10 hour rechargeable battery
48 V phantom power compatible pseudo-balanced mini xlr output
dual mono 3.5 mm jack line output
USB-C class compliant device with high performance
ESS sabre ES9822Q PRO analogue to digital converter

Dimensions and weight

90 mm x 65.5 mm x 19 mm
132 g / 54.6 oz

Audio characteristics

Self noise: 14 dBA

Max SPL for 0.5% THD: 138 dB
USB SNR dBA FS: 120 dB
Polar pattern: supercardioid
Polarity: positive

The field system.

CM-15 is part of Teenage Engineering's ultra-portable sound recording and performance system. All battery-powered, rechargeable via USB-C and with full interconnectivity (MIDI and high resolution audio). Compatible with iOS, macOS, and windows it's the most powerful, highest quality, portable system in the world 'as we know it'.

Notes: CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

Notes: An ART wavetable dual oscillator mono voice source that can be used to build polyphonic patches and multi voice patches. It generates its harmonically rich sound using two 80s vintage D/A converters to feed your filters and effect processors. VORTEX comes loaded with dozens of wavetables, plus additional user wavetables can be loaded from the front panel SD card. A detune knob controls the second VCO and adds effects from deep phasing to a sub octave. The position knob and CV input selects waves in the tables and vibrato from LFOs to create FM. Like other ART sound generators a dedicated Gate output manages the voice envelope or any modulation synced to that voice. VORTEX is a great companion to the analog ATX1 and a must for digital synthesist enthusiasts.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 80mA / -12V 25mA

Notes: A classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analog polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 105mA / -12V 33mA

Notes: Great value from this versatile percussion module, built around a noise generator and four linked envelope generators, each with its own VCA. Generate hi-hats, envelopes, shape drums or create modulation sequences.

Supplier's Notes:
Ricochet is a compact, fully analogue module featuring four interconnected decay envelopes, each with its own VCA and an integrated noise generator.

The module's design is inspired by the way skipping stones bounce on the water, creating a versatile tool for crafting percussive sounds.

The exponential envelopes are specifically designed to generate dynamic percussive tones. The unique linking function connects the end of one envelope's decay to the trigger of the next, enabling the subsequent envelope to activate once the previous one ends. This innovative feature allows you to create ratcheted envelope.

A front-panel trimmer lets you adjust the threshold for triggering subsequent envelopes, while a rear header enables connecting two Ricochet modules together, or linking the last envelope to the first. This feature transform the Ricochet to a weird sequencer where the steps length depend of the decay times.

Since Ricochet is fully analogic, trig inputs are velocity-sensitive, responding to a standard gates but also allowing attenuation to modify the envelope's velocity (you can play with the dynamic of your sound by attenuating the trigg input. Ricochet is also perfect to play with drum pads).

Each VCA features a gain control that can be pushed to achieve subtle saturation.

All envelopes and VCAs have separate outputs, but there are also mixed audio and envelope outputs. When an individual output is connected, it is removed from the mix. The decay modulation inputs are normalized between each other.

Last but not least, an analogue noise generator is normalised to the first input, so you can use ricochet on it's own to create hi hat kind of sounds

Main features:

- Fully analogue design so everything is responsive to the amplitude
- Unique linked envelopes feature
- Compact 4 envelopes 4 VCAs module
- Linkable to a second ricochet or looping back the last envelope to the first one

Some applications:

- Envelope generator
- Drum shaper
- Hi-hat
- Clap envelope shaper( with short ratcheted envelopes)
- Envelope sequencer
- Trigg delay
- Burst generator

Technical details:

- Fully Analogue design
- 14hp
- Skiff friendly
- Reverse power protection

Notes: Psychosis is a high quality true stereo - 6 channel mixer eurorack module, that has the unique ability to pan an input signal, from left to right with a single control.

It is equipped with a set of 4 stereo effects - reverb, delay, chorus and flanger, all trimmed for the modular levels.

This module is an easy gateway into mixing multiple signals as the last part in your signal chain.

10HP.

Notes: *** This version of UTILITIES comes with PULSAR-23 style turrets designed for connecting alligator clips. ***

UTILITIES contains a set of simple auxiliary modules to expand the functionality of the PULSAR-23 drum machine. UTILITIES modules can also be used with any gear that works with CV signals (Eurorack, semi-modular synthesizers, etc.).

The modules included in UTILITIES can be divided into two groups:
1) Passive elements such as switches, resistors, capacitors.
2) Various types of amplifiers and waveshapers, linear, non-linear, controlled and uncontrolled.
Passive elements are designed to expand the possibilities of switching and controlling the PULSAR.

Linear amplifiers are needed when you need to feed a signal from a device operating in a lower voltage format to the PULSAR inputs. For example, it can be a step sequencer with an output voltage of 5 volts, while the PULSAR needs 10 volts to fully trigger the drum modules. Or it could be the output of a cassette tape recorder, which has an output of 1 volt, while for normal operation the PULSAR needs an input level of an audio signal of 5 volts. Non-linear and controlled amplifiers and waveshapers are designed to control the signal level, while simultaneously changing its spectrum, distorting its shape and adding harmonics. The circuitry of these amplifiers is very simple and based on the early developments of the transistor era, with its inherent beauty and grace.

UTILITIES connectors are made in the PULSAR-23 format on pins designed to connect the alligator clips. There are also adapters for 3.5mm Eurorack mini-jacks.

The top panel and enclosure of UTILITIES are made of PCBs, which significantly reduced the cost of the device.

There are also adapters for 3.5mm Eurorack mini-jacks. The top panel and enclosure of UTILITIES are made of PCBs, which significantly reduced the cost of the device.

The top panel and enclosure of UTILITIES are made of PCBs, which significantly reduced the cost of the device.

Power supply: DC +12 v 5.5 x 2.1 mm center plus
Current consumption: 50 ma max
Dimensions: 288 x 193 x 40 mm
Weight: 0.75 kg

Notes: The kind of instrument Soma Labs do so well: weird but wonderful. Based around 32 complex digital synth algorithms and 12 note velocity- and pressure-sensitive sensors, transposition techniques allow you to play the full range of a grand piano.

Supplier's Notes:
TERRA is a new SOMA Labs synth.

TERRA is a highly conceptual device. The core idea is unity of nature and technology, and a perfect balance between simplicity and versatility. Behind the extremely simple interface hides a complex polyphonic, microtonal synthesizer with a broad and flexible sound palette that ranges from classical beautiful tones to complex atonal noise, and offers smooth and fast transitions between these extremes.

The innovative keyboard design invites new playing techniques and covers the full range of a grand piano with the possibility to tune each note with an accuracy of 125 steps per semitone. To achieve this range with such a simple keyboard we designed a unique system of pitch shifting using four additional sensors. Pressing different combinations of them will result in 16 variations of keyboard transposing, including up to 3 octaves up and down, fifth, fourth, third, tone etc.

Not only do you get the full range of a grand piano in a very compact design, TERRA also offers an entirely new and different approach to playing melodies and chords.

The keyboard consists of 12-note sensors with velocity and pressure sensitivity allowing for the manual creation of slow attack and vibrato, 4 dynamic sensors for timbre modification and control, 4 pitch-shifting sensors and 2 hold sensors for holding the state of the timbre and note sensors.

Inside TERRA there is a three-axis motion sensor for creating a variety of different modulations by simple intuitive movements of your hands and body.

TERRA is digital and contains 32 complex synthesis algorithms. Each algorithm has been carefully designed to be a complete and flexible musical instrument on its own, ready for learning and playing in its own unique way. The goal is to free the musician from long exhausting programming, setting hundreds of parameters for creating one timbre, and instead putting the focus directly on music and performance and following your imagination and inspiration.

TERRA offers the best of both worlds: the direct intuitive tactile connection from acoustic instruments and the flexibility and versatility of synthesizers. TERRA inherits design principles from LYRA-8 and also contains application of the new principles that were announced for ReFLEX, exploring the future of synthesis.

TERRA has an extremely simple interface that gives you instant access to all its functions in several touches, including saving and loading the 96 presets that are stored directly on the playing sensors. TERRA has no display. Instead it shows and lets you dial all necessary data on the 6 LED-sensor triangle in the centre.

TERRA has a built-in FX processor so the stereo output is ready to use, making it a perfect stand-alone performance instrument. While the sound generation is digital, TERRA has a unique custom-built and top quality analogue part that makes it sound rich, natural, clear and powerful at the same time.

The housing of TERRA comes from a solid piece of wood, making each instrument unique and slightly different. In the photo above and in the announcement demo video you can see the prototype of the synth. The final design is in development and we intend to make several different versions.

TERRA is a sanctuary for a natural soul right in the middle of the rumbling plastic world, a ground where you can breathe in and out slowly, and hold on to your roots.

TERRA is our dream about a bright future where we will be both technologically advanced and more connected to nature, where machines and technology are not a prison for our feelings and spirit but their extension.

Synthesis algorithms: 32
Polyphony: 1-12 voices (depending on the algorithm)
Presets: 96
Pitch Shifter presets: 24
Line out: L, R TS/TRS 1/4-inch jacks / 6.35 mm jacks
Maximum line output signal: 13 V peak-to-peak
Nominal line output signal: ~1.5 V (volume 100%)
Headphone output: TRS 1/4 inch jack / 6.35 mm jacks
Headphones impedance: 6-64 ohm
CV-clock input voltage: 3-15 V
Power supply voltage: DC 12 V *
Consumption current: 0.2 A
DC jack: 5.5 x 2.1 mm, "+" in center
Dimensions: 405 x 365 x 57 mm
Weight: 2.2 kg
* TERRA comes with a high quality power supply . If it gets lost, use a high-quality modern switched-mode power supply with 12 V output voltage, at least 0.4 A maximum current, 5.5 x 2.1 mm DC jack, center "+".

What's included:

TERRA - 1 pc.
Power supply - 1 pc.
CV clock adapter (DIN5 - 3.5 mm mini-jack) - 1pc.
Short interface reference manual - 1 pc.
On-table mounting pads - 4 pcs.

Notes: Soft case for Soma Laboratory Terra.

Notes: Digitally-controlled full-analogue path Granular + Multimode VCF

The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analogue domain and goes through analogue circuits from in to out.

The digital processor does not convert or generate audio signals; it is there to control the analogue circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.

Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.

The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V
0 mA 5V