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


Six segment generator. Looping or one shot envelope generator. Chainable, so it can be expanded to link multiple units.

An exact hardware replica of the Mutable Instruments Stages.

Dimensions
14 HP
25 mm deep

Current Draw
80 mA +12V
20 mA -12V
0 mA 5V

Notes: Expand the lid from your case to be another powered rack. This set includes:

Rails
Handle and handle supports
Powered bus board
Case wiring
AC/DC power adapter
All hardware and thermal tape to complete the conversion

Notes: The GALACTAVISE is Allpedal's flagship compressor. Built with the musician's needs in mind, it boasts an uncompromisingly sweet compressor circuit with a Mix control for dialling in that perfect balance of compressed tone and clean tone.

The top end can often be make or break with many compressor circuits, so AllPedal also added the ability to adjust just the right amount with the Presence control. Made with the highest quality components for a low noise floor and road-worthy durability.

Let the GALACTAVISE blast your tone into orbit!

GALACTAVISE is the best guitar compressor pedal for musicians seeking to balance their sound's dynamics. As the best compression pedal on the market, it allows guitarists to control their volume levels efficiently, ensuring a consistent sound output. This guitar compression pedal is an essential tool for both studio recording and live performance.

As with all their effect pedals, AllPedal took special care in the GALACTAVISE's aesthetics with its finish, sophisticated artwork and anodized knobs.

GALACTAVISE is proudly made by hand in Paducah, KY in the USA using the latest cutting-edge technology in the pursuit of ultimate tone.

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.

Review: Here it is: the all-time great album that popularised jazz for the masses, and which carries the genre's torch to this day. Most works by Coltrane serve as good introductions to jazz’s endemic practice of through-composition, but A Love Supreme (1964, Impulse!) is arguably among his best works to come in four suites; to quarter a technically singular piece. Widely recognised as the moment at which John all-aboarded the Soul ‘Trane, the album marked the apogee of a wave of popular analyses of US jazz records as holding special spiritual significance. This early vaunting may have fed into its popularity into the present day; but we cannot gloss over the fact that such elevations in status do not tend to come without supreme merit, and more level-headed takes on the LP simply interpret it as one of the most impeccably performed, precisely timed jazz records of its day. Remastered for the esteemed Analogue Productions series, its everlasting flame is rekindled.

Notes: The Austrian Audio MiCreator is a new type of creative tool. Equal parts high-quality condenser microphone and simple audio interface with USB-C r connectivity, MiCreator gives you the flexibility to create what you want-how you want. Just plug in and start recording in top-notch audio quality instantly. Or expand your setup using MiCreator's additional input to achieve stereo recordings, record an additional sound source, and more. And whether you're recording at home or on the go, you can create with confidence thanks to MiCreator's ultra-durable metal housing. So, whether you're looking for a capable plug-and-play microphone or a multifaceted production tool, MiCreator simplifies your creative process and delivers no-compromise results.

MiCreator System

Unleash your creativity

MiCreator Satellite

TRRS microphone with headphone jack
Custom Condenser Capsule - Record in top notch audio quality
Max SPL: 130 dB SPL - Record even very loud sources
FlexTilt mechanic - Easily position the mic head for optimal recording
Full metal housing - Longlasting and durable
Headphone jack
Exchangeable & customizable face plates for an individual and personalized look


MiCreator Y-Lav
Lavalier microphone with headphone jack
Pairs seamlessly with MiCreator Studio to unlock powerful creative flexibility
Connected via the Link Connection (In/Out jack on the MiCreator Studio)
Record high-quality audio for video projects and more
Connect a second pair of headphones via the built-in headphone jack

Cubase LE

free Steinberg software included

Cubase LE is the perfect introduction for aspiring music producers and composers. It's a powerful yet easy-to-use DAW that gives you everything you need to create professional music. With its intuitive interface and comprehensive features, Cubase LE is the perfect way to learn the basics of music production. Cubasis LE for iOS devices is unlocked when MiCreator Studio is connected to an iOS device.

WaveLab Cast

free Steinberg software included

WaveLab Cast is the ultimate audio production and podcast software for Mac and Windows. With its powerful features and intuitive user interface, WaveLab Cast makes it easy to create professional audio content. Whether you are an experienced podcaster or just starting out, WaveLab Cast has everything you need to create great sounding podcasts.

Technical Specifications
Digital Resolution: max 48kHz/24-Bit
Digital Connector: USB-C - USB Audio Class 1.0/2.0 compliant
Directional characteristic: Cardioid
Frequency range: 20 Hz - 20 kHz
Sensitivity:- 35dBFS/Pa (low gain)/-15dBFS(high gain)
Hardware Gain Switch: 0dB (low)/20dB (high)
Equivalent noise level: 22 dB SPL (A) (high gain)
Max SPL: 130 dB SPL (low gain)
Output Power: 45mW (32Ohm Load)
Dynamic Range: 89 dB(A)
In/Output TRRS: for instrument cable, 2nd headphone or MiCreator Satellite or Y-Lav
Dimensions: 155 x 60 x 37 mm
Weight: 370g

Notes: The Nectar "Tone Sweetener" strikes aperfect balance between versatility and simplicity. It offers a wide range of tones, spanning from a vintage tweed-style crunch to a full-bodied overdrive, and even a modern high-gain fuzz that pairs wonderfully with any guitar, pedal or amp.

Use the mode toggle to switch between the DRIVE and FUZZZ modes, while the LEDS indicate the selected mode, even when the effect is bypassed. Fine-tune your sound with the TASTE control to set the perfect eq for each guitar or amp.

The Nectar's responsiveness is truly unparalleled, like a delicate bee collecting pollen. Every nuance of your playing is enhanced and sweetened in the best way possible, with plenty of headroom.

True Bypass Design
Power requirement: 9V, 30mA
Made in California, USA

Notes: Really clever stuff here. The Octaves VCO takes an additive approach, layering harmonics on top of a fundamental frequency to create complex tones. Control the six bands via CV to adjust the harmonic content.

Supplier's Notes:
A harsh and funky take of an additive Oscillator.

Pile up multiplications of your frequency to get a lo-fi-retro wall of squared sound!

You get six doubled frequency pulses, or octaves, with common PWM and volume control for each of them.

The output of each is cascaded to the next one, so you can either have one output with all frequencies or break the chain and get several sums and modulate each independently!

Features
Six bands, multiple of the base frequency.
Square wave oscillator with Octaves selector PWM control and sync.
Range control for Tune pot.
Volume CV control and individual output for each band
Cascaded summing outputs.

Specifications
Current needs: +12V: 110mA, -12V: 84mA
Width: 12 HP
Depth: 22mm (assembled and DIY), including power connector
Aluminium, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona

Notes: Your studio headphones

DT 900 Pro X

Trusted sound meets performance and flexibility

In launching the open-back DT 900 PRO X, Beyerdynamic are unveiling circumaural studio headphones, which are set to usher in a era for the long-established, Heilbronn-based company. While the classics of the PRO series are regarded as reference products in professional studios all over the world, the PRO line is suitable for flexible use both in the studio and while on the move. It is all made possible by the STELLAR.45 driver that loudly reproduces the best sound in studio quality without any distortion - with all playback devices.

Professional audio quality

Trusted studio sound meets high performance

The STELLAR.45 sound transducer, developed and produced in Heilbronn, Germany, delivers that proven Beyerdynamic sound at previously unattained levels of studio-headphones-class performance. This is down to the neodymium ring magnet as well as copper-clad high-tech wire. The trade-off between electrical conductivity and the weight of the wire is unique. In combination with the three-layer speaker diaphragm featuring integrated damping layer, this has created a highly efficient driver system that performs superbly on all playback devices.

The innovative membrane structure controls the axial motion of the voice coil and ensures that it remains securely positioned in the magnet gap even during high oscillations. Another benefit is vast and natural frequency response. The fast response of the transducer and the detailed transient response, produced by the low coil weight, create a sound that is always reliable and distortion free even at high sound pressure levels.

Flexibility

Wide range of applications on all playback devices



Anytime, anywhere - the wide range of applications offered by the PRO X line unleashes your creativity. Be it on an audio interface, laptop, tablet or mobile phone: Thanks to the high-performance STELLAR.45 driver, the PRO X headphones with an impedance of 48 ohms reproduce sound at volume and power to familiar levels of studio quality - on all playback devices. The cable concept is also demonstrably suitable for everyday use: the removable mini-XLR cable can be swapped out as required to be replaced with cables that have different lengths or feature other connectivity options.

Superb wearing comfort

Tailored fit for extra-long sessions

The PRO X line also embodies what these professional headphones have always been synonymous with: maximum wearing comfort. The robust spring steel headband design assures the over-ear headphones provide a secure fit and ensures durability. The supple velour ear pads are soft to the touch, as you would expect, and guarantee superior ventilation. The headband ergonomically adapts to the shape of the wearer's head with the aid of soft memory foam and, like the ear pads, can be replaced if required.

Design & materials

Built to last, featuring a sleek, robust design

Black, minimalist and reduced to the essentials. In a word: PRO.

As far as the design of and materials used in the PRO X line are concerned, attention was paid to the resilience of all components: metal headband, GRP components, a robust mini-XLR connector and hard-wearing cable. This means you are geared up on a daily basis for any professional application.

Sustainability

Sustainable headphones - made in Germany

The PRO X line headphones have been designed for daily use in challenging conditions. This is why they are handmade in Germany using premium quality materials. If required, nearly all the headphones' components can be replaced, turning these headphones into an investment that makes sense for every creator.

Technical data

Transmission type: Wired
Earpad material: Velours
Nominal impedance headphones: 48 ohms
Weight headphones without cable: 345 g
Headphone frequency response: 5 - 40,000 Hz
Nominal sound pressure level: 100 dB SPL (1mW/500Hz)
Sound coupling to the ear: Circumaural (around the ear)
Cable & plug: 3 m or 1.8 m straight cable, detachable, with 3-pin mini XLR & stereo jack (3.5 mm & 6.35 adapter)

Notes: 48-ohm version of the DT700 Pro X, part of Beyer's iconic DT series of studio headphones. Closed back design for mixing and monitoring, with a revealing, analytical sound.

Supplier's Notes:
Your studio headphones

DT 700 Pro X

Trusted sound meets performance and flexibility

In launching the closed-back DT 700 PRO X, Beyerdynamic are unveiling circumaural studio headphones, which are set to usher in a era for the long-established, Heilbronn-based company. While the classics of the PRO X series are regarded as reference products in professional studios all over the world, the PRO line is suitable for flexible use both in the studio and while on the move. It is all made possible by the STELLAR.45 driver that loudly reproduces the best sound in studio quality without any distortion - with all playback devices.

Professional audio quality

Trusted studio sound meets high performance

The STELLAR.45 sound transducer, developed and produced in Heilbronn, Germany, delivers that proven Beyerdynamic sound at previously unattained levels of studio-headphones-class performance. This is down to the neodymium ring magnet as well as copper-clad high-tech wire. The trade-off between electrical conductivity and the weight of the wire is unique. In combination with the developed three-layer speaker diaphragm featuring integrated damping layer, this has created a highly efficient driver system that performs superbly on all playback devices.

The innovative membrane structure controls the axial motion of the voice coil and ensures that it remains securely positioned in the magnet gap even during high oscillations. Another benefit is vast and natural frequency response. The fast response of the transducer and the detailed transient response, produced by the low coil weight, create a sound that is always reliable and distortion free even at high sound pressure levels.

Flexibility

Wide range of applications on all playback devices

Anytime, anywhere - the wide range of applications offered by the PRO X line unleashes your creativity. Be it on an audio interface, laptop, tablet or mobile phone: Thanks to Beyerdynamic's high-performance STELLAR.45 driver, the PRO X headphones with an impedance of 48 ohms reproduce sound at volume and power to familiar levels of studio quality - on all playback devices. The cable concept is also demonstrably suitable for everyday use: the removable mini-XLR cable can be swapped out as required to be replaced with cables that have different lengths or feature other connectivity options.

Superb wearing comfort

Tailored fit for extra-long sessions

The PRO X line also embodies what these professional headphones have always been synonymous with: maximum wearing comfort. The robust spring steel headband design assures the over-ear headphones provide a secure fit and ensures durability. The supple velour ear pads are soft to the touch, as you would expect, and guarantee superior ventilation. The headband ergonomically adapts to the shape of the wearer's head with the aid of soft memory foam and, like the ear pads, can be replaced if required.

Design & materials

Built to last, featuring a sleek, robust design

Black, minimalist and reduced to the essentials. In a word: PRO. As far as the design of and materials used in the PRO X line are concerned, attention was paid to the resilience of all components: metal headband, GRP components, a robust mini-XLR connector and hard-wearing cable. This means you are geared up on a daily basis for any professional application.

Sustainability

Sustainable headphones - made in Germany

The PRO X line headphones have been designed for daily use in challenging conditions. This is why they are handmade in Germany using premium quality materials. If required, nearly all the headphones' components can be replaced, turning these headphones into an investment that makes sense for every creator.

Technical data

Transmission type: Wired
Earpad material: Velours
Nominal impedance headphones: 48 ohms
Weight headphones without cable: 350 g
Headphone frequency response: 5 - 40,000 Hz
Nominal sound pressure level: 100 dB SPL (1mW/500Hz)
Sound coupling to the ear: Circumaural (around the ear)
Cable & plug: 3 m or 1.8 m straight cable, detachable, with 3-pin mini XLR & stereo jack (3.5 mm & 6.35 adapter)

Notes: Studio grade connectivity.

Your studio needs more than just accessible patching - exceptional audio quality through the entire signal path is crucial! Black Lion has been improving already-great gear through their modification service for years, and all that know-how has been channelled straight into the PBR TRS3.

The PBR TRS3 is a 48-point TRS patchbay, suitable for the most robust routing imaginable in a single rack space, loaded with 96 audiophile-grade gold-plated 1/4" TRS connectors for maximum conductivity and signal clarity. You'll easily interconnect your preamps and other outboard hardware via its audiophile-grade, secure connections.

Limitless flexibility and road-worthy construction

You'll reconfigure your entire studio's routing at a moment's notice (while cutting down on cable clutter! The rear-mounted 3-way mode switches allow for Normal, Half-normal, and Thru operation, delivering unlimited routing potential for mults, bypassing, monitoring, and parallel processing.

Black Lion's team of engineers have worked tirelessly to ensure that the PBR TRS3 delivers proper quality through-and-through. The PBR TRS3 is also built Black Lion-tough, with a reinforced steel chassis and black-anodized aluminium faceplates that make for a matched and sophisticated look.

Not your average patchbays.

Configure your studio with the best: Black Lion Audio PBR Series Patchbays. Your recordings deserve the best, and maintaining a great signal path is crucial!

Features

96 audiophile-grade gold-plated 1/4" TRS connectors
Rear-mounted 3-way mode switches for Normal, Half-normal, and Thru operation
Black-anodized aluminium faceplate and reinforced steel chassis
Includes front panel labels
Exceptional value for the price

Specifications

Number of Points: 96
Front Connectors: 48x XLR
Rear Connectors: 48x TRS
Dimensions: 534 x 102 x 51mm, 1.4kg (boxed)

Review: The Black Sabbath Hand Of Doom box set provides the ultimate collection for fans who opt to live in a world where the group never had any other vocalist apart from Ozzy Osbourne. Providing picture disc represses of all eight LPs released during the original frontman's tenure from 1970 to 1978 (2013's reunion album 13 is not included), the collection boasts the self-titled 1970 debut, the same-year follow up Paranoid, as well as the iconic slew of Master Of Reality (1971), Vol 4 (1972), Sabbath Bloody Sabbath (1973), Sabotage (1975), Technical Ecstasy (1976) and Never Say Die! (1978). Limited to 3000 copies (which isn't a large amount when considering how vital Sabbath's early material still is to this day) and complete with a large coloured poster, fan service rarely gets as ideal or essential as Hand Of Doom.

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

The OD-200 Hybrid Drive brings next-level sound, feel, and flexibility to overdrive and distortion, combining decades of BOSS tone expertise with innovative technologies. Powered by hybrid analogue/digital circuitry, this dream pedal delivers any drive tone you can imagine via 12 primary modes, 15 boost types, series/parallel gain paths, and more. There's even an advanced gate on board, ideal for both eliminating noise and adding tightness to high-gain drive tones.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current OD-200 system software

Premium Drive Tones with BOSS's Advanced Hybrid Design

The OD-200's next-generation hybrid design seamlessly brings analogue and digital clipping circuits together for the best of all worlds, putting a universe of expressive drive colours under your fingers. Twelve modes offer a variety of premium overdrive, fuzz, and distortion sounds, including a high-gain Brown mode derived from the acclaimed Katana amplifier series. And with the three high-performance "X" drive modes powered by BOSS's cutting-edge MDP tech, you'll experience enhanced definition, clarity, and dynamic response that's perfect for modern playing styles.

Powerful Gain Shaping with Series and Parallel Boosts

While each of the OD-200's 12 main drive modes sound fantastic on their own, you're able to craft tones even further with 15 switchable boost circuits. Placing the boost in series lets you create traditional stacked drive voices, complete with post-gain level to balance with the bypassed sound or kick up the volume for solos. The boost circuit can also be used in parallel with the main mode, enabling side-by-side blending for an unlimited range of unique drive textures.

Kill the Noise and Tighten Your Tone

With its integrated gate circuit, the OD-200 always keeps your signal clear and quiet when you're not playing. The default setting is a great starting point, providing gentle, transparent gating that works well for general playing styles. The decay and threshold controls can also be adjusted for super-fast gate performance when needed, perfect for bringing tightness to heavy modern styles that combine full-throttle gain with precision staccato riffing.

Dial in Sounds Fast

The OD-200 offers a ton of advanced capabilities, but remains as simple to use as any regular distortion stomp. With dedicated controls, you can quickly dial in the gain and overall level for any selected mode, then sculpt the tone with wide-ranging low, mid, and high EQ. There's also a multi-function parameter knob, which changes operation based on the group selected with the panel's parameter switch and LED status indicators.

Save and Recall Your Favourite Setups

The OD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Drive Circuit: Analogue + Digital

Modes:
12 modes
OVERDRIVE, BLUES, SCREAM, CNTR OD, X-DRIVE, DIST, X-DIST, STACK DRIVE, FAT DIST, BROWN, X-METAL, FUZZ

Memory: 127 + Manual
Nominal Input Level: INPUT: -10 dBu
Maximum Input Level: INPUT: +7 dBu
Input Impedance: INPUT: 1 M ohm
Nominal Output Level: OUTPUT: -10 dBu
Maximum Output Level: OUTPUT: +7 dBu (Load Impedance: 220 k ohms or greater)
Output Impedance: OUTPUT: 1 k ohms
Recommended Load Impedance: OUTPUT: 10 k ohms or greater
Bypass: Buffered bypass

Controls: ON/OFF switch, MEMORY/BOOST switch
MODE knob, DRIVE knob, LEVEL knob, PARAM knob, LOW knob, MIDDLE knob, HIGH knob
PARAM button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: PARAM indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT jack, OUTPUT jack: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 220 mA

Expected Battery Life Under Continuous Use:
Alkaline: Approx. 6 Hours
* These figures will vary depending on the actual conditions of use.

Accessories:

Leaflet "USING THE UNIT SAFELY"
Leaflet "To obtain the Owner's Manual"
Alkaline battery (AA, LR6) x 3
Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight:

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height: (including rubber foot)65 mm / 2-9/16 inches
Weight: 600 g / 1 lb 6 oz
Weight (including battery): 670 g / 1 lb 8 oz

Notes: Part of the new Boss 200 series, the RV-200 is a seriously classy reverb. With a choice of 12 algorithms, things quickly move from classic ambience to the pitch-shifted arpeggiated madness of the new Arpverb program.

Supplier's Notes:
Ambient Bliss

The RV-200 delivers inspiring reverbs and premium sound in the streamlined BOSS 200 series design. Twelve versatile reverb types-including the newly developed Arpverb-provide everything from subtle spatial colour to complex, dreamy textures for ambient explorations. Quickly dial in sounds with the fast-access interface. Save favourites in 127 memories. And take performances to the next level with flexible onboard footswitches, deep external control support, and head-turning creative tools like Warp, Twist, and more.

Studio-Grade Processing

The RV-200 features a powerful reverberation engine with class-leading sound quality, backed by custom BOSS DSP, 32-bit AD/DA, 32-bit floating point processing, and a 96 kHz sampling rate. Every algorithm offers true studio-grade performance, with exceptional detail and definition from the shortest early reflections to long, floating tails spanning multiple seconds.

Twelve Distinctive Reverbs

From essentials like Room and Hall to deeply immersive reverbs like Shimmer, Slowverb, and the cool new Arpverb, the RV-200 gives you the ambient colours you need for every song and style.

Room

Simulates the reverberation characteristics of a small room. Select from four room sizes with the Param knob.

Hall

Simulates the reverberation characteristics of a concert hall. Select from three hall sizes with the Param knob.

Plate

Simulates the reverberation characteristics of a studio plate reverb. Balance the high and low damping of the reverb with the Param knob.

Spring

Simulates the distinctive sound of the hardware spring reverb effect found in guitar amplifiers. Select the number of springs with the Param knob.

Shimmer

Creates long, dreamlike reverberations rich in harmonic content. Adjust the harmonic character and diffusion with the Param knob.

Arpverb

A newly developed BOSS reverb that creates an arpeggio type of sound with evocative pitch-shifted tails. Use the Param knob to adjust the attack of the arpeggio sound.

Slowverb

A sweet ambient reverb with gentle attack and soft harmonics. Param adjusts the amount of direct sound blended with the reverb, allowing you to create deep, immersive tones.

Modulate

Adds a modulation effect to a rich hall reverb sound. Adjust the modulation depth with the Param knob.

+Delay

Combines a delay with reverb, with the length of both effects controlled with the Time knob. Use the Param knob to adjust the delay level.

Lo-Fi

A specialty reverb with limited bandwidth and added distortion. Adjust the distortion amount with the Param knob.

Gate

A distinctive reverb effect that abruptly cuts off the reverb tail. Use the Param knob to control the timing of the gate effect.

Reverse

Plays the reverb sound in reverse. Adjust the high-frequency character with the Param knob.

Instant Sound Creation

Like all 200 series pedals, the RV-200 offers a powerful yet intuitive panel that lets you realize great sounds with minimal effort. Along with core parameters such as reverb time, effect level, and pre-delay, there are variable high and low filters to perfectly balance the verb for your application. You also have a density control to adjust the weight of the sound, plus a parameter knob with access to multiple sound-shaping tools that are unique to each type.

Expressive Performance Control

The RV-200 includes memories for storing 127 reverb sounds, so your favourite setups are always ready to go. Two onboard footswitches pack a lot of performance versatility, with numerous options to reassign their targets to suit your needs. For example, you can bypass the effect, scroll through memories, and activate a Hold function to carry on the reverb effect for as long as the switch is pressed. It's also possible to assign powerful performance effects such as Warp, Twist, and Fade.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes- ROOM, HALL, PLATE, SPRING, SHIMMER, ARPVERB, SLOWVERB, MODULATE, +DELAY, LO-FI ,GATE, REVERSE
Memory127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohms
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY/HOLD switch, MODE knob, TIME knob, PRE-DELAY knob, E. LEVEL knob, PARAM knob, LOW knob, HIGH knob, DENSITY button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: DENSITY indicator, MEMORY (MAN, 1--4) indicators

Connectors
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type, CTL 1, 2/EXP jack: 1/4-inch TRS phone type, MIDI (IN, OUT) jacks: Stereo miniature phone type, DC IN jack, USB port: USB2.0 micro B (program update only)
Power Supply: Alkaline battery (AA, LR6) x 3, AC adapter (sold separately)
Current Draw: 260 mA

Expected Battery Life Under Continuous Use: Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height(including rubber feet): 65 mm / 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery): 680 g / 1 lb 8 oz

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

The DD-200 Digital Delay brings together sounds and features inherited from the flagship DD-500 into an even smaller footprint. Twelve different modes offer an inspiring variety of delay colours from modern digital to classic analogue, letting you dial up everything from basic echoes to rich ambient pads and everything in-between. There's also a looper that's always ready to use, plus a selectable carryover function for seamless transitions between memories.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current DD-200 system software

Twelve Modes, Unlimited Sounds

With 12 different modes to choose from, the DD-200 provides nearly any flavour of delay in an amazingly compact size. At your command are super-clean digital delays, gritty analogue echoes, and spot-on retro sounds from the Roland RE-201 Space Echo and Binson Echorec 2. There's also a variety of options for creating reverse effects, lo-fi tones, and pulsing rhythmic sounds with layered delays. And with the Tera Echo, Shimmer, and Pad Echo modes, immersive ambient colours are just a knob twist away.

Dial in Sounds Fast

The DD-200 features a no-nonsense interface, making it easy to craft inspiring sounds in the heat of the moment. Essential delay parameters are provided on dedicated controls for direct, hands-on access. And in each mode, the function of the PARAM knob changes to parameters tailored for the selected type, delivering extended control with no need to menu dive.

Save and Recall Your Favourite Setups

The DD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall. If you crave deeper control, setups can be directly recalled via program change messages from an external MIDI device. And by enabling the carryover function, delay repeats will keep sounding as you change memories for smooth, free-flowing transitions.

Deep Real-Time Control

By default, the DD-200's multi-function footswitches provide access to basic functions like bypass, memory scrolling, tap tempo, and looper control. But you can easily reassign them to hold, warp, and many other functions. External control is also possible via footswitches or an expression pedal, and MIDI I/O is even provided on space-saving mini TRS jacks. Via MIDI, you're able to chain multiple 200 series pedals and select memories on all of them at once, and also control a wide range of functions from MIDI devices like the ES-8 and ES-5 effects switchers.

Ready-to-Go Looper

Any time you're ready, pressing the DD-200's two footswitches together puts you into looper mode. Up to 60 seconds of mono recording time is available, and operation is simple and direct with the onboard switches. And since the looper engine functions independently, you're able to develop expressive loops with any of the DD-200's rich delay sounds.

DD-200 Delay Modes

Standard-Clear digital delay. PARAM adjusts the delay attack.
Analog-Emulates classic analogue "BBD" delays like the BOSS DM series. PARAM controls character and distortion amount.
Tape-Emulates the warm tape-based sound of the legendary Roland RE-201 Space Echo. PARAM selects different combinations of three playback heads, and also adjusts the amount of distortion in the delay sound.
Drum-Models the drum-based Binson Echorec 2. PARAM selects different combinations of four playback heads, and also adjusts the amount of distortion in the delay sound.
Shimmer-Pitch-shifted delay for lush, heavenly textures. PARAM adjusts the delay brightness.
Tera Echo-Spacious, animated ambience effect derived from the BOSS TE-2 pedal. PARAM adjusts the sound character.
Pad Echo-Newly developed delay sound for creating drifting ambient textures. PARAM adjusts the delay attack.
Pattern-Rhythmic sounds with 16 delay lines layered together. PARAM selects different pattern variations.
Lo-Fi-Delay sound with fat, distorted character. PARAM adjusts the distortion effect.
Dual-Two different delay lines connected in series. PARAM adjusts the time of the second delay.
Reverse-Backwards delay for cool psychedelic effects and other unique tones. PARAM adjusts the delay attack.
Ducking-Delay with a built-in ducking effect. PARAM adjusts the input sensitivity.

*The product names mentioned on this page are registered trademarks or trademarks of their respective owners. These names are used because it is the most practical way of describing the sounds that are simulated.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point

Modes: 12 modes
STANDARD, ANALOG, TAPE, DRUM, SHIMMER, TERA ECHO, PAD ECHO, PATTERN, LO-FI, DUAL, DUCKING, REVERSE

Memory127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass

Controls:
ON/OFF switch, MEMORY/TAP switch
MODE knob, TIME knob, FEEDBACK knob, E. LEVEL Knob, PARAM knob, TONE knob, MOD DEPTH knob
TAP DIVISION button, MEMORY button

Display: 7 segments, 3 characters (LED)
Indicator: TAP DIVISION indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 225 mA

Expected Battery Life Under Continuous Use
Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.

Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot): 65 mm / 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery): 680 g / 1 lb 8 oz

0 dBu = 0.775 Vrms

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

Outfitted with algorithms from the flagship MD-500, the MD-200 Modulation delivers an array of world-class effects in one small, convenient pedal. Twelve different modes provide every mod sound you need and more, and each includes customized controls that unlock deep tone shaping right from the panel. And with the powerful insert function, it's simple to patch in drive pedals and other effects for selectable pre or post processing.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current MD-200 system software.

Twelve Mod Essentials in One Pedal

Compact and mighty, the MD-200 gives you every key mod effect in a minimal footprint. Modern and vintage BOSS chorus effects are included, plus phaser, flanger, rotary, vibrato, and tremolo. Classic vibe and '70s phaser effects are also available, complete with selectable distortion for added versatility. BOSS's famous Slicer delivers lots of cool rhythmic grooves, while the rich Overtone effect dishes up fat octave tones and unique sonic colours. There's a highly adjustable auto wah as well, which can double as a foot wah when an expression pedal is connected.

Dial in Sounds Fast

With the MD-200's simple and direct interface, it's easy to craft inspiring sounds in the heat of the moment. Using dedicated controls, you can quickly dial in rate, depth, and level for any selected mode. You can also tap in the rate with a footswitch while playing, and visually set note subdivisions right from the panel. Going further, three additional parameter knobs dynamically change functions with each mode, providing extended tone shaping with no need to menu dive.

Save and Recall Your Favourite Setups

The MD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall. And if you crave deeper control, setups can be directly recalled via program change messages from an external MIDI device.

Instantly Change Effect Order for Optimum Tone

Using the MD-200's insert loop function, you're able to patch external pedals, set the ideal effect order, and save the setting to an onboard memory. For example, you can place a phaser or classic vibe before an external pedal in one memory, a chorus or flanger after in the next, and then switch between them. This is particularly useful with drive pedals, where the signal order can have a dramatic effect on the selected mod sound.

Deep Real-Time Control

By default, the MD-200's multi-function footswitches control bypass, memory scrolling, and tap tempo, but you can easily reassign them to alternate functions as needed. External control is also possible via footswitches or an expression pedal, and MIDI I/O is even provided on space-saving mini TRS jacks. Via MIDI, you're able to chain multiple 200 series pedals and select memories on all of them at once, and also control various functions from MIDI devices like the ES-8 and ES-5 effects.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes:12 modes; CHORUS, CE-1 CHORUS, FLANGER, PHASER, VINTAGE PHASER, CLASSIC VIBE, VIBRATO, TREMOLO, ROTARY, AUTO WAH, SLICER, OVERTONE
Memory: 127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY/TAP switch, MODE knob, RATE knob, DEPTH knob, E. LEVEL knob, PARAM 1 knob, PARAM 2 knob, PARAM 3 knob, TAP DIVISION button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: TAP DIVISION indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack

USB port: USB micro B-type (program update only)
Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 225 mA
Expected Battery Life Under Continuous Use: Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately)
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight
Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot)65 mm 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery)680 g / 1 lb 8 oz

0 dBu = 0.775 Vrms

Notes: Part of Boss's 200 series, the SY-200 is the latest in a range of guitar synth pedals dating all the way back to the 1970s. Plug in any guitar or bass and layer synth sounds over the raw tone. A versatile and creative way to explore new sounds.

Supplier's Notes:
A World of Synth Tones at Your Feet

Offering a universe of rich, analogue-inspired polyphonic tones in a small footprint, the SY-200 makes it simple to weave BOSS's expressive guitar and bass synth technology into all of your musical journeys. Building on the fun, instant-gratification experience of the acclaimed SY-1, this blue inspiration machine features an expanded sound set, more tone-shaping possibilities, and 128 memories for storing your sonic creations. Two onboard footswitches provide deep real-time performance control, and you can take things even further with external footswitches, an expression pedal, and MIDI.

A Massive Library of Expressive Synth Tones

The SY-200 transforms your guitar or bass into a versatile analogue-flavoured synth, ready to infuse your music with dynamic, compelling, and evocative new voices. This streamlined stomp gives you 171 total sounds organized in 12 intuitive categories, along with adjustable parameters for customizing the tone and response. And with 128 memory locations, you're able to store your favourite sounds and instantly recall them while performing.

Build Custom Sounds Fast

With the SY-200's informative display and hands-on controls, it's quick and easy to call up sounds and balance the direct and synth levels. All the preset synth tones have been dialled in by the BOSS engineers to be inspiring and playable right away. But if you want to go deeper, you can tweak three different parameters for each sound via dedicated knobs.

Flexible Connectivity

The SY-200 smoothly integrates into your setup in a variety of ways. Patch it in your chain like a regular pedal, or use the send and output jacks to route synth and straight guitar sounds to different destinations. And with the send/return loop and level knobs, it's possible to craft unique hybrid sounds by blending one or more pedals in parallel with different synth voices.

Powerful Real-Time Control

The SY-200 provides a massive range of control options while taking up minimal space on your pedalboard. Two customizable footswitches offer multi-functional operation with press-and-hold functionality, allowing you to control synth on/off, memory scrolling, pitch bend, synth hold, and more. Expanded control is possible via external footswitches or an expression pedal, and MIDI I/O is also available to interface with other MIDI-equipped pedals and devices like the ES-8 and ES-5 loop switchers.

Plug-and-Play and Latency-Free

You can use the SY-200 with any guitar or bass-just plug in with a standard 1/4-inch cable and start creating. Thanks to custom DSP and the latest BOSS innovations, you'll enjoy latency-free performance that's a natural extension of your instrument, letting you play freely without altering your normal technique in any way.

Supercharge Your Music with a Diverse Range of Sounds

The SY-200 is loaded with a large library of synthesizer tones to inspire new ideas and bring fresh voices to your music.

LEAD-A wide range of sounds suitable for single-note soloing.
PAD-Full tones that work great with chords, from layered pads to synth brass and more.
STRING-Classic analog-style strings, including layered voices and sweeping textures.
BELL-Percussive synth sounds with metallic resonance.
ORGAN-A large selection of organ sounds, including many with rotary-style modulation.
BASS-Fat synth bass sounds, including filtered and sub-octave tones.
DUAL-Fat synth tones with stacked oscillators.
SWEEP-Dynamic sounds with expressive and engaging movement.
NOISE-Classic analog-style synth noise. Great for percussive sounds and dramatic effects.
SFX-A variety of synth sound effects, including explosive one-shot sounds, animated pitch/filter voices, and more.
SEQ-Pulsating sounds with rhythmic pitch or filter changes.
ARPEGGIO-Generate rhythmic arpeggios based on the notes you play.

Specifications

Sampling Frequency: 44.1 kHz
AD/DA Conversion24 bits
Processing: 32-bit floating point

Modes: 12 modes
LEAD, PAD, STRING, BELL, ORGAN, BASS, DUAL, SWEEP, NOISE, SFX, SEQ, ARPEGGIO

Memory: 128
Nominal Input Level: INPUT, RETURN: -10 dBu
Maximum Input Level: INPUT, RETURN: +7 dBu
Input Impedance: INPUT, RETURN: 2 M ohms
Nominal Output Level: OUTPUT, SEND: -10 dBu
Maximum Output Level: OUTPUT, SEND: +7 dBu
Output Impedance: OUTPUT, SEND: 1 k ohm
Recommended Load Impedance: OUTPUT, SEND: 10 k ohms or greater
Bypass: Buffered bypass

Controls:
ON/OFF switch, MEMORY/CTL 1 switch
TYPE knob, MEMORY knob, 1 knob, 2 knob, 3 knob, D. LEVEL knob, E. LEVEL knob, VARIATION knob
MENU button, EXIT button

Display: Graphic LCD (132 x 32 dots, backlit LCD)

Connectors:
INPUT jack, OUTPUT jack, SEND jack, RETURN jack: 1/4-inch phone type
CTL 2, 3/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 230 mA

Expected Battery Life Under Continuous Use: Alkaline: Approx. 5 Hours
* These figures will vary depending on the actual conditions of use.

Accessories: Leaflet "USING THE UNIT SAFELY"
Leaflet "To obtain the Owner's Manual"
Alkaline battery (AA, LR6) x 3
Rubber foot x 4

Options (sold separately)
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot): 65 mm / 2-9/16 inches
Weight: 630 g / 1 lb 7 oz
Weight (including battery): 700 g / 1 lb 9 oz

0 dBu = 0.775 Vrms

Notes: Dial in Professional Sounds in Seconds

The BOSS ME series has been a favourite of performing guitarists for over three decades, combining multi-effects power with intuitive hands-on control for crafting tones in seconds. The ME-90 is the most advanced ME model to date, offering exceptional audio quality, flagship-grade AIRD amp models, IR loading, an effects loop, and more. Compact, battery-powered, and filled with premium BOSS tones, this versatile all-in-one processor makes it easy to build customized sound setups for every playing situation.

Fast Sound Creation

With its knob-driven interface and diverse effects selection, the ME-90 lets you build configurations and tweak tones with the ease of a stompbox-filled pedalboard-without the hassle of fastening tape, power distribution, and multiple connection cables. Just dial up an amp model or effect type within a category and turn the knobs to get the sound you want. There are 36 preset patches with ready-to-play pro tones, plus 36 user patches for storing your custom creations.

Flexible Real-Time Control

The ME-90 features eight footswitches with smooth, quiet operation and an expression pedal with an integrated toe switch. Use Memory mode to call up complete patch setups with the footswitches, and then switch to Manual mode for direct on/off control of each effect category within the patch. The footswitch LEDs light in different colours for quick identification in the heat of a performance. It's also possible to set all LEDs to light in a fixed colour for each mode if desired.

High-Quality BOSS Effects

The ME-90 puts a massive library of BOSS effects at your command, offering seven different categories filled with selections derived from the flagship GT-1000. Everything you need is here, from overdrives and distortions to pitch/mod effects, delays, and high-quality reverbs. You also get 11 dedicated Pedal FX, a looper, and specialized effects such as acoustic simulation and down tuning. There are 60 effect types in total, with access to over 20 more via BOSS Tone Studio. A send/return loop is available for external pedals, complete with the ability to save the on/off status in patches and place the loop before or after amp models in the signal chain.

Premium Amp Sounds with AIRD Technology

Along with its effects, the ME-90 includes amp models ported from the GT-1000, driven by our advanced AIRD technology for authentic tube tone and touch response. Eleven onboard amp types offer everything from clean combo sounds to punishing high-gain stacks, and you can access more selections in BOSS Tone Studio. Each amp includes a dedicated cab sound for connecting to a PA or recording device, and you can load three of your favourite speaker IRs to personalize sounds to your taste.

Edit, Customize, and Expand

BOSS Tone Studio for macOS and Windows extends your creative range, allowing you to edit tones and change out some amp and effect types with alternate selections. In addition, you can save and organize patches for different gigs, download pro setups at BOSS Tone Central, and swap patches with the ME-90 community on BOSS Tone Exchange. The ME-90 also supports the optional Bluetoothr Audio MIDI Dual Adaptor, enabling you to stream music from a mobile device and wirelessly shape tones using the dedicated BTS editor app for iOS and Android.

Light, Durable, and Ready to Travel

The ME-90 is lighter than its previous generation model while maintaining the rock-solid durability that BOSS is famous for.

Specifications
Sampling Frequency: 48 kHz
AD Conversion: 24 bits + AF method
AF method (Adaptive Focus method) This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD and DA converters.
DA Conversion: 32 bits
Processing: 32-bit floating point
Effects: 97 Types
Memories: 36 (User) + 36 (Preset)
Phrase Loop: 38 sec. (MONO)
Tuner Internal Detection: +/-0.1 cent
Nominal Input Level: INPUT: -10 dBu, RETURN: -10 dBu
Maximum Input Level: INPUT: +7 dBu, RETURN: +7 dBu
Input Impedance: INPUT: 1 M ohm, RETURN: 1 M ohm
Nominal Output Level: OUTPUT (L/MONO, R): -10 dBu, PHONES: -10 dBu, SEND: -10 dBu
Output Impedance: OUTPUT (L/MONO, R): 1 k ohm, PHONES: 44 ohms, SEND: 1 k ohm
Recommended Load Impedance: OUTPUT (L/MONO, R): 10 k ohms or greater, PHONES: 44 ohms or greater, SEND: 10 k ohms or greater

Controls:BANK DOWN/AMP switch, BANK UP/EQ switch, CTL/REV switch, MEMORY/MANUAL switch, 1/COMP switch, 2/OD/DS switch, 3/MOD switch, 4/DELAY switch, PEDAL FX switch, Gt. AMP/LINE switch, POWER switch, EXIT button, WRITE button, CTL button, EDIT button, PREAMP TYPE knob, GAIN knob, BASS knob, MIDDLE knob, TREBLE knob, LEVEL knob, REVERB knob, COMP/FX1 TYPE knob, SUSTAIN/SENS/-1OCT knob, ATTACK/TONE/-2OCT/DEPTH knob, LEVEL/PEAK/DIRECT knob, OD/DS TYPE knob, DRIVE knob, TONE knob, LEVEL knob, MOD TYPE knob, RATE/KEY knob, DEPTH/HARMONY knob, E.LEVEL/RESONANCE knob, DELAY TYPE knob, TIME knob, FEEDBACK knob, E.LEVEL knob, OUTPUT LEVEL knob, PEDAL FX TYPE knob, PEDAL FX pedal
Display: 7 segments, 2 characters (LED)

Connectors: INPUT jack, OUTPUT (L/MONO, R) jacks, SEND jack, RETURN jack: 1/4-inch phone type
PHONES jack: Stereo miniature phone type
USB COMPUTER port: USB Type-C(R)
Bluetooth ADAPTOR connector: Dedicated connector
DC IN jack

Power Supply: Alkaline battery (AA, LR6) x 4 or AC adapter
Current Draw: 190 mA

Expected battery life under continuous use:
Alkaline battery: Approximately 6.5 hours
* This can vary depending on the specifications of the batteries, capacity of the batteries, and the conditions of use.
Accessories: STARTUP GUIDE, Alkaline battery (AA, LR6) x 4, Leaflet "USING THE UNIT SAFELY"

Options (sold separately)
AC adaptor: PSA-S series
Bluetooth(R) Audio MIDI Dual Adaptor: BT-DUAL
Carry Bag: CB-ME80,CB-BU10

Size & weight

Width: 443 mm / 17-1/2 inches
Depth: 220 mm / 8-11/16 inches
Height: 67 mm / 2-11/16 inches
Maximum Height: 93 mm / 3-11/16 inches
Weight(including battery): 2.9 kg / 6 lb / 7 oz

Notes: The Ultimate CUBE Bass Experience for Home and Beyond

For over four decades, CUBE amplifiers have brought exceptional value to musicians everywhere, offering great sound and versatile features in portable, go-everywhere designs. The DUAL CUBE BASS LX is the most advanced compact CUBE bass amp yet, filled with evolved BOSS technologies for the ultimate home practice experience. This thunder box punches well above its size, delivering rich, full sound and a host of fun rhythm patterns to groove with. A generous array of connectivity options are also included, extending its range to performing, recording, and many other applications.

Stage Sound at Home

With its custom stereo speaker system and advanced cabinet design, the DUAL CUBE BASS LX delivers big, refined tones that you won't believe are coming from such a small amp. Five different preamp types are available, offering uncoloured sounds for studio and slap playing, vintage sounds for classic styles, and aggressive modern tones for heavy genres. With natural feel and organic response honed with decades of BOSS amp development, you have an endlessly inspiring platform to hone skills and explore new techniques.

Find Your Voice

The DUAL CUBE BASS LX features a variety of bass-tuned effects, including many with expansive stereo sound. Shape your core tone with compression or drive, add colour with touch wah, flanger, or chorus, and bring in spatial depth with delay or reverb. Each amp type includes three user memories, allowing you to store gain, EQ, and effect setups for quick recall. The DUAL CUBE BASS LX Editor lets you dive even deeper, providing access to effect variations and detailed parameter tweaks from your Mac or Windows computer.

Get in the Groove

Make your practice sessions more fun and productive with the powerful onboard Rhythm Guide. There are nine rhythm types with three pattern variations each, spanning from a basic metronome to realistic drum grooves in rock, jazz, metal, Latin, and other styles. Using the DUAL CUBE BASS LX Editor, you can explore a total of 91 rhythm variations and save your favorites in the amp. With the high-performance stereo speakers, rhythms and backing music are presented in full-range detail for a rich, immersive experience.

Beyond the Bedroom

Thanks to its ultra-flexible connectivity, the DUAL CUBE BASS LX goes far beyond the capabilities of other compact amps. Use the stereo XLR line output to directly connect to a PA system and perform on stage. Or capture mix-ready sounds in music software on a computer or mobile device via USB or i-CUBE-Link. If you like to livestream, you can capture your voice with a headphones mic and send it to the USB and i-CUBE Link outputs along with your bass sound. And with the ability to use AC or battery power, you can play absolutely anywhere.

Expand Your Possibilities

With optional FS-series footswitches, you can operate the Rhythm Guide hands free and unlock access to the onboard looper to create layered performances. And by connecting the optional Bluetoothr Audio MIDI Dual Adaptor, you can go even further with a smartphone or tablet. Wirelessly stream music from your device and jam along, or use the iOS/Android version of the DUAL CUBE BASS LX Editor to tweak functions remotely. Or pair the EV-1-WL Wireless MIDI Expression Pedal for cable-free operation of wah and volume.

Standard Features
Ultra-portable stereo bass amplifier with professional sound and features
Two custom-designed 5-inch speakers
10-watt stereo power amp (5 watts x 2)
Five preamp types: Super Flat, Flat, Vintage, Modern, and Rock
Compressor/drive control tuned for bass
Chorus, flanger, touch wah, delay, and reverb effects
Three-band equalizer
Store amp and effects settings in 15 memories (3 memories for each amp type)
Powered via AC adaptor (included) or eight AA batteries
Onboard rhythms with 27 different patterns (nine types and three variations each)
Edit sounds, access additional rhythm variations, and more with the dedicated DUAL CUBE BASS LX Editor
Stereo XLR balanced line output
Phones/Rec jack with support for an inline headphones microphone
USB audio for direct recording and livestreaming
Control jack for up to two external footswitches
i-CUBE Link/Aux In jack for audio playback
Selectable Loopback function for USB and i-CUBE Link/Aux In
Onboard looper (requires optional footswitch)
Connector for optional Bluetoothr Audio MIDI Dual Adaptor (BT-DUAL)


Specifications

Rated Power Output: 10 W (5 W+5 W)
Nominal Input Level: INPUT: -10 dBu (1 M ohm), i-CUBE LINK/AUX IN: -20 dBu (15 k ohm)
Nominal Output Level: LINE OUT L, R: -10 dBu
Speakers: 12 cm (5 inches) x 2
Controls: POWER switch, COMP/DRIVE knob, DRIVE button, AMP TYPE knob (SUPER FLAT, FLAT, VINTAGE, MODERN, ROCK), MEMORY button, GAIN knob, VOLUME knob, BASS knob, MIDDLE knob TREBLE knob, EFFECTS knob (CHORUS, FLANGER, T-WAH), DELAY/REVERB knob, START/STOP button, PATTERN knob (METRONOME, JAZZ, ROCK, BLUES, R&B, FUNK, METAL, LATIN, COUNTRY), VARIATION button, TAP TEMPO button, VOLUME knob (RHYTHM GUIDE), MIC VOL knob, MASTER knob, LOOPBACK switch (i-CUBE LINK/AUX IN), LOOPBACK switch (USB)
Indicators: POWER, DRIVE, MEMORY, START/STOP, VARIATION, REC, PLAY, DUB

Connectors:
INPUT jack: 1/4-inch phone type
PHONES/REC OUT jack: Stereo Miniature phone type (Stereo, CTIA)
i-CUBE LINK/AUX IN jack: Stereo Miniature phone type (Stereo, CTIA)
LINE OUT L, R connectors: XLR type
FOOT SW jack: 1/4-inch TRS phone type
Bluetooth ADAPTOR connector: Dedicated connector
USB port: USB B
DC IN jack
Power Supply: AC adapter (DC 9 V), Alkaline battery (AA, LR6) x 8, Rechargeable Ni-MH battery (AA, HR6) x 8Current Draw370 mA
Expected battery life under continuous use: Alkaline battery: Approximately 8 hours
Rechargeable Ni-MH battery: Approximately 10 hours (*1)

*1 When using batteries having a capacity of 2,500 mAh.
* These can vary depending on the specifications of the batteries, capacity of the batteries, and the conditions of use.

Accessories: Owner's Manual, Leaflet USING THE UNIT SAFELY, AC adapter, Power cord, Mini cable (4-pole miniature phone type)

Options (sold separately):
Footswitch: FS-5U, FS-6, FS-7
Bluetoothr Audio MIDI Dual Adaptor (MODEL BT-DUAL)
Wireless MIDI Expression Pedal: EV-1-WL

Size & weight
Width: 341 mm / 13-7/16 inches
Depth: 205 mm / 8-1/8 inches
Height: 261 mm / 10-5/16 inches
Weight (excluding AC adaptor): 4.4 kg / 9 lbs 12 oz

Notes: Katana MkII takes the acclaimed Katana guitar amp series to the next level, turbocharging the core platform with more sounds, more effects, and more features. Newly voiced variations are now available for all five amp characters, doubling the tonal options. And the onboard effects categories have been expanded from three to five, providing even more real-time processing to choose from. The usability has been ramped up too, with a power amp input for modelers and multi-FX, updated editor software, and many other enhancements.

More Sounds, More Versatility

The stage-class Katana MkII lineup picks up where the first generation left off, building on the same core tones and features that have made the series such a worldwide smash. If you loved the original Katana amps, you'll love Katana MkII even more. And if you're new to the party, get ready for sound, feel, and versatility that soars far beyond its price class.

Five Amp Characters, Ten Overall Tones
Katana MkII's five primary amp characters offer everything from organic vintage tones to modern high-gain sounds, plus a dedicated voice optimized for acoustic-electric guitar. The characters have now been extended with newly voiced variations, providing a wider palette of tone options to craft your personal sound.

Five Effects At Once

Katana MkII now includes five simultaneous effects categories, putting the tone-shaping power of a massive pedalboard right inside your amp. Independent Booster, Mod, FX, Delay, and Reverb sections come loaded from the factory with three variations in each, providing 15 ready-to-play effects to choose from. Connecting to BOSS Tone Studio lets you dive much deeper if you want-customize the sections with over 60 different effect types, change the order with four different chains, and much more.

Full-Throttle Sound Every Time You Plug In

Backed by BOSS's Tube Logic approach, Katana MkII delivers the authentic output distortion characteristics of genuine tube amplifiers, with the sound and feel becoming richer and more responsive as you turn up the volume. But unlike that classic tube amp, Katana MkII's variable Power Control makes it easy to fly in the sweet spot without getting fired from the gig or kicked out of the house. Just throttle back the overall volume as needed to enjoy inspiring, cranked-amp sound anywhere you play, from bedroom to stage.

Amplify Your External Gear

The Katana-50 MkII rocks as a standalone amp, but it also excels as a powered cabinet for a favourite preamp, modeler, or multi-effects unit. Connecting to the rear-panel Power Amp In jack bypasses Katana MkII's preamp and effects, letting you tap straight into the Tube Logic power section, complete with grab-and-go Power Control. And with BOSS Tone Studio, the input can be easily optimized for your particular gear with a high-pass filter and adjustable gain.

One-Touch Recall Of Custom Setups

One of the Katana-50 MkII's most powerful features is the ability to store favourite amp character and effects setups in Tone Setting memories for instant recall. After you've dialled in a sound with the panel controls, simply save it to the desired memory with a quick button hold. Four Tone Settings (two banks of two) are available, with fast selection right from the panel. It's also possible to connect external footswitches for hands-free control on the gig.

Specifications

Rated Power Output: 50 W
Nominal Input Level: INPUT: -10 dBu (1 M ohm), AUX IN: -10 dBu (20 k ohms)
Speaker: 30 cm (12 inches) x 1

Controls:

POWER switch, MASTER knob, POWER CONTROL switch (STANDBY, 0.5 W, 25 W, 50 W)

[AMPLIFIER]: VARIATION button, AMP TYPE switch (ACOUSTIC, CLEAN, CRUNCH, LEAD, BROWN), GAIN knob, VOLUME knob

[EQUALIZER]: BASS knob, MIDDLE knob, TREBLE knob

[MULTI EFFECT]: BOOSTER button, MOD button, FX button, DELAY button, REVERB button, TAP button, BOOSTER knob, MOD knob, FX knob, DELAY knob, REVERB knob

[TONE SETTING]: CH1 button, CH2 button, PANEL button

Indicators: VARIATION, BOOSTER, MOD, FX, DELAY, REVERB, TAP, CH1, CH2, PANEL

Connectors
INPUT jack: 1/4-inch phone type
POWER AMP IN jack: 1/4-inch phone type
REC OUT/PHONES jack: Stereo 1/4-inch phone type
EXP PEDAL/CTL CH1/CH2 jack: 1/4-inch TRS phone type
AUX IN jack: Stereo miniature phone type
USB port: USB B type
AC IN jack
Power Consumption: 47 W
Accessories: Owner's manual, Power cord

Options (sold separately):
Footswitch: BOSS FS-5L, BOSS FS-6, BOSS FS-7
Expression pedal: Roland EV-5, BOSS EV-30, BOSS FV-500L, BOSS FV-500H
Amplifier Stand: BAS-1

Size & weight

Width: 470 mm / 18-9/16 inches
Depth: 238 mm / 9-3/8 inches
Height: 398 mm / 15-11/16 inches
Weight: 11.6 kg / 25 lbs 10 oz

Notes: Be Heard Anywhere

Wherever you perform, high-quality sound with great projection is essential to capture listeners and stand out from the pack. With the portable CUBE Street II by your side, you have the tools you need to deliver your message with confidence in any mobile setting, from musical performances on the street to public speaking events.

Evolved from the best-selling Roland CUBE Street-and newly rebranded with the BOSS name-this battery-driven powerhouse provides rich stereo sound for busking and other mobile gigs. Dual channels allow you to plug in mics and instruments and sound great immediately, with no extra gear to carry around. A vocal harmony function, looper, and effects are also on hand to lift your performances and impress the crowd. And with the optional Bluetoothr Audio MIDI Dual Adaptor (BT-DUAL), you can wirelessly stream backing tracks and control CUBE Street II functions from your phone or tablet.

Travel Light with Powerful Sound

Compared with its popular predecessor, CUBE Street II is even lighter and more durable thanks to its modern ABS injection-moulded design. The output power has been doubled too, giving you 10 total watts of crisp and clean stereo sound to cut through street traffic, train arrivals, and other noise challenges on the gig. In quieter situations where you don't need as much headroom, kicking in Eco mode reduces the power to extend battery life.

All the Connectivity You Need

With two ultra-versatile input channels, CUBE Street II supports all types of musicians and performers. The Mic/Instrument channel features a combo jack for either an XLR balanced mic or an instrument such as a keyboard or Roland's Aerophone. Equipped with a standard 14-inch jack, the Guitar/Mic channel provides plug-and-play sound for guitarists with seven acoustic and electric amp types, as well as settings for a line-level instrument or unbalanced mic. And if you ever need to expand your sonic reach, dedicated outputs are available for connecting to a house PA or another CUBE Street II.

Make Your Performances Shine

CUBE Street II is packed with features to enhance your sound and bring fresh energy to shows. Each channel provides dedicated three-band EQ and reverb, and there's a chorus/delay effect on the Guitar/Mic channel. The harmony function on the Mic/Instrument channel creates impressive vocal harmonies that will make audiences wonder where the background singers are hiding. Harmonies are produced as you sing based on the guitar chords you play or a key you set, and you can bring them in and out as needed with an optional footswitch. There's a built-in looper too, providing a powerful and fun way to create backing tracks on the spot.

From the Street to the World

CUBE Street II helps you reach both in-person and global audiences at the same time. Via i-CUBE Link and USB, you can send the amp's audio output to video, livestreaming, or music production apps for on-the-spot capture. The i-CUBE Link jack provides a mono output and connects to most phones and tablets with the included cable, while USB supports a stereo digital connection to a computer or an iOS device.*

*An Apple adaptor may be required to connect an iOS device to the CUBE Street II via i-CUBE Link or USB.

A Grab-and-Go PA for Everyone

While designed with performing musicians in mind, CUBE Street II excels in any situation that requires high-quality sound. It's easy to move and sets up anywhere, making it perfect for speaking in presentations, workshops, and school events. And with the ability to play music as well-either wired through the aux input or wirelessly with the optional Bluetoothr Audio MIDI Dual Adaptor (BT-DUAL) -CUBE Street II is ideal for background entertainment and impromptu karaoke performances.

Specifications

Rated Power Output: 10 W (5 W + 5 W)
Nominal Input Level: MIC/INSTRUMENT INPUT: -40 dBu (2 k ohm)/-20 dBu (11 k ohm), GUITAR/MIC INPUT:-10 dBu(1 M ohm), i-CUBE LINK/AUX IN: -20 dBu (15 k ohm)
Nominal Output Level: LINE OUT : -10 dBu (MONO)
Speakers: 16 cm (6.5 inches) x 2

Controls: POWER switch, OUTPUT POWER switch (MAX, ECO), LOOPER button, STOP button

[MIC/INSTRUMENT]: SELECT switch (MIC, INST), VOLUME knob, HARMONY knob, KEY button, BASS knob, MIDDLE knob, TREBLE knob, REVERB knob

[TUNER]: TUNER button

[GUITAR/MIC]: AMP TYPE knob (NORMAL, BRIGHT, WIDE, INSTRUMENT, CLEAN, CRUNCH, LEAD, ACOUSTIC SIM, MIC), GAIN knob, VOLUME knob, BASS knob, MIDDLE knob, TREBLE knob, CHORUS/DELAY knob (CHORUS, DELAY) REVERB knob, [i-CUBE LINK/AUX IN], i-CUBE LINK/AUX IN knob

Indicators: POWER, TUNER, KEY, REC, PLAY

Connectors

[INPUT]: MIC/INSTRUMENT jack: Combo type (XLR type, 1/4-inch TRS phone type), balanced; GUITAR/MIC jack: 1/4-inch phone type; i-CUBE LINK/AUX IN jack: 4-pole miniature phone type

[OUTPUT] LINE OUT jack: 1/4-inch phone type; PHONES/REC OUT jack: Stereo miniature phone type

[FOOT SW]: SW 1 HARMONY/MIC/INST jack: 1/4-inch TRS phone type, SW 2 LOOPER/GUITAR/MIC jack: 1/4-inch TRS phone type

Bluetooth ADAPTOR connector: Dedicated connector
USB port: USB B type
DC IN jack

Power Supply
AC adaptor (DC 9 V)
Alkaline battery (AA, LR6) x 8
Rechargeable Ni-MH battery (AA, HR6) x 8

Current Draw: 390 mA

Expected battery life under continuous use:

[OUTPUT POWER switch: MAX (Maximum power output: 10 W)]
Alkaline battery: Approximately 8 hours
Rechargeable Ni-MH battery: Approximately 10 hours (*1)

[OUTPUT POWER switch: ECO (Maximum power output: 5 W)]
Alkaline battery: Approximately 11 hours
Rechargeable Ni-MH battery: Approximately 14 hours (*1)

*1 When using batteries having a capacity of 2,500 mAh.
* These can vary depending on the specifications of the batteries, capacity of the batteries, and the conditions of use.

Accessories: Owner's Manual, Leaflet USING THE UNIT SAFELY, AC adaptor, Power cord, Mini cable (4-pole miniature phone type)

Options (sold separately):
Bluetoothr Audio MIDI Dual Adaptor: BT-DUAL
Carrying case: CB-CS1
Footswitch: FS-5U, FS-6, FS-7

Size & weight

Width: 414 mm / 16-5/16 inches
Depth: 285 mm / 11-1/4 inches
Height: 255 mm / 10-1/16 inches
Weight (excluding AC adaptor): 4.4 kg / 9 lbs 12 oz

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


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: HI POWER is Crazy Tube Circuits' next endeavour in pedal + amp-in-a-box overdrives recreating legendary sounds, following the success of Crossfire and Unobtanium.

It was inspired by the sonic combination of two British tone machines. The almighty Colorsound Power Boost meets the blistering high-headroom Hiwatt amp.

While the combination of these two units directly hints at the gear setup of David Gilmour and especially the gear used on Pink Floyd's album: Wish You Were Here (think the guitar solo sounds of "Shine on you Crazy Diamond", "Have A Cigar") the sonic options are endless.

The orange enclosure silicon transistor circuit (Colorsound Power Boost) can deliver from a transparent clean boost to an all-out fuzz driving a tube amp to sonic bliss. Crazy Tube Circuits set out to clone the original unit featuring the true-to-the-original spec BC184 transistors running on 18V DC (via an internal voltage booster circuit).

The ultra-flexible 2-band Baxandall EQ circuit can add bite and low-end rumble to any setup. Crazy Tube Circuits used a reverse log gain pot (labelled as volume), compared to the linear taper pot found in the original units and acted as an on/off switch, to be able to set the amount of boost/overdrive more precisely. While the earlier units didn't feature a master volume control (only as an aftermarket mod - Pete Cornish made an external unit master volume for David Gilmour's Power Boost) Crazy Tube Circuits chose to include one that is setup in a way so that when it is all the way clockwise it is bypassed. Later versions of the Power Boost had 9V power supply and were renamed as the "Overdriver" due to the lower headroom and their ability to drive the signal earlier. They were offered in a grey enclosure and can be seen in the gear setups of Jeff Beck, Marc Bolan, etc. Crazy Tube Circuits chose to incorporate this version as well with a flip of a toggle switch (PWR-ODR toggle switch).

On the left side of the HI POWER you will find an all-analogue circuit set out to emulate the sound and feel of a Hiwatt amp. Following the path of the famed British tube amplifier, this circuit offers authentic amp tone and feel resembling guitar tones from guitar greats like David Gilmour, Pete Townsend, Jimmy Page, Noel Gallagher to name a few. From the big bold high-headroom clean sounds to the face-melting crunchy tones.

True to the last detail, Crazy Tube Circuits have included the full EQ section along with a presence control located at the negative feedback of the power amp simulation circuit. A headroom toggle switch selects between the high headroom 100w power section provided by a quartet of EL34s (think Hiwat DR103), or the lower headroom and compression provided by a 50W power section with a pair of EL34s when hit hard (think DR504). Similar in operation to the original amps the master volume was designed to produce more gain at higher settings.

Crazy Tube Circuits taken the design a step further by adding a switch to select between input channels of the amplifier. You can select between the full response of the normal channel of the amplifier, the increased presence and tight low end of the bright channel input or the "Gilmour-ish" enhanced frequency response and added gain of those inputs linked together. This follows the modifications that Pete Cornish did to all David Gilmour's Hiwatt amps.

Like their other dual overdrive/amp-in-a-box designs, Crazy Tube Circuits also included a passive effects loop to give you the option to connect your beloved pedals between your booster/overdrive and amp in a box or use the two sections as separate and independent effects when using an external bypass switcher/looper. Gilmour enthusiasts will love to insert their Big Muff, Tube Driver and Phase 90 in there. Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of HI POWER are in bypass.

HI POWER features a power-up bypass/engage pre-set function for the footswitches. That way you can select which state your pedal will go to when you plug the power supply. This function comes in especially handy to people that use remote pedal switchers / loopers as they only set the state of the pedal once and then operate from the controller.

All-analog dual booster/overdrive - amp in a box.
Recreates the tones of the legendary setup used by David Gilmour in the recordings of Pink Floyd's Wish You Were Here album.
Right side: Faithful reproduction of the Colorsound Power Boost/Overdriver circuits with true-to-the-original-spec BC184 transistors.
Controls: gain, bass, treble, master, voicing toggle.
Wide gain range control: from transparent boost to gnarly and fuzzy overdrive.
Two-band (treble & bass) Baxandall EQ.
Master knob sets overall output. Huge amount of dB boost available.
Toggle switch to select between the 18V Power Boost style circuit or the 9V Overdriver style circuit.
Left side: Hiwatt AMP in a box overdrive.
All analog simulation of the preamp and power amp sound and response.
Controls: gain, bass, middle, treble, master, input channel toggle switch, headroom toggle switch.
Gain control: from clean to big bold British crunch/overdrive.
3-band Hiwatt style EQ (bass, middle, treble).
Presence control follows the original design/is located at the negative feedback of the power amp simulation circuit to control the amount of upper mid and high frequencies.
Master knob sets overall output volume. Designed to respond like the original control producing more gain at higher settings.
Input channel toggle switch selects between normal, bright, or linked input channels of the AMP for different voicing and gain levels.
Headroom toggle switch selects between the high headroom and dynamic response of a 100W amp or the lower headroom and compression of a 50W power amp.
Independent operation of the BOOST/OVERDRIVE and AMP sections
Click-less true bypass design via high-quality relays for each section.
2 Footswitches / 2 Status LEDs - one for each effect section.
Power-up bypass/engage preset function for the footswitches.
Top-mounted jacks
Passive series effects loop to connect pedals between the two sections or use them separately as independent effects.
Power Supply: Use only 9V DC, 2.1 mm x 5.5 mm, center negative (not included).
Runs internally at 18V DC (via voltage doubler circuit) for higher headroom and tube-like performance.
Current consumption: 84mA.
British Racing Green die-cast enclosure with color-coded lettering for the control section (orange for BOOST/OVERDRIVE section, white for AMP section).
Dimensions: (W x L x H): 119 x 97 x 53 mm.
Weight: 444 g.
Made in Greece.

Notes: The updated "Skiff friendly" design of the mml filter now features bipolar "Attenu-verters" for the cv controls as well as an all new red mode!

This new mode activates a feedback distortion circuit capable of actually changing the pitch of the notes coming in to the filter in a musical way that adds instant variety to acid basslines, creates weird and strange alterations to drones or adds some nice overdriven distortion to whatever goes into it!

The multi-mode ladder (mml) filter is based on the classic transistor ladder low pass filter by dr. Robert a. Moog. This filter updates the classic 4-pole ladder design to provide band pass and high pass filter responses as well as the traditional low pass filter. There are 2 bipolar controls with attenu-verters for the cut-off frequency plus a cv input for the resonance.

The core of the circuit features a fully discrete transistor design with an op-amp buffered output, this allows soft saturation of the input signal to get the classic overdriven tones of the ladder filter. A bass compensation circuit has been included to retain the bass response in low pass mode when the resonance is increased. The bass compensation also helps to improve the response of the high pass filter.

The red mode is activated/de-activated by holding the mode button for 0.3s. In this mode the filter cut-off, input volume and resonance all interact and the effect is to produce alterations to the incoming frequencies. The pitches of the audio coming into the filter also affect the alterations as well selecting between low pass, band pass and high pass filter modes whilst in red mode.

Features

Low pass, band pass and high pass modes.
Red mode feedback distortion.
CV controlled resonance.
Added low frequency compensation.
Soft saturation of input.
2 x bipolar attenuverter CV inputs.

Width: 6 HP
Depth: 25mm
Power: +12v = 50ma / -12v = 39ma

Notes: Red version of Cyclone's excellent bass synth, replicating the sound of the iconic Roland TB-303. Fully analogue synth with modernised sequencer and classic acid sound.

Supplier's Notes:
A full analogue synth clone of the famous TB303, coming with a lot of new features and improvements, from the sound point of view as well as the ergonomics of the machine and the sequencer.

A new design, new pots very smooth, new features for Live jam, 2 new sequencer modes for even more creativity, added CV / Gate (and even more) outputs to play your favourite synths!

The design of the analogue circuit (composed of 1 VCO) and the audio engine has been improved compared to the previous version, giving it a warm and groovy sound thanks to the addition of the Shuffle (not present on the original).

The very intuitive sequencer takes on the original spirit while bringing new and unique features such as Mute and Hammer, which gives it a great flexibility for live jam and more sound variations, as well as 2 new sequencer modes to create New patterns.

Specifications

Bass Bot TT-303

VCO

Monophonic
Waveforms: Sawtooth or Square
Frequency Range: 20Hz-850Hz

Main Controls

Tempo Knob
Volume Knob
Track/Pattern Bank Selector Knob
Mode Selector Knob
Power On/Off Switch

Audio Controls

Tuning Knob
Filter Cutoff Frequency Knob
Filter Resonance Knob
Filter Envelope Modulation Amount Knob
Filter Envelope Decay Knob
Accent Amount Knob
Waveform Selector Switch

Data Storage

User Patterns: 432 (9 banks of 48 patterns)
Pattern Lab Patterns: 108 (9 banks of 12 patterns)
Preset Patterns: 108 (9 banks of 12 patterns)
User Tracks: 9

Operating Modes

Pattern Write | Loop Edit |Pattern Lab | Arpeggiator
Pattern Play | Preset | Track Play | Track Write | MIDI

Per-step Modifiers

Down Octave | Up Octave | Accent | Slide
Mute | Hammer | Rest / Tie

Pattern Features

Pattern Length: 1-64 steps
Per-step modifier assignment
Time scales: 16th note, 32nd note, 8th note triplet,
16th note triplet
Assignable pattern LED color
Pattern Copy / Paste functions
Intelligent procedural pattern generator
Pattern-based Arpeggiator
Pattern Mutate function

Track Features

Visual track programming system
Maximum Length: 144 bars | Per-bar transpose option

Global Features

Shuffle Amount | Slide Time | Gate Length |
Illuminated buttons: 26
Tap Tempo Input | Automated VCO calibration |
System LED colour |
MIDI In / Out channels

Outputs

Main Mix (1/4" mono, +15dBu)
Headphone (1/4" stereo, +10dBu)
VCO Waveform (1/8", Sawtooth: 5Vp-p, Square: 3.7Vp-p)
Control Voltage (1/8", 1V/octave, range 1V 5V)
Gate (1/8", 0V 12V)
Accent On (1/8", 0V 5.5V)
Clock (1/8", DIN Sync compatible, 0V 5V)
Start/Stop (1/8", DIN Sync compatible, 0V 5V)
MIDI Out / Thru

Inputs

Filter In (+4dBu nominal, 100kO input impedance)
Power (9VDC, 300mA) | MIDI In

PC Functions

Cyclone Studio application for PC & Mac enables Bass Bot software update and user data backup & restore using MIDI/SysEx transfer.

Physical

Dimensions: L310mm x W130mm x H35mm
Weight: Unit 783g (Boxed with accessories) 1.332kg

Included Accessories: 100-240v Universal Power Adapter | Near Invisible Force Field | Case Transporter | Printed User Manual

Available Accessories: 7 Lines 1/8 to 1/4 output cable snake | Triple 100-240v Universal Power Adapter

Notes: The highly coveted Octave Clang has made a triumphant return to Death By Audio's Queens workshop. Long presumed extinct, the OC was never really gone, merely in a state of hibernation-evolving, refining, and enhancing its already extraordinary sound.

In the decade since it disappeared, Death by Audio have revisited the original Clang circuit, sculpting it into something better-a more ferocious, menacing, and thunderous force that is as usable as possible for today's musicians.

Embraced by professionals and punks alike, the vintage Octave Clang was created to unleash distinctly unconventional tones that captivated the senses. In this, it succeeded, but many users found it difficult to tame. Today, Death By Audio have refined and extended the range of the original controls, added a foot-switchable octave, and did some under-the-hood supercharging.

The resulting circuit is an insane yet versatile beast, empowering you to easily sculpt discordant ringing drones, visceral octave scrapes, and ground-shaking distortion. The revitalized Octave Clang is primed and ready to destroy!

Controls

Bypass (Left Footswitch): Turns the Octave Clang on and off (red LED).
Octave (Right Footswitch): Toggles the Octave Up mode (yellow LED). The yellow LED stays on/off when the pedal is bypassed to indicate if the Octave Up is engaged.
Volume: Controls the output level. Goes from totally silent to extremely loud. When set above your normal volume, it propels your chain into overdrive
Gain: Sets the gain of the Octave Clang. This can (and will) drive the rest of the circuit into overdrive and fuzz. Can provide up to +39dB of gain.

Tone: A powerful pre-gain tilt EQ, this control adjusts the amount of highs and lows going into the rest of the circuit. This can make the octave and fuzz react very differently. Overloading the lows yields a larger, more blown-out sound while overloading the highs gives a more cutting and clear sound.

Bias (Internal): Allows misbiasing the distortion circuitry. Leave this control in the middle (5-6) for standard functionality, or turn it left or right to skew the character of the distortion to a rougher sound.
Access this control by removing the back plate of the Octave Clang.

Specifications

Dimensions: 4.8" x 3.7" x 2.1" (including hardware).
Weight: 11.5 oz.
Power: The Octave Clang is powered by a standard 2.1mm 9V DC adapter with a centre-negative polarity. Isolated power supplies are recommended. It is also possible to use the Octave Clang with a 9V battery (not provided). When not using a battery, the internal battery snap should be attached to the corresponding battery snap holes on the board. This will prevent the contacts from shorting out against the circuitry. Do NOT leave the battery snap floating inside the pedal when not using a battery.
Current Draw: 10 mA

Notes: DigiTech announces SDRUM Strummable Drums, the first-ever intelligent drum machine for guitarists and bassists. Boasting studio-quality samples and five professional sounding drum kits and BeatScratch technology, SDRUM allows users to create drum patterns by simply strumming strings.

As a player scratches across guitar or bass strings, he or she "teaches" SDRUM a kick/snare pattern that defines a desired beat. Once that pattern is established, SDRUM then enhances and enriches the beat, resulting in a realistic accompanying drum part. From the five different kits, users are able to choose sounds appropriate to a broad variety of musical styles. Via the KICK and SNARE Pads, players can audition the various kits and tap in specific beats, while the GUITAR AUDITION Button enables the user to turn the drum output on or off while strumming.

Up to 36 songs can be stored in SDRUM, and the unit supports three different components - e.g. verse, chorus, bridge - for each that can be switched on in real-time to easily facilitate live performance and aid in composition and creativity. Additionally, JamSync functionality facilitates compatibility with JamMan loopers, further boosting SDRUM's capacity in concert, practice, and studio settings.

The compact SDRUM (5.25" x 3.15" x 2.3") is similar in size to most compact effects units and fits easily on standard pedalboards. A sturdy metal chassis, robust footswitch, and four knobs (GROOVE/KIT, LEVEL, TEMPO, and HAT/RIDES) ensure that SDRUM is stage- and road-ready.

Eliminating the need to sift through libraries of rhythm patterns in search of an appropriate match for individual songs and styles, SDRUM is the fastest way to go from a beat idea to a working drum track.

BeatScratch Technology
JamSync Support
Studio-quality samples
Five drum kits
Verse/Chorus/Bridge parts
Alternate instruments/voicings
External FS3X support
Kick/Snare pads
Controls: Tap Tempo, Verse/, Chorus, Bridge, Song, Groove/Kit, Hats/Rides, Level, Temp, Alt Kit, Alt Hats/Rides, Guitar Audition, Kick Snare, Footswitch
5.25" (L) x 3.15"(W) x 2.3" (H)/ 133mm (L) x 80mm (W) x 58mm (H)
1.12 lb./.51 kg
Power Supply (external - included): PS0913DC-04 (US, JA, EU, AU, UK)
Warranty: 1 Year

Notes: Updated version of the DT-RDX controller features a built-in MIDI merger. The approach is the same, with hands-on control of all Yamaha Reface DX parameters, making it easier than ever to unleash the power of FM synthesis.

Supplier's Notes:
Dtronics DT-RDX-V2 for Yamaha Reface DX

The Dtronics DT-RDX-V2 is a hardware controller for the Yamaha Reface DX and the successor to its older brother the DT-RDX. The difference between the two is that the RDX-V2 has a hardware MIDI merger on board for even better performance.

With all its parameters the FM synthesis is a challenge control.

The DT-RDX has all parameters directly accessible with its 41 knobs and 9 switches.

All you have to do is select the desired operator. You can also edit multiple operators with the same parameters at the same time.

The controller is mounted on a stylish holder.(included)

Specifications

Holder: steel
Casing : high grade plastic
Power splitter cable to power-up the RDX and the Yamaha Reface DX is included
MIDI cable to connect the DT-RDX to the Yamaha Reface DX synthesizer is included.
The pictured Yamaha Reface DX synthesizer is not included

Notes: The Wave Transformer is a complex single oscillator with 7 audio outputs. Its method of wave shaping differs from other complex oscillators in that it is not based upon classic wave folding such as is common in West Coast synthesis, or filtration such as is common in East Coast synthesis.

This analogue, vintage-voiced, voltage-controlled oscillator features over 8 octaves of accurate pitch tracking. Its 7 simultaneous wave outputs include a unique Complex output. This strange and novel output varies between a simple waveform (triangle, unless you patch a signal into the Shape Insert jack) and a complex transformation of the harmonic structure of the original waveform. It contains a unique mixture of the fundamental frequency, odd order harmonics, even order harmonics and subharmonics. The Sub Octave panel control will determine whether the sub harmonics are derived from one octave down, two octaves down, or are muted altogether. It will vary from a simple waveform to a silhouette of your cat watching you as you react to a "present" that it left for you on the counter. No, seriously.

The module's Transform control morphs from a basic waveform through many strange iterations into a complex, gnarled mass of audio mutations at the Complex output using an asymmetrical multi differential audio transmutation circuit. You can yield countless variations on these permutations by combining this novel circuit with Hard Sync, Soft Sync, Linear FM and Exponential FM.

Additionally, you can mute the source waveform to use the circuit as a harmonic gate/VCA, rendering the Wave Transformer a voice unto itself.

If that is not enough, there is a Shape Insert that allows you to transform external oscillations and modular-level audio sources.

Notes: EarthQuaker Devices proudly present to you the new and improved Spatial Delivery V3 Envelope Filter!

EarthQuaker Devices took the already cosmic, original Spatial Delivery and added six available preset slots for you to store your preferred settings - whether they be dissonant sweeps, rhythmic auto wah frequencies, oscillating robot gibberish or honestly whatever filtered frequency fun you want.

Even the expression jack assignment can be saved and recalled in any of the slots so that the signature sounds you dial in are readily available with a quick tap of the switch.

Save your settings confidently on the go thanks to the two modes indicated by the LED Save/Recall switch. Green means you're in Live Mode so what you see is what you get; current control settings will be what you hear. Red means you are in Preset Mode, where your selected pre-saved setting will be what's taking the journey through your amp.

You didn't think this pedal could get any better, and then, bam!

And of course, for all of you Spatial Delivery diehards, all the familiar features of the original are still in place. This baby has three modes with the switchable Up Sweep, Down Sweep, and Sample and Hold functions, along with Range, Resonance and Filter controls.

Get some wild filter sweeps with the Up and Down modes and adjust the Range to control the sensitivity and reaction time of the envelope, which alters the width of the frequency sweep. The higher the Range and harder the attack equals a faster reaction time and higher frequency sweep and vice versa. But again, you're a smart player, you get this stuff.

In the Sample and Hold mode, the filter is controlled by random voltage and the Range controls the speed. The filter can be crossfaded between high pass (counterclockwise), band pass (center) and low pass (clockwise) for a wide variety of voices. The Resonance control goes from zero to the brink of oscillation and adds more body and ring to the filter voice.

Due to its envelope control, it is recommend that you place the Spatial Delivery first in your signal chain, however, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further. How far will you take it? Only time will tell.

Each Spatial Delivery pedal is handmade in Akron, Ohio, USA and is hand delivered... espatially for you.

Notes: Great value from this compact digital mixer. Pocket-sized four-channel design with one mic input and three line inputs. DSP effects include reverb, shimmer, delay, compression, limiting and EQ.

Supplier's Notes:
GigMix 4-1 mini Digital mixer, porting the engine from the StompMix 4, the GigMix 4-1 is built with a powerful 32-bit 100Mhz DSP engine and a compact lightweight pocket size package. The GigMix 4-1 mini digital mixer offers a full featured, highly intuitive four channels Digital Mixer with a Color Display. 4 effects level control for Reverb and Shimmer. Assignable Delay effects. The DSP engine provides a compressor, limiter, Mid sweepable EQ, Highpass Filter, Notch Filter, Phase reverse to each of the 4 inputs. Analog inputs consisted of 1 Class A solid-state Mic pre-amps and three 1/4" TS line/Instrument inputs. Two sets of stereo Mix outputs are selectable between a 1/8" TRS jack and 2 1/4" TRS jacks with output level control knob . 2 assignable switches, 1/4" TRS Balanced outputs. 10 Memory for easy recall and set up. Mic Stand mounting accessory is also available. The size/functionalities of the Gigmix 4-1 mini digital mixer makes it the great pocket live gig mixer to your guitar/vocal setup.

Features

4-Channel Mini Digital Mixer
10 user scene memories.
Colour display
Input Level Monitoring
1 Class-A Mic inputs with TRIM (CHAN 1)
3 LINE/INSRT inputs with Level Control(CHAN 2, 3 and 4)
Independent Reverb, Shimmer effect on each channel
2 notch filter available on each channel
High Pass Filter and Phase Reverse on each channel
Noise Gate and Compressor on each channel
3 Band EQ with Sweepable MID on each channel
Max 1 second Delay with Tap Tempo (assign to one Channel at a time)
Assignable A/B switch functions (MUTE channels, EFX by-pass, Tap Tempo, Scene change etc)
Output 1 (L/R TRS 1/4" jacks) - Balanced
Output 2 (Stereo TRS 1/8" jack)
Output 2 can be used for Headphones
Main MIX and AUX MIX
Scenes Change - via A/B switches
Metal chassis
AC/DC power supply included
Support 9VDC to 12VDC power inputs (500mA, 2.1mm *Center Positive*)
Designed and assembled in USA

Notes: Advanced generative sequencer featuring mutes per channel and transposition facilities.

Akropoli is an extension and enhancement of our successful Little Melody and High Towers modules, offering the features of both of these modules as well as some of it's own unique features such as mute buttons per channel, manual transpose knob and 1V/oct transpose CV input. Akropoli operates using Frequency Central's proprietary TOOL V2 code, and can count in integers as well as multiples for even more subtle and evolving variations.

Akropoli is a generative sequencer based around clock divisions and a chromatic quantiser, used to create in-the-moment licks and riffs. It is more that the sum of it's parts.

Akropoli's internal operations can be considered as 4 clock dividers patched into a CV mixer via attenuators. The attenuators select notes over a 5 octave range, the clock dividers determine how often those notes are added to the mix. The final output of Akropoli is quantized chromatically for fast set up and continuously pleasing results. Akropoli has an onboard transposition knob, as well as a 1V/oct transposition CV input.

The 4 clock dividers are labelled A, B, C, and D. They all receive clocks from the same source, the divisions may be selected using the presets and the individual division selectors. The clock dividers can be set to count up, down, or to one of a variety of modes that move between counting up and down. For further information on Presets and Modes see the Little Melody User Guide.

Additionally, each clock divider has it's own binary output (either high or low), these 4 outputs can be used to clock/gate/trigger other stuff on other modules to great effect.

Product Specifications

12V draw
50mA

-12V draw
36mA

5V draw
0mA

Depth
35mm

Notes: ***B-STOCK: Box opened, product in perfect working order***


Trying to find your gateway into modern DJing? Look no further than the MDJ-600 Professional Media Controller. It may be small, but this mighty unit has plenty of capabilities without the need for external software with its USB, MIDI and CD compatibilities.

MDJ-600 - Tiny, Yet Fierce:

A large 4.3-inch vivid full-colour screen is the brilliant focal point of this unit, providing real-time visual feedback of your tracks. Full track information including Title, Time, BPM, and Pitch are clearly displayed alongside the precise full-size waveform window. You'll appreciate the additional visual feedback for Slip Mode, Hot Cues and active Auto/Manual Loops meaning you can confidently use scratches or hot cues without ruining your mix. The 100mm pitch fader ranges pitch from 4% to 100%; you'll mix with surgical precision.

Fast Learning, Faster Results

The MDJ-600's intuitive interface will have you spending less time learning and free up precious time for you to experiment with the 4 Hot Cues, 8 Auto Loops, and the 5-inch touch-sensitive jog wheel with LCD display and resistance control to Slip and Scratch. Bonus MIDI capabilities mean you can even control the parameters of your favourite DJ software directly from the unit, routing your audio through its 24-bit/192kHz soundcard. Of course, the MDJ-600 is fully compatible with our V-Case Library Management Software, which offers users a faster, easier way to manage their music libraries.

Review: American blues-slanted rock band the Black Crowes put out their second album The Southern Harmony and Musical Companion back in May 1992. It was the first time Marc Ford had featured on lead guitar in place of Jeff Cease who was sacked the year before. It also marked the first time Eddie Harsch joined on keys and set a record at the time for being the first album to feature four rock number ones, and the album itself also climbed to the top spot in the Billboard 200 album chart. Its mix of blues and Southern styles often sees the album being included in lists of the best rock albums of all time.

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: This is a very special and exclusive new version of what is a sonnet cold classic album from the annals of jazz history. Few albums hold the prestige of Getz/Gilberto which was released in 1964 and is a special collaboration between saxophonist Stan Getz, guitarist Joao Gilberto, and composer Antonio Carlos Jobim which very much represents a pinnacle moment in the fusion of jazz and bossa nova. Across its ten tracks, the album weaves a mesmerisng tapestry of melody and rhythm, casting a spell that continues to captivate listeners over half a century later. At the heart lies the symbiotic relationship between two musical giants: Stan Getz, the virtuosic tenor saxophonist renowned for his velvety tone and lyrical phrasing and Joao Gilberto, the Brazilian guitarist and vocalist whose soft, intimate delivery epitomizes the essence of bossa nova.

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


Expander module for the Tetrapad, Intellijel's multi-dimensional performance touch controller. Adds huge functionality, allowing you to sequence parameters and create complex modulation.

Supllier notes:
Tete is the long awaited and highly anticipated expander for the Tetrapad.

Some of the key features:

Three primary modes: VOLTAGES, NOTES and COMBO.

VOLTAGES mode:

Up to 16 voltage storage locations (grid) with 8 voltages stored at each location.

You have the choice to record and playback your recall of these locations in a looper style (just play freely and spend arbitrary amount of time at any location) or as a clocked sequence (SH-101 style). Additionally you can traverse the matrix using the X and Y CV inputs to get Cartesian style sequencing.

There is also variable slew that allows you to morph/glide between the values.

NOTES mode:

You can create sequences or loops in chord, scales or keyboard mode. The isomorphic keyboard grid can vary from 4 notes to 12 notes max. There are real-time performance looping, transposition and inversion capabilities via the CV inputs and dedicated loop button. In sequencer mode each step can be a tie, rest, or gate with size 25/50/75%. Basically we have created a way to very quickly and intuitively make chord sequences that are very musical and easy to manipulate. It is difficult to summarize in words but we will be sure to create some videos to demonstrate how easy and fun this is to play with. It definitely represents something unique in the landscape of Eurorack sequencers.

COMBO mode:

In this mode you can loop record your performance on any combination of the following functions:

fader, bipolar fader, drum hit, switch or LFO. Kind of like Elektron style parameter locking but all of the motions is recorded continuously instead of just in slices. Instantly turn a simple patch into a highly animated and complex beast.

With all of the above mentioned loop recording modes you can very easily overdub since the Tetrapad detects pressure/pressing. In combo mode you can erase individual channels.

All modes allow for internal or external clocking and configurable syncing.

All of the modes have special XYZ CV modulation assignments and make use of the dedicated CV outputs.

For example, in Looper mode one of the CV outputs generates a continuous ramp that represents the position in the loop. This can be used with devices like the Planar 2 in Interpolation mode to sync the recorded patterns together no matter what tempo.

Notes: 4-in-1 RAT and SD-1 Style Overdrive and Distortion

Keeley put two very different overdrive & distortion pedals in one box and gave you two new sounds in the process. The Keeley Electronics Super Rodent is a 4-in-1 pedal that gives you two well-known distortion circuits and two brand new sounds by way of the toggle switches! It's almost like pedal modelling, except these are 100% analogue circuits and you decide which tone-control or clipping-section you want to play through.

You can play through the classic yellow 'Japanese Super O-Drive' or a 'Rodentia Michigander' distortion circuit, or even better, you can Frankenstein new monster tones with the two hybrid modes.

The creative design keeps the pedal a simple and space-saving three-knob distortion pedal with an amazing tone. It only takes two seconds to make the Super Rodent either buffered-bypass or true bypass, whatever works best on your pedalboard. The Keeley Super Rodent Overdrive and Distortion is entirely designed and manufactured by Keeley Electronics in a new aluminium enclosure.

Tone Control

The Super Rodent gives you two tone control circuits to choose from. When the Tone Switch is down and in the RT Position the tone control simply rolls off high-frequencies. If the Tone Switch is up and in the SD Position you have an active low pass filter and more bass and treble frequencies are available.

Diode Clipping

Hard or Soft Clipping: The Super Rodent gives you both styles of diode clipping. Diodes are used to create hard clipping distortions or smooth overdrive sounds. If the Clipping Switch is in the RT Position it features Hard Diode Clipping which is an edgier, more aggressive tone. When the Clipping Switch is in the SD Position that uses Soft Diode Clipping, like a softly overdriven tube amplifier.

Buffered and True Bypass

The Keeley Super Rodent features our Jfet buffer for noise free switching. Keeley have developed an amazing sounding buffer which not only makes your rig sound better, it gives you silent switching with no tone loss.
No more pops and clicks to distract from your music. If you prefer true bypass, simply press and hold down the foot switch for two seconds and the LED will flash twice to indicate success. True Bypass is great for players that want the effect of plugging directly into their amp when the pedal is off.

Alternatively, players that want a strong and clear signal whether the Super Rodent is on or off, simply hold the stomp switch down for two seconds and the effect is back to Buffered Bypass (LED flashes three times). Enjoy truly silent switching and let your music be the only voice.

Made In The USA

Keeley have designed, engineered, and manufactured the Super Rodent in Oklahoma City. Everything about the Super Rodent is geared towards the professional musician and their quest for an inspiring tone when the performance demands it. From the inside of the pedal and its meticulously built circuit boards and metal construction audio jacks to the outside of the effect its newly fabricated aluminium enclosure; Keeley make guitar effect pedals to be finely crafted musical instruments.

Notes: Drawing on the classic Boss DS-1 and 'Civil War' Big Muff, the Angry Orange serves up two iconic flavours of distortion and fuzz, plus two hybrid modes via a combination of tone control and clipping settings.

Supplier's Notes:
4-in-1 DS-1 and Civil War Big Muff Style Distortion and Fuzz

Keeley crammed two legendary distortion and fuzz circuits into one stompbox and gave you two new sounds in the process. It's sort of like pedal-modeling except these are 100% old-school, analogue circuits and you decide which tone control or clipping section you want to rock.

Heavily saturate your guitar through either a legendary '78 Japanese Orange Distortion or a '91 Soviet Civil War Fuzz. Use the Angry Orange to make your own fuzzztortions with the hybrid modes, all with only three simple knobs.

This pedal can be True Bypass or Buffered Bypass, it only takes two seconds to switch between the modes. The Keeley Angry Orange is entirely manufactured at Keeley Electronics and is in the new aluminium enclosure.

Tone Control

The Angry Orange gives you two tone control circuits to choose from. When the Tone Switch is up and in the MF Position the tone control is a scooped sounding, passive tilt-style. If the Tone Switch is down and in the DS Position it also features a passive sounding tilt control, voiced a little differently.

Diode Clipping

Hard or Soft Clipping: The Angry Orange gives you both styles of diode clipping. Diodes are used to create hard clipping distortions or smooth overdrive sounds. If the Clipping Switch is in the DS Position it features Hard Diode Clipping which is an edgier, more aggressive tone. When the Clipping Switch is in the MF Position that uses Soft Diode Clipping, like a muffled fuzz tone.

Buffered and True Bypass

The Keeley Angry Orange allows you to quickly switch between either mode. Having a great buffer will make your rig sound strong and clear even when the pedal is off.

Buffered switching prevents the pops and clicks of true-bypass switching. If you want to turn on true bypass, simply press and hold the foot switch for two seconds. Holding the switch for two seconds toggle between modes. True Bypass is great if a buffer might affect the tone of a vintage pedal. Enjoy truly silent switching and a better sounding rig with Keeley's buffered switching mode.

Made In The USA

Keeley design, engineer, and manufacture the Keeley Angry Orange in Oklahoma City. Everything about the Super Rodent is geared towards the professional musician and their quest for an inspiring tone when the performance demands it. From the inside of the pedal and its meticulously built circuit boards and metal construction audio jacks to the outside of the effect its newly fabricated aluminium enclosure; Keeley make guitar effect pedals to be finely crafted musical instruments.

Notes: 4-in-1 Blues Breaker and OCD Style Overdrive and Distortion

Keeley combines two completely different overdrive and distortion circuits to create four different drives in one box. The Blues Disorder has two switches that allow you to separate the tone control from the clipping section.

By mixing and matching the Tone and Drive switches you get two hybrid sounds. With both switches up it's a smooth, soft-clipping Bluesy Breaker. The BB side is a low gain, soft-clipping overdrive. With both switches down it's a fuller sounding, hard-clipping OC Distortion. The clever design keeps the pedal a three knob overdrive with 4 unique sounds.

Switch easily between buffered or true-bypass; whichever sounds best in your rig. The Keeley Blues Disorder Overdrive and Distortion is designed and manufactured entirely by Keeley Electronics in a brand new aluminium enclosure.

Switchable Tone Stacks - Swap Voicings

The Blues Disorder gives you two tone control circuits to choose from. When the Tone Switch is down and in the OC position you will hear an active midrange boost and then the tone control rolls off high-frequency. If the Tone Switch is up and in the BB position you don't have the active mid boost, there's just a simple high-frequency filter and therefore a more transparent sounding overdrive and response.

Switchable Diodes - Hybrid Gain Clipping

The Blues Disorder gives you both styles of diode clipping. Where diodes are placed in the circuit, can have a dramatic effect on gain and compression. This pedal gives you both hard clipping distortion or soft clipping overdrive, depending on the position of the Drive Toggle.

If the Clipping Switch is in the OC position it features Hard-Clipping which is an edgier, more aggressive tone. Alternatively, when the Clipping Switch is in the BB Position, that uses Soft-Clipping and sounds like a softly overdriven tube amplifier.

Buffered and True Bypass

The Keeley Blues Disorder allows you to quickly switch between either mode. Having a great buffer will make your rig sound strong and clear even when the pedal is off.

Buffered switching prevents the pops and clicks of true-bypass switching. If you want to turn on true bypass, simply press and hold the foot switch for two seconds. Holding the switch for two seconds toggle between modes. True Bypass is great if a buffer might affect the tone of a vintage pedal.

Enjoy truly silent switching and a better sounding rig with Keeley's buffered switching mode.

Made In The USA

Keeley design, engineer, and manufacture the Keeley Blues Disorder in Oklahoma City. The Blues Disorder is geared towards the professional musician's demand for an inspiring tone when performance demands it. From the meticulously built electronic circuit boards to the in-house fabricated aluminium enclosure, Keeley pedals are professional grade. Keeley make guitar effect pedals to be finely crafted musical instruments.

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: 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

Notes: Two oscillators independently set as VCO, LFO, or random generator

This new version replaces the original Twin Waves. All features of the former are retained. You can check all videos, reviews and comments of V1, being sure to benefit of all in the MKII version :-)

Features in VCO mode:

V/Oct tracking over 10 octaves
Tuning lock with octave selection
Through zero and linear FM
Sub-octave output
Hard & soft synchronization
VCA control and CV algorithms selection
Quantizer with various scales
20 algorithm-based synthesis types among:
Wave shaping
Phase modulation
Phase positioning of multiple waves
Up to 5 stacked oscillators in tunable unison
Self-sync with phantom oscillator
Additive synthesis (7 waves)
Variable bit reduction (bit-crushing)
Ring modulator with its own 2nd oscillator
Noise with LPF, BPF, or resonant filter

Features in LFO mode:

Simultaneous signal and trigger outputs
External wave synchronization
Clock controlled rate with voltage controlled multiplier and divider
CV and knob control of output level
Algorithm based wave engine with a selection of:
Wave shaping
Phase modulation
Random levels and vectors (also Brownian)
Randomly spaced triggers and waves
Display with contextual icons and instant reminder help text
LEDs indicating potentiometer vs. value matching, switch settings and output signals
Automatically saved settings for instant recall at power on
Firmware update by playing an audio file via the front panel
Compact and skiff-friendly module

Dimensions
8 HP
21 mm deep

Current Draw
52 mA +12V
17 mA -12V
0 mA 5V

Notes: The Quadigy is a complex envelope generator focused on live play.

The goal is to allow the user setting up rich, interactive and dynamically evolving envelopes without the risk of breaking up a subtle and intricate patch once on stage.

This is achieved by offering two main modes, one where full control is available and a Live mode where only the settings that are sensible using on stage are accessible.

The user interface offers an intuitive access for otherwise complex settings.

Advanced features such as automatic time-stretching, multiphase clocking and full morphing put the Quadigy in a category on its own.

Dimensions
14 HP
21 mm deep

Current Draw
24 mA +12V
10 mA -12V
40 mA 5V

Notes: ***B-STOCK: Box opened, product in perfect working order***


The Arpopone from LepLoop is a little synth-voice for generating a melody or bass line and a chord section at the same time. It is based on analog ramp dividers of which each one generates a voltage ramp starting from a master clock that can be internal or external.

Trig1 and Trig2 potentiometers set the number of clock pulses.

With the Trig Mix switch it is possible to select between a single trigger (1 or 2) or both (1+2) to advance the scales.

The Scale Step potentiometer sets the number of steps for the two scale generators.
In the mixer section, the two scales are summed together to obtain a more complex pattern. The amount of each scale can be set by two controls and can be positive (ascending scale) or negative (descending scale).

With the VCO Pitch knob, the melody can be transposed while maintaining the same interval between notes.

The note generated by the VCO is fed to a chain of dividers to obtain four sub harmonics of the original note. One of these is the bass section with its own filter and envelope, the other three form the chord section with their envelope.

The two envelope sections are identical, both have a selector for different trigger sources:

Trig1 & Trig2: the envelope starts at the flash of the green LED (bass) or yellow LED (chord)
SB1 & SB2: the envelope starts at the first step of Scale1 (bass) or Scale2 (chord)
White & Blue: the envelope follows the intensity of the white LED (bass) or the blue LED (chord). Except for this setting the envelope length is set by the two controls Bass ENV and Chord ENV. Additionally, an EXT CV input allows to provide an external envelope.
The bass channel is passed through a resonant low-pass filter with Cutoff and Resonance control.

Finally the Bass and Chord channels are mixed together. The output level is set by the Bass LEV and Chord LEV controls.