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Notes: Specially tuned for bass sounds, the Minilogue returns in this new format. Same great analogue synth architecture, updated to create a low-end monster.

Supplier's Notes:
Minilogue Bass is the evolution of the iconic Korg Minilogue into an all-analogue bass powerhouse.

An expandable poly-synth that retains the hands-on control and immersive playability of the original, Minilogue Bass drops deep, dark, thunderous low-end for cutting production-ready bass.

Production-ready bass

Minilogue Bass includes patches optimized by professional bass and synth programmers, ready to drop into your track or performance. But that's just the beginning - everything can be customised- the analogue possibilities are virtually endless.

All 100 preset patches are exclusive to Minilogue Bass, and can be further expanded with an additional 100 user programs for a total of 200 slots.
Powerfully analogue

The thickness, presence, and immense sonic palette provided by Minilogue Bass is due to an all-analogue signal path. It has two VCOs, a VCF, two EGs, a VCA and an LFO, while retaining the hands on control and unique wave shaping through oscillator harmonics from Minilogue.

Minilogue Bass includes cross modulation, oscillator sync, and a ring modulator, alongside a high pass filter delay to further expand your sound creation possibilities.

Eight voice modes

Minilogue Bass is a four-voice poly synth, with eight voice modes for broad versatility. Alongside POLY and CHORD modes, DUO stacks two voices in unison, UNISON works as a 4 part mono synth, MONO is monophonic but with a sub-oscillator playing an octave lower, DELAY plays 3 voices in sequence after the first, ARP is a 4 voice arpeggiator, and SIDE CHAIN lowers the volume of previously played notes.

16-step sequencing

Minilogue Bass offers powerful and intuitive sequencing possibilities. The 16-step polyphonic sequencer also captures the motion of up to four real-time controls, and can be overdubbed or step-sequenced, alongside the ability to change the root position of the playback by playing a key.

Overview

Sound visualisation

Minilogue Bass has an OLED oscilloscope that shows you the waveform as you sculpt your sound.

Sound librarian

The Minilogue Bass Sound Librarian allows for easy organisation of programs inside your synth, and can also save the entire library to a computer. It even gives the ability to load any existing Minilogue patches alongside factory and bonus libraries from Korg.

Solid looks

The sand-blasted 2mm aluminium front panel on Minilogue Bass features an edgy appearance, which is emphasised by the inverted black and red keys. A red-coloured wood rear panel further adds to a unique appearance.

Minilogue bass is also roadworthy - with metal shaft chassis-mounted potentiometers and rubber coated knobs complementing its powerful and dynamic sound creation possibilities.

In sync

Alongside MIDI and USB, Minilogue Bass has a sync connector for effortless connectivity with Volcas, Electribes and SQ-1 sequencer.

Specifications

Keyboard: 37-keys (Slim-key, velocity sensitive)
Sound Generation: Analog synthesis
Maximum Polyphony: 4 voices
Program

200 programs (100 Presets / 100 Users)
Each program includes voice mode and sequence data settings
Up to eight favorite programs can be registered
Voice Modes: 8 modes (Poly, Duo, Unison, Mono, Chord, Delay, Arp, Side Chain) -
VOICE MODE DEPTH can vary different parameters in each mode

Main Synthesis Parameter
VCO1: Octave, Wave (Saw, Triangle, Square), Pitch, Shape
VCO2: Octave, Wave (Saw, Triangle, Square), Pitch, Shape
VCO2 MODULATION: Cross Mod Depth, Pitch EG Int, Sync, Ring
MIXER: VCO1, VCO2, Noise
FILTER: Cutoff, Resonance, EG Int, Filter Type (2-Pole, 4-Pole), Keytrack, Velocity
AMP EG: Attack, Decay, Sustain, Release
EG: Attack, Decay, Sustain, Release
LFO: Wave (Saw, Triangle, Square), EG Mod (Int, Rate, Off), Rate, Int, Target (Pitch, Shape, Cutoff)
DELAY: Hi Pass Cutoff, Time, Feedback, Output Routing (Post Filter, Pre Filter, Bypass)

Sequencer
16-step polyphonic sequencer
Motion sequence can be used on up to four parameters

Controls
41 dedicated panel controls deliver immediate parameter access
A slider can control different parameters for each program

Display: Real-time OLED oscilloscope provides visual feedback of parameter changes
Connectors: Headphones (6.3mm stereo phone jack), Output (6.3mm monaural phone jack), Audio In (6.3mm monaural phone jack), Sync In (3.5mm monaural mini jack), Sync Out (3.5mm monaural mini jack), MIDI In, MIDI Out, USB Type B
Power Supply: AC adapter (DC9V)
Power Consumption: 8 W
Dimensions (W x D x H): 500 x 300 x 85 mm / 19.69" x 11.81" x 3.35"
Weight: 2.8 kg / 6.17 lbs.
Included Items: AC adapter

Notes: Simple and straight to the point, ARS's five-band EQ allows you to tweak and adjust the balance of frequencies to get the most from your system. Pristine audiophile sound quality.

Supplier's Notes:
The MODEL-5000 5 Band Equalizer is designed to adjust to all genres of music, and various sound sources such as vinyl, CD and PC.

Source sounds remains lively, while 5 Band Equalizer allowing effective and precise equalization that is not possible with isolators.
Wide Q filter gives instantaneous adjustment.
ARS MODEL-5000 will become your essential item on the site.

* 5 bandwidth of frequencies, HI / HI MID / MID / MID LOW / LOW, are finely level-controlled.
* For the input sources, either RCA unbalanced jacks or XLR balanced jacks (2HOT) can be connected.
* For the output sources, both RCA unbalanced jacks and XLR balanced jacks can be connected simultaneously since both jacks has independent output circuits.
* Knobs have brims on the centre point to easily identified the centre with a little light in the clubs.
* 50 mm width intervals between knobs give smooth operation to improve DJ performance.
* No power switch avoiding accidentally turning power off while playing.
* Minimizing the power noise by designing the main circuit board and the power circuit board independently and setting them apart.

Specs

Frequency Response: +-1dB 20Hz-20Khz (With no EQ)
Input: RCA Unbalanced Impedance 20K Ohm/ XLR Balanced Impedance 40K Ohm
Output: RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Maximum Output Level: +20 dB
Equalizer Control: 75Hz, 300Hz, 1Khz, 3Khz, 10Khz, 5 Bands
Adjustable Range: i12dB
EQ In/Out Switch: Selector switch on the right side of the front panel.
Power Requirement: US-115V/EU-230V(Selectable)
Power Consumption: 10w
Dimensions: Front Panel 1U (W)482 x (H)44 x (D)195 mm
Front Panel Colour: Black

Notes: The ultimate Eurorack case.

At home, stage or into the studio, the Befaco 7U Case brings your system to the next level.

Power to the people

Equipped with Befaco's latest and most sophisticated power supply (Trolley Bus), the Befaco 7U Case supplies up to 5000mA of power. Ready to feed the most modern and power-hungry modules.

Connected to the world

The Befaco 7U Case rear panel count with a vast array of connections to pair your system with external devices. Each connector follows the Intellijel format, making them fully compatible with Intellijel's 1U modules.

Build to last

Designed with a high-quality Unibody Black Anodised Aluminum frame, the Befaco 7U Case is a slim and sturdy solution to travel with. The included PET-G clear cover keeps your modules safe even patched.

Designed to fit any situation, the Befaco 7U Case metal frame is a lightweight and strong device by itself. With a maximum depth of 53mm (power supply side) and 70mm (rest of the case), it can house the vast majority of modules out there. Equipped with a high-quality anti-vandalic power button and a Kensington lock connector, the Befaco 7U Case is also a safe device to travel with.

Because power is important for us, this new Trolley Bus systems drop up to 5000mA on the +12V rail, 2500mA on -12V, and 4000mA on +5V with high voltage stability under load and low noise. The case drives up to 36 modules over its 208HP (3U) and 104HP (1U) rows (Intellijel format).

6x 6,3" Jacks I/Os with Balanced and Unbalanced configuration, MIDI In/Out/Thru ports, USB Device Type B, and Apple compatible USB-A charging ports. The Befaco 7U Case offers a huge amount of connections fully accessible from its internal I/O Board.

Created with compatibility in mind, the rear panel ports are fully compatible with Intellijel 1U modules. The 1U row can be easily customized to be at the centre of the case with just two screws.

To keep your modules safe and dust free, a custom PET-G clear cover is included with the case. The cover has been designed to close patched, and a custom velcro belt is included to keep it safely closed.

To save space in your studio desk, the Befaco 7U Case is also Vesa mount fully compatible. It counts with Vesa threads at the bottom to easily attach it to desktop or wall Vesa stands.

Technical Specifications

External Dimensions (without cover): 53.5cms x 31cms x 8cms
External Dimensions (with cover): 53.5cms x 31cms x 14cms
Internal Row Dimensions: 2x 3U 104HP and 1x 1U 104HP (Intellijel format)
Power supply Specifications: +12V: 5000mA, -12V: 2500mA, 5V: 4000mA
Module Depth: 53mm (power supply side), 70mm (rest of the case)
Module Slots: 36
Weight (without cover): 2.6kg
Weight (with cover): 3.4kg
Rear connectors: 6x 6'3" Jack I/O (Balanced or Unbalanced), MIDI DIN In/Out/Thru, USB Device Type B, Apple compatible USB-A charging ports.
Power brick: 120W 2.5mm Barrel connector centre positive (included)
Cover: PET-G Clear cover (included)
Finish: Black Anodised Aluminum
Vesa 100 format threads. Recommended Vesa stand: >12kg
Kensington Lock

Notes: A beautifully realised instrument drawing on West coast and East coast synthesis concepts to create something new and beguiling. Three oscillators, smooth filter and Buchla-style dynamics controller.

Supplier's Notes:
Taiga Paraphonic Modular Synthesizer

Taiga is a complete, modern, modular instrument that allows us to explore beyond the boundaries of a traditional analog synthesizer. The sound of Taiga can be attributed to three uniquely Pittsburgh innovations. A trio of huge analog oscillators, the unmistakably smooth sound of the Pittsburgh Filter, and the warmth of the unique Dynamics Controller. These enable you to not only create sounds that would be traditionally expected from an analog synthesizer, but also to explore new sonic textures and performance possibilities.

Taiga oscillators

Waveforms generated by the three Taiga oscillators stretch beyond the basic geometric shapes and sounds associated with analog synthesis. Taiga waveforms pass through up to three proprietary, cascading waveshapers designed to precisely manipulate their symmetry and harmonic content. In addition, each oscillator includes a robust six-stage wave folder to add even more complexity and depth to the diverse sonic palate of Taiga.

The Pittsburgh Filter

The Pittsburgh filter has defined the sound of Pittsburgh Modular from the moment it was introduced. A signature gummy and relaxed sound with no dead spots that has been tweaked to perfection. It offers a warm, smooth sweep through the full frequency range and a sweet resonance that does not roll off the low end. This generation of the Pittsburgh filter is specifically designed to ensure a remarkable interplay with Taiga's oscillators.

Pittsburgh Dynamics Controller

Pittsburgh's new Dynamics technology imparts Taiga with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one-dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voice of Taiga.

When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Taiga sounds more natural or complex compared to other instruments.

Analogue Echoes

Echos is a beautifully dark analog delay tuned to enhance the source material by repeating it over and over. Echos utilize a pair of bucket brigade delay chips to produce a classic voltage-controllable analog delay effect that helps to place the sounds of Taiga in a simulated environment.

Open Architecture

Taiga has an internally defined signal path. Patch cables are not necessary to begin exploring. Attach a midi keyboard and plug the output into a speaker or DAW and Taiga is ready to go with a robust but familiar workflow. When your ideas grow beyond the pre-defined signal path, a 60 point patch bay opens up a fully modular instrument with access to an even deeper set of features and tools.

Complete Set of Modular Tools

Taiga includes a host of fully modular, analog, and digital synthesis tools to support and enhance its core functionality. Analog tools include a flexible dual mixer, a pair of plucky four-stage envelope generators, noise, and sample and hold. Digital tools cover external MIDI, arpeggiator, clock sync'd modulation tools, and a robust collection of random generators. The Taiga toolset is deep enough for any type of sonic exploration.

Taiga features and other info:

Paraphonic synthesizer with unique additive elements

Fully patchable - use Taiga's components as separate modules with external devices or reroute its internal patching.
Controllable via MIDI, CV, and integrated pseudo random sequencing mode
Clock-synced arpeggiator
3x Pittsburgh Modular Synthesizer developed 100% analog oscillators
Oscillator waveforms - sine, triangle, and saw - Waveforms can be combined
3x Pittsburgh Modular Synthesizer 6 stage wave folder/shaper circuit - folds inputted waves back onto themselves to increase harmonic content
Oscillators include frequency modulation (FM)
Noise generator - pitched somewhere between pure white and pink noise. Perfect for percussion or adding a bit of edge to a sound.
Variable state, multi-mode "Pittsburgh No-Dead-Spots" filter (lowpass, bandpass, highpass, modes can be combined)
Sample & Hold circuit
2x Analog ADSR / envelope generators
Pittsburgh dynamics section - an alternative to an envelope generator and a VCA, the dynamics controller is a Pittsburgh Modular invention that adds a dimension of control over a vactrol-less lowpass gate circuit, adding release time. (read more on this in the user guide)
Dual range analog LFO with square and triangle wave outputs.
LFO Range High: 2 Hz to 500 Hz Low: 41 seconds to 5 Hz
Dual Channel Mixer - 2 channel mixer and a 3 channel mixer joined together, capable of mixing both audio or control voltages.

Notes: The world's first 100% wireless DJ controller, with built-in speakers and rechargeable battery for unrivalled portability. Stream music directly over Wi-Fi or from USB/SD. Powered by the Engine DJ OS.

*** Update March 2024- Engine DJ 3.4 Performance Software for Hardware (OS) ***

New Features
Bluetooth Audio Input and Keyboard Connection for Supported Devices

Bluetooth Audio Input - Wirelessly play audio from a Bluetooth-capable device on your supported Engine DJ hardware

Assign to any individual hardware channel or main audio output
Assign to layer A or B on the Denon DJ SC6000 and SC6000M
Bluetooth transport controls allow you to play, pause, and track skip using the touch screen or hardware controls when connected to a capable Bluetooth device
Hardware screen displays Track Title, Artist, and track progress when connected to a capable Bluetooth device

Bluetooth Keyboard Support - Search for songs on your Engine DJ hardware more quickly and efficiently
Bluetooth menu option in the Control Center allows you to connect and manage Bluetooth keyboards and audio devices

Additional Bluetooth Compatibility Information

It is recommended that you confirm the Bluetooth connectivity and functionality of your computer, smartphone, or other device before using it in a live situation

Not all Bluetooth devices and audio applications provide support for Bluetooth Transport controls and track information

Track Progress is not updated on Engine OS when it is adjusted using the originating software/app

Engine DJ Preparation Software (Desktop)
Improvements and Fixes

Fixed an issue where sync manager export would take longer if SoundSwitch content is being packed

Fixed an issue where tracks would not pack via drag and drop if there are 2 drives with the same or similar names connected

Various other stability enhancements and improvements

Supplier's Notes:
Mixstream Pro Go

Battery-powered standalone streaming DJ controller with Amazon Music

Instant vibes anywhere

From bedroom to beach and from livestreaming studio to patio party, the Mixstream Pro Go is always ready for action, wherever your vibe-quest takes you. With its built-in rechargeable battery, on-board speakers, Wi-Fi, USB/SD card slots, professional DJ performance essentials, and wireless lighting control, the Mixstream Pro Go is the world's first 100% wireless standalone DJ controller. No longer are you confined to your studio or bedroom, now you can share your mixing skills virtually anywhere. No wires, computers, or existing music library required!

Millions of tracks at your fingertips

The Mixstream Pro Go integrates with Amazon Music Unlimited and other popular streaming services, giving you endless access to over 100 million tracks across all genres. With this unprecedented musical access, you no longer need an established music library to pull up and rock a party or gig. The built-in Wi-Fi and lightning-fast on-board song analysis lets you practice, perform and enjoy music for hours on end. Tracks are analysed for bpm and key as they are loaded and buffered into the internal memory, ensuring uninterrupted playback and flawless performances.

Immersive built-in speakers

The high-quality, built-in speakers of the Mixstream Pro Go make it truly standalone and ready for action, right out of the box. These volume adjustable, custom-tuned drivers produce rich, full sound and are the perfect solution for mixing your music on the go. For active DJs, the built-in speakers are the ultimate, convenient option for practicing, livestreaming, video content creation, and personal monitoring when connected to a larger sound system.

Set your smart home to party mode

The Mixstream Pro Go connects wirelessly to Phillips Hue and Nanoleaf smart home lighting, making it easy to add dynamic visuals to your next party or backyard mix session. Using the built-in Engine Lighting embedded control, connecting to a Philips Hue lighting hub or Nanoleaf system only takes a few taps. Once connected, your indoor and outdoor smart lighting will instantly respond and dance perfectly in time to the rhythm of your music.

Dynamic on-screen lighting controls let you set the visual vibe for any music genre with options for custom colour selection, chase pattern, strobing, and more! The lights even respond to the movements of the crossfader, volume controls, and scratching for an amazing, immersive audio/visual experience!

Powerful pro DJ lighting integration and control

For advanced lighting options and features, professional DJs can pre-analyse their music library with SoundSwitch desktop software, export their library to a USB drive, SD card, or to their Dropbox cloud, and have full control of DMX lighting using the touchscreen of the Mixstream Pro Go. This functionality makes it simple to provide a professional lighting experience at events and gigs without the need to bring along a laptop or DMX controller.

Laptop-free performances on the go

The Mixstream Pro Go features 2 USB inputs and 1 SD card slot for optimum versatility when it comes to music selection and library curation. Quickly prep playlists from Serato, rekordbox, and iTunes using the Engine DJ desktop software, export to a USB drive or SD card, insert the drive in the Mixstream Pro Go, and then perform your entire show in standalone mode. This frees up your laptop to be a dedicated broadcasting device for your next livestreaming session!

Multiple DJ performance options

In addition to being able to DJ in Standalone Mode with Engine DJ OS, the Mixstream Pro Go's Computer Mode allows you to use the device as a DJ software controller for Serato DJ (in upcoming release) and Virtual DJ (Serato DJ Lite is supported for free, a paid license is required for Serato DJ Pro and Virtual DJ). When in Computer Mode, the Mixstream Pro Go's touch screen offers hands-on control over library navigation, song selection, FX control, and more. This incredible flexibility combined with the sweet freedom of being battery-powered opens up an entirely new world of location options for your DJ adventures.

Technical Specifications

Connections

Audio Outputs
(1) XLR output pair (main left/right, balanced)
(1) RCA output pair (main left/right, unbalanced)
(1) 1 1/4" (6.35 mm) stereo output (headphones)
(1) 1/8" (3.5 mm) stereo output (headphones)

Audio Inputs
(1) 1 1/4" (6.35 mm) microphone input

Other
(2) USB port (for USB drives)
(1) USB port (to computer)
(1) SD card slot
(1) power adapter input (for charging and wired use)

Audio

Main Outputs

Frequency Response: 20 Hz - 20 kHz +/- 1 dB
Dynamic Range: > 114 dB (A-weighted)
Signal-to-Noise Ratio: > 94 dB (A-weighted)

Headroom
Mic: > 16 dB
Outputs: > 16 dB

Channel Separation: < -110 dB (1 kHz, unity)

T.H.D.
Line: < 0.01% (1 kHz, unity)
Microphone: < 0.05% (1 kHz, unity)

Speakers
Frequency Response: 20 Hz - 20 kHz +/- 1 dB

Analogue Input
Microphone: -40 dBu (unity) / -60 dBu (minimum)

Analogue Output
Master, Balanced: +20 dBu (maximum) / +4 dBu (unity)
Master, Unbalanced: +16 dBu (maximum) / 0 dBu (unity)
Headphone Output: < 30 mW

Power
Connection: DC, Center Positive
Voltage: 12.0 V 3.0 A
Built-In Rechargeable Battery

Dimensions (width x depth x height)
Width x Depth x Height: 22.3" x 11.2" x 2.9" / 566 x 284 x 74 mm
Weight: 8.11 lbs. / 3.7 kg

Notes: Warp is a novel synth engine that combines the best of additive and wavetable synthesis.

In the center of Warp's control panel is a colorful XY LED matrix that represents the sound space from which Warp draws its sounds. This XY sound space consists of 32x16 frequency spectra. Each of Warp's four voices can move freely and independently across the XY space. It always uses the surrounding frequency spectra to calculate a wavetable based on 512 sine waves in real time using additive synthesis. By changing the position, wicked wavetable sounds are possible, playable with four voices and eight oscillators and navigable in two directions. An intuitive integrated editor allows playful modeling of your own frequency spectra.
With Warp's SPEC effects the frequency spectrum can be filtered and deformed in realtime before a wavetable is calculated. The wavetable can then be modified with WARP effects like wavefolder, PWM bend, overdrive and redux. The resulting wavetable serves as source for two oscillators per voice, which can be detuned and also synchronized to each other. Each voice is followed by a 12/24dB/octave high pass and low pass filter.

Warp offers an integrated editor, with which you can playfully draw and modify your own frequency spectra. The XY-Sound Space is seen as a canvas on which you can draw your own frequency peaks. Several drawing algorithms are available as tools to edit single or a group of harmonics in a musically meaningful way. There is also the possibility to derive frequency spectra from audio samples from the SD card or to put whole wavetable audio files into the XY sound space. Likewise, the XY sound space can be exported to the SD card as a wavetable audio file of any length and bit depth, so Warp can also be used as an intuitive wavetable generator for other synthesizers.

Also on board are two internal ADSR envelopes and two LFOs, which can be routed to a variety of internal destinations using a modulation matrix. To keep the overview, all modulations are color-coded and are additionally visualized by pulsating LEDs in the modulation matrix view.

Navigation through the menu is as intuitive as with our QUASAR module and is simply done via a push-encoder and a back button. The display always shows which function the four surrounding aluminum encoders currently have, and colored LEDs next to the encoders provide visual assistance. Likewise, the tuning of the module is done via a detented encoder, which adjusts the pitch either in fine steps, in semitones or in octaves. An octave switch is thus already integrated.

For all its feature-richness, Warp still remains a playable and performance-oriented instrument. The large potentiometers serve as macro controls to control several parameters under the hood at once. This keeps the instrument straight forward with a manageable number of controls, but they are all very expressive.
Likewise, the module offers the ability to save and load presets and also comes with audio files and presets on board. Thus, Warp is ideally suited for both detail-oriented sound design and hands-on performance.

In the standalone version, Warp is a monophonic four-voice synth voice that can also be used as an oscillator. With an expander module, it will also be possible to play Warp four-voice polyphonic via MIDI and CV/Gate in the future.

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.



Main functions
4 Voices & 2 oscillators using a hybrid additive-wavetable synth engine
Big knobs act as macro controls for underlying parameters and enable expressive Hands-On playability
Polyphonic with expander, monophonic as standalone unit
Usable as a full synth voice or as an oscillator module
Additive synthesis with 512 sine waves per oscillator = 4096 sine waves in total
XY sound space as a collection of 32x16 frequency spectra
Each voice travels independently across the XY space and uses the underlying spectra to synthesize a wavetable in real-time
Spectral FX are applied on the spectrum before a wavetable is generated
Wavetable FX are applied once the wavetable is generated, e.g. Wavefolder, PWM-Bend, Redux, Overdrive
Two Post-Filters per voice: 12/24dB Lowpass and Highpass with resonance control
Independent oscillator settings per voice, e.g. volume, pitch, stereo pan, detune, sync, X/Y position
Integrated modulation by 2x ADSR, 2x LFO with many waveforms
Modulation matrix view to see everything that is going on at once
Integrated editor for playful drawing of own frequency spectra
Algorithms for musically meaningful drawing of harmonics

Width: 24 HP
Depth: 30 mm
Current draw +12V: 205mA
Current draw -12V: 20 mA
Current draw +5V: 0 mA

** Includes 3mm screws, 16-Pin to 10-Pin eurorack power cable, USB cable for firmware updates **

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.

Notes: The Control Voltage Processor from Verbos Electronics GmbH is a suite of control voltage processing possibilities divided into 3 sections in a slim 18HP package. The lower 2 sections are DC coupled mixers that allow mixing, inverting, offsetting, scaling, multiplying, dividing, crossfading or a combination of these functions. The top section is a voltage controlled slewing processor with independent control of Positive and Negative slew rate, with some unique tricks. The Positive and Negative slew, or Rise and Fall rates if you like, have reversing attenuators. The slopes can be blended from linear to RC curves (starting all slides fast and ending slow, like a proper "East Coast" Portamento) without a change in speed. It can be triggered like an AD envelope and has a Gate out that goes high when the CV out is below 100mV. Of course it can loop by patching the Gate out to the Trigger in. The Bounce control adds a unique flare of overshoot to CV changes, a bit like the effect of stopping a tape reel from turning and then letting it go. The combination of multiple voltage processors offers the user the functions of analogue computer.

Notes: Looping and sampling combine in a fun new way with this beautifully designed digital 'tape music instrument' from Chompi Club. Record, perform, loop and overdub with built-in effects. Cute but powerful.

Supplier's Notes:
CHOMPI is a quirky, chromatic sampler and tape music instrument, inviting you into the magical world of sound design. With its unique stereo sampling engine, expressive multi-effects and varispeed "tape" style looper; CHOMPI is ready for immediate fun.

Special care was taken with sourcing quality materials for CHOMPI's hardware, but many aspects of the platform have also been designed with user customization in mind. The modular panel enclosure, MX mechanical key switches & keycaps, and DJ style encoder knobs can all be customized and retrofitted by the user to match their own unique style.

CHOMPI's workflow is designed to be user-friendly and accessible to individuals of all experience levels... So whether you've been playing music for years, or are just starting your sonic journey, CHOMPI just might become your new favourite buddy!

Features

Unique screenless workflow utilizes rgb LED indicators
Endless push button encoders for multi-page parameter controls
Two octave chromatic keyboard utilizes MX Cherry switches
3 selectable sampling sources
Built-in microphone
Stereo Aux input
Resample master output signal
Minimal, yet capable sound design engine:
Sample playback speed & direction control
Sample start & end point control
Sample attack & release/decay envelope
Single knob multi-FX section
Pg 1 Magic Wand: combo delay + reverb
Pg 2 Tape Saturation: w/ wow & flutter
Pg 3 Multi-Mode Filter:
Varispeed tape-style looper
Transport knob provides control over loop playback speed & direction, as well as manual tape scrubbing when loop is paused
Overdub decay controls allow for "frippertronics" loop composition techniques
Real time audio thru mode for live FX and loop recording
Two types of sample playback engines: chromatic & 1-shot
7 Voice Polyphony
84 Slots to Save/Recall Presets (3 banks of 14 slots per engine)
~6hrs of sample storage capacity on Micro SD card
16-bit, 48kHz stereo audio I/O
USB-C and rechargeable battery power
Built-In Microphone
3.5mm Stereo Aux Input
3.5mm Stereo Line Output
3.5mm Headphone Output
3.5mm and/or USB-C Midi In & Out

Specs

Dimensions: 13" Wide x 4.5" Deep (without Handle) 5.75" Deep (with Handle) x 2.5" Tall (table/surface to top of encoders)
Weight = 2lb 3oz
Recommended USB power brick spec: 5V / 2A (or higher)
Manufactured in California, USA

Included In The Box

1x CHOMPI Sampler (Classic Black & Gold Colorway)
1x USB-C Cable
1x Quickstart Guide
1x CHOMPI Sticker

Notes: The S1 is a promotional bundle that Tiptop Audio is offering to users, providing a 33% savings to get you started with ART. With these bundles, this incredible voice is included: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by the beloved 4-pole Z2040 filter that has been with TipTop since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

ART QUAD QUANTIZER is a four channel CV to ART Quantizer to play ART oscillators from CV sequencers, LFOs and anything that outputs CV. This is Tiptop's second ART controller option and is designed for those of us playing ART without a computer or MIDI source. The inputs take in positive, negative, bipolar CV voltages. Scales include Major Minor and the five other modes (Dorian, Lydian, etc). The module is simple to set up with a simple menu and one knob with switch for navigation. The 4th channel can be set to generate Chords and polyphonic note streams for ART Polyphonic oscillators.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 38mA / -12V 4mA

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

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.

Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

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

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

The Z2040 is TipTop's redesign of the most famous analogue filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colourful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: A serious bargain for anyone putting together a modular system, TipTop bundle three VCOs and the Octopus controller with their mixer, filter, dual envelopes and VCA. Great value.

Supplier's Notes:
The S2 is a promotional bundle that TipTop is offering to users, providing a 33% savings to get you started with ART. With these bundles, TipTop have included an incredible voice: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by TipTop's beloved 4-pole Z2040 filter that has been with them since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing. OCTOPUS is TipTop's first ART controller with more to follow, please select between Octopus or ART V/Oct Quantizer to get started with ART. Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

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

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

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.
Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop#s redesign of the most famous analog filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colorful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: What is the Sherman Filterbank 2?

A powerful analog filtering and distortion unit with a huge frequency range and a killing TUBE overdrive behavior.
Easy and FUN to use, live and in the studio
A small modular system? YES!
Another 303 clone? NO!
Affordable? YES!
Application: processing every sound source, effect mixing, expanding modular systems, etc.

What you get:

Independent low pass, band pass and high pass filters with resonance, frequency and ADSR (positive - negative) controls
These are switchable between parallel or serial
The second filter has a 6 octave switch, and is synchronizable with the first filter
1 ADSR generator for these filters with an external output for use with more filterbanks or modular systems, triggered by the incoming signal, by a second sounds source, or by a gate
1 FM input for the filters, internal or external audio, LFO or CV
1 VCA overdrive with AR generator also
1 ring modulator input, internal or external audio, LFO or CV

The original Sherman Filterbank (Version 1) is no longer being made and is thus now completely being replaced by this new version !

The global look has remained the same, but there have been added several strong functions. To summarize :

There are 5 extra NEW SWITCHES, 1 extra INPUT (for footpedal), 2 extra new LEDs, a NEW COLOR (silver-grey) with an improved (long-lasting) varnish layer.
The inner electronics have also been adapted to achieve an EVEN BETTER SOUND-QUALITY
We also do have new packing-boxes (silver, with photo on upper side), new flashy stickers (silver) and new adaptors (with Sherman-logo).
All this with the famous solid SHERMAN-QUALITY and the well-known thorough & speedy AFTER-SALES service (repairs).

What's new?

There are 5 extra switches and 2 extra LEDs, and on the back panel there's one pedal input jack. A reworked front-panel lay-out and the grey metal color.

The pedal input allows foot control of freq1and bypass/effect switching. You can rewire an old wah (because they have a switch on board) as shown by te diagram in 'extra stuff'.
A 5mm big green LED indicates "Effect on" on the FB 2
A 3-way switch on the input stage allows Hi boost as well Hi cut (both boosting high frequencies at input)
Another 3-way switch allows "Sensitrig" (which makes the triggering twice as sensitive for, e.g. clean string pad filtering) and "Limit", which leaves the filters more "breathing room" for self-oscillation if the input stage is extremely overdriven.
A 3-way switch has 2 general transpose functions : +1 Octave and + Quint which works nice with monophonic signals, and has a specific dirty character.
A 3-way switch for the really powerful and quite revolutionary "Tracking" function - a monophonic pitch follower, that tunes filter 2 to the incoming pitch, and makes filter 1 slave of filter 2 via the harmonics switch. E.g. in position 2, filter 1 will be pitched one octave higher than filter 2, but still following the pitch. This extra switch activates the "tracking" in a normal or deep "track low" position, with stunning basses as result.

The "revolutionary" aspect of this function is that never before any similar system enhances "on the spot" harmonics and creates new harmonics with fat analog circuits.
An extra white LED indicates when the tracking system is "locked on".
At last there is an 3-way function switch in the LFO section, allowing sawtooth wave shape OR AR retrig : this forces an LFO restart from the AR trig with pumping grooves as unavoidable result. If you want to receive a new brochure, please ask your dealer first.

The Sherman Filterbank is now also midi controlable via kenton control freaks (a small portable hardware console, including sliders)

All the finger-tip MIDI control you need, instantly to hand. Forget your mixer maps and do it all in real-time. An ideal solution for the gigging musician, or the musician who likes to save time & settings. The Kenton Control Freaks are made in the U.K., by Kenton, and are preprogrammed with profiles for the Sherman Filterbank as well. Hundreds of additional profiles are available for download FREE from the Kenton website.

PLEASE NOTE: SUPPLIED WITH EU 2 PIN ADAPTER PLUG ONLY.

Notes: The Furthrrrr Generator has a main oscillator (carrier) with an extensive and fully voltage controllable wave multiplier and a modulation oscillator (modulator) that can cross-modulate the carrier. Each oscillator has hard and soft sync and also features an integrated tuner: if both LEDs are lit the VCO is at note A. Left LED is lit at note Ab and right LED at A#. Frequency potentiometers are ten-turn models and thus allow for easy tuning. Frequency range of the VCOs is 10Hz-10kHz (and much lower in modulator's LFO mode). Both VCOs feature 2 frequency CV inputs (1x with bipolar attenuator, 1x with 1V/octave), one FM input (jumper selectable between linear and exponential FM) as well as separate input for hard and soft sync. The voltage characteristic can be selected between 1V/octave and 1.2V/octave (Buchla norm).

The main oscillator (carrier) outputs the waveforms sine, saw, square and white noise. The two outputs marked with the magic eye are outputs of the "harmonic section" that generates very complex sounds by the wave multiplier and its parameters symmetry, order and Furthrrrr in the module's right-hand section. Symmetry lowers the level of even harmonics and amplifies the odd harmonics (this affects the pulse wave's width as well). Order adds saturation to the high order harmonics and resembles a low pass filter. Furthrrrr alters the level of harmonics set by the other parameters and produces very interesting, partly brute sounds with lots of harmonics by clipping and folding the wave. All three parameters can be voltage controlled. The carrier oscillator also has inputs for hard and soft sync, the sync-switch can synch directly to the modulator.

The modulation oscillator (modulator) has three wave forms with direct outputs: sine, saw and square. Using the internal modulation via the "mood section" the waveform is selected with a button; an additional staircase wave form is available here, but it can be overridden by inserting a signal into the external input socket. A switch activates the LFO mode.

The Mood section is responsible for the internal modulation of the carrier by the modulator. Switches determine the modulation destination(s) that can be activated simultaneously. These are the Furthrrrr parameter of the harmonic section, the amplitude and the frequency of the carrier oscillator. The "balanced" switch activates the ring modulation between both VCOs. intensity of modulation is controlled by the "mood index" potentiometer and the according CV input with bipolar attenuator.

Notes: The Mother-32 is a distinctive analog instrument that brings raw sound, step-sequencing and extensive interconnectivity to any electronic or modular ecosystem. This expansive live performance and production synthesizer is designed to provide experimental musicians and synthesists with a diverse array of creative tools to inspire new ideas, unique sound and endless sonic exploration.

Drive synchronized sound with Mother 32's powerful step sequencer while utilizing its modular patchbay and assignable output to spawn a living, breathing organism with dynamic and modifiable sound processing. Patch multiple control and sound sources into Mother-32's voltage controlled mixers and truly unlock the vast potential of this powerful instrument, or pull all of the patch cables, plug in a MIDI cable and simply drive your Mother-32 from any MIDI-equipped device.

The Mother-32 is secured in an extruded aluminum enclosure with wood sides, but can also easily be relocated to almost any Eurorack enclosure.

During the prototype phase, Moog worked with 3 unique synthesists: Erika (Interdimensional Transmissions), Max Ravitz (Ghostly International), and Bana Haffar to produce a video that explores Mother-32's vast capabilities. Through performance and sound design, each artist displays the extensive vocabulary found within Mother-32. All patches were performed live, with no overdubs.

Specs

Sound Engine: Analogue
Polyphony: Monophonic
Keypad: 13 Note
Step sequencer: 32-Step with 64 Sequence Locations, Keyboard and Step Edit Modes
Sequencer panel controls: Tempo, Swing, Run/Stop, Hold, and Reset
Sound sources: 1 Oscillator With Pulse and Saw Waveforms, 1 White Noise Generator, 1 External Audio Input
Oscillator range: 8Hz-8KHz (16KHz max with LFO/CV)

Notes: Loquelic Iteritas Percido is an extension of the original Loquelic Iteritas. Like Loquelic Iteritas, it is a digital VCO with interpretations of three classic synthesis algorithms involving dual pitch control parameterized by four tone controls. LIP adds an envelope that can be shaped, modulated, and routed to pitches and tone controls, making it into a stand-alone voice.

Notes: With our MORPHEUS digital filter module, we're finally able to unleash the full power of the 14-pole Z-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

The MORPHEUS Eurorack module includes over 280 filter configurations, what we call Cubes. Each Cube is composed of up to 8 complex filters that you can picture as being at the corners of a three dimensional cube (hence the name). Morpheus gives you the ability to smoothly interpolate between those 8 filters within the cube's three dimensional space.

Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing in one dimension, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.

With the MORPHEUS filter module, you now have simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you've ever heard before. In stereo.

Notes: The FUMANA is an all analog dual filter bank with various control to access dynamically these bands. Each filter bank is composed of an array of 16 independent 48dB/oct bandpass filters. Having two identical filter arrays, allows you to use one of those for spectral analysis (of a modulator signal) and the other for spectral re-synthesis (of the main signal). Each array is sub-grouped in odd and even bands (numbering these increasingly from 1 to 16 from left to right). It is possible to apply different signal to odd and even bands, both for main and/or modulator arrays. This, together with the 16 envelope followers connected to each band of the modulator filterbank, and the 16 VCA connected to each band of the main filterbank, allows the FUMANA to perform a single 16 bands or a dual 8 bands analog spectral transfer.

While the upper section provide access to each main filter's direct output, the lower section has 4 voltage controllable parameters to manage two independent functions for further spectral editing: tilt and parametric scan.

The tilt, as the name suggest, tilts the spectrum, adding and subtracting amplitude to the 16 bands, emphasizing lower or high bands, and attenuating high or lower bands: this is managed only with the green potentiometer.

The parametric scan, instead, works with three parameters: peak/notch, band selector and width. Like in a parametric equalizer, where is possible to set peak/notch gain, frequency and slope, the FUMANA uses three parameters to set which is the centre band to perform this manipulation, then if that band should be emphasized or attenuated, and how this action is extended to nearby bands.

In addition to the 16 bandpass outputs, there are other 4 outputs provided: the all bands output, the all envelope followers output, the odd bands and the even bands output. These two have the options to be inverted in phase with two switches, in order to obtain even more combination when summed together, maybe/also with the "all bands output", using, for example the 333 module.

Since a spectral transfer tool may be used as a "vocoder-like-effect", the FUMANA provides an input for an external noise which may be used for unvoiced (fricative/sibilants) sounds as words containing or starting with s, f, z, ch and other fricative sounds.

Notes: Gorgeous retro-inspired synth. Heavily based on 70s string synthesisers and vocoders, updated in a modern format. Proper lush vibes.

Supplier's notes:
The string section starts with an oscillator bank using octave dividers, followed by a complex mixer, an equalizer and the ensemble effect, just like string machines from the 70's. A single registration knob sweeps through mixer and EQ settings for Violin, Viola, Cello, Brass, Organ, Choir and more for creating rich and creamy sonic textures.

The Solo section is a 16-voice synthesizer that complements the string sounds. A single Tone knob sweeps through many useful settings. Solo is the sidekick to the strings, but it is powerful enough to be the lead character every now and then.

The Vocoder replaces the equalizer in the string section with the filter bank that models the vocal tract from the speech input. This can produce quite intelligible speech or singing using the fully polyphonic oscillator bank. Formants can be modified, which can result in a perceived change of gender. Adjustable jitter of the string oscillators renders the voice hoarse, creaky or a complete whisper. Solo can pass through the Vocoder or play in parallel.

The Freeze button lets you freeze a short speech fragment, which is then repeated by the Vocoder whenever a key is pressed. Change of playback speed, like faster, backwards or a complete stop are possible and fun, as well as formant change.

A novel Tweak function allows for modification or modulation of details, like e.g. the solo cut-off frequency or the Chorus LFO rate. It is similar to a modulation matrix, but it also allows to alter implicit settings with a fixed value or an offset.

Three Effects operate simultaneously - Animate is in fact a modulation of the string or vocoder registration, while a Phaser is a must for any decent string machine. A high-quality Reverb with adjustable size can be mixed to the output.

STVC comes with a high-quality gooseneck microphone that plugs right into the front panel where it belongs.

Notes: ***Now featuring Assimil8or Software Version 2.0! Available to download here: http://www.rossum-electro.com/products/assimil8or/

The ASSIMIL8OR is a CV/Gate-controllable sampler with eight independent channels. Each channel is not only its own voice, but also has a separate audio output and a gate/trigger and three CV inputs. Given ever get two sample inputs and main outputs. Thus, Stereo Sampling and playback is possible. Mixed operation of stereo or mono is possible and is limited only by the maximum number of eight channels or parts.

The ASSIMIL8OR works with high-quality 24-bit AD and DA converters. Internally, however, sample and bit rate for lo-fi sound can be lowered, the latter is even CV-controllable. The samples can also be otherwise manipulated in many ways. Thus, the phase of a sample via CV or a different sample can be modulated. Likewise, the loop points can be controlled and the sample can be traversed with CV control (scrubbing), whereby wavetable similar effects could be achieved. The following parameters can be addressed via the gate / trigger and CV inputs:

- Pitch
- Level
- Bit Depth
- Phase Modulation
- Pan
- Scrub
- Sample Start
- Sample Length
- Loop Start
- Loop Length
- Release Decay

Samples and presets are stored on an SD card, which is easily accessible plugged into the module front.

Notes: One of the most impressive granular synthesis approaches in Eurorack, combining looping and granular effects with buffer sizes up to five minutes. Hugely creative and powerful dual-module setup.

Supplier's Notes:
There's a long history behind the granular concept and many reinterpretations of it's core principles, this is ADDAC's take on it.

In a loose description digital Granular refer to pieces of sound files being played at the same time with slight or completely different parameters originating what is commonly referred to as granular clouds. Normally there's a buffer size from which the granular engine snips it's pieces from and plays them according to the parameters set. This buffer size is normally small in size where grains are so small that can reach the hearing spectrum and be heard as a sort of ever changing complex wavetable, this is the principle behind granular synthesis.

ADDAC have added the possibility of long buffer sizes up to 5 minutes, allowing "softer" approaches to the granular principle using it as an effect that can generate from "accidental" effects like slight "stutters" to extreme processing and transformation of any incoming audio signal.

This module is conceptually deep but easy to grasp and operate as all controls are in its dedicated panel, all jack inputs and outputs have its own separate panel to allow no compromise when playing it's controls.

There are three main sections in this module:
Looper Engine: The Looper is where all the Real-Time recording happens. The audio input feeds the recording buffer, multiple controls allow to record and play loops into a list so that any sample in the list can be accessed at ay time and more acting as a standard looper
Granular Engine: The Granular acts upon the buffer of whatever LOOP is selected.
Output Mix The output mix allow individual control for the Dry Input, Looper Volume and Grains Volume.
Besides these main sections there's also a simple strip down MENU mainly used to LOAD and SAVE Banks, no Menu diving guaranteed.

For more detailed info, please refer to the User's Guide.

Audio Specs:
Audio input: Stereo, 16bit 44.1Khz
Audio output: Stereo, 16bit 44.1Khz

Tech Specs:
32HP + 13HP
4.5cm deep
240mA +12V
70mA -12V

Notes: Latest update to a modern classic drum machine. Pure analogue sound and rock solid build. Externally untouched but now with revamped internal circuits and USB MIDI. Also available with new, improved trigger inputs.

Supplier's Notes:
Introducing the brand new update to the classic drum and percussion synthesizer VERMONA DRM1. The DRM1 is a key part in Vermona's history. Its first generation, released in the 90s as Syncussion DRM1, caught wide attention. The MKII-version then continued and broadened the success and breathed new life into the VERMONA brand at the turn of the millennium. With the DRM1 MKIII, that Vermona have been building since 2006, it has now been a total of 25 years of DRM1! This makes it one of the longest-lived electronic musical instruments. And launching the next quarter-century is this analog drum synthesizer from VERMONA.

DRM1 MKIV: Familiar, yet evolved

At first glance, you may not notice any difference from its predecessor. Indeed, from the outside, there isn't any! The overall concept and user interface have remained the same: There are eight instrument channels, each with nine knobs for sound shaping, pan and volume control. The DRM1 is a musical instrument, a creative tool that wants to be touched and played.

Instead of trying to reinvent or change an already well-proven external design, with this update to version MKIV Vermon decided to focus on the inside. Time was taken to thoroughly listen into the circuits and put energy and care into its details: Thoughtfully tweaking frequency ranges, revamping control curves, adjusting levels and redesigning sub-circuits. The goal was to make the DRM1 MKIV the best drum synthesizer Vermona have ever built!

DRM1 MKIV: Sociable and dynamic

To make integration into your studio more comfortable, the DRM1 MKIV was equipped with USB-MIDI in addition to the standard MIDI connections.

The optional trigger inputs have been significantly upgraded. Beyond gate pulses, they now also accept different voltage levels for triggering the instrument channels dynamically. The DRM1 MKIV with trigger inputs can also convert the analog signals into MIDI notes via USB or the newly added MIDI OUT connector making it an incredibly versatile MIDI interface.

Whether you're controlling the DRM1 MKIV via a DAW, a hardware sequencer, or a modular system, you'll have the proper connection and further the ability to send the MIDI notes to additional devices.

DRM1 MKIV: More power under the hood

The power supply of the DRM1 MKIV is completely new. It now works anywhere in the world, without having to manually change the mains voltage. This is a huge relief for all of you who use the instrument at live shows. No less important: it works more energy-efficient than the old one!

Notes: Latest update to a modern classic drum machine. Pure analogue sound and rock solid build. Externally untouched but now with revamped internal circuits, USB MIDI and dynamic trigger inputs.

Supplier's Notes:
Introducing the brand new update to the classic drum and percussion synthesizer VERMONA DRM1. The DRM1 is a key part in Vermona's history. Its first generation, released in the 90s as Syncussion DRM1, caught wide attention. The MKII-version then continued and broadened the success and breathed new life into the VERMONA brand at the turn of the millennium. With the DRM1 MKIII, that Vermona have been building since 2006, it has now been a total of 25 years of DRM1! This makes it one of the longest-lived electronic musical instruments. And launching the next quarter-century is this analog drum synthesizer from VERMONA.

DRM1 MKIV: Familiar, yet evolved

At first glance, you may not notice any difference from its predecessor. Indeed, from the outside, there isn't any! The overall concept and user interface have remained the same: There are eight instrument channels, each with nine knobs for sound shaping, pan and volume control. The DRM1 is a musical instrument, a creative tool that wants to be touched and played.

Instead of trying to reinvent or change an already well-proven external design, with this update to version MKIV Vermon decided to focus on the inside. Time was taken to thoroughly listen into the circuits and put energy and care into its details: Thoughtfully tweaking frequency ranges, revamping control curves, adjusting levels and redesigning sub-circuits. The goal was to make the DRM1 MKIV the best drum synthesizer Vermona have ever built!

DRM1 MKIV: Sociable and dynamic

To make integration into your studio more comfortable, the DRM1 MKIV was equipped with USB-MIDI in addition to the standard MIDI connections.

The trigger inputs have been significantly upgraded. Beyond gate pulses, they now also accept different voltage levels for triggering the instrument channels dynamically. The DRM1 MKIV with trigger inputs can also convert the analog signals into MIDI notes via USB or the newly added MIDI OUT connector making it an incredibly versatile MIDI interface.

Whether you're controlling the DRM1 MKIV via a DAW, a hardware sequencer, or a modular system, you'll have the proper connection and further the ability to send the MIDI notes to additional devices.

DRM1 MKIV: More power under the hood

The power supply of the DRM1 MKIV is completely new. It now works anywhere in the world, without having to manually change the mains voltage. This is a huge relief for all of you who use the instrument at live shows. No less important: it works more energy-efficient than the old one!

Notes: Rane's unique vinyl-style digital turntable controller offers old-school feel with modern control over your DJ software. MKII model improves on the original with features including new controls and display.

Supplier's Notes:
Solid steel, precision performance

The Rane Twelve MKII feels instantly familiar to any DJ who has played vinyl, adding hot-cue and track search capability at the touch of a finger. The MKII now adds USB & DVS control for track browse & selecting, and instant doubles.

The Twelve MKII provides USB MIDI and DVS control for Traktor, Virtual DJ and Serato DJs. Select your desired platform and connect for the ultimate vinyl legacy experience in a digital world.

With the strength and durability of a solid-steel casing and aluminium platter, the gig and battle-ready Twelve MKII represents the ultimate in advanced music control for high performance and creative DJs.

Traditional 12" turntable platter with no-latency precision for seamless DJ performances.

Delving deeper into the foundation DJ experience, the plunger style Start/Stop button has that classic feel for turntable loving DJs.

The MKII includes a stereo RCA audio output to deliver DVS tones for multiple DJ software platforms, selected via the OLED screen on the top.

Tech Specs

Motor
Drive: Quartz direct-drive
Torque: High: 5.0 kgf/cm (starting/instant); 3.4 kgf/cm (stable) / Low: 3.2 kgf/cm (starting/instant); 1.4 kgf/cm (stable)
Starting Time: < 0.4 seconds
Braking System: Electronic

Platter
Material: Aluminum die-cast
Diameter: 13.1" / 332 mm
Weight: 4.9 lbs. / 2.2 g
Speeds: 33 1/3, 45 RPM
Pitch Range: +8%, +16%, +50%
Connectors: 1x USB Type-B port, 1x Stereo RCA output, 1x IEC power cable input

Power
Voltage: 100-240 VAC, 50/60 Hz
Consumption: 60 W

Dimensions (wxdxh): 14.5" x 16.2" x 5.3" (368 x 413 x 90 mm)
Weight: 20.5 lbs. (9.3 kg)

Notes: NOON is a passive analogue drum/synthesizer. Each of the eight channels uses a unique analogue circuit with its own characteristics. No power supply is needed. Each circuit is triggered and powered individually from incoming gates or control voltages provided by voltage sequencers or modular systems. By using this unique method, we can increase instability and magnify organic aspects of traditional analogue electronic instruments. The sound of analogue, at its core, is the sound of sculpted electricity. By removing the stabilizing elements of a constant power source, we can listen to the sound of electronic circuits loading and unloading, powering up and powering down, and we can increase the natural chaotic movement of electricity. The loading of circuits creates natural ways to access swing and groove or ways to deconstruct a programmed rhythm sequence to make surprisingly new ideas.
Each channel is represented by a tuning fork. Incoming voltage can be thought of as a way to "strike" each fork with momentary voltage. Between every channel there are Link buttons which allow voltage sharing between channels. Linking them provides a wide mix of results depending on incoming voltage, active or inactive channels, slider settings, gate lengths and multichannel linking. The results can be described as cross modulation, growth (creating a larger and more complex circuit), or processing (filtering, distortion). Due to the cycles of voltage and this inherent instability, a definition of what is actually occurring between channels can be hard to pin down. The eight Mod buttons, which are located at the bottom of each tuning fork, change the behaviour and sound of each circuit. The eight latching CV buttons along the top allow the "?" Even and "?" Odd CV modulation inputs to route to even and odd channels. When incoming CV is unmuted, a channel's behaviour can change drastically and this behaviour can change further when channels are linked. These CV inputs are a way to add microtonal pitch changes and/or large textural movement to voices. The Even and Odd CV inputs are summed to their respective channels to provide a rhythmic modulation reference between multiple channels.

Limitations & Recommendations

A voltage sequencer, modular system or some form of external control voltage is required for use. This is a powerless instrument which relies upon receiving voltage and control from external sources.
Using sequencers which have the ability to vary gate length is highly encouraged due to the increase in sound possibilities and rhythmic movement.
Each model of voltage sequencer can have slightly different effects on the tonality of the instrument due to variations between manufacturers and feature sets.
Given the passive design of the device the reaction of the touch plates will vary greatly based upon what voltages are being received in which channel, if channels in are being touched in tandem, skin moisture and gate lengths. Using only trig signals can significantly lessen the touch plate response.
Channels 7 & 8 (Larynx & Bacid) will give best results being fed gate and cv voltage simultaneously. Sending trigs instead of gates to these channels may have less interesting results than found in other channels.

Specifications

Dimensions: 32cm x 18cm x 2.5cm / 12.5" x 7" x 1"
Materials: Gold plated PCB (2mm fiberglass) / routed Birch plywood case with clear coat / metal shaft sliders with rubber caps / concave and dual LED latching push buttons
Weight: 0.9 kg. / 2 lbs.
CV Inputs: 10 x 3.5mm jacks
Audio Input: 1 x 3.5mm jack
Audio Outputs: 10 x 3.5mm jacks

Notes: Typically experimental stuff from Soma, the Enner is a five-voice synth with an array of filters, electro-acoustic noise options, analogue effects and huge creative potential.

Supplier's Notes:
ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: A full-on digital modular system in a single module. Eight-voice polyphony, audio processing and CV/MIDI functionality, all customisable via the PC/Mac editor. Serious DSP power in 22 hp.

Supplier's Notes:
Integrate the power of EaganMatrix Sound Technology into your Eurorack! The EaganMatrix Module is a full-featured EaganMatrix Sound Engine for Eurorack, and can be controlled by control voltages and/or Midi. This versatile module can act as a sound source, a sound processor, a CV source (via connection to an external Control Voltage Converter), a Midi source, or a customizable combination of all these capabilities.

The EaganMatrix Module provides a truly versatile framework for both studio and live performance. Flexibility is key, due to its audio inputs and outputs, integrated CV inputs, external CV outputs (via Control Voltage Converter), and robust implementation of MPE and MPE+ Midi.

A single EaganMatrix Preset can give completely different sonic results, depending on how it is patched into a particular Eurorack ecosystem. Hundreds of System Presets are included with the EaganMatrix Module. In addition, an external cross-platform (Mac and PC) Haken Editor may be connected to modify and customize the supplied EaganMatrix System Presets, or create completely new presets from scratch.

The EaganMatrix Sound Technology, originally created for the gesturally highly sensitive Continuum, is now available to you in a Eurorack module. The EaganMatrix Module will quickly become a 'goto' component in your modular sound design and sonic composition.

Haken Audio's EaganMatrix Module offers:
Polyphony: Nominal 1, Maximum 8
Direct CV note control is limited to 1 voice at a time, but higher polyphony avoids voice stealing when EaganMatrix presets have long decays, and higher polyphony is often useful for Midi input.
4 Per-note CV Inputs: W, X, Y, Z
Gate (W) - Triggers at 1V, with max range -10V to +10V
Pitch (X) - 1V per octave, with programmable offset for Middle C; useful input voltages are a subpart of -10V to +10V (depends on the programmable offset selected)
Timbre (Y) - Function depends on EaganMatrix preset; voltage range is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
Loudness (Z) - normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
4 Global CV Inputs: i, ii, iii, iv

Functionality depends on EaganMatrix preset; these CV affect all voices (notes from WXYZ and Midi); each global CV is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
2 Analog Audio Inputs: Left and Right, or Mono
2 Analog Audio Outputs: Left and Right, or Mono Sum
-12dB switch selects between Eurorack Level and Line Level
Midi over USB
Allows bidirectional MPE and MPE+ connection to other devices; allows connection to the Haken Editor for editing and archiving EaganMatrix presets (USB-A cable included with purchase)
Universal 3.5mm Midi In (Type A, Type B, and TS)
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi In included with purchase)
Type B 3.5mm Midi Out
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi Out included with purchase)
i2c Port for Communication to the Control Voltage Converter
(a switch selects between 3.5mm Midi Out and i2c functionality)
12 Switches, 1 Rotary, and LED Matrix

A menu system allows stand-alone operation without need of computer, and provides monitoring for notes being played and CV input levels
The EaganMatrix is a modular digital synthesizer invented by Edmund Eagan, utilizing a DSP engine designed by Lippold Haken. This is the same EaganMatrix Sound Technology internal to the Continuum Fingerboard, the ContinuuMini, and Expressive E's Osmose keyboard. The EaganMatrix allows the user to finely craft their musical sound by digitally connecting audio and control modules via a patching matrix. The EaganMatrix Module contains a sophisticated digital modular patching world of its own, ready to interact with your other Eurorack modules to make musical results never before possible.

Power and size

The EaganMatrix Module requires +12V, +5V, ground, and -12V from your Eurorack enclosure.

A 16-pin standard Eurorack power cable is included with purchase.

Current requirements: 25mA at +12V and -12V. 300 mA max (190 mA avg) at +5V.

The processing power of the EaganMatrix Module is 2x, same as the ContinuuMini.

The EaganMatrix Module dimensions are 22 HP and 3cm depth.

Notes: The NTG5 is a short, ultra-lightweight shotgun microphone ideal for use in the most demanding recording applications. Featuring a revolutionary acoustic design with circular ports replacing the linear slots found in other shotgun mics, it offers unmatched transparency and a more natural, uncoloured sound. Combined with a tightly controlled frequency response, smooth off-axis response, and very low self-noise (just 10dBA), the NTG5 sounds spectacular in a wide variety of applications, particularly location recording and demanding filmmaking scenarios where superlative audio is the imperative. No excuses.

The NTG5 is a boom operator's dream, weighing a mere 76g and measuring just over 20cm, making it ideal for use on long, demanding shoots. It also features RF-bias circuitry to ensure reliable performance in adverse environments, with excellent resistance to high humidity, severe cold, damp, and dust. The perfect location recording mic.

Revolutionary Acoustic Design:

The NTG5's body design has been completely overhauled, with circular acoustic ports replacing the linear slots found in other shotgun mics. The revolutionary design - the result of many months of specialised testing - delivers unmatched acoustic transparency, and a natural, uncoloured sound that will sound superb in a wide variety of applications.

A Boom Operator's Dream:

The NTG5 features a short, super-lightweight aluminium body (just 76g!), making it one of the most compact professional shotgun mics out there - a dream for boom operators who find themselves on long shoots, or filmmakers and sound recordists looking for a more portable and lightweight rig that delivers broadcast-grade audio.

The Perfect Location Recording Mic:

With a tightly controlled frequency response, low self-noise, highly directional supercardioid polar pattern, and smooth off-axis response, the NTG5 sounds spectacular in a wide variety of applications, while RF-bias technology and conformal coating ensure superior performance in harsh environmental conditions. It's the perfect mic for location recording and demanding filmmaking scenarios where superlative audio is imperative. No excuses.

Includes:

1 x NTG5 Microphone
1 x PG2-R Grip
1 x WS10 Windshield
1 x ZP1 Small Pouch Bag
1 x RM5 Microphone Clip
1 x PG2-R Pro Cable
1 x Foam Windshield

Notes: Analogue mixer, audio interface, effects and stereo digital recorder all in one box. Clever, versatile idea that makes a cost-effective entry point for various types of recording.

Supplier's notes:
Don't let the classic analogue mixer design fool you - the StudioLive ARc-series mixers were built to record. With a pristine analogue front-end, high-gain XMAX-L mic preamps, and a 24-bit, 96 kHz, USB-C compatible USB 2.0 audio interface, its hybrid design makes it simple to record studio productions and mix live shows from a single intuitive console. Add in a musical 3-band analogue EQ, mic/line boost for low-level vintage synths and broadcast microphones, all-new digital effects with rich reverbs and lush delays, Bluetooth connectivity, and a stereo SD recorder... and you have a mixing and recording powerhouse that fulfils the needs of both modern musicians and content creators.

A full-featured audio interface:

The StudioLive AR16c audio interface operates at up to 96 kHz for high-definition mixing and recording. Record each of the 16 inputs, plus the main mix for even more flexible recording options. Play back up to four streams for monitoring previously recorded tracks - plus a click. Twelve lauded XMAX mic preamps provide all the gain you need to capture even the most subtle details without adding any extra noise. The analogue mixer front-end makes connecting your gear to your computer intuitive, and creating monitor mixes is quick and easy. With a USB-C compatible connection, your StudioLive AR16c is ready to use as an audio interface for nearly any computer.

The channel that does it all - even Bluetooth connectivity:

The unique Super Channel can handle four stereo sources at once and makes it easy to integrate consumer devices into your studio workflow. Connect a turntable to the RCA inputs, use the 1/8-inch stereo input to plug-in your smartphone, or forget the cable and connect it via Bluetooth wireless technology. You can also toggle between a stereo playback stream from your computer and playback from the onboard SD recorder, making rehearsal a snap.

A complete recording solution for studio and stage:

The StudioLive AR16c audio interface and analogue mixer is tightly integrated with state-of-the-art recording software to help you realize your creative vision. Record multitrack live performances with one click thanks to PreSonus' Capture live-recording software. Create complete studio productions with our award-winning Studio One Artist DAW. With two professional recording applications included with your StudioLive AR16c, you're ready to record right out of the box.

Stereo recording without a computer:

Imagine you're rehearsing with your band and want to record your session to analyse later. Or perhaps you're in the middle of a songwriting session and want to capture your ideas as quickly as they come to you. Either way, the StudioLive AR16c's stereo SD recorder has you covered. Insert any SD/SDHC card and you're ready to record your main mix to listen to later, so you'll never forget a great song idea or an amazing guitar solo. Doing mobile interviews for your podcast? Leave the computer at home and record straight to SD.

Effects without latency:

Monitoring with reverb and delay helps to create better recordings. Any vocalist or guitarist will tell you that a little reverb makes them feel more comfortable while performing. The StudioLive AR16c mixer's onboard effects processor lets you add high-quality reverb, delay, or chorus to any channel for a professional monitor mix. Like what you hear in your headphones? Record the Main Mix and capture the effects mix, too - with or without the dry channels - to blend with your multitrack recording. Experiment in post-production to your heart's content.

All the connections you need with a familiar look:

Packed with all the connections and controls needed to mix and record in the studio and on the stage, the StudioLive AR16c is the ultimate recording solution. The eight mono channels and four stereo channels include a musical three-band EQ, plus one of PreSonus' famed XMAX high-gain mic preamps. Two dedicated monitor mixes with balanced outputs provide your musicians the custom mix they need. The USB-C compatible connector ensures your StudioLive AR16c audio interface will be the centre of your studio for years to come. And with high-resolution 96 kHz recording, a full complement of connections, and an instantly familiar workflow, the StudioLive AR16c is the perfect recording and mixing solution for the modern musician and content creator.

Notes: MX12 as successor of the UC44 is a universal controller for all kinds of MIDI controllable hardware and software.

You can combine NEW MODULE devices to a large system. The connections are on the right side to allow a back to back placing of two or more devices. Connect two NEW MODULES by a special extension port.

Furthermore, there are 4 MIDI-ports and one USB-port with various routing possibilities.

It is packed in a metal case with the same dimensions like the famous ELEKTRON devices so it's a great extension for these devices. But you can use the mix controller also with your DAW like a classical 12-track-mixer.

The device has 24 standard pots, 12 Faders and 24 buttons in a 12-track-layout, various kinds of MIDI commands like control change, note on/off, pitchbend, aftertouch and program change are possible. You can program every MIDI command for every separate control on the device very fast and easily.

Of course you can assign the pots and keys to any of these commands by learning incoming MIDI commands, which is the same procedure you know from your software/DAW. The pots work with standard resolution of 7 bit to have full compatibility to any software and hardware instrument, effect and DAW. Use the internal 30 setups to save your individual settings. Backup and restore of all settings by sysex dumps is possible too.

The factory settings are perfect to control music and video software products out of the box if they are freely assignable. So any additional device programming isn't necessary for many applications.

Some special setups are preconfigured for use with ELEKTRON RYTM and ABLETON LIVE.

Check out this amazing power box and you will get a reliable mate...

Notes: More knobs than you can shake a stick at. Add hands-on control to pretty much any MIDI-equipped hardware or software. Upgraded version of the classic PC44, featuring a whopping 72 rotary pots and 12 buttons.

Supplier's notes:
PC12 as successor of the PC44 is a universal controller for all kinds of MIDI controllable hardware and software.

You can combine two or more NEW MODULE devices to create a large system. The connections are on the right side to allow a back to back placing of two or more devices. Connect two NEW MODULES by a special extension port.

Furthermore, there are 4 MIDI-ports and one USB-port with various routing possibilities.

It is packed in a metal case with the same dimensions like the famous ELEKTRON devices so it's a great extension for these devices. But you can use the pot controller also with your DAW like a classical 12-track-mixer.

The device has 72 standard pots and 12 buttons in a 12-track-layout, various kinds of MIDI commands like control change, note on/off, pitchbend, aftertouch and program change are possible. You can program every MIDI command for every separate control on the device very fast and easily.

Of course you can assign the pots and keys to any of these commands by learning incoming MIDI commands, which is the same procedure you know from your software/DAW. The pots work with standard resolution of 7 bit to have full compatibility to any software and hardware instrument, effect and DAW. Use the internal 30 setups to save your individual settings. Backup and restore of all settings by sysex dumps is possible too.

The factory settings are perfect to control music and video software products out of the box if they are freely assignable. So any additional device programming isn't necessary for many applications.

Some special setups are preconfigured for use with ELEKTRON RYTM and ABLETON LIVE.

Check out this amazing power box and you will get a reliable mate...

Notes: THE PIPE is a voice / breath / mouth-controlled dynamic FX processor and synthesiser.

It turns your voice into a powerful FX / beat / lead / soundscape synthesizer and it offers unprecedented levels of vocal processing, truly expanding the traditional boundaries of singing. Conventional singing with lyrics is also possible, and you can use the FX to add live modulations to your vocal performance.

Also, you can use the PIPE as a powerful FX processor for an external signal as a synth, drum machine etc.

THE PIPE has 12 different algorithms: ORPHEUS, FILTERRA, SYNTH, REVERB, MADELAY, PULSE, BASSDRUM (three versions), OCTAVA, GENERATOR, HARCHO!

The PIPE consists of the handheld part and a small break-out box with L R output jacks (1/4-inch) and DC IN for power. The handheld part and break-out box are connected by a single cable that contains both output channels and DC power.

The handheld part consists of the contact vocal mic (connected by a standard 1/4-inch jack), electronic components and the controls. You can easily attach a cable extension to the mic which opens up many more options. Attach it to a stand, or put it inside of or on the surface of acoustic instruments such as drums, guitars, trumpets etc. Also, you can use the mic in jack as external in and use the PIPE to process any signals you want.

Notes: You're making tomorrow's music... so why settle for yesterday's interface? AudioFuse is the revolutionary pro audio interface that sets a new standard in sonic quality, creative production and value. It fuses the superior sound of high-end analog studio consoles with the flexibility of a solid mobile interface- with all the connectivity you need for any recording or performance.

Whatever sound you need to capture, from the most delicate ambience to the heaviest cacophony, AudioFuse will reveal the beauty in everything.

Pro studio quality was the mantra right from the start with AudioFuse. Now you can transform your desktop, hotel room, concert- whatever, wherever- into a studio with world-class sound.

No compromises, each element of the AudioFuse has been selected to perfectly serve your sound, such as the two proprietary DiscretePROr microphone preamplifiers and the set of top-notch AD/DA converters.

Saving the purity of your sound and the passion it conveys is what AudioFuse is all about.

When creating and recording, you need an interface that lets you focus on the task at hand and keep distractions to a minimum.

With AudioFuse, we didn't want to settle for merely bringing you the sound quality of a pro studio, we wanted to bring you its workflow too. That's why you have detailed metering, talkback for instant communication with talent in the next room, inserts to add professional effects processing to your recording chain, A/B monitor switching, and direct access to the essential features so you can spend more time creating and less time setting up.

Wherever it comes from, whatever it has to travel through, and wherever it needs to go, AudioFuse will guide your sound.

AudioFuse connects with virtually everything: mics, instruments, turntables, studio equipment, Mac, PC, tablets, even iOS and Android phones. It all happens with a round-trip latency as low as 3 milliseconds so you'll feel right in the groove every time.

When you know your equipment is the best of the best, creativity can take care of itself.

When it is all about giving the best of yourself being able to rely on the best technologies becomes crucial. The lowest harmonic distortion, the most linear frequency response, the highest signal-to-noise ratio and the shortest latency, these technical terms may seem far removed from your creative process, but they are essential to delivering your music in the highest quality possible.

Capture the moment- at home, in the studio, on the road, or wherever creativity strikes.

AudioFuse has a super-solid aluminum chassis you can trust, complete with a hard cover to protect it from damage in your bag- or even just dust on your desktop. The build quality goes far beyond a great-looking exterior, as well. Your unit has to pass rigorous testing before it can be packed and shipped. It even comes with a test specification printout of your exact unit. Meet your new best friend for the studio and stage.

Notes: Metron is a 16-channel trigger and gate sequencer for Eurorack with extensive functions, expansion possibilities and the tools you need to create long sequences with many variations in a very short time.

The sequencer allows pattern lengths of up to 256 steps, and the number of steps per channel can be varied to create interesting and varied rhythmic structures. These patterns can be quickly stored and exchanged between units via the SD card slot. Metron also offers a random function per step and a ratcheting function.

With the optional WMD Voltera, Metron can be expanded with four additional bipolar voltage outputs.

Features:

16 Channels of trigger and gate signals
intuitive drum sequencer
View 4 channels at a time and easily switch views
Single track view lets you zoom in on a single track and see 64 steps at a time
Up to 256 step pattern length
Different pattern lengths per channel
Five instantly recallable, editable variations
View and edit variations that are not playing for easy cue and non stop performance play
Save patterns to SD memory for easy recall on power cycle
No-stop loading from memory
Easy view memory previews lets you see a pattern before loading from memory.
SD allows for easy update as well as easy back up / file transfer from unit to unit
FX / Fills for instant / momentary variation
2 assignable inputs for external CV control
Tap in patterns with quantized recording with the buttons or external source
Quick copy / paste / clear functions
Internal clock with Swing
dedicated reset output
MIDI Preset mode lets you send MIDI messages to other modules on the Doepfer CV bus. (for use with WMD SSM, Malekko Voltage Block, and more)
Random Pattern Generation
Probability per step and group probability functions
Burst per step for ratchet / roll sounds
Custom Fill Patterns for instant fills
Trigger Mutes
Step looping
Manual gates
Power consumption: 180mA at +12V and 0mA at -12V

Depth: 31mm

HP : 36

Notes: The Allen & Heath ZED-24 has an incredibly advanced feature. It has 23 independent sources to the mix, 10 independent outputs and 4 aux sends. Configurable USB audio input/output makes it easy to capture stereo recordings, playback and effects, a unique dual stereo input capability and some very advanced monitoring facilities. In fact, the ZED-24 mixer is so packed full of great features that you'd think it would cost much, much more.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED-24 is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED-24, select the USB routing on the mixer and the device on your computer and that's it.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

Send options:
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

Return options:
1) To Stereo 3 channel

ZED-24 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-24 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Serious mastering-grade kit. Stereo interface with high-end converters and headphone amp circuit for pristine sound quality. Proper clarity for critical listening.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's notes:
The RME ADI-2 Pro FS is a two channel 24-bit / 768kHz AD/DA converter and USB 2 Digital Audio Converter, audio interface and high-end headphone amp with new jitter rejection SteadyClock FS technology.

The RME ADI-2 Pro FS is the most flexible converter available with balanced and unbalanced I/O, two headphone outputs, DSP-based signal processing and RME's latest Steady Clock FS jitter rejection technology. It offers Class Compliant USB compatibility, sample rates up to 768kHz as well as DSD record and Direct DSD playback.

It boasts a raft of analogue and digital I/O, including two servo-balanced analogue XLR/TRS Jack inputs, two separate balanced and unbalanced outputs on XLR and TS as well as two headphone outputs. Digital I/O include optical ADAT, Optical and coaxial SPDIF and AES accessible via a breakout cable.

Furthermore, its Class Compliant UAC 2 USB 2.0 port offers iOS compatibility and is necessary for firmware updates. It can also work as a 6-in / 8-out audio on Mac OSX and Windows via WDM and ASIO.

Using the latest in A-to-D technology the ADI-2 Pro FS offers best possible sound with highest signal-to-noise ratio, super low THD and noise. It supports sample rates up to 786kHz PCM and DSD recording in dual mono design, with 3dB improved signal to noise ratio. Two digital-to-analogue converters are used for the separate stereo outputs. The latest Integrated Sample Rate converter takes care of clocking issues between S/PDIF and AES thanks to RME's latest SteadyClock FS technology.

A high-resolution display shows controls for the ADI-2 Pro FS unique features including DSP effects like 5-band parametric EQ, binaural crossfeed, adjustable loudness filter, selectable AD/DA filters and four analogue reference levels. Furthermore, M/S processing is provided with stereo width control as well as phase loop. The display also shows RME's famous Spectral Analyser and 30-band bi-quad filtered analysis tool.

Notes: Big version of A&H's entry-level Zed series mixer. Originally intended for live applications but works very well as a studio mixer for hardware setups. A lot of mixer for your money.

Supplier's notes:
The Allen & Heath ZED-22FX mixer is ideal for groups who need to travel light. Featuring configurable USB audio input/output makes it easy to capture stereo recordings.

The ZED-22FX easily accommodates vocals, drums, guitar, bass and keys whilst also providing a dedicated FX bus and 16 internal time-delay effects, giving the whole mix extra ambience.

The ZED-22FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point, this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

Based on the proven pre-amps from the hugely successful PA series, ZED-22FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: 24-channel flagship version of Korg's hybrid mixer, combining analogue and digital features designed by mixer royalty Greg Mackie and Peter Watts. Supremely flexible with great sound.

Supplier notes:
A mixer should not only sound good. It should be very easy to use.

Korg has collaborated with the legendary mixer design team of Greg Mackie and Peter Watts to create hybrid/analog mixing consoles that make creative mixing easy. Both the 24- and 16-channel models give you instant analog control for live mixing with stunning sound quality and more musician-friendly features than the competition - paired with the power of high-quality digital where it counts.

Use a SoundLink and you discover all the typical Greg Mackie features that are unique to SoundLInk; hear your first live mix and discover why Peter Watts helped design legendary Trident consoles and then hundreds of high-end studio processors and preamps. Besides designing mixers, Greg Mackie has been mixing on them for over 40 years.

When you listen to the "White Album", Rhianna's "Rated R" and "Loud", "Goodbye Yellow Brick Road" and literally hundreds of other familiar albums, you're listening to the legendary Trident mixing console sound. Peter Watts had an important role in Trident technology; he brings the same rich, warm preamp, EQ and dynamics quality to the products he designs today. HiVolt mic preamps give you the most headroom of any comparably-priced analog or digital mixer (16.5V internal voltage, even on stereo channels where other mixers skimp). They sound warm and musical.

It is the only small mixer that has Mute Groups. They let you instantly call up different combinations of channels for various groups on stage, different songs, sound checks, a solo acoustic number, a drum solo or different parts of a church service (choir, praise band, pastor. You get four Group options, each easily programmable and recallable.

Some musicians want to hear more of their own instrument or voice in their in-ear or floor monitor, a process that is complicated to change on other mixers. SoundLink's Musician's Phone feature provides one-knob boost of the complete left/right mix into the musician's individual track. Instead of having to change main mix settings or take up a bus, you have dedicated knobs for two musician's "more me" monitor mixes.

Instead of a generic digital effects processor chip, SoundLink mixers use a high-quality proprietary Korg custom chip that builds on all of Korg's multi-decade expertise: twenty four ultra-realistic digital effects. For example, all six reverb effects include an alternate "WARM" version - a touch veteran Korg users will tell you is very useful. Parameters of all effects can be tweaked, saved and recalled, and activated by an optional footswitch. Plus, you get test tone generators for use with the built-in 24-band Spectrum Analyzer that's another SoundLink exclusive in a mixer in this price range.

Digital processing and effects are frustrating if they're buried in some long, scrolling menu inside a menu. For EQ and other control features, and a row of individual L/R, AUX 1 and Aux 2 assign buttons for both Equalization and Dynamics makes mixing easier. SoundLink's Limiter, Compressor, Noise Gate are both effective without being harsh or exaggerated. Each has tweakable, recallable parameters. Coupled with a 31-band Spectrum Analyzer, our super-practical 31-band/9-band ParaGraphic EQ solves acoustical problems other small mixers can't handle.

Notes: Desktop version of the mega Hydrasynth. The same amazing synth engine, paired with polyphonic, pressure-sensitive touchpads, making it an interesting creative alternative to the keyboard version.

*** New 2.0 Firmware update for all Hydrasynth models - March 2023 ***

This is a free of charge update for all current and new users of Hydrasynth. The biggest news in this update includes:
Expanded memory to 8 banks (Keyboard, Desktop, and Explorer only)
NEW modulation source: VOICE MODULATOR
OSC Bit reducer
LFO quantizer
ENV quantizer
LFO Step Advance
Global FX bypass
Increased Vibrato resolution
New Sustain pedal options including Sostenuto
More LED options
Glissando in glide options
Arp Range goes to 6 octaves
Arp Step Offset parameter
More Rand/Init shortcuts (all STEP LFO steps, Wavescan waves, Voice mod offsets)
Local On/Off saved
......And more!
This is the first major update to the Hydrasynth family in a little, which adds a tonne of new features.


Supplier's notes:
The HYDRASYNTH Desktop / Rack has the same great sound engine as the HYDRASYNTH Keyboard. The sound engine is a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts.

Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.

As for the performance capabilities, The Hydrasynth Desktop / Rack has 24 polyphonic pressure touch pads so that you can play the unit without needing to connect a keyboard or other controller. Using multiple pad layout modes as well as quick to access scale modes, the Hydrasynth Desktop / Rack is easy to make music on.

The Hydrasynth Desktop / Rack comes with rack ears so that you can mount it in a standard 19" rack.

Notes: The Spherical Wavetable Navigator (SWN) is a six-channel synthesiser that makes it easy to create slowly morphing drones, polyphonic melodies, evolving sequences, and rich textures.

The SWN features six wavetable oscillators with independent pitch, level, and waveform controls. Six LFOs (Low Frequency Oscillators) can be used as modulation sources and/or envelopes, making it easy to add dynamic motion to your patch. Each channel is a full voice and can be "played" using the top row of buttons, the internal LFOs, or note-change detection on the 1V/oct jacks. The SWN ships with 12 three-dimensional (spherical) wavetables and an easy interface which allows you to record and edit custom wavetables from live audio. Open-source software for Mac, Windows, and Linux called SphereEdit can be freely downloaded and allows you computer to create, edit, and convert .wav files into Spherical wavetables to transfer into the SWN with an audio cable.

New firmware available which adds extra features, visit https://4mscompany.com/p.php?p=820&c=5 for details.

Notes: Unlock limitless creativity with the SQUID multitrack sequencer. Part of our TORAIZ series of musical instruments and production equipment, this inspiration tool will be the heartbeat of your studio and live setups. The SQUID will control your workflow and give you the chance to develop new styles of music as you create unique sequence patterns and phrases at the touch of a button. Connect, sync and simultaneously control up to 16 instruments via its multiple input/outputs. The terminals are compatible with various equipment, from your DAW and hardware instruments to modular synths, vintage synthesizers and drum machines.

Perfect for on-the-fly music production, the layout and controls are effortless to navigate so your ideas will come to life the moment inspiration strikes. This production tool enables you to randomize sounds, sequences, and drums - all in key. Access endless polyrhythmic-looping options and instantly change the playback direction and speeds. With the world-first Groove Bend feature, you'll really feel the groove as you generate original rhythms in real time. And by controlling everything in one place, you can focus on developing phrases.

Intuitive workflow:

Have fun creating phrases by tapping the 16 multicoloured LED rubber pads in the Step Edit section. Set step parameters and play live as if the pads were keys on a keyboard. Combine various sequence functions such as Interpolation and Harmonizer to help build your sounds.

Arrange phrases in real time:

Rearrange phrases you've created in the Step Edit section to craft your ideas the instant they spring to mind. Enhance your sounds with performance features, such as Running Direction, Speed Modulation, and Groove Bend.

Save your 'happy accidents':

The SQUID records performance information in the background so you'll never lose phrases you create accidentally. When you're experimenting and hear something you love, use the Time Warp feature to recall and save it as a sequence pattern for your next track.

Connect various instruments:

The SQUID has a USB B terminal, MIDI terminals, 2 sets of CV/Gate outputs, and Clock and DIN Sync input/output terminals. This means you can combine the power of your DAW with modern, modular and vintage synths, as well as drum machines. Signals are converted automatically.

Import and export fast:

Quickly transfer sequence patterns, projects and Midi clips between the SQUID and your PC or Mac with the SQUID Manager function. Easily import a sequence pattern created on your DAW to the SQUID, instinctively arrange it using the sequencer's features, and return it to your DAW.

Notes: Innovative little sampler groovebox. Works as a standalone unit or as a sequencer for other gear. A nice left-field alternative to the usual MPCs and Electribes.

Supplier's notes:
Blackbox is a portable sampler and groovebox that lets you record, save/load, apply effects and edit one-shot samples and beat-sliced loops. Create sequences with samples by tapping on pads, playing a virtual keyboard, using external MIDI controllers or by drawing-in notes using a standard Piano Roll editor on a fast touchscreen interface. Sequences can be played back to create song sections and entire compositions. Finish your song by mixing it, adding stereo effects and by saving it as a Preset for fast and easy recall.

Perform songs live and trigger samples on the fly. Blackbox makes it easy to create and perform music anywhere thanks to its compact and rock-solid hardware design. Just throw it in a backpack and hit the club.

Record hours of song ideas, jam sessions, and performances thanks to a microSD slot that enables you to expand internal memory.

Blackbox comes with gigabytes of premium samples and loops by SoundTrack Loops and Loopmasters to let you start making beats right out of the box.

Blackbox - your own personal sampler.

What Is Included:

- Blackbox compact sampling studio
- MicroSD card with blackbox firmware, about 60 presets and approximately 900 WAV files
- USB power cable and USB wall wart with 3 international adapters
- 2 MIDI Adapters - Male 3.5mm TRS to Female 5 pin DIN, MIDI Class B standard
- Quick Start guide to get you playing right away

Notes: USTA is a 4×4 tracks sequencer for voltages and gates with variable stage duration, designed to quickly see and edit multiple voltage relationships in real time.

Variable stage duration means that every single stage duration can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one stage per every clock impulse).

4×4 tracks means that every stage can store and generate up to four separate voltages (two CVs and two gates), and that up to four independent stage sequences can be arranged into as many different tracks.

Its architecture is based on an array of 16 'Stages' which form a 'Pattern'; 16 patterns form a 'Track', and four tracks form a 'Project'. Within each track, each stage can provide two gates and two CVs, and a wide set of options is available to define and modify the value of each output ('Layers') and the way it is played ('Colours').

Every Stage is related to a dedicated stepped encoder for quick and intuitive editing, and all the 16 encoders are arranged in an oval layout with a circular playhead. Every encoder is surrounded by a ring of 16 LEDs and a RGB led, to provide a visual feedback of the current setting of that step basing on the layer you are working on (like raw CV, quantized CV, length, gate...) and the way it should play depending on the RGB colour.

Notes: A unique graphical take on an oscillator design, E-RM's brand-new polygonal synthesis approach is unlike anything else we've seen. Stereo oscillator capable of a huge range of timbres. Innovative stuff.

Supplier's notes:
The polygonal synthesis is a kind of graphical complex amplitude shaping method. With the help of the built-in modulation sources, polygonal synthesis in polygogo opens up a wide range of sonic possibilities from clicky pinged sequences to unique dark thunderstorms, bass lines, leads and colored noise.

This mighty stereo oscillator impressed the audience with its wide range of possible timbres. The idea of sculpting a shape on the screen of the module that then translates into sound works really well and invites the user to interact with the module.

Notes: Deckard's Voice is an entry level semi-modular synth from Black Corporation for eurorack systems. Sharing the same paradigm and circuit as it's bigger brother Deckard's Dream, trimmed down for eurorack and supplemented with the flexibility available only in a modular format.

Features:

VCO with pulse, glitch saw and sine outputs
Dedicated LFO for PWM
Noise source
External audio input to a filter
Discrete hipass and lowpass filters with resonance and IL-AL-ADR envelope
LFO with sine, saw, ramp, square, smooth and stepped random output
Output VCA with ADSR envelope and velocity control over volume
ADSR (0-10V) and LFO (-5V/+5V) outputs
Master and line level outputs
32HP size
+12/-12V standard eurorack power
38mm deep

Notes: Five decades of sound processing expertise distilled into a compact multi-effects pedal. Huge processing power derived from the H9000 Harmonizer, featuring classic algorithms and new effects.

***H90 Control app announcement - February 2024 ***

Eventide Audio has announced the immediate availability of the H90 Control iPad app Release 1.7.6, which enables Bluetooth functionality. H90 Control provides remote control access and Program list management for the H90 Harmonizerr pedal. The app lets users manage Program and Preset settings, perform system updates, and import/export User Lists with an easy-to-use interface, all now with the convenience of Bluetooth connectivity.

The release also implements a new Bypass mode in System Settings - "AB Only" - which allows users to bypass just the onboard effects, leaving insert routings active. It also adds support for full user content
backup/restore and log retrieval in H90 Control.

H90 Control for iPad is available for free download from the Apple App Store.

For H90 users who have updated their H90 firmware to 1.7.4+, H90 Control Release 1.7.6 for MacOS and Windows adds Backup/Restore for user content (Programs, Lists, Presets) and system settings.

H90 Control for Mac and Windows is only available for H90 owners who have registered their H90 pedal.

Supplier's Notes:
Beyond the Effect Horizon

The H90 Harmonizer is Eventide's next-generation multi-effects pedal. Whether you want high-quality bread and butter effects or experimental sounds unheard, the H90 has everything you need to inspire your creativity with an intuitive UI designed with players in mind. Discover why top artists and producers have chosen Eventide through the years with 62 effect algorithms and hundreds of Program combinations curated for a variety of instruments and genres. With its comprehensive I/O and flexible routing options, the H90 is designed to be the heart of your rig.

New Technology, New Effects

H90 Harmonizer features modern ARM-based architecture derived from the world's most powerful effects processor, Eventide's flagship H9000 Harmonizer. This paves the way for the ongoing creation of more advanced effects processing techniques. As a result, the pedal not only offers the iconic reverbs, delays, modulation, and pitch shifting effects of the H9 Max but goes far beyond with 10 new powerful algorithms including state-of-the-art, fast-tracking, and warble-free Polyphonic Pitch Shifting. Eventide's proprietary SIFT (Spectral Instantaneous Frequency Tracking) technology clears the road ahead for next-gen effects both long imagined and unimaginable.

Live Performance Machine

The H90 Harmonizer is a live performance powerhouse! The front panel has been reimagined with five push knobs, seven LED buttons, and a hi-res OLED display for greater hands-on control and parameter feedback. Two large push knobs allow you to switch between SELECT, BANK, and PERFORM modes with ease. In PERFORM mode, you get six programmable footswitches. Map functions like tap tempo, preset, insert bypass or momentary states; use them to engage options like reverb freeze, pitch flex, or delay repeat; make multiple instantaneous parameter changes with three Hot Switches .The comprehensive UI allows you to control any parameter with ease. Adjust expression mappings by hand with the PERFORM HotKnob and engage up to six individual assignable parameters with the three push-button Quick Knobs. Get even more control with two inputs for expression pedals or auxiliary switches with up to three buttons. If that wasn't enough, take advantage of the pedal's extensive MIDI control. The H90 comes with hundreds of factory Programs which can be loaded using either SELECT or BANK mode. In SELECT mode, you can navigate your Playlist sequentially without ever missing a detail thanks to the OLED display. In BANK mode, you can quickly load from a bank of 3 Programs, perfect for cueing up a range of sounds for a song. Organizing your favourite sounds has never been easier, simply load a new Playlist and you're ready for the next gig!

Specifications

Inputs 1 - 4: 14 inch TS mono jack
Outputs 1-4: 14 inch TS mono jack
Exp/Ctl 1-2: 14 inch TRS / Expression pedal or Aux Switch
USB Type-C: Use USB 2.0 for control, updates, and MIDI
MIDI In: Five-pin DIN (Female)
MIDI Out/Thru: Five-pin DIN (Female)
DC Input Jack: 5.5/2.5mm plug / Center Positive (+)
Input Impedance (Inst. Level: >600k ohms
Input Impedance (Line Level): >80k ohms
Output Impedance: 220 ohms
Recommended Load Impedance: 10k ohms
Maximum Input Level (Inst): +4dBu
Maximum Input Level (Line): +14dBu

Power
12V DC @ 1A / Center Positive (+), 5.5/2.5mm jack

Dimensions (Product)
English: 6.5" (W) x 5.25" (D) x 2.5" (H)
Metric: 170 (W) x 136 (D) x 68 (H) mm

Dimensions (Package)
English: 10.5" (W) x 7" (D) x 3" (H)
Metric: 265 (W) x 180 (D) x 75 (H) mm
Weight (Product): 1.85 lbs / 0.84 kg
Weight (Package): 3 lbs / 1.36 kg
Shipping Contents: H90, Eventide Sticker, 4x Rubber feet, Guitar pick, Universal power supply with plugs (US, UK, EU, AUS), USB A to Type-C cable, Quick Reference Guide

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


Eurorack modular synthesizer case designed to meet the demanding requirements of project and professional studio environments. The Structure EP-270 provides massive amounts of clean, quiet power housed in beautiful, angled hardwood enclosures, full of classic synthesizer styling.

Uncompromising power and craftsmanship combine to create this stunning studio case. The Structure EP-270 offers 270HP of module space with a combined 9 amps of robust power.

Notes: Part of Reloop's hi-fi range, the Turn 5 is a focussed audiophile turntable. No pitch control or other DJ features here, just high-end sound quality thanks to a quartz-controlled direct drive motor and the included Ortofon 2M Red cartridge.

Supplier's notes:
Direct Drive HiFi Turntable System

With TURN 5 Reloop HiFi is launching a quartz-controlled, direct-drive turntable that meets the highest sound requirements. Using their expertise, Reloop have developed a new HiFi turntable, which with its technical sophistication is the best in its class.

Powerful DC motor & low-resonance die-cast platter

The brushless, direct-drive DC motor ensures a powerful drive at a very consistent rotation and the TURN 5 has been produced using die-cast precision manufacturing techniques. A dampening rubber base on the turntable system eliminates any unwanted resonance and the accompanying 5 mm rubber coating also protects against vibrations so that nothing stands in the way of the exceptional sound reproduction.

Static balanced S-tone arm & Hi-tech Ortofon cartridge system

The TURN 5 uses a statically balanced S-shape tone arm. This is supplied, along with the hydraulic lift and an anti-skating setting, with a convenient tone arm height adjustment with locking VTA. This guarantees optimum performance of the cartridge and an accurate reproduction of the recording medium.

The supplied Ortofon 2M Red cartridge is already pre-mounted on a headshell and stands out thanks to its elliptical cut with phenomenal sound quality.

High-quality control elements & connections

The three motor speeds can be selected with convenient controls on the top to 33 1/3, 45 or 78 rpm. This means the TURN 5 can also play back old shellac records with a corresponding mono-system (not included). Next to this is the large start/stop knob. The universal locking mechanism (SME) on the tonearm allows for a quick and easy headshell exchange. Also, with the supplied counterweight a whole range of cartridges can be used as this also supports heavier pick-ups.

On the rear panel of the TURN 5 is a gold-plated phono output pair (RCA) with a separate earth connection to prevent any potential interference. The terminal for all cable connections has been recessed to protect them as much as possible. For a simple exchange, the power cable and the RCA cable can be removed.

Elegant design in a particularly heavy-duty construction

The housing is built on a heavy-duty metal construction with shock-absorbing feet in order to isolate unwanted vibrations as much as possible and reduce ambient noise. The combination of several materials provides additional stiffness to the housing.

With its deep black piano finish, visually the TURN 5 is elegant and timeless. The gold-plated turntable hovers harmoniously above the cover plate and focuses the view on the important thing - the record.

Technical Data

Turntable Section:
Type: Direct Drive Manual Turntable System
Drive: Quartz driven upper-torque direct drive
Motor: 16 pole, 3 phase, brushless DC motor
Turntable Speeds: 3 speeds, fully manual (33 1/3, 45, 78 rpm)
Starting Torque: 4500 g/cm
Start-up time / rpm change: less than 0.2 sec.
Wow and flutter: 0.01% WRMS
S/N Ratio: More than 55 dB (DIN-B)
Brake system: electronic brake
Record weight: recommended 800g

Turntable Platter:
Material: aluminium die-cast
Diameter: 332 mm
Weight: About 1.8 kg (including rubber mat)

Tonearm Section:
Type: Universal Static Balanced S-Shaped
Effective Length: 230 mm
Overhang: 15 mm
Tracking Error Angle: Less than 3 degree
Offset Angle: 22-
Stylus Pressure: 0 - 4 g
Adjustable Tonearm Base (VTA): 0-6 mm
Applicable Cartridge Weight: 3.5~8.5 g (including headshell is 13~18 g)
Anti-Skating Range: 0 - 3 g
Effective tonearm mass: 20 g (incl. headshell)

Terminals:
1x PHONO Out (gold-plated), 1x GND Earth Terminal

General:
Power supply: AC 115/230 V, 60/50 Hz (EU/US), AC 100 V, 50/60 Hz (JP)
Power Consumption: 9 W
Dimensions: 458 (W) x 368.3 (D) x 162.4 (H) mm
Weight: approx. 12.8 kg

Notes: The Michigan Synth Works SY-1 Drum synth is a full size, exact replica of the Pearl SY-1 Syncussion. Every detail has been replicated from the original board layouts to the mechanical construction. The assembled version has been modernized to use current manufacturing processes while still using the original board layouts and all parts have been carefully chosen to match the behaviour of the original. Case, boards, and I/O Boards are all interchangeable with the original Pearl device

The Syncussion:

The Syncussion is a 2 voice drum synthesizer with two oscillators per voice and six different modes. Five modes mix and modulate the oscillators plus a noise channel. Each voice has controls for TUNE, DECAY, SWEEP amount, SWEEP Speed, Sweep up/off/down, LFO amount, and LFO speed, LFO Shape (Tri or Square), and sample and hold

OSC Modes:

A: One oscillator sound, at this position the regular drum synthesizer sweep can be effected.

B. Sound of one oscillator adjusting the other osciIIator frequency; produces a metallic sound.

C. Sound of a mix of two oscillator outputs; sound is similar to that of a vibraphone.

D. Sound of mix of two oscillator outputs; produces a low to high sweep and is done by hitting pad softly or hard; there is no connection to SWEEP SPEED and SWEEP RANGE

E. Sound of one oscillator adjusting the other oscillator frequency with a mix of noise; produces a sound similar to hitting thin metal.

F. Sound of only noise

Triggering:

The SY-1 is designed to be triggered via drum triggers which output a very low pulse signal. Modern 5V trigger signals (v-trig) can be used, how it i recommended experimenting with simple audio samples or more dynamic triggers. One of the more interesting features of the Syncussion is the dynamic response to the drum triggers and just sending a straight pulse which maxes out the trigger inputs does not do the device justice.

Tuning:

The original SY-1 uses a tune pedal to adjust the pitch of both oscillators while playing. This functionality has been retained in the original configuration but is of limited use without the pedal. The expanded version DOES have per voice CV control (1v/Oct) as well as the MIDI.
The Michigan Synth Works SY-1 is available in 3 different versions:

1. Original I/O Configuration: The inputs and outputs use regular 1/4" Mono phone plugs:

Trig 1 In - Trig 2 In - Mute - Tune (via Tune pedal) - Mixed Output

The SY-1 ships with a metal base panel but the DIY wood case can be used instead. It is provided UNFINISHED and sold separately.

What's included:
SY-1 Synthesizer
Universal Power adapter (100-240V, 12V DC out, Tip Positive)

Notes: The Michigan Synth Works SY-1 Drum synth is a full size, exact replica of the Pearl SY-1 Syncussion. Every detail has been replicated from the original board layouts to the mechanical construction. The assembled version has been modernized to use current manufacturing processes while still using the original board layouts and all parts have been carefully chosen to match the behaviour of the original. Case, boards, and I/O Boards are all interchangeable with the original Pearl device

The Syncussion:

The Syncussion is a 2 voice drum synthesizer with two oscillators per voice and six different modes. Five modes mix and modulate the oscillators plus a noise channel. Each voice has controls for TUNE, DECAY, SWEEP amount, SWEEP Speed, Sweep up/off/down, LFO amount, and LFO speed, LFO Shape (Tri or Square), and sample and hold

OSC Modes:

A: One oscillator sound, at this position the regular drum synthesizer sweep can be effected.

B. Sound of one oscillator adjusting the other osciIIator frequency; produces a metallic sound.

C. Sound of a mix of two oscillator outputs; sound is similar to that of a vibraphone.

D. Sound of mix of two oscillator outputs; produces a low to high sweep and is done by hitting pad softly or hard; there is no connection to SWEEP SPEED and SWEEP RANGE

E. Sound of one oscillator adjusting the other oscillator frequency with a mix of noise; produces a sound similar to hitting thin metal.

F. Sound of only noise

Triggering:

The SY-1 is designed to be triggered via drum triggers which output a very low pulse signal. Modern 5V trigger signals (v-trig) can be used, how it i recommended experimenting with simple audio samples or more dynamic triggers. One of the more interesting features of the Syncussion is the dynamic response to the drum triggers and just sending a straight pulse which maxes out the trigger inputs does not do the device justice.

Tuning:

The original SY-1 uses a tune pedal to adjust the pitch of both oscillators while playing. This functionality has been retained in the original configuration but is of limited use without the pedal. The expanded version DOES have per voice CV control (1v/Oct) as well as the MIDI.
The Michigan Synth Works SY-1 is available in 3 different versions:

Expanded I/O Configuration: The inputs and outputs use 1/4" Stereo to 1/4" (3 included) to greatly expand the capabilities of the device. The Mod input is open for user modification, factory mods will be available. Please contact for details.

Trig 1,2 In - Mod 1,2 In - Mute - Tune 1,2 CV in - Output 1, 2

The SY-1 ships with a metal base panel but the DIY wood case can be used instead. It is provided UNFINISHED and sold separately.

What's included:
SY-1 Synthesizer
Universal Power adapter (100-240V, 12V DC out, Tip Positive)
Expanded I/O: 3x 1.5m TRS 1/4" Phone to 2x TS 1/4" Phone

Notes: The Michigan Synth Works SY-1 Drum synth is a full size, exact replica of the Pearl SY-1 Syncussion. Every detail has been replicated from the original board layouts to the mechanical construction. The assembled version has been modernized to use current manufacturing processes while still using the original board layouts and all parts have been carefully chosen to match the behaviour of the original. Case, boards, and I/O Boards are all interchangeable with the original Pearl device

The Syncussion:

The Syncussion is a 2 voice drum synthesizer with two oscillators per voice and six different modes. Five modes mix and modulate the oscillators plus a noise channel. Each voice has controls for TUNE, DECAY, SWEEP amount, SWEEP Speed, Sweep up/off/down, LFO amount, and LFO speed, LFO Shape (Tri or Square), and sample and hold

OSC Modes:

A: One oscillator sound, at this position the regular drum synthesizer sweep can be effected.

B. Sound of one oscillator adjusting the other osciIIator frequency; produces a metallic sound.

C. Sound of a mix of two oscillator outputs; sound is similar to that of a vibraphone.

D. Sound of mix of two oscillator outputs; produces a low to high sweep and is done by hitting pad softly or hard; there is no connection to SWEEP SPEED and SWEEP RANGE

E. Sound of one oscillator adjusting the other oscillator frequency with a mix of noise; produces a sound similar to hitting thin metal.

F. Sound of only noise

Triggering:

The SY-1 is designed to be triggered via drum triggers which output a very low pulse signal. Modern 5V trigger signals (v-trig) can be used, how it i recommended experimenting with simple audio samples or more dynamic triggers. One of the more interesting features of the Syncussion is the dynamic response to the drum triggers and just sending a straight pulse which maxes out the trigger inputs does not do the device justice.

Tuning:

The original SY-1 uses a tune pedal to adjust the pitch of both oscillators while playing. This functionality has been retained in the original configuration but is of limited use without the pedal. The expanded version DOES have per voice CV control (1v/Oct) as well as the MIDI.

MIDI equipped I/O Configuration: This is the same as the expanded i/o configuration but adds MIDI in place of the MOD input. The MIDI responds to velocity to gate level and pitch for each channel. 2 TRS-TS and TRS MIDI cables are included

Trig 1,2 In - MIDI In - Mute - Tune 1,2 CV in - Output 1, 2

The SY-1 ships with a metal base panel but the DIY wood case can be used instead. It is provided UNFINISHED and sold separately.

What's included:
SY-1 Synthesizer
Universal Power adapter (100-240V, 12V DC out, Tip Positive)
MIDI I/O: 2x 1.5m TRS 1/4" Phone to 2x TS 1/4" Phone, 1x 1.5M 3.5mm TRS to MIDI, 1x TRS 3.5mm to 1/4" TRS Adapter

Notes: ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands