搜索结果

Notes: Mono Lancet '15 might be small-sized device, despite it is a bona fide analogue synthesizer.

Two oscillators and a noise generator are the foundation for its sound. Together with the musical lowpass filter and VCA it's capable of producing warm and precious sounds full of character.

Beside its audio qualities Mono Lancet '15 has a dead simple and intuitive user interface. Each parameter has its own control. We are absolutely convinced that you will quickly learn how to realize your sounds with Mono Lancet '15 without thinking about what you do.

Expandable with Modular Dock:
Mono Lancet '15's functionality can even be enhanced using the optional Modular Dock eurorack module. It offers various in- and out-connections to the individual sections of the synthesizer. With just a few additional modules you can multiply the strong sound base of Mono Lancet '15.

Mono Lancet '15 is manufactured in our Elektroakustischen Manufaktur in historical Vogtland. For us it is not only a piece of high-quality analogue technology but rather a musical instrument, handmade with love and passion.

Ships with UK 3-pin power supply.

For audio demos, please visit - http://www.vermona.com/en/products/synthesizer/product/mono-lancet-15/

Notes: Centred around an advanced 16-track sequencer where all tracks run independently, OP-Z makes individual track speed and track length possible. In addition to this, it's possible to add unique step behaviours to every one of the 16 steps: a feature we call step components. Think of this as dual layer sequencing where the first layer is a traditional 16 step sequencer, while the second layer adds variation per cycle, note variation, micro sequencing, direction, parameter changes, re-trig's and much more, all on just one single step. In theory, it's possible to create a complete song by programming only the 1st step of the 16, using multiple step components to create endless variations, a technique recommended for experts and engineers only. Seriously, in some situations it's actually almost impossible to predict the complete length of a sequence. So, we created a special component for those situations named 'catch up', that forces a track to exit at a certain step to stay in sync. In total, there are 14 components sorted into 3 groups: triggers, note variations and specials.

All 14 components have 10 values and behaviour programs. The product of all this is that you have 140 ways to alter just one single step. Probably more than most people can handle. And to make step composing really intuitive and super-fast, all keys are backlit with multi-colour LED's with instant machine feedback, a must-have for poorly lit club gigs and late-night-in-bed composing. Actually, the print on the unit itself is made with a special glow-in-the dark-paint. A pretty cool 'world's first' for synthesizers.

Bring your own screen:

OP-Z is a completely stand-alone synthesizer and composer, ready to be used at anytime and anywhere, but for those of you who need that extra injection of vibrant graphics, interactive user interface and awesome synced animations to feel inspired, we introduce the concept of BYOS - bring your own screen. You already have the phone with that gorgeous retina display in your pocket, right? Just download the OP-Z app, pair the two devices and you are all set. Add cellular connectivity, WiFi and powerful graphics processing to that, and the concept certainly makes sense. All this tech when connected to the OP-Z adds several unique features - like using the phone's camera, snapping a series of photos and arranging them to a beat, creating a synchronised music video 'a-la-minute'.

We support Dropbox on IOS as well, so transfer of your custom artwork on to your IOS device will be instant and without cables. To eliminate any latency between image and sound, we ported the OP-Z sound engine to run simultaneously on your IOS device. Something we call 'dual domain synthesis'.

Photomatic:

Snap a series of photos and sequence them to a beat. Compose a song and create a completely synchronised music video 'a-la-minute'. The included photomatic feature is just pure instant fun.

Custom graphics:

By adding any artwork or a photo to your IOS device camera roll or to a Dropbox folder, you can create high quality custom graphics, patterns, colour palettes or stop motion videos. Anything can be animated in pace with your music.

Create your own world:

OP-Z is tailor made for unity 3D, the world's most popular multi-platform game engine. Chosen because of its intuitive workflow and excellent VR support. A dedicated OP-Z toolkit for unity will be available at launch that opens up the entire machine.

Full unity 3D integration:

Teenage engineering have worked closely with Keijiro Takahashi and the unity Tokyo studio to fully integrate OP-Z with the unity game engine. As Keijiro-san is both a full time software evangelist at unity and a renowned VJ at night, we have had access to a selection of Keijiro-san's personally developed tools and shaders which deliver stunning 3D graphics that run at full speed on iPhone or iPad. Keijiro-san's tool-set and real life experience in performances with motion graphics have been invaluable in making OP-Zan inspiring live tool for moving images in sync with music. The weakest point of VJ-ing has always been the creation of content. By exposing the inner control data of the OP-Z and linking it to unity, users can create anything within unity, build the project and just drop the build to a Dropbox folder. Customizing every single polygon in a performance.

If it don't have tape, it's not OP:

The new tape feature is probably one of the coolest sonic features of the OP-Z. Imagine a short snippet of tape secretly recording everything that is programmed in the sequencer - all in real-time. And with its own dedicated track it's possible to sequence the tape, trig the in-point, length and speed. OP-Z will come with a range of tape reels with unique character and functions. Scrub, scratch, wind-up and mess-up!

Notes: Ten channels, digital effects, USB audio interface plus reliable Allen & Heath build quality. A whole lot of mixer in a compact format.

Supplier's notes:
Hybrid compact mixer / 4×4 USB interface with FX:
ZEDi-10FX combines the robustness and hands-on control of an analogue mixer with a high quality 4 x 4 USB interface and an outstanding multi-model FX unit, making it a perfect all-round choice for musicians, recording artists and venues. Whether it's bouncing ideas around at home, performing live or recording tracks to share on YouTube and Soundcloud, ZEDi-10FX is a versatile companion for every step of the creative journey.

The studio quality, 24-bit / 96kHz, 4×4 USB interface makes it easy to capture stunning multitrack recordings direct from the mixer to a Mac or PC without the need for any extra equipment. Featuring the new GSPre boutique preamp design, developed from the revered GS-R24 studio recording console, the ZED boasts exceptionally low noise and massive headroom, with a signature analogue warmth and depth. ZEDi-10FX includes a specially created suite of studio quality reverbs, delays and special multi-model FX, crafted by Allen & Heath's acclaimed in-house effects aficionados. Guitarists will be pleased to know that two of ZEDi-10FX's mono channels feature Guitar DI high impedance inputs, allowing guitars to be plugged straight into the mixer without the hassle and expense of carrying separate DI boxes.

Mixer + USB interface
ZEDi-10FX offers the best of both worlds, incorporating a studio quality 4 in / 4 out, 24-bit/96kHz USB audio interface for hassle-free multitrack recording and playback to/from a Mac or PC, or to an iOS device using the iOS camera kit. The USB output source can be set up in several different ways to match your workflow.

Cubase LE Music Production Software included:
ZEDi-10FX comes with the acclaimed Cubase LE software. Cubase LE offers powerful yet easy-to-use software tools for audio recording, editing, MIDI sequencing and mixing. Its vast range of proven editing and sequencing tools can be used for a large range of music styles and areas of application. From singers and songwriters recording vocal lines to rock bands jamming in their rehearsal room, Cubase LE is as easy as it gets - with outstanding audio quality as well as time-saving recording and editing functionality.

Cubasis LE Mobile Music Production app:
The mixer also comes bundled with the Cubasis LE app. Cubasis LE is the compact version of Steinberg's streamlined, multitouch sequencer for the iPad, providing the same look and feel of its bigger brother Cubasis. Specially designed for quick and easy operation, Cubasis LE makes recording, editing and mixing a breeze.

ZedFX multi model:
ZEDi-10FX boasts a brand new suite of studio quality reverbs and delays, painstakingly crafted to enhance your recordings and performances. Special multi-model effects provide uniquely dynamic combinations of reverbs and delays.

Exceptional audio quality:
ZEDi-10FX features an exceptional new preamp design, created by analogue guru, Mike Griffin and developed from his highly acclaimed GS-R24 studio recording console. Known as GSPre, the preamps deliver exceptionally low noise and massive headroom, and the warmth and depth that Allen & Heath's analogue range is famous for. For tonal shaping, the precise 3 band MusiQ EQ controls have been carefully calibrated for responsiveness and precision, making it easy to shape and enhance each musical source.

Road tough:
All ZED mixers are designed and built to Allen & Heath's legendary touring grade standards to ensure a long life in the toughest environments. All channels are on individual, vertical circuit boards and all rotary controls are secured to the front panel with a steel nut to guard against impact damage.

Made for guitars:
ZEDi-10FX comes with two Guitar DI high impedance jack inputs, allowing guitars to be plugged straight into the mixer without the need for DI boxes. That's one less piece of gear to buy, carry and set up.

It's an Allen & Heath:
Allen & Heath has been a trusted name in professional audio since 1969. The ZED technology advances, but the commitment to audio excellence and build quality endures.

Notes: All the modulation effects you could dream of in a compact pedal. Chorus, Phaser, Tremolo, Vibe, Rotary and Filter programs give you plenty of sonic options with nice tweakability and superb sound quality.

Supplier's Notes:
The M1 is a powerful multi-function modulation machine with six customized, studio-quality programs: Chorus, Phaser, Tremolo, Vibe, Rotary, and Filter. Each program has a wealth of options to tune, tweak, customize and then save to one of nine onboard presets. A sound explorers delight, the M1 features a dedicated lo-fi knob allowing you to mix various lo-fi parameters to every program. Add subtle movement and texture to float under your playing or make a massive statement with a thick swirling chorus to choppy panning tremolo. Write your sonic story in any style and genre with the M1 High-Fidelity Modulation Machine.

Programs

Chorus - Find subtle chorus to be vibrant and lush tri-chorus that will instantly teleport you to the 80s. Type I is a traditional chorus great for tight smooth chorus tones. Type II adds a second chorus with an offset rate and depth. Thanks to the constructive interface, it has a more dramatic character caused by essentially running two chorus pedals in series. Type III finds its roots in the classic tri-chorus effect running three chorus units in parallel for a lush multi-dimensional chorus.
X knob controls Lag to set the maximum allowed amount of pitch detuning.

Phaser -Classic 70s phaser sounds we all know and love, with added features that you wouldn't expect. Similar to the Lillian, Type I is a 2-Stage Phaser that produces a single notch to the classic mild phaser. Type II is a 4-Stage model producing 2 notches for a stronger effect. Type III is a phaser modeled after the unique tuning and LFO shape found in a Uni-Vibe.

X knob introduces Feedback for a more dramatic phaser effect.

Tremolo - This program emulates a tremolo with three algorithms containing all the bells, whistles, and even a cherry on top. Type I is excellent for traditional sounds similar to optical and bias tremolos that raise and lower the entire frequency range - similar to the Monument in standard mode. Type II is a warm and cozy harmonic tremolo - similar to the Monument in harmonic mode. This unique sound is formed by raising and lowering your high and low frequencies opposite each other. Type III offers several predefined patterns for rhythmic sequenced pulsing tremolo. X knob manipulates the phase of the left and right volume modulation for a wide stereo panning effect. Shape and Symmetry in Type III (pattern Trem) select the pattern group and patterns within each group.

Vibrato - Make good parts great with detuned, warbly, and vintage sounds that harken back to the 60s. Type I focuses on traditional vibrato sounds like those found in Julia and Julianna's "V" mode. Old record players inspire type II with classic RPM's on the rate knob and some noise character you'd find in your dad's old dusty Speedwagon LPs. The rate knob can select 33rpm, 45rpm, and 78rpm speeds in this mode. Type III is our take on the wow and flutter pitch characters found in old tape players. Warm and charming with a hint of nostalgia. X knob manipulates the phase of the pitch modulation when connected with stereo outs in Type I and Type II and controls the amount of "flutter" modulation applied in Type III.

Rotary - Because you can't fit a Leslie speaker on your pedalboard, type I aims for that traditional watery sound of a well-oiled Leslie speaker. Type II only spins the horn but still plays the sound out of the drum. Type III only spins the drum but still plays sound from the horn. X knob controls the drive of the horn.

Filter - Add tone-shaping movement to your signal with different modulated filters. Type I is a lowpass filter good for modulated darker tones. Type II is a highpass filter used to creatively modulate your low frequencies. Type III is a bandpass filter forming a sliding "window" of frequencies. Drive the filter frequency with the main LFO or do things like set the depth to zero and turn up the LO-FI envelope control to drive the filter frequency with your playing dynamics.

X knob controls filter resonance, bringing a more aggressive sound to the selected filter.

Tone controls the filter's center frequency or starting frequency where the modulation is applied.

Specs:

The M1 comes in a dark blue finish with red, orange, cream, gold, green, purple and blue ink.
The enclosure's exact size with knobs is 4.9" x 2.52" x 2.64". Power requirements are 9VDC (300mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals. Daisy chain power supplies are not recommended. Power supply not included.
USB firmware updates can be done via www.walrusaudio.io

Notes: Osc 1 and 3 - Bytebeat oscillators

Generates sound based on equations converted to analog signals , there are sixteen equations selected by Up and Down switches. Four LEDs indicate equation number in binary mode. Three Pots modify numbers used by the equation, A0 , A1 and A2 , fourth pot Sample Rate controls pitch and speed of the oscillation. There's an Output Level pot for the oscillator and a dedicated jack for patching the Oscillator sound to external modules .

Hold toggle switches select between fast decay, long decay and hold mode, for the touch trigger input. There are CV inputs for pitch on these two oscillators

Osc 2 and 4 -Wavetable oscillators

Digital oscillators, touch controlled or gate controlled by gate jacks, pitch is controlled by pitch pot, modulation by LFO A or LFO B and cv inputs.

A0 pot selects waveform, A1 pot morphs between two waveforms.

There are individual output jacks.

LFO 1 and 2

Low frequency oscillator routed to MOD inputs for oscillators 2 and 4, also to modulation input for delay section, selectable by toggle switch , RATE and WAVEFORM shape
pots.

Dimensions
36 HP

Current Draw
200 mA +12V

Notes: Very nice old-school vocoder for Eurorack, featuring a built-in mic pre-amp and full 10-band patch bay. Internal VCO and straightforward control setup help simplify operation.

Supplier's Notes:
The VXC-2220 is an 10-band analogue vocoder with patch-bay for each individual filter section. VXC-2220 vocoder is based on the iconic classics 222 vocoder. For stand alone usage the VXC-2220 is equipped with an internal oscillator generating saw and pulse waves form C1 to C6. A simple and efficient vocoder.

Specifications

Microphone input for speech signal
Line input for speech signal
Line input for carrier signal
Input level control for speech and carrier signal
Output level control
Line output
10-Band analyzer outputs
10-Band synthesizer input
Internal VCO (1 semi-nut step size);
* Saw wave (C1 - C6)
* 3x 10% Pulse wave (C1+C2+C3 - C4+C5+C6 )
* White noise
- Synthesis for 's' and 't' sounds
- Feed-trough level control for speech and carrier channel
- Bypass switch
- 10pin power connector (+/-12V)

Dimensions:
(36HP) 128,5×182.5mm (depth: ca. 35mm incl. power connector)

Power Consumption:
+12V = 125mA
-12V = -125mA

Notes: A fresh take on granular processing with this stereo DSP module. Grain delay, texturising and freezing with plenty of hands-on control and modulation via CV, gates and triggers. Versatile.

Supplier's Notes:
Melotus Versio is a stereo texturizer that uses granular processing to transform and reshape sound.

Designed to be played by hand or manipulated within a patch, Melotus is everything from a grain delay to a completely transformative texturizer with grain control and manipulation of triggering, direction, and randomness.

Filter audio with a lowpass/highpass combo filter that adds haunting shimmers and subharmonics. Freeze grains by hand or with triggers and gates, or clock them to create rhythmic effects.

Plus, Melotus Versio is part of the Versio DSP platform: transform it into a completely different effect by loading a growing number of alternate firmwares, completely free - or develop your own firmware with our open-source documentation.

Notes: 8-input, 8-output sequential/addressable switch with manual, trigger, and CV control, plus three grouping options, multiple switching directions, and randomization.

Vice Virga is an 8-input, 8-output sequential/addressable switch with a plethora of features and extensive patchability. Vice Virga can be configured as a single 8-channel switch, two 4-channel switches, or four 2-channel switches. Equal parts automated patch arranger and performance tool, Vice Virga has loads of switching control options. Whether you want to chain sequencers, swap outputs on an oscillator, remix a trigger pattern, or mix up every connection in a patch just to see what happens, Vice Virga can do it!

Features:

Size and power:
8HP Eurorack
+12v: 40mA
-12v: 20mA
Vice i from Latin for "alternately"

Virga i from Latin for "switch"

"Alternating Switch"

Notes: From one of the most iconic names in modular synthesis, the Variable Bandwidth Filter is a unique design, combining two state-variable VCFs with extensive CV control for clean, versatile filtering.

Supplier's Notes:
The Serge Variable Bandwidth Filter (VCF2) is probably the rarest classic filter in the Serge system, offering a unique combination of 2 filters. According to the 1983 Serge catalogue, the Variable Bandwidth VCF (VCF2) "has a band-pass output which can be varied manually or with voltage control. This is a standard response synthesizer VCF, typical to filters used in many studio systems. In the VCF2, two state-variable VCF's are connected in series to produce a total of five outputs. High pass, low pass, two fixed bandwidth outputs, and one variable bandwidth output are available. The outputs are all flat-response (no resonance) so the VCF2 is suitable for processing concrete sounds without introducing resonant coloration to the timbres. Under voltage or manual control, cut-off frequency of the high and low-pass outputs are affected, as well as the center frequency of the two band-pass outputs. Both center frequency and bandwidth are independently controllable on the variable bandwidth output."

Now - for the first time, designed and licenced by Serge - the VCF2 is available as a eurorack module. A new switch has been added which determines if the CV-controls are routed to the first (left), second (right) or both filters, bringing even more sonic options than the original.

Some details of the Random Source Serge VCF2 module:

Original Serge design, under licence and in cooperation with Serge Tcherepnin
Uses for High-end VCAs
Eurorack format (3U), 20 hp
Power consumption: 45mA @ +12V, 45mA @ -12V
Module depth: < 30mm (1.2")

Notes: The second batch of Animal Factory's dual-valve saturation all-rounder features hand-matched 6J32P valves for a faster, slightly more precise take on this unique blend of mixing, VCAs, distortion and wave folding.

Supplier's Notes:
Orobas is a dual tube amplifier that is composed of two identical units.

Each channel has two audio inputs with dedicated gain controls and one output volume control.
Thanks to clever routing, a wide variety of sounds can be created. The two channels can be connected in parallel or in series (Parallel / Series). In series connection, the output of channel 1 is still active, good for parallel signals (note: each channel output is phase-inverted in relation to the opposite input). This way, feedback can be generated by feeding back the signal from output 1 to e.g. a control voltage input.

The screen control voltage input determines the gain and the sound characteristics. Additionally, the input is normalized to INPUT 1 of the respective channel.

The Suppress control voltage input is normalized to the input signal if nothing is connected. The purpose of this input is to direct electrons reflected from the anode back to the anode. Turning the knob to the positive does not change as much, turning it to the negative slightly attenuates overtones. With a positive control voltage the change is minimal, but with a negative control voltage you can realize e.g. ducking effects and effectively switch off the tube. Audio Rate Modulation is also possible here and a bit milder than with the Screen CV, but still effective.

The evocation potentiometer controls the feedback of the second output into the first channel. The sonic performance is very much dependent on the Plate Bias switch. The Plate Bias switch effectively controls the headroom. This allows you to use the tubes in three different settings, from fuzz sound to full distortion.

*This version is equipped with other tubes than in version 1.

Tube length: 55mm

Depth: 45mm

Notes: Ultra-high quality portable recording courtesy of this premium model from the ever-reliable Tascam. Ideal for podcast recordings, video soundtracks or interviews. Includes stereo mics and multi-track options for external sound sources.

Supplier's Notes:
Discover the Subtle Differences in High-Quality Content Creation

You don't have time for long set-ups if you regularly create new audio content on the go. And sound quality must meet the highest standards if your productions are to be successful. With the Portacapture X8 from Tascam, high-quality recordings are now even easier. Thanks to its app- like operation via a large colour touch screen, this field recorder can be quickly adapted to the situation at hand to record up to six signals plus a stereo mix in impressive 32-bit/192-kHz resolution. Enjoy the built-in mixer with EQ, dynamic processing and effects, use the USB mode later to process the material on a computer with minimal loss, or stream your show directly to the Internet.

The Portacapture X8 makes all the difference.

The Portacapture X8 isTASCAMs New Generation High Resolution Adaptive Multi-Recorder.Featuring 192kHz/ 32-bit floating point recording technology for highest audio quality.

Combined with the recorder's intuitive Launcher system and the incorporated 3.5-inch color touch panel display, the Portacapture X8 provides users with more time to focus on the actual recording without having to struggle with complicated settings. It uses an app-like set of configurations that optimize the unit for various recording tasks, including multitrack recording, voice capture for interviews, podcasts, music recording, field recording, and ASMR (Autonomous Sensory Meridian Response) for capturing those unusual / sensory related sounds.

The Portacapture X8 comes with two large 14.6mm diameter built-in condenser microphones. With the TASCAM developed HDDA mic preamps, these microphones are well suited for high quality audio recording and can easy be set for A-B and X-Y microphone patterns.

The TASCAM Portacapture X8 provides a wealth of DSP capability that include Compressor, Limiter, Low-Cut Filter, Noise Gate, Reverb, Auto Gain Control, and more.

Wireless remote control is possible via the TASCAM Portacapture Control using the optional AK-BT1 Bluetooth dongle with your Android or iOS device.

With its 2 built-in large format stereo mics, 4 XLR inputs with support for both mic and line-level, AUX-IN, LINE OUT, and CAMERA IN/OUT terminals, the Portacapture X8 provides an abundance of IN/OUT choices for multiple recording scenarios. The 3.5mm CAMERA EXT/IN connector also supports audio input of wireless microphones and more. Additionally, the Portacapture X8 is equipped with a CAMERA/LINE output with an attenuation function that allows for sending audio to external devices such as cameras.

Together with its multitrack record capability of 8 tracks (6 tracks plus 2 mix) and its 8-IN / 2-OUT USB Type C audio interface with support for USB bus power, the Portacapture X8 is a full-featured powerful handheld recorder both on its own or with a computer. Audio monitoring is possible via either the unit's headphone output or the built-in speaker and the recorder also provides both mark and slate tone functions. Supported recording media includes micro SD, micro SDHC, and micro SDXC cards up to 512GB capacity.

Includes
Portacapture X8
Included mics × 1 (left/right pair)
AA alkaline batteries × 4
Owner's Manual(including warranty) × 1
TASCAM ID registration guide × 1

Optional accessories
Bluetooth Adapter AK-BT1

Specifications

Recorder Specification

Recording Media: SD/SDHC/SDXC cards (64MB to 512 GB)
Recording/playback formats: Wave Files (BWF) 44,1/48/96/192 kHz
Input Channels: 6
Max. Recordable tracks:8 tracks (6 track + Stereo Mix)
Analoge Audio inputs/ outputs
Mic inputs (balanced)
Input jacks 3-6(input set to "MIC")

Connectors

XLR-3-31 equivalent (1: GND, 2: HOT, 3: COLD)
6.3mm (1/4") standard TRS jacks

Input

(Tip: HOT, Ring: COLD, Sleeve: GND)
Note: phantom power supported by XLR only
Input impedance: 2.2kO or higher
Maximum input level: +2 dBu
Minimum input level: -75dBu
Input jacks 3-6(Input set to "LINE")

Dimensions: 83 x 205.6 x 41.5mm (W× H× D, including protrusions)
Weight: 472g/381g (with/without batteries)

Notes: Desmodus's Aggressive Reverb/Delay Counterpart.

Not quite a reverb, not quite a delay, it's Desmodus's more aggressive clocked counterpart. More distortion, more in-your-face atmospheres, and synced delays for creating your tails in a whole new way. Use Electus Versio as a spacey clocked delay, as a reverb that starts with some synced echoes, or as a completely new way to create evolving spaces.

Notes: Desmodus's Aggressive Reverb/Delay Counterpart.

Not quite a reverb, not quite a delay, it's Desmodus's more aggressive clocked counterpart. More distortion, more in-your-face atmospheres, and synced delays for creating your tails in a whole new way. Use Electus Versio as a spacey clocked delay, as a reverb that starts with some synced echoes, or as a completely new way to create evolving spaces.

Notes: Part of the analogue MG-X series, the MG16X CV features 16 channels with D-PRE class A preamps, three-band semi-parametric EQ and high-quality SPX digital effects. Solid value.

Supplier's Notes:
MG-X are an addition to the MG Mixer line up. Available in 10, 12 and 16 channel versions, this variant of MG Mixer features our acclaimed SPX effects, without the USB option featured on the XU model - perfect for all scenarios where USB streaming is not needed. The quality and features of the MG mixers series is of course retained, whilst the new models are presented in a fresh black/grey finish.

Road Tough. Studio Ready.

For more than a century, Yamaha has been building a legacy of superior craftsmanship and innovation exemplified in all of their products, from an unrivalled catalog of world-class musical instruments to touring-grade professional audio. Now in its third incarnation, the MG Series embodies this pursuit of design excellence, and incorporates some of the same technologies developed for use in high-end professional consoles, including studio-quality preamps, powerful digital processing, and a rugged, reliable construction.

With an intuitive, easy-to-use interface, the MG Series boasts an extensive lineup of compact mixing consoles with models ranging from six to twenty channels, suitable for a diverse range of users and applications. For installed, recording, or live music settings, the solid construction and flexible design of these consoles lets you shape your sound with confidence, continually delivering peak performance and a level of sound quality and reliability unrivalled in its class.

As same as XU models, X models have SPX effects. Not to mention live session, but also installation cases like conference rooms, banquet halls and weddings, users can have wide range of use. Stylish grey colour models enhance your performance.

Specifications

Mixing capability

On-board processors - SPX algorithm: 24 programs, PARAMETER control:1, FOOT SW:1 (FX RTN CH on/off)
I/O
Phantom power: +48 V
Digital I/O: N/A

Input Channels

Mono[MIC/LINE]: 8
Mono/Stereo[MIC/LINE]: 2
Stereo[LINE]: 2
Output Channels
STEREO OUT: 2
MONITOR OUT: 1
PHONES: 1
AUX SEND: 4
GROUP OUT: 4
Bus - Stereo: 1, GROUP: 4, AUX: 4 (incl. FX)

Input Channel Function

PAD: 26 dB (Mono)
HPF: 80 Hz, 12 dB/oct (Mono/Stereo: MIC only)
COMP: 1-knob compressor (Gain/Threshold/Ratio) Threshold: +22 dBu to -8 dBu, Ratio: 1:1 to 4:1, Output level: 0 dB to 7 dB Attack time: approx. 25 msec, Release time: approx. 300 msec
EQ HIGH: Gain: +15 dB/-15 dB, Frequency: 10 kHz shelving
EQ MID: Gain: Gain: +15 dB/-15 dB, Frequency: Mono 250 Hz - 5 kHz peaking, Stereo 2.5 kHz peaking
EQ LOW: Gain: +15 dB/-15 dB, Frequency: 100 Hz shelving
PEAK LED: LED turns on when post EQ signal reaches 3 dB below clipping
Level Meter: 2x12 -segment LED meter [PEAK, +10, +6, +3, 0, -3, -6, -10, -15, -20, -25, -30 dB]

General

Total harmonic distortion: 03 % @ +14dBu (20 Hz to 20kHz), GAIN knob: Min, 0.005 % @ +24dBu (1kHz), GAIN knob: Min
Frequency response: +0.5 dB/-1.5 dB (20 Hz to 48 kHz) , refer to the nominal output level @ 1 kHz, GAIN knob: Min
Hum & noise level
Equivalent input noise: -128 dBu (Mono Input Channel, Rs: 150?, GAIN knob: Max)
Residual output noise: -102 dBu (STEREO OUT, STEREO master fader: Min)
Crosstalk: -78 dB
Power requirements: AC 100 - 240 V, 50 / 60 Hz
Power consumption: 22 W

Dimensions

W: 308 mm (12.1"), H: 118 mm (4.6"), D: 422 mm (16.6")
Net weight: 2 kg (9.3 lbs.)
Accessories: Included Accessory: Owner's Manual, Technical Specifications, AC power cord, Cubase AI Download Information, Optional Accessory: Rack-mount kit RK-MG12, Foot Switch FC5
Others: Operating Temperature: 0 to +40C

Notes: ALM Eurorack cases are available in a range of sizes all including an integrated powered bus boards.

The cases all feature anodised aluminium construction, an on/off switch, rubber feet, and high quality switched powered bus boards with numerous keyed headers and ample power capacity.

These are simple and compact Eurorack cases, perfect for small, focused systems, taking along on travels, or as a tabletop addition to a larger setup.

Cases are available in 4 sizes; 3U 84HP / 6U 84HP / 3U 52HP / 6U 52HP sizes. They all offer 1 Amp on both the -12V and +12V rails per row.

Great modern cases

The ALM powered Eurorack case was originally designed for the System Coupe. Wider interest has seen it evolve into a range of different sized cases being made available by themselves.

A fixed solid bus board provides quality ample power and plentiful keyed power connectors. The shielded DC/DC power converter is low noise and includes overload and short circuit protection. Fixed, quality mounting rails are used over sometimes frustrating sliding nuts. The case has a great looking all anodised aluminium construction that is both strong and light.

The case proportions are designed to look great on a table or desk (not too deep, just enough) and also be easy to fit in a bag and transport.

Decksaver case covers are available currently for the 3U/84HP, 6U/52HP, and 6U/84HP cases.

6U / 52 HP

Provides up to 1 Amp power on each -12V & +12V rails.
Connections for up to 9 modules on busboard, with additional 'flying bus board' included that adds up to 12 connectors.
Includes 2 Amp power 'brick'

Notes: Create without boundaries.

Record, produce, compose, mix, master, and perform-all from a single, intuitive application. Only Studio Oner 5 provides integrated tools that take you from initial inspiration to mastered production, from full-length album to setlist on stage. The standard for end-to-end production, Studio One is the DAW that does it all.

Drag-and-drop everything.

Studio One pioneered the often-imitated drag-and-drop workflow that continues to be a guiding principle in Presonus' design philosophy. Audioloops, virtual instruments, plug-in effects, and even presets can all be dragged into your session from Studio One's innovative Browser. Copy FX Chains from one channel to another simply by dragging-and-dropping. Convert MIDI to audio or audio to MIDI using drag-and-drop. Upload and download files to and from your PreSonus Sphere Workspaces by drag-and-drop. Ease of use is at the heart of Studio One, so your mind stays focused on your inspiration.

Perfect harmony.

The only DAW with Harmonic Editing for both audio and MIDI, Studio Oner 5 offers Chord Track, a songwriter's dream come true. Create, audition, and change chord progressions and even have older parts follow a newer, better chord structure, thanks to the inspiration Harmonic Editing can provide. With version 5.3, you can now drag chords from the Chord Track to an Instrument Track to begin composing right away. Chord notes can even be extracted directly from audio by detecting chords and then dragging the audio event to an Instrument Track.

Inspiring plug-ins.

With a complete suite of effects plug-ins, Studio Oner 5 supercharges your mixing. These plug-ins are so good we've made a few available for use in any DAW by popular demand. From State Space Modeled guitar amps to lush reverbs and polyrhythmic delays, Studio One has all the plug-ins you need to mix and produce. Studio One Professional's unique Pipeline XT plug-in lets you use boutique and vintage analogue signal processors as easily as software plug-ins. Studio One's powerful Splitter plug-in lets you run multiple plug-ins in parallel on a single channel.

Analogue mixing with digital ease.

The proprietary Mix Engine FX plug-ins provide State Space Models of classic analogue consoles that can process your mix across channels on any bus, collectively. This isn't a stereo bus plug-in, this is multi-source processing that re-creates true analogue circuit behaviour like console input-gain saturation, analogue noise, and crosstalk-all painstakingly modelled component by component from real-world hardware.

Produce without limits.

Forget laborious transposition, cutting, pasting, and moving when arranging. Audition new arrangement ideas on the fly with a simple click of your mouse. Use Scratch Pads to test arrangements. The flexible Arranger Track makes moving sections of Songs as easy as moving Parts. Powerful comping tools make assembling a perfect take simple, efficient, and fun. A robust suite of tools ranging from transient detection to multiple slicing and time-stretching features makes editing multitrack drums blazingly fast. And with groundbreaking Harmonic Editing-the most flexible implementation ever-no other program can approach the ease of arranging and songwriting that Studio One 5 delivers.

Edit audio and MIDI- fast.

Clip Gain Envelopes let you polish performances or remove glitches with adding a plug-in to your effects chain. Convert audio to MIDI and MIDI to audio with a simple drag-and-drop for blazing fast sample replacement. Replace drum sounds with samples simply by dragging the source track to an Impact XT track. The combined Arrow and Range Tools boost your audio editing efficiency by merging the most frequently used tools into one. Select, move, split, or duplicate Events; trim start and end points of Events; adjust fades; and change the overall Event level in one seamless action.

A sound as unique as you.

Inspiring virtual instruments and unique Multi Instruments let you combine instruments to create your own unique library of sounds. You'll create beats faster than ever with Impact XT, our comprehensive rhythm-production environment. Build your own sampled instrument with Sample One XT. From polyphonic analogue to monophonic subtractive synthesis, Studio One has the sounds that make you want to create. Presence XT can be expanded with Add-on packs like Deep Flight One and PreSonus Studio Grand. Aux Channels let you easily use your hardware synths, drum machines, and groove boxes as part of your productions, so dust off that TX81Z or Portastudio and put them back to work! However you create, Studio One has a tool that makes the job easy.

Notes: Excellent value from this unique dual analogue oscillator, heavily based around the concept of 3D morphing using touch-sensitive control strips. Deep modulation options and stable TZFM add up to impressively deep sound design.

Supplier's Notes:
Norand unveils Morphos, a morphing dual analogue oscillators packed with creative features.

3D Morphing

Morphos' preset strips are groups of four specially developed FSR sensors that can precisely detect vertical, horizontal and pressure information from the pressure distribution of your finger. 3D morphing allows you to create entirely new soundscapes by morphing between multiple user presets, in three different dimensions. All at the reach of your fingertips, it opens up a whole new world for live jamming!

The Synthesis

The two all-analogue, digitally controlled Oscillators provide very pure harmonics, 4 waveform types on a continuously variable potentiometer and extremely stable TZFM (Through Zero Frequency Modulation). Thanks to its digital brain, an active calibration system allows it to track over 10 octaves, even at high TZFM ratio.

Contextual Modulation

Morphos inherits Norand Mono's Contextual Modulation technology, adapted for the modular world. It is possible to modulate every parameter under CV. The module provides 3 Modulation Modes - Attenuverter, Modulator and Ping Envelope - allowing you to modulate timbre and create drum sounds.

Technical Specifications

Synth Voice Features

Fully analogue signal path 2x analogue oscillators Continuously variable waveform Thru-zero frequency modulation Hard-sync

Modulation Features
Controls: 8x dedicated ping envelopes 8x dedicated modulator
Modulator: 4 waveforms Type settings : Free/Synced/Audio-Rate Audio-Rate anti-aliased, quantized to OSC1 Free from 0.1 to 80 seconds
Envelope: Decay segment from 10us to 20s

Memory Storage: 4 banks 3 layers per bank 4 presets per layer
Outputs
Eurorack level audio outputs: Output level: 10Vpp maximum Output impedance: 1000 Ohm
CV outputs: Voltage range: -5V/+5V 1V/oct resolution : 3 cents of a semitone
Electrical Specification: +12V: 460mA -12V: 90mA +5V: 0mA

Physical Specifications
Width: 28HP
Height: 3U
Depth: 25mm

Warranty: 2-year Norand warranty

Notes: Not your average mixer. Erica Synths riff on the EMS Synthi-style matrix mixer, bringing it to a desktop format compatible with just about any other gear, including Eurorack. Uniquely creative.

Supplier's Notes:
As Eurorack users may know, it can be challenging to change a patch radically during a performance, therefore diverse performances require large systems or they end up being extremely experimental. But what if you could repatch your system with the push of a single button?

Features:
All analogue signal path
16 buffered, DC coupled inputs
16 independent, buffered, DC coupled outputs
256 connections, each with 3 attenuation levels
Random pattern mode with definable randomization area and density
254 pattern memory
Pattern change via MIDI program change messages
32 3,5mm jack sockets
4 6,3mm jack sockets
The Erica Synths Matrix Mixer is a 16-input, 16-output desktop patch matrix - it can route and mix signals with high precision, create buffered multiples and random patches. It can also interface external instruments with your Eurorack system, and it's not limited to Eurorack!

You can use the Matrix Mixer with semi-modular synthesizers, as well as through adapter cards with the EMS Synthi and Buchla Music Easel. Thanks to simple patch changes via panel buttons or MIDI program change messages, the Matrix Mixer will be particularly useful in performances that combine Eurorack and other performance instruments, such as drums, guitars, wind instruments, etc. Make your modular performance stand out and enjoy the Matrix Mixer!

Technical specifications:
Audio level: 10V ptp
Attenuation level: 1, 0.7, 0.3
Power supply: 12VDC (a universal AC/DC converter included)
Size of the instrument: 225 x 226 x 44mm
Net mass: 1.25kg

Notes: Kraken is a physical modelling snare drum with a wide range of sounds.

With 32 different shell models, nose algorithms and different distortion types as well as a pitch shifter, the snare sound can be customized as desired.

The additional CV inputs (velocity, accent, decay) can be used in conjunction with a sequencer or other modulation sources to create realistic drum patterns. With the optional pitch shifter at the output, reminiscent of old smapler and pitch shifter pedals, the tonal possibilities can be expanded even further.

Features:

Integrated distortion
Digital and analogue noise sources
Pitch shifter
100% digital synthesis, no samples
Great variety of sounds
Two trigger inputs, which produce a realistic "rimshot" sound when used simultaneously

Power consumption: 61mA at +12V and 17mA at -12V

Depth: 38mm

HP : 8

Notes: A typically comprehensive approach to noise sources from Befaco, featuring five different circuits plus two analogue multimode filters and plenty of CV controls for sculpting the output.

Supplier's Notes:
Noise plethora has three different noise generators:

The first two are identical and are composed of digital algorithms followed by a 12dB analog multimode filter.
Each program has two variables (Named X and Y) addressed by two manual controls and two associated control voltage INs.
Ships with an extensive (and expanding) algorithms library: textures, wave clusters, harsh noises, and glitches.

Generator C has three simultaneous outputs:

White. Flat Response Classic white noise.
Gritty. Granulous texture noise, with voltage-controlled grit quantity.
Filtered. Is the White or Gritty noise followed by a 24dB multimode VCF.

A total of 5 different noise sources in one module!

Dimensions:

14 HP
25 mm deep

Current Draw
110 mA +12V
67 mA -12V
0 mA 5V

Notes: Module A-126-2 is a fully analog frequency shifter for audio signals. A frequency shifter is an audio processing unit that shifts each frequency of the incoming audio signal by the same frequency. If the shifting frequency is e.g. 200Hz an incoming audio frequency of 1000 Hz becomes 1200 Hz, 2000Hz becomes 2200 Hz, 3000 Hz becomes 3200 Hz and so on. Pay attention that this is different from pitch shifting where all frequencies are shifted proportional (e.g. 1000>1200Hz, 2000>2400Hz, 3000>3600Hz) !
The frequency range of the internal quadrature VCO is about 8 octaves (about 20Hz ... 5kHz). If required an external quadrature VCO can be used.

The module is equipped with these controls, inputs and outputs:

Frequ. 1: first manual control of the shifting frequency (factory setting: coarse, range about 20Hz - 5 kHz)

Frequ. 2: second manual control of the shifting frequency (factory setting: fine)

by means of internal jumpers the sensitivity of Frequ.1 and 2 can be swapped (i.e. Frequ.1 = fine and Frequ.2 = coarse)

the relation between coarse and fine control is about 25:1 (corresponding to about 8 octaves to 1/3 octave)

FCV In (socket) and FCV (small control without knob): control voltage input with attenuator for the external voltage control of the shifting frequency

Mix: manual control of the up/down shift panning unit, fully CCW = down shift, fully CW = up shift, in between a mixture of down and up

Mix CV In (socket) and Mix CV (small control without knob): control voltage input with attenuator for the mixing unit for external voltage control of the up/down mixing

Audio In (socket), Level (small control without knob) and Overload (LED): audio input with attenuator, typ. audio in level = 1Vpp, the level control has to be adjusted so that the overload LED just begins to light up a bit, when the LED is fully on clipping/distortion occurs, when the LED is permanently off the input level is too low and the signal-to-noise ratio increases

Audio Out (socket): audio output of the frequency shifter

Squelch (small control without knob): controls the squelch function: fully CCW (Env.) the output VCA is controlled by the envelope signal, which is derived from the audio input signal, fully CW (open) the output VCA is permanently open (no squelch function), in between the squelch intensity can be adjusted

Quadrature VCO Outputs (sockets Sin and Cos): outputs of the internal quadrature oscillator, about 12Vpp level (+6V/-6V)

Ext. Inputs Sin and Cos (sockets): required when an external quadrature VCO (e.g. A-143-9 with a wider frequency range or A-110-4 with thru zero feature or A-110-6 with different waveforms) is used instead of the internal quadrature VCO, the levels of the external VCO should be about 10Vpp (8...10Vpp are OK) and the signals have to be symmetrical around zero Volts, the sockets are normalled to the internal quadrature VCO (i.e. the sockets are equipped with switching contacts that interrupt the internal connection as soon as a plug inserted)

VCA ext. CV (socket): used when an external control voltage (e.g. from an envelope generator) should be used to control the output VCA instead of the internal squelch unit, the socket is normalled to the output of the squelch control (i.e. the socket is equipped with a switching contact that interrupts the internal squelch connection as soon as a plug inserted). From about +8V external control voltage the VCA is fully open.

Internal terminals (pin headers, e.g. for a DIY breakout module):

envelope follower output

dome filter output 1

dome filter output 2

ring modulator 1 output

ring modulator 2 output

Up shift output

Down shift output

Notes: 'Vintage' black panel version of Doepfer's updated frequency shifter module, offering weird and wonderful effects by shifting all frequencies by a fixed amount. Unique sound, not to be confused with pitch shifting.

Supplier's Notes:
Module A-126-2 is a fully analog frequency shifter for audio signals. A frequency shifter is an audio processing unit that shifts each frequency of the incoming audio signal by the same frequency. If the shifting frequency is e.g. 200Hz an incoming audio frequency of 1000 Hz becomes 1200 Hz, 2000Hz becomes 2200 Hz, 3000 Hz becomes 3200 Hz and so on. Pay attention that this is different from pitch shifting where all frequencies are shifted proportional (e.g. 1000>1200Hz, 2000>2400Hz, 3000>3600Hz) !
The frequency range of the internal quadrature VCO is about 8 octaves (about 20Hz ... 5kHz). If required an external quadrature VCO can be used.

The module is equipped with these controls, inputs and outputs:

Frequ. 1: first manual control of the shifting frequency (factory setting: coarse, range about 20Hz - 5 kHz)

Frequ. 2: second manual control of the shifting frequency (factory setting: fine)

by means of internal jumpers the sensitivity of Frequ.1 and 2 can be swapped (i.e. Frequ.1 = fine and Frequ.2 = coarse)

the relation between coarse and fine control is about 25:1 (corresponding to about 8 octaves to 1/3 octave)

FCV In (socket) and FCV (small control without knob): control voltage input with attenuator for the external voltage control of the shifting frequency

Mix: manual control of the up/down shift panning unit, fully CCW = down shift, fully CW = up shift, in between a mixture of down and up

Mix CV In (socket) and Mix CV (small control without knob): control voltage input with attenuator for the mixing unit for external voltage control of the up/down mixing

Audio In (socket), Level (small control without knob) and Overload (LED): audio input with attenuator, typ. audio in level = 1Vpp, the level control has to be adjusted so that the overload LED just begins to light up a bit, when the LED is fully on clipping/distortion occurs, when the LED is permanently off the input level is too low and the signal-to-noise ratio increases

Audio Out (socket): audio output of the frequency shifter

Squelch (small control without knob): controls the squelch function: fully CCW (Env.) the output VCA is controlled by the envelope signal, which is derived from the audio input signal, fully CW (open) the output VCA is permanently open (no squelch function), in between the squelch intensity can be adjusted

Quadrature VCO Outputs (sockets Sin and Cos): outputs of the internal quadrature oscillator, about 12Vpp level (+6V/-6V)

Ext. Inputs Sin and Cos (sockets): required when an external quadrature VCO (e.g. A-143-9 with a wider frequency range or A-110-4 with thru zero feature or A-110-6 with different waveforms) is used instead of the internal quadrature VCO, the levels of the external VCO should be about 10Vpp (8...10Vpp are OK) and the signals have to be symmetrical around zero Volts, the sockets are normalled to the internal quadrature VCO (i.e. the sockets are equipped with switching contacts that interrupt the internal connection as soon as a plug inserted)

VCA ext. CV (socket): used when an external control voltage (e.g. from an envelope generator) should be used to control the output VCA instead of the internal squelch unit, the socket is normalled to the output of the squelch control (i.e. the socket is equipped with a switching contact that interrupts the internal squelch connection as soon as a plug inserted). From about +8V external control voltage the VCA is fully open.

Internal terminals (pin headers, e.g. for a DIY breakout module):

envelope follower output

dome filter output 1

dome filter output 2

ring modulator 1 output

ring modulator 2 output

Up shift output

Down shift output

Notes: Compact but premium 2x4 audio interface from one of the best brands in the business. Superb sound quality with built-in hardware DSP.

Supplier's Notes:
Legendary Sound Quality, Total Portability and Hardware DSP all Come Together in a Beautiful New Design

In 2007, the original Apogee Duet shattered the expectations of what a home studio interface could be. Professional, personal and portable, Duet revolutionised independent recording and empowered musicians, producers and engineers with legendary Apogee sound quality, elegant design and effortless ease of use. Now, the all-new Duet 3 brings next-generation Apogee performance and features to a beautiful ultra-low profile scratch resistant glass and aluminium case.

Duet 3 includes on-board hardware DSP that works with the Symphony ECS Channel Strip* for zero-latency recording with FX. Tuned by Bob Clearmountain, the ECS Channel Strip includes presets custom crafted by the legendary mixer so you can dial in a pro recording sound instantly. Ideal for music creation, voice recording, streaming and even gaming, you can use Duet 3 with your Mac or Windows workstation in your studio or on the go. Take your Duet 3 to the next level with the sleek Duet Dock* accessory for the ultimate ergonomic desktop experience.

Achieving superior sound quality in a digital audio interface requires experienced engineering that artfully orchestrates AD/DA converters, digital clocking, analog circuitry and power management technology to achieve a harmonious blend of carefully selected components and thoughtful design. Duet is the result of decades of innovation and expertise and delivers sound quality unmatched in its class.

Legendary AD/DA Converters

With two inputs and four outputs of legendary Apogee AD/DA conversion, plus two world-class preamps, Duet is the perfect partner for your home and mobile studio. Connect microphones, guitars, keyboard and line level devices to capture every detail. Monitor and mix with the full depth and dimension of your sound through two truly-balanced, line-level analog outputs for speakers. And, power your headphones with a zero-ohm headphone output for a dedicated headphone mix.

World Class Preamps

One of the most critical components for high quality recording is your preamp and the pres in Apogee Duet are world-class. With up to 60dB of gain and 48v phantom power, you can cleanly and precisely capture any audio source with even the most demanding microphones. Meticulous Apogee engineering, keeps noise and distortion down, even as you crank up the gain.

Plug-in to On-board DSP

To capture your best performance, you need to dial in an inspiring sound quickly and easily. And few things are more distracting than latency when trying to record. Duet gives you on-board hardware DSP for FX processing with the Symphony ECS Channel Strip (sold separately) to precisely shape your tone on input and give you great sounding tracks, all while eliminating the delay that can occur while recording. The Symphony ECS Channel Strip, tuned by legendary mixer Bob Clearmountain, includes EQ, Compression and Saturation controls that let you create the optimal blend of channel FX for tracking vocals or acoustic instruments. Choose from multiple hand crafted Clearmountain presets and record with zero latency through Duet's on-board hardware DSP.

Receive 50% off the Symphony ECS Channel Strip from your Apogee dealer when you purchase Duet 3 or when you register on the Apogee website.

The all new Apogee Control 2 software gives you complete control of all Duet functions and features including the Symphony ECS Channel Strip FX running on Duet's hardware DSP. Apogee Control 2 is shared across all current and select previous generation Apogee products and will enable Apogee support and engineering to quickly react to future macOS and Windows OS updates helping to ensure Duet 3 compatibility for your workstation.

Sound quality comes first, but elegant design is a close second. After all, you're always hands-on, controlling listening level and mic pre gain, so why shouldn't the centerpiece of your studio have a high-end look and feel? The Duet multi-function digital controller knob delivers a luxurious-feel for dialing in monitor levels and mic pre gain, while also giving the desktop interface style accents backlit with purple LEDs. Perfectly contoured for ergonomic control on your desktop, the low profile body is topped with scratch-resistant cover glass for a modern look and solid feel.

Duet Dock

Duet set the standard for making music and recording on the go with its small footprint and flexible breakout cable. But when working in your studio, the best way to use Duet 3 is with the all-new Duet Dock*. The Dock positions Duet at the ideal angle for quick adjustments and meter and function visibility. The rear panel connectors on Duet Dock make it easier to organize and connect your cables to Duet too.

*Sold Separately

Notes: Digital 12-bit oscillators meet analogue filters in this creative little synth module. Six-voice polyphony, preset storage and MIDI control make for a compelling instrument with its own distinctive sound.

Supplier's Notes:
The Tooro is Fred's Lab's new 6-voice 4-part hybrid "digilog" polysynth.

Including the latest discoveries in mixed electronics, the original FL A847 analog filters, this is the perfect module for demanding sound designers and every musician seeking distinctive tones with a strong personality, in a very compact form factor.

Each voice offers 2 complex digital oscillators with waveform morphing, 2-operator linear phase modulation and self-sync features plus a noise source, a ring modulator, the unique FL A847 lowpass filter accompanied by a digital shaper, 2 advanced LFOs and 2 ADSR envelopes.

A modulation matrix with 8 slots allow the animation of most of synthesis parameters.

A master stereo digital FX offering various modulated delays is also included.

Tooro is shipped with a printed version of the QuickStart Guide (in English) and a 1 meter black USB cable.

Technical aspects:

All Fred's Lab instruments are produced and manually assembled locally in Germany.

The Tooro is a polyphonic and multitimbral synthesizer module with 6 voices, 4 parts, per voice analog filters and a stereo signal path.

Sound Engine

Per voice

Oscillators:
Two 12bit digital oscillators with:
waveform morphing
additional sine modulator (for linear through zero phase modulation)
auto-sync feature - hardsync

Filter:
A single FL A847 12dB/Octave low-pass filter with auto-oscillation and saturation features.

Shaper:
A selection of digital filters algorithms from Fred's Lab.

Noise:
A regular white noise source.

Ring modulator:
An audio rate multiplication of osc1 output by osc2 output.

Envelopes:
Two ADSR envelopes with hold stage and multiple triggering options.

LFOs:
Two complex LFOs with various waveforms and their own AD envelope.

DCA:
A digitally controlled attenuator with volume and panning control.
Per part
MIDI channel selection, overall part volume and panning.

A syncable arpeggiator with multiple modes is included.
Global
Multi-FX
A 12bit digital multi-FX module with various modulated delays.

Instrument:
Memory
The Tooro can store:
100 sound presets
10 multis

Connectivity:
2 line-level unbalanced 6.35mm jacks (mix left & right)
2 instrument-level 3.5mm jacks for separate voice outputs (for voice 1-4 only)
1 DIN5 MIDI-IN
1 DIN5 MIDI-OUT (OUT + smart THRU)
1 USB 1.1 B compatible port (for power and MIDI over USB)
1 power switch

UI:
4 high-quality metal encoders
14 tactile switches
dual digit 7-segment hexadecimal display
12 leds

Mechanics:
aluminum industrial enclosure
quality rubber feet
170 x 120 x 45 mm
550 grams

Notes: 1010's Nanobox range expands with the Razzmatazz, a tiny drum machine with FM synthesis, sampling and a built-in sequencer. Small but powerful, with built-in MIDI and touchscreen control.

Supplier's Notes:
Create the juiciest beats and tastiest rhythms with Nanobox Razzmatazz, a mini drum sequencer that combines powerful FM synthesis and sampling. Featuring advanced voice architecture, razzmatazz puts a huge range of percussive sounds at your fingertips-from deep and gritty kick drums to searing snare hits and crisp hi-hats. Perform using 8 touchscreen pads or your favorite midi controller, and craft up to 16 rhythms using an innovative visual sequencer that allows you to see all pad states and steps simultaneously. Shape the sound of each pad by combining any variation of two FM oscillators and a WAV file-plus two filters, two envelopes, a resonator, a snap generator, and three additional effects.

You can even choose from four unique types of distortion to create incredibly distinct and powerful drum sounds. Enjoy massive analogue drum sounds and an innovative feature set, all in a compact package that goes anywhere.

Technical Specs

Includes 120 presets and 112 wave files
8 pads that can support 2 FM Oscillators and WAV file each
Sample memory per WAV of 30 seconds
Power: USB-C connection 5V, 500mA
3.5mm audio input and output
Maximum input and output level: 2Vrms
DAC and ADC resolution: 24-bit
Internal resolution: 32-bit
Sample rate: 48kHz
MIDI Input: 3.5mm Type A/B auto sensing
MIDI Output: 3.5mm Type B
Clock Input: 1,2, 4, 8, 12 or 24 PPQ selectable
MIDI support: Note On/Off, Velocity, Pressure, Mod Wheel, Aftertouch, assignable CCs, program changes and clock
H x W x D: 1.5" x 3.75" x 3"
Weight: 0.25 lbs.

What is included:

Nanobox | razzmatazz mini drum sequencer with FM synthesis and sampling
MicroSD card with presets and wav files
Color matched USB power cord
Type B TRS MIDI To MIDI 5 Pin DIN adapter
Quick Start Guide

Notes: Sunn O))) and EarthQuaker Devices are pleased to bring you the Life Pedal Volume III. The Life Pedal V3 circuit has been meticulously tweaked from the original to squeeze every last drop of heavy crushing tone available. The octave section has been fine tuned to make it more pronounced without losing the bottom end and we added a third footswitch, utilizing Flexi Switch Technology, for the octave to allow an additional method of quick and radical tone shaping. We are excited to have this back in permanent production, it is a true labour of love.

Life Pedal V3 is a distortion with a blendable analogue octave up and a booster combined in one compact package. The "Amplitude" side is faithfully modelled after the classic "White Face" distortion unit, using modern, reliable components to last a lifetime. The only modifications made to the original circuit are in the clipping section. The traditional circuit uses a single pair of silicon diodes for a tight, compressed crunch.

As with version 2, Life Pedal V3 offers two additional clipping options to better adapt to different rigs. The first position is no diodes to allow for full, grinding Op Amp assault at maximum volume. The second position utilizes two silicon diodes and one LED in an asymmetrical clipping configuration. This delivers a slightly compressed and smooth crunch, similar to a valve amplifier.

The last position is the stock double silicon diode configuration which provides that classic tone you know and love. The Octave in Life Pedal is an all-discrete, analogue full-wave rectifier base on a classic vintage design. Located at the input of the circuit, the Octave control slowly blends in the octave effects as you turn it clockwise. This feature can also be used via expression control allowing for wild, hands-free octave swells mid-riff or using the footswitch for immediate octave fuzz destruction.

Because this is an analogue octave effect, it is monophonic and works best playing single notes above the twelfth fret while using the neck pickup. Playing chords with the analogue octave will sound clanging and chaotic.

Using the bridge pickup and playing below the twelfth fret will produce a very subtle octave effect. Going full Octave transforms Life Pedal from a simple distortion device into a swelling, raging fuzz similar to the classic Super Fuzz!

The "Magnitude" section of Life Pedal is a simple all-discrete MOSFET booster designed to blast your preamp tubes and drive them wild. It is a 100% clean, no-nonsense, high impedance booster that adds very little colour to your tone. It does not add distortion on its own but has plenty of output to push your amp into saturation.

The signal path goes Octave>Distortion>Boost. The octave distortion and booster can be used independently with their own respective foot switches. The Petrine Cross is the octave distortion and the Christian Cross is the booster.

Notes: The #1 EQ pedal returns - better than ever

Empress Effects brought back the most sought-after Parametric EQ pedal, with groundbreaking upgrades.

Everything people loved about the original ParaEq was kept, and more fidelity and control have been added.

More Control

Whether you're trying to cut through a mix or fix a feedback issue, you need precision! The ParaEq MKII offers the most control of any pedal EQ on the market.

More Sweetness

Effortlessly sweeten your tone with beautiful sounding, super smooth Baxandall filters for broad high and low frequency shelving adjustments on the Deluxe.

More Power

The ParaEq MKII pedals operates internally at 27V, providing clean headroom without unwanted clipping.

More Purity

This pedal is able to offer the most control without degradation to the tone due to minimal circuit topology00-the opposite of graphic EQs.

Why Choose Parametric EQ over Graphic EQ?
Parametric VS Graphic EQ Graph
Graphic equalizers provide a convenient visual sense of the EQ curve. However, there is a tradeoff in transparency and precision.

The graph here shows the ParaEq MKII Deluxe (cyan) and a 7-band graphic EQ pedal (magenta) both providing a +4dB boost at around 2 kHz. As can be seen, the ParaEq is much more precise in the changes it can make, whereas the graphic EQ affects nearly the entire frequency spectrum. Furthermore, at around 10kHz the ParaEq is providing unity gain, whereas the graphic EQ is attenuating the signal by nearly 6dB. This makes the ParaEq a more transparent circuit than the graphic EQ.

This combination of transparency and precision is why recording studio control rooms are dominated by parametric equalizers, and why they're a great choice for creative and corrective EQ on your pedalboard.

Which ParaEq Do You Need?

The original ParaEq has been loved and trusted by musicians on a variety of instruments for over a decade. Both the ParaEq MKII and the ParaEq MKII Deluxe feature a low-noise, transparent signal path that is extremely versatile.

With three fully parametric bands, you can simultaneously achieve broad tonal shaping and precise fine-tuning to sculpt your perfect sound.

The ParaEQ MKII Deluxe will appeal to players who:

Need high-pass and low-pass filters for precision work at the frequency extremes
Want the glorious sound of Bandaxall filters for sparkling high end or extra weight in the low end
Want to be prepared for any EQ situation

Specifications

Input Impedance: 1MO
Output Impedance: 100O
Frequency Response (-3dB): 22Hz - 25kHz
Total Harmonic Distortion: < 0.05%
Noise: > 107dB
Headroom: +30dBu
Input Voltage: 9VDC Centre-Negative
Required Current: 300mA
Power Input Connector: 2.1mm Barrel Connector
Height (Enclosure Only): 1.5"
Height (Including Controls): 2.5"
Length: 3.5"
Width: 4.5"
Weight: 1lb

Notes: This is an exact hardware replica of the Mutable Instruments Blades module.

This model uses the original "hard-to-find" opamps, but After Later have substituted V2164M with AS2164D. All of After Later's products use AS2164D and there should be no measurable change in behaviour.

Notes: Another clever one from Knobula, this chord-based sequencer/arpeggiator adds versatile harmonic options to your creative process. Pair it with the Poly Cinematic module for best results.

Supplier's Notes:
Generate extraordinary chords without using a keyboard.

Chord Pilot introduces a whole new take on the task of chord creation and performance offering 192 chord memories, a strummer, an arpeggiator and an 8 step chord progression sequencer, all in one compact 12hp package.

Knobula have thrown away the music theory rule book and instead offer a module that encourages the curious mind to discover alternative musical pathways, whether for generative patches or for EDM riffs.

To generate a new chord, Chord Pilot uses a series of controls that alter the width and spread of 'fingers' over a virtual keyboard before conforming them into a variety of musical moods from the pure and harmonious to the terrifying and cacaphonic.

Like all Knobula products, Chord Pilot has been designed primarily with performance in mind, to inpsire by experimentation, to lose yourself in the moment, and to occassionaly generate impossibly hard to play super chords.

With the ability to store and transfer chords in sets of eight, Chord Pilot makes a great companion module for Poly Cinematic, but it is equally at home serving any poly synth with a midi input.

Discover Chord Pilot, your guide, navigator and explorer to a whole new universe of musical harmony, and beyond.

Notes: ALM Eurorack cases are available in a range of sizes all including an integrated powered bus boards.

The cases all feature anodised aluminium construction, an on/off switch, rubber feet, and high quality switched powered bus boards with numerous keyed headers and ample power capacity.

These are simple and compact Eurorack cases, perfect for small, focused systems, taking along on travels, or as a tabletop addition to a larger setup.

Cases are available in 4 sizes; 3U 84HP / 6U 84HP / 9U 84HP / 3U 52HP / 6U 52HP sizes. They all offer at least 1 Amp on both the -12V and +12V rails per row.

Great modern cases

The ALM powered Eurorack case was originally designed for the System Coupe. Wider interest has seen it evolve into a range of different sized cases being made available by themselves.

A fixed solid bus board provides quality ample power and plentiful keyed power connectors. The shielded DC/DC power converter is low noise and includes overload and short circuit protection. Fixed, quality mounting rails are used over sometimes frustrating sliding nuts. The case has a great looking all anodised aluminium construction that is both strong and light.

The case proportions are designed to look great on a table or desk (not too deep, just enough) and also be easy to fit in a bag and transport.

Decksaver case covers are available currently for the 3U/84HP, 6U/52HP, and 6U/84HP cases.

Common Features

Self assembled aluminium lightweight cases with integrated switched power busses.
At least 1Amp per -/+ 12V rail per row with quoted 100mV ripple noise at max load. No 5V rail.
Overload & Short Circuit protection.
Support modules up to 42mm depth (approx 2 stacked pcbs). All ALM modules fit.
M3 threaded fixed mounting strips (no sliding nuts!).
Module mounting screws and Allen key included.
Includes 12v external DC/DC power 'brick' with center positive 2.1mm barrel and at least 2 or 4 Amp rating (depending on model).

9U / 84 HP


Provides up to 2.5 Amp power on each -12V & +12V rails.
Connections for up to 32 modules.
Includes 5 Amp power 'brick'
External dimensions: 440x396x66 mm
No Decksaver currently available.

Notes: Reissued version of one of Dreadbox's back catalogue synths, the Erebus is a paraphonic design with two VCOs, a characterful low-pass filter, built-in delay and updated snappy envelopes.

Supplier's Notes:
Dreadbox's most unique sounding analogue synthesizer is finally back, warmer and snappier than ever!

All you synth lovers, the time has come to dive into the Erebus...

All Analogue Paraphonic Synthesizer
Faithful Reproduction of the Erebus V1
2 Oscillators with 2 Waveforms each
Separate Glide controls and Hard Sync function
2-pole Low Pass pre-fed Filter
1 ADSR envelope and a AR Amp Envelope
Snappier than the V1

OTA VCA
Lo-Fi Delay effect
Wide Range LFO
15 patch points for an astonishing and spectacular modular experience
Compact, USB powered, Eurorack Format (42HP)

Ethereal & Dreamy

Warm sounding Oscillators
Classic Dreadbox Filter
Snappy Envelope Generators
Lo-Fi Delay effect to expand your sound
CV outputs: Envelope, LFO, Mod Wheel, Gate, CV1, CV2
CV inputs: Osc1, Osc2, Echo, Cutoff, CV, Gate, LFO Rate, PW, VCA

Specifications & Connections

USB powered (1.5 Watts)
50 Playing hours with 20,000mA portable power bank
MIDI IN via DIN5
14 MONO TS Jack Out

Dimensions: 21.5 x 13 x 6.5 cm
Weight: 1 kg

Requirements:

USB-A Adapter (5v) with 1000mA or more
MIDI device or keyboard that is equipped with DIN5 midi output
Monitor, Amp or Headphones

Included in the box:

Erebus Eurorack module
42 HP case
1x DIN5 to 3.5mm adapter
1x Ribbon cable

Notes: Dreadbox go back to their roots with this reissued analogue beast. Simple but effective single-oscillator monophonic design with a three-pole resonant filter and analogue distortion.

Supplier's Notes:
Dreadbox's highly anticipated Bass Synthesizer is finally back.

Its Deep and Dark sound is here to haunt you ...

All Analogue Bass Synthesizer
Faithful Reproduction of the 2016 Hades
1 Oscillators with 2 Sub Octaves and 2 Waveforms with PW control
3-pole Resonating Low Pass Filter
1 AD/RS envelope and a AR Amp Envelope

OTA VCA
OTA Distortion
Wide Range Triangle LFO
11 patch points for an astonishing spectacular modular experience
Compact, USB powered, Eurorack Format (42HP)

Monophonic Epicness
Super Fat Oscillator
2x Sub Octaves for extra headroom
Special Internal Bass Boost Circuit
Warm Filter
Drive effect for aggressive sounds
CV outputs: Envelope, LFO, Mod Wheel, 1v/oct
CV inputs: PW, Cutoff, VCA, CV, Gate

Specifications & Connections

USB powered (1.5 Watts)
50 Playing hours with 20,000mA portable power bank
MIDI IN via DIN5
14 MONO TS Jack Out

Dimensions: 21.5 x 13 x 6.5 cm
Weight: 0.9 kg

Requirements

USB-A Adapter (5v) with 1000mA or more
MIDI device or keyboard that is equipped with DIN5 midi output
Monitor, Amp or Headphones

Included in the box

Hades Eurorack module
42 HP case
1x DIN5 to 3.5mm adapter (specs as found at midi.org)
1x Ribbon cable

Notes: Stereo Field is one instrument with three uses. It is simultaneously a stereo/quad modular touch plate feedback atonal synthesizer, a stereo/quad audio processor and a pressure sensitive chaotic CV "controller". All three uses are available separately as well as simultaneously and in conversation with each other.

The Stereo Field allows its user to manipulate and patch two analogue stereo preamp circuits via touch plates. By utilizing skin conductivity as new paths for current to follow you are creating "new circuits" and new sounds in relation to where your fingers are patching. The individual touch plates are directly connected to nearly every connection point of every component in its circuitry (located directly under each corresponding touch plate).

When touched with multiple fingers it will create atonal analogue feedback with either of the two mirrored circuits represented by interlocking touch-plate circles. The resulting feedback can go beyond the abilities of human hearing (take caution!) and down to the very slow clicks of a saw waveform and both can often be happening simultaneously. These parallel mirrored circuits can be finger patched separately or together yielding vastly different chaotic results in regards to texture, timbre and stereo imaging. This instrument has the ability to create atonal synth tones in stereo (and quad) as well as process incoming stereo audio (and quad) sources via 1/4" and 3.5mm ins and outs. Incoming audio sources can be "patched" or rewoven into any area of either or both of the circuits via skin contact.

The two stereo input volume knobs (centre) shape and effect distortion, drive amounts, internal feedback pitch, and modulation rates depending on how your fingers are patching. The quad inputs and outputs via the 3.5mm jacks have small touch plates leading to and from allowing for touch access of each of the 4 inputs and 4 outputs. If multiple audio signals are traveling into the Stereo Field these audio sources can be intermingled and can modulate one another, again depending upon where your fingers are patching.

Sending CV signals into the 3.5mm input jacks will open up many more possibilities both in terms of synthesized sounds and audio processing. Since the two stereo circuits are mirror images of one another the 3.5mm ins and outs can also be thought of as (L/R,R/L) and when your hands get involved this imaging will be further confused and jumbled as your skin can intermingle all of these paths.

The Stereo Field can also be used as a controlled chaos source when using the 3.5mm outputs to send the feedback your hands create as CV to your modular system. Due to the nature of feedback and finger patching the 4 available CV signals have the ability to get incredibly complex, organic and textured in nature (see audio examples below in use with a euro-rack system). Because of the open nature of Stereo Field it can both send and receive CV modulation simultaneously. In addition, this can all be happening while your finger patching is changing and altering the incoming and outgoing CV while also processing incoming audio. These ins and outs can also be patched together with cables for sustained tones with the pitch/rhythm/volume/"cutoff" being affected by adjusting the incoming and outgoing volume knobs in various settings. Inter-patching in this way will also allow for sustained pulse beats and filter-esque sound shaping in addition to bringing new results to finger patching via the touch plates.

Most importantly, processed audio and synthesized audio are available simultaneously with the ability to influence and modulate each other. This will often blur the lines between the two; who is manipulating who, who comes out on top as audio and who is modulation? This can be a constantly evolving cycle based upon where the performers fingers are placed and highly sensitive skin contact pressure changes.

Notes: Protect Your Minimoog Model D

The Minimoog Model D SR Series Case features generous padding around a semi-rigid ABS shell, a rugged Ballistic Cordura outer that resists tears and abrasions, and laminated water-resistant zippers to offer on-the-go protection and safe storage for your instrument. Multiple strap and handle configurations keep your commute comfortable, and multifunction pockets ensure you're organized on arrival.

Developed with Artists for Artists

Musicians report the most important performance a case can offer are protection from impact and protection from water... in that order. With that in mind, Moog SR Series Cases have been developed to be the first line of defense for your synthesizer.

Complete Protection, Comfort, and Convenience

Multiple strap and handle configurations keep your commute comfortable, and multifunction pockets ensure you're organized on arrival.

Notes: The Precision VCO (PCO) is Serge's legendary oscillator. It combines raw vintage sound with astonishing precison.

The PCO is a versatile, voltage controlled oscillator now offering four high quality waveform outputs (sine, triangle, pulse and sawtooth) and both linear and exponential frequency modulation capabilities . A front panel switch conveniently extends the range of the PCO from the audio range (16 to 16,000 Hz) to a sub-audio range (.1 to 200 Hz) for use as a Low Frequency Oscillator.

EXCELLENT RESPONSE, TRACKING AND STABILITY: Featuring the identical exponential response, exceptional tracking characteristics, and perfect temperature stability as the NTO, the PCO is especially suited for use with the NTO or another PCO as a modulation source for dyanamic depth linear FM.

Two calibrated one volt per octave inputs as well as a variable processing input are provided for complex frequency control. FM depth can be varied with the front panel adjustment. A Sync input is also available for locking the PCO to another oscillator's fundamental, harmonic, or sub-harmonic frequency.

The Serge PCO is the only authorized version of Serge's classic design.

Some details of the Serge PCO eurorack module:

Authentic Serge design
Now with PULSE OUT
Variable oven temperature
Manufactured in Germany
Eurorack (3U) format, 18 hp
Power consumption: 75mA @ +12V, 60mA @ -12V
Skiff-friedly, Module depth: < 30mm

Notes: *** Version 1.3 features enhancesd drum tracks. ***

Portable hand-held sampler with serious power, originally launched on Kickstarter and now in production. One-touch sampling via a range of inputs, internal sequencer, built-in effects and resampling.

Supplier's Notes:
Easy Sampling

You can easily sample any sounds with the built-in microphone, your microphone or electric guitar connected to the input, or even a USB-connected smartphone or PC/Mac.

You can even sample applying an insert effect. For example, your electric guitar can be added to Distortion or your vocal to Compressor.

Sampled sounds can be quickly assigned to pads with auto-slicing, and can also be edited manually in detail by viewing the waveform display.

Sampled sounds can also be easily matched to the tempo and key of your song.

You can also resample a sequenced phrase of sampled sounds including applied effects.

Flexible Song-making

Each song project has 16 sequential parts called "Scenes". Each Scene has 10 sequencer tracks which can behave in different ways, as described below:

- Loop Track: Sequencer for a looping sample
- Shots Track: Sequencer for a single one-shot sample
- Drum Track: Step sequencer for drums
- Instrument Track: Piano roll type sequencer for musical instruments
- MIDI Track: Piano roll type sequencer for external MIDI equipment

Three additional Global Audio Tracks are available for longer recordings like vocals and external instruments. These tracks can record multiple takes which can be spliced into a final perfect version. Traditional "punch-in" style recording is also supported.

Easily structure a full song by sequencing scenes and setting how many times they repeat before moving to the next scene. You can set the order of scenes via a copy function.

A song can be mixed down through a mastering effect, and be exported to a single audio file or individual audio files (stem files) for each track.

Effortless Music Streaming

You can stream your music in perfect quality with a single USB cable, without any driver installation or troublesome menu settings.

You can livestream your voice and performance in real time while playing along with your song. And they can be controlled with crossfading and mixing with effects.

Massive Sample Libraries

More than 500 high-quality sample sounds are available (for download), so you can start creating a songs right away, even if it's your first time.

Samples you record are stored to the SD card. In Crad Reader mode you can download your recordings, or import new samples from your PC/Mac.

36 types of internal DSP effects can be used as the insert, send, and master effects.

Versatile Connectivity

The SmplTrek can connect to a wide range of audio sources such as, dynamic microphones, electric guitars/bass, synthesizers, and even USB audio sources from PC/MACs or smartphones.

The SmplTrek can output audio via two analog outputs, or digitally via USB for live streaming and direct DAW recording.

It can also synchronize its tempo with other devices using MIDI or audio sync.

Maximum Polyphony:
35 voices
+ LOOP track + SHOT track + DRUM track + INST track: 30 voices
+ GLOBAL audio track: 3 voices (3 mono tracks)
+ USB audio track: 1 voice
+ External source: 1 voice
(DRUM track and INST track have a maximum of 8 voices each track. MIDI track can also output up to 8 notes each track.)

Sampling/Recording:
48kHz-16bit linear
Sampling Time: Maximum sampling time (size) for a single sample is approximately 180 minutes in stereo (2 GB).
Recordable Data: Depend on SD card *SD card sold separately
Data Format: WAV
Resampling, auto-slicing, time-stretching, pitch-changing functions
*SmplITrek requires an SD card for sampling. Supported SD cards are SDHC cards up to 32 GB. (SDXC cards are not supported.)

Sequencer:
Each song project has 16 scenes
1 scene contains 10 sequencer tracks and 3 additional audio tracks
Track Type
Loop Track: Sequencer for a looping sample (Max 10 tracks/project)
Shots Track: Sequencer for a single one-shot sample (Max 10 tracks/project)
Drum Track: Step sequencer for drums (Max 1 track/project)
Instrument Track: Piano roll style sequencer for musical instruments (Max 3 tracks/project)
MIDI Track: Piano roll style sequencer for external MIDI equipment. (Max
10 tracks/project)
Max. number of bars: 128 bars in Scene
Note Length: 1/1~1/32
Various copy functions
Transpose function
Real-time and non-real-time recording
Metronome, pre-count function

Effects: 36 types (Insert, Send, Master Effects)
Pads: 15 velocity-sensitive pads with RGB LEDs
Controllers: Control knob x 5, Directional pad with 2 button controls
Display: 1.5 inch OLED display
Built-in Mic: Mono x 1 (Omni-directional, 94dBSPL)
Built-in Speaker: Mono x 1 (1.5W 4 O)

Connectors:

INPUT L / Guitar (Switchable 10kQ and 1MQ impedance) / Dynamic Mic
[LINE Gain] PAD: -20dB
[Hi-Z Gain] LOW: 0dB, NORMAL: +10dB, HI: +20dB
[MIC Gain] LOW: 0dB, NORMAL: +10dB
INPUT R / Dynamic Microphone
[LINE Gain] PAD: -20dB
[MIC Gain] LOW: 0dB, NORMAL: +28.8dB, HI: +50dB
STEREO LINE OUTPUTS (Max +6.5dBV)
*The above jacks are all balanced 1/4" TRS Jack Connectors
PHONES jack (stereo 3.5mm mini jack type)
USB port (micro USB Type-B)
[USB Audio] USB 2.0 Full Speed, 48kHz-16bit
Input: 2 channels, Output: 2 channels
[USB MIDI]
[Mass Storage Class] USB2.0 High Speed
*For iPhone, Apple Lightning to USB Camera Adapter required separately
MIDI IN connector (5-Pin DIN type)
MIDI OUT connector (5-Pin DIN type)
AUDIO SYNC IN jack (mono 3.5mm mini jack type)
AUDIO SYNC OUT jack (mono 3.5mm mini jack type)
SD card slot
DC IN connector

Power Supply:
DC12V output AC adapter (500mA, Inner Diameter: 2.1mm, Outer Diameter: 5.5mm, Polarity: Centre +)
Ni-MH AA SIZE Rechargeable Battery or Alkaline AA SIZE Dry Battery x 6
(Alkaline dry batteries life: approx. 4 hours)
*Batteries sold separately

Accessories:
AC Adaptor
Warranty
*SD card, USB cable and the other connection cables sold separately

Size and weight

Width: 147mm | approx. 5.8 inch
Depth: 175mm | approx. 7.8 inch
Height: 46mm | approx. 1.8 inch
Weight: 550g | approx.1 lbs 3.5 oz

Notes: The Shaped Dual EnvVCA is a two-channel analogue envelope generator with waveshapers and a stereo linear VCA. Unlike conventional analogue envelope modules, the waveform of each envelope can be controlled with a slider or CV without changing the envelope timing. With a wide time range from an hour to 2.5kHz, and a plethora of CV inputs and attenuverters, it can be used as an LFO, audio-rate oscillator, slew limiter, waveshaper, ASR/ADSR/complex EG, independent audio/CV VCA, envelope follower, sidechain processor, and general utility module. Each channel has dedicated linear outputs plus attenuverters and offset controls for the variable waveshape outputs, making it an ideal modulation source and stereo VCA.

100% analogue

Shaped Dual EnvVCA

20HP Eurorack format module
0.95" (24mm) maximum depth (includes power cable)
10-pin Eurorack power header

Power consumption
+12V: 255mA
-12V: 230mA

Audio/VCA
100k input impedance, 1k output impedance, DC-coupled
VCA gain range: -90dB to +2.0dB, linear response to CV from 0V to 5V
VCA unity gain: 4.4V CV
DC to 20kHz, +/-0.1dB

Envelope Times
Minimum rise or fall time: ~200us per segment (2.5kHz max frequency)
Maximum rise time: >20 minutes (typically > 40 minutes)
Maximum fall time: >12 minutes (typically > 20 minutes)

Jacks:
Env jack: Min = -10.2V, Max = +10.1V, maximum amplitude 9.3Vpp
Trigger jack: rising edge threshold = 1.25V
Follow jack: active range = 0V to +5V

EO* jacks:
EOR (channel A): <80mV low to >4.50V high gate output
EOF (channel B): <80mV low to >4.95V high gate output
Minimum stable pulse width: 1ms. Shorter than this may produce extra 50us pulses
Audio In/Out jacks: -10V to +10V maximum range without clipping

Notes: This module provides you with four motorised faders (aka flying faders) to be attached to your DROID master. You can attach up to 16 of these units (or any other DROID controllers) to one master, so the maximum number of faders on a DROID is 64. Below each fader is a touch button and an LED.

You can use the faders, the buttons and the LEDs in very flexible ways to control all parameters in your DROID patches, like steps of a sequence, volumes of channels of a digital mixer (controlled via MIDI with the X7), parameters of a large bank of envelopes, CV values that are organized in presets and much more.

The special thing about the motorized faders is that each fader can be assigned several functions or presets. When you switch the function, the fader moves to the exact position that corresponds to the current value. The usual Eurorack "picking up" of potentiometers or faders, where you never know exactly which value is currently set, is now a thing of the past.

Another unique feature is the "haptic feedback". If a fader is used, for example, in a sequencer to select a note from a scale, you can feel each individual note like an artificial notch. The fader intelligently creates these virtual grooves with its motor. This is very useful and very intuitive whenever you use the fader to select one out of several discrete values. Other examples are clock divider settings, the number of a preset, a waveform, a clock offset and much more. Due to the haptic feedback you don't need any display for seeing what you are doing. You can concentrate on making music and play very intuitively.

Another kind of haptic feedback is a kind of "pitch bend wheel", where the fader always pushes back to the center position by itself. Here the motor creates an artifcial spring. When setting analog values such as a volume or a filter cutoff, the fader then runs freely, of course.

Applications

The DROID plus the faders can be used for various applications - and due to the possibility of switching even at the same time! Here are some example:

A multi track performance sequencer
Use a MIDI controllable digital audio interface as mixer
Control a bank of four envelopes with A, D, S, R each with just four faders
Use the faders for CV presets
Use the faders and their haptic feedback for live performing with pitch bends, ratcheting and all other crazy stuff
Power
Motor faders need much energy. Theoretically one single fader can draw up to 800 mA when at full power. That seems to be the main reason why nobody dared in bringing motorised faders into Eurorack so far.

Der Mann Mit Der Maschine have solved that challenge by making use of the fact that the fader need their power always just for a very short time. The M4 unit comes with four big power tanks (called super caps) that are loaded with a low current but provide the full power when the faders need them. That way the maximum current of one M4 unit is limited. With jumpers on the back you can choose between a peak current of 350, 450, 500 or 600 mA.

Dimensions
14 HP
42 mm deep

Current Draw
350 mA +12V

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


Improving feel and workflow, and making the best of hardware and software available in one place, Console 1 Fader allows you to raise the sound quality bar to new heights. Mixing a masterpiece isn't easy, but with Console 1 Fader there's no limit to what you can do. Now's the time.

Ten touch-sensitive 100 mm Alps motorized faders give premium professional feel and feedback, while the weighty powder-coated steel chassis means durability and substance in a sleek Scandinavian design.

Fader includes two console emulations (Tube and Discrete). Way more than a simple controller, Fader enriches the sound of your tracks in the same ways as a true analog console.

Riding faders is muscle memory for many mix engineers. For those of us who play the desk like an instrument, Console 1 Fader gives quick and intuitive control over volume, saturation, filtering, and much more.

The Console 1 mixing ecosystem is so much more than a simple DAW/plug-in controller. It's an efficient, elegant, and amazing-sounding modern mixing solution, combining hardware and software to give you the best of both worlds: the versatility, affordability, and usability of in-the-box mixing, alongside the workflow, feel, and focus dedicated hardware can bring.

Console 1 Fader can be used alone, or in combination with the original Console 1 channel strip controller for a tight 'complete desk' experience. You can even use multiple Console 1 Fader units to build the ideal workflow for your specific studio.

There are many ways to mix a masterpiece, but riding faders is a matter of muscle memory for a lot of us. And for good reason - reaching out and grabbing five or ten different sounds or groups at once, and quickly adjusting, listening, adjusting, listening, balancing... it's a full-body discipline, and software alone can't come close.

Tapping into the same purpose-designed software environment as the original Console 1 channel strip controller, Fader brings new levels of control over the wider world of your mix. You can ride up to ten channels at once, working volume, high-and-low-cut filter values, drive and drive character (modeled desk saturation), and more. Then page up for ten more channels. And ten more, until you have easy access to your whole mix, even when tracks number into the hundreds.

Expandable with world-class sounds
Because all the audio signal processing happens in our award-winning component-modeled software, you can switch out the 'circuitry' of your console instantaneously for a different desk sound across your whole project, or even channel by channel.

In addition to the two analog console sounds Fader ships with, you can purchase any of our Console 1 channel strips and use those classic desk sounds with Fader.

Selected features

Fader modes
Fader allows you to quickly and intuitively control track volume, drive level, drive character, input gain, low cut, high cut, and up to three send levels, all from the same high quality motorized faders.

Transport controls
The three assignable buttons work by default as basic transport controls for the major DAWs, but each can be assigned to a keycommand of your choice (e.g. CTRL+Z), for whatever use you can imagine.

Encoder
Mounted on a high-grade all-metal potentiometer, Console 1 Fader's single encoder offers control of pan per track, but also unlocks a powerful stereo spatialization tool, to widen or consolidate your individual tracks, situating each sound perfectly in your mix.

Layer mode
With our innovative new 'Layer Mode' you can create layers of tracks, putting many levels of mixing at your fingertips. Low cut all your guitars at once, or saturate your groups early on for a top-down effect in seconds.

In short
A 10-fader approach to Console 1, our hybrid hardware/software mixing ecosystem
High quality hardware, designed and built for both feel and function
Take fast and intuitive control of volume, saturation, filtering, and more
Two awesome-sounding component-modeled console emulations included
Expand your sonic options with Console 1 expansion channel strips (sold separately)
'Layer Mode' allows you to organise and affect your mix in powerful new ways
Spatializer tool offers fast per-channel control of stereo width
Works with all major DAWs straight out of the box - no MIDI-mapping required
Use alone, or in combination with the original Console 1 channel strip controller

Notes: Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions
16 HP
26 mm deep with power ribbon cable connected.

Notes: The Z8000 Matrix Sequencer is a modulation source like no other: The 16 knobs of the Z8000 are accessed by ten sequencers with their own clock, direction and reset inputs. The ten sequencers are as follows:

Four 4 step CV sequencers on the horizontal.
Four 4 step CV sequencers on the vertical.
One 16 step CV sequencer on the horizontal.
One 16 step CV sequencer on the vertical.

The Z8000 can simultaneously modulate up to 10 CV parameters poly-rhythmically, with unprecedented motion complexity. One knob affects all 10 CV outputs! Imagine modifying 10 parameters from one knob. With its 30 gate and clock inputs and 10 CV outputs one can only imagine the possibilities, and all clock inputs can even be driven at audio rates! The Z8000 pairs well with the Trigger Riot and Circadian Rhythms and using it with the QuantiZer extends its capabilities as a high-precision 1V/Oct note sequencer.

Introduced in 2017, a new version of the Z8000 maintains the original circuitry but adds output range adjustment switches on the back and Tiptop's new colored look, which helps highlight the sections, on the front.

Size: 28HP
Depth: 15mm
Power: +12V 70ma / -12V 10ma

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

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

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

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

Dimensions: 20 × 30 × 10 cm

Notes: A new way of doing things

Make recording easy

Eight award winning EVO Preamps alongside our advanced converter technology will make everything you do, sound better. Add to that, intelligent mic preamps that set their own levels with Smartgain, the all new, groundbreaking Motion UI control system, and enough I/O firepower to tackle even the biggest of sessions, EVO 16 is truly a studio powerhouse, designed from the ground up to make recording easy.

The EVO Mic Preamp

Get studio quality recordings - Level up your audio performance with eight sonically stunning EVO Preamps. Backed by 25 years of engineering experience, our analogue mic preamp has been designed to deliver the most accurate, clean, and true to source version of your audio, no matter what you're recording.

An analogue mic pre but better

The EVO Preamp technology not only has all the sonic advantages of an analogue mic preamp, but combines it with digitally controlled precision, giving you the ability to set your gain with pin-point accuracy, right down to the decibel.

Smartgain - A total gain-changer

Make recording drums and larger sessions easy with Smartgain. Automatically set the gain for all 8 channels at once with a simple touch of a button. Powered by our lightning quick Smartgain algorithm, Smartgain uses advanced peak analysis to automatically analyse, adjust and set your gain to the perfect levels - all in less than 20 seconds!

Your own assistant engineer

Record, adjust levels, repeat? Sound familiar? Save time and make recording on your own a breeze with Smartgain. Simply set up your mics, hit Smartgain, start performing and EVO 16 will take care of the rest.

Advanced Converter Technology - Clearer, sharper clarity

Providing a MASSIVE 121dB of dynamic range, EVO 16's high performance converter technology makes sure you hear your audio accurately, helping you make creative decisions confidently, identify issues and improve your recording and mixing game.

Line Outputs - Pick The Best Route

Connect and listen to your mixes through multiple sets of speakers with EVO 16's eight line outputs. Alternatively use the extra line outputs to send audio to external outboard gear, such as compressors or FX units, or to headphone amps for distribution to your artists.

Headphone Outputs- Clarity where you need it most

Drive even the most demanding headphones with EVO 16's two dedicated headphone amps. Easily power headphones up to 600 Ohms all while experiencing detailed monitoring and playback as well as plenty of volume.

Classic tone, modern sound

To build a monster guitar sound you need the right foundation. Our harmonically rich JFET instrument input circuit is designed to replicate the input stage of a classic valve amplifier, providing an ideal sonic foundation before you hit your guitar sims.

Digital I/O - Room For Expansion

Future proof your studio and configure your setup to tackle bigger sessions. Whether you're recording drums or taking on a full band, EVO 16's optical inputs and outputs have got you covered. Supporting both ADAT and SPDIF, add up to 16 channels of mic preamps to your setup, giving you plenty of options for expanding your studio down the line. Pairs great with any external mic preamp.

Specifications

Microphone Preamplifier
Mic Gain Range: 58dB
Line Gain Range: 58dB (-10dB pad)
Phantom Power: 48v +/-4v @ 10mA/Channel
Mic EIN: <-127.5dBu
CMRR: >80dB @ 1kHz
Maximum Input Level: +16dBu
Input Impedance (Mic): >3kO Balanced
Input Impedance (Line): >10kO Balanced
Frequency Response: +/-0.5dB 10Hz to 40kHz
Crosstalk: <-105dBu @ 1kHz <-103 @ 10kHz
THD+N @ 0dBu (1kHz): <0.0015%
SNR: 100dB
XLR: Pin 2 (Hot), Pin 3 (Cold) & Pin 1 (Shield)
1/4" Jack: IP (Hot), RING (Cold) & SLEEVE (Shield)

D.I
D.I Gain Range: 58 dB
Maximum Input Level: +10dBu
Input Impedance:500k
Frequency Response: +/-0.5dB 10Hz to 20kHz
THD+N @ 0dBu (1kHz): <0.1%
SNR: 100dB
1/4" Jack: TIP (Hot) & SLEEVE (Shield)

ADC Inputs
Digital Reference Level: 0dBFS = +10.5dBu
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: -125dBu @ 1kHz & 10kHz
THD+N @ -1dBFS (1kHz): <0.001%
Dynamic Range: 112.5dB A-Weighted

DAC Outputs
Maximum Output Level: 12dBu
Digital Reference Level: 0dBFS = +12dBu
Output Impedance: <50O
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: <-110dBu @ 1kHz
THD+N @ -1dBFS (1kHz): <0.001%
Dynamic Range: 121dB A-weighted
1/4" Jack: TIP (Hot), RING (Cold) & SLEEVE (Shield)

Headphone Output
Max Output Level: 11.25dBu
Output Impedance: <50O
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: -108dBu @ 1kHz
THD+N @ -1dBFS (1kHz): <0.001%
Dynamic Range: 118dB A-weighted
Max Level Into 30ohms: +8.5 dBu, 0.00094% THD+N, 1.66Vpk Power: 86mW
Max Level Into 60ohms: 10 dBu, 0.00079% THD+N, 2.55Vpk Power: 104mW
Max Level Into 600ohms: 11.2 dBu, 0.00057%THD+N, 3.83Vpk Power: 24mW
1/4" Jack: TIP (Left), RING (Right) & SLEEVE (Shield)

Notes: Ultra-versatile stereo reverb pedal with eight contrasting algorithms for flexibility and character. Expression pedal highly recommended for real-time hands-free modulation.

Supplier's Notes:
Space Reflections

ROOMS is a stereo, multi-function digital reverb capable of searing volume, gated walls of sound, and long, trailing reverberant ambiances with an intuitive array of controls designed with live mood-bending in mind.

ROOMS was designed to the highest standards of flexibility and audio fidelity. A studio-quality mixer section provides independent DRY and FX controls over six meticulously programmed reverb algorithms; ROOM, DIGIT, PEAK, GATE, WAVE, and GONG. Each different verb is capable of a universe of sounds, and ROOMS is here to help you explore them.

ROOMS' creative I/O switching and dual-mono dry signal lines allow for a wealth of possible mono and stereo configurations, making it easy to route signals for parallel processing or stereo amplifier setups.

Controls

FREQ: Controls the frequency parameter of the current mode.

DEPTH: Controls the depth parameter of the current mode.

TIME: Controls the reverb time in all modes.

DRY: Controls the volume of the dry signal, from -inf to 20x gain.

FX: Controls the volume of the reverb signal, from -inf to 20x gain.

ALT: Engages the ALT mode, switching between two sets of controls. When active, FREQ is controlled with the F knob, DEPTH with the D knob, and TIME with the T knob. Additionally, the ALT mode turns on expression control of either FREQ or TIME using the F?T Switch on the side of the pedal. NOTE: Expression control ONLY works in ALT mode and when an expression pedal is plugged in.

Expression Pedal: Almost any expression pedal will work with ROOMS. When not plugged in, the controls work as normal. NOTE: Expression control ONLY controls the F or T knobs when ALT mode is engaged and when an expression pedal is plugged in.

Modes & Parameters

FREQ knob : DEPTH knob

1 - ROOM: Tone of Decay : Pre-Delay
A classic reverb that simulates many different rooms.

2 - DIGIT: Delay Time : Delay Feedback
A filter matrix verb capable of creating otherworldly resonances and fractured repeats.

3 - PEAK: Filter Frequency : Filter Resonance
A super intense bandpass filter combined with an ambient reverb.

4 - GATE: Decay Tone : Gate Response Time
A gated reverb. Short reverb times create a classic gate effect, long reverb times create a controllable freeze effect.

5 - WAVE: Modulation Frequency : Modulation Depth
Creates a pitch vibrato effect. Lowering TIME will blend out the reverb signal, allowing sweeps from chorus/vibrato to long modulated reverbs.

6 - GONG: Modulator Frequency : Blends from Aliasing (left) to Ring Modulation (right)
Ethereal, crushed reverb sounds guaranteed to make you star in the upcoming remake of DUNE and live out your sci-fi fantasies of space travel and galactic domination.

Specifications

Dimensions: 5.95" x 3.86" x 2.96" (including hardware).
Weight: 18 oz.
Power: 80 mA, 9V (runs on a standard 2.1 mm negative center 9V adapter).

Notes: For the truly wild

Psycho multimode filter with an ultra-sleek, laser-etched enclosure. Its medical-grade IC chip creates a hyper-precise filter that sounds like no other. With high pass, bandpass, and low pass modes, as well as two types of screaming resonance, the Evil Filter is ready to saw any sound into pieces - or just be the most insane wah you've ever heard. The Evil Filter's two fuzzes take signals into a much more twisted dimension, creating a blooming compression that's perfect for ripping solos and walls of noise alike. Push it past the limit into octaves up, down, and snarling wavefolding sounds. Using the CV/Expression input, you can also control the filter cutoff frequency with an expression pedal or synthesizer.

Controls

Filter Freq: Cutoff frequency of the filter. Numbers shown are in Hz.
Filter Output: Volume of the filter section of the pedal.
Filter Selector: Selects between the different filter types - Low Pass Symbol Low Pass, Band Pass Symbol Band Pass, and High Pass Symbol High Pass.
Filter Resonance: Sets the resonance of the filter in conjunction with the Resonance Switch. WARNING: Will self oscillate at high levels!
Resonance Switch: Sets the range of the Filter Resonance knob between Normal and High.
Fuzz Output: Volume of the fuzz section of the pedal.
Fuzz Type Switch: Choose between two different fuzzes - Low Gain Fuzz Symbol lower for a cleaner, more driving fuzz, High Gain Fuzz Symbol higher for a blasted out, blooming, insane fuzz.
EXP/CV Input: Plug in CV control (~0-3.0v) or an expression pedal for external control of the Filter Freq knob. The Filter Freq knob sets the range for the EXP/CV input.

Specifications

Dimensions: 7.75" x 4.72" x 2.4" (including hardware).
Weight: 25 oz.
Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).
Current Draw: 21 mA.

Notes: ALM turn their hand to sequencing with the ASQ-1. Multiple modes allow you to sequence up to two CV/gate channels and four trigger outputs.

Supplier's Notes:
The ASQ-1 is a multi mode Eurorack sequencer. It can simultaneously sequence two CV/GATE and four trigger patterns, as well as perform synchronised quantisation of an external CV signal. Programming of all patterns is performed using familiar classic paradigms - SH101 style step-time note entry and classic drum machine pattern editing - with satisfying mechanical computer style keys.

Pattern position, step info, length and clock division settings are communicated via the keys and LEDs. Through simple key combinations, global and performance oriented features such as mutes, transposition and saving / loading patterns are available.

ASQ-1 is designed to be a simple, immediate sequencer ideally suited to quickly jamming out ideas, having happy accidents and performing live. It is intended to be a fun and hands on alternative to the many increasingly complex hardware sequencers out there.

Features
2x step time style CV/Gate sequencers. Think 'SH101' but more turbo.
4x drum machine style pattern sequencers.
1x Clock synced external hi-res CV quantiser.
Intuitive, immediate and fun performance orientated interface with great ASMR.
Internal or external clocking with optional internal division per pattern.
Independent poly rhythmical sequence lengths.
All patterns saveable and persist with state across power cycles.
USB-C port for easy drag and drop FW updates and backing up sequence data.
Skiff friendly with reverse power protection.
Made in England.

Technical Specifications:

Supply: +12V 50mA / -12V 10mA
Size: 32HP
Depth: 32mm
Outs: 0-5V 16 bit CV outputs, 5V Triggers

ASQ-1 pairs well with Pamela's NEW Workout, Squid Salmple and ALM's drum voice modules.

Notes: The XPO or Stereo Prismatic Oscillator music synthesizer module is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.

The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic »

Features:

Stereo Analog VCO with eleven simultaneous outputs (five mono outs and three stereo pairs)
Modulate Timbre via Stereo Pulse-Width Modulation, Stereo Vari-Timbre, and Stereo Wavefolding
Sine, Triangle, Sawtooth, Spike, and SUB mono outs
Unique Mono versions of all Stereo Waveforms via Left output normalizations
Modulate Left and Right channels together or separately thanks to normalization and attenuverters
Center parameter adds additional timbre control to both sides of Vari-Timbre and Wavefolded outputs
Linear FM Bus features voltage-control over FM depth and a normalization of SUB to FM input for easy GROWL
Hard SYNC circuit
Two 1v/oct inputs for transposition, melody stacking, or richest FM
Expo FM input with attenuverter
Designed to pair well with QPAS, Mimeophon, and X-PAN

Specifications:

Width: 18hp
Max Depth
(incl. power cable): 45mm
Power:
145mA @ +12V
135mA @ -12V

Notes: Polydactyl Versio is Noise Engineering's take on a multiband dynamics processor. Polydactyl Versio is equally at home on single-instrument timbral processing and on end-of-chain gloss. Taking inspiration from Noise Engineering's Librae Legio, Polydactyl Versio applies a unique and transparent algorithm across three bands for maximal dynamic impact. Add in a multiband saturation knob and noise gate, throw in a limiter, and you have a processor that gives ultimate control of color and dynamics.

Polydactyl Versio is part of the Versio family: this platform module can be transformed into a completely different effect by loading a growing number of alternate firmwares, completely free! Plus, with open-source support and documentation at LibDaisy, you can write your own firmware. Grab a Polydactyl Versio and process your signal into submission or total rebellion with three separate bands, saturation, limiting, and noise gating.

Size and power:
10 HP
+12v: 125ma
-12v: 10ma
+5v: 0ma

Notes: Explore unique sonic possibilities with this semi-modular digital synth, combining physical modelling with spectral sound sources, versatile effects and complex modulators.

Supplier's Notes:
An affordable hybrid monophonic synthesizer that allows you to create new sound universes inspired from the real world, where objects collide, vibrate, and resonate.

Anyma Phi blends the classic ingredients of electronic music with physical modelling technology, allowing it to simulate acoustic sound sources, such as strings or reeds, as well as resonating structures, like wood, glass, or metal.

Anyma Phi is compact enough to stand on your keyboard, or anywhere on your desk, and is compatible with any MIDI controller, such as keyboards, sequencers, or even wind controllers, including Aodyo's own Sylphyo.

Whether you play live or record in the studio, design sounds or play presets, Anyma Phi will become an indispensable tool. It can even be used as a stand-alone effects processor, or as part of a guitar effects pedal setup.

The heart of the Anyma Phi is the matrix, which provides a quick and easy way to explore your sounds by following a physical metaphor, with four macros for each of the five stages of sound generation:

With its matrix, Anyma Phi offers a straightforward way to tweak, explore, and create sound universes. It also provides easy ways to make your sound react to your MIDI controllers with mapping shortcuts. But don't be fooled by the simplicity!

If you want to dive deeper, you can take control of the powerful semi-modular synth engine beyond the matrix, with oscillators covering a wide range of synthesis techniques, effects, and modulators.

By connecting those together, you can create any kind of sound, and control it any way you want.

Anyma Phi offers you:
Up to 3 oscillators (sound sources)- physical models, classic spectral, noise souces, external input
Up to 5 effects: resonators, filers - EQ, pitch shifter, ring mod, delay - reverb, chorus - phaser, drive - folder
Up to 8 modulators: envelopes, LFOs, curves, slew limiter, math & logic

This amounts to 69 different module types available, including 30 sources, 22 effects, and 17 modulators.

Technical specifications:
Hybrid monophonic synthesizer
Stereo audio output:
Two 1/4" mono line jack outputs
One 1/4" stereo headphone jack output
1/4" stereo jack audio input (internal piezoelectric mic when external input unplugged)
MIDI inputs and outputs via USB and DIN ports
Powerful digital semi-modular synthesizer engine :
Memory: 200 patches
3 oscillator slot
5 effect slots along 2 serial buses (Main, Aux) + 1 mono reverb
16 modulator slots, including envelope generators, LFO, curves, interpolators, slew limiters, etc.
32 mapping slots (virtual patch cords), each allowing to control any synth parameter (including another mapping) using a modulator or a controller input, with a sidechain input
Responsive to pitch, pitch-bend, velocity, breath control / expression, as well as 4 other controller inputs

Additional features:
Percussive playing surface
Patch librarian / editor
Extended memory

The percussive playing surface will allow you to tap and scratch your sounds directly on the case, making your performance even more expressive and fun! This would be made possible by integrating a piezoelectric contact microphone into the case. The resulting sound would be available to use on the Anyma as an audio input, ready to be fed into resonators and effects!

You can edit patches directly on your Anyma, as well as send and receive patches via MIDI SysEx. But what about something more comfortable and powerful?

This software will allow you to easily manage and share patches, as well as edit them in depth in a streamlined environment on your PC or Mac, by making all the synth components directly visible and showing their interactions.

With more memory, you can have a huge library of sounds at your fingertips, or you can make many variations of your patches without having to worry about space or having the computer editor around to make backups!

Let's free the Anyma Phi from the shackles of the Western 12-tone equal temperament! A440 be gone!

Notes: Jürgen Haible's legendary redesign of the Tau "The Pipe" Phaser has now (and for the first time ever) been adapted to Eurorack format. The 2021 version is a new, skiff-friedly design. It includes some additions and modifications compared to the original Haible version like Extended CV control: -1V/Oct and an attenuverting CV input.

Some details of the Haible TAU Pipe phaser module:

Faithful adaption of Jürgen Haible's design
Uses crazy caps for sonic performance.
Eurorack (3U) format, 18 hp
Skiff-friendly: < 30mm deep
Power: appr. 45mA @ +12V and 40mA @ -12V