Back catalogue: All genres

Notes: Originally released in 1970, Minimoog Model D was the world's first portable synthesizer and served as the archetype for all electronic keyboards that followed. The all-analog instrument gained acclaim for combining the colossal sound of the 1960s Moog modular synthesizers with the accessibility of pre-wired modulesimeaning that it could be played instantly and intuitively with no patch cables required. It was quickly embraced by a diverse roster of performers, with artists like Herbie Hancock, Kraftwerk, Rick Wakeman, Sun Ra, Piero Umiliani, Giorgio Moroder, Bernie Worrell, and Gary Numan all shaping unique sounds and forging new musical genres using the instrument.

More than a half-century since its invention, Minimoog Model D is back in production at the Moog factory in Asheville, North Carolina. An exceptional sonic tool and one of the most beloved and iconic synthesizers ever designed, it returns to the hands of synthesists of all kinds and serves as inspiration for the next generation of electronic musicians.

The three-oscillator, monophonic, analog synthesizer is securely housed in a locally sourced Appalachian cherry cabinet and hand-finished aluminum chassis. Sounding as vibrant and deep as ever, its legendary low-pass ladder filter, powerful oscillators, and rich saturating mixer retain the exact component placement and through-hole design of a 1970s-era Minimoog Model D.

While no changes have been made to the original sound engine or audio signal path, the 2022 Minimoog Model D includes a series of popular functional modifications that expand this legendary instrument's sonic capabilities. These modifications include a dedicated analog LFO with triangle and square waveshapes, a premium Fatar keybed with velocity and after pressure available via top panel CV jacks with onboard trimpots, MIDI integration, and a mixer feedback modification which allows the Minimoog Model D to overdrive and scream with the turn of a knob. And, for the first time in its history, the Minimoog Model D now features a spring-loaded pitch wheel with center deadband, allowing for improved playability and wild performance flourishes. This newest edition also includes updates to the MIDI functionality, allowing for improved modern studio integration.

SPECS
NUMBER OF KEYS
44
KEYBOARD RANGE
F0 to C4
KEYBOARD ACTION
Synthesizer (Spring)
NOTE PRIORITY
(Low, High, Last): User Selectable
SOUND SOURCES
3x Oscillators, Noise Generator and External Audio Input
OSCILLATOR FREQUENCY RANGE
0.1 to 20 kHz (In Six Overlapping Ranges)
OSCILLATOR STABILITY
(short term) > 0.25 %
OSCILLATOR WAVEFORMS
Triangle, Triangle-Sawtooth (Oscillator-1, Oscillator-2), Reverse Sawtooth (Oscillator-3), Sawtooth, Rectangle, Wide Pulse and Narrow Pulse.

Notes: An absolute powerhouse of a synth with 16-voice polyphony, stereo architecture and a four-part multitimbral digital sound engine. Built-in sequencers, sample playback and effects make it a true all-rounder.

Supplier's Notes:
MD900 is a polyphonic desktop synthesizer, multitimbral with 4 parts. A polyphony of up to 16 voices are shared by the 4 multi-timbral parts. All of these 4 parts have their own effect stack [Mod-Delay (flanger, chorus, vibrato), Reverb, Tube-AMP, EQ, LP-Filter, DYNAMIC (Limiter) , Stereo Delay ...].

The overall audio path is stereo. Rationally, the oscillator, mixer filter, amps and effects are all in stereo.

Four independent arpeggiator und step sequenzer assigned to each of the four synth parts. The trigger sequencer may trigger the built in transient sample player (Drum Kit .wav) or send triggers to MIDI-Out (USB-DIN or USB-MIDI)

The housing is made of aluminum with real walnut wood on the front and back.

All components are industrial grade. On the operator panel we use precision potentiometer with aluminum covered knobs.

For some parameter entries we use endless encoder without rest.

This kind of encoders feels like a potentiometer.

All of this feels very valuable and it feels great to work with.

The MD900 XVA engine is patch compatible with the M800-R2 synthesizer.

Overview Firmware OS:

The XVA-Sound Engine of the MD900 runs on top of a Linux OS with real time extensions. The overall boot time is < 30 sec.

All contents like Wavetable-, Sample-files, preset and sub-preset files are stored on the internal filesystem.

The filesystem is accessible over ethernet (USB-Lan Adapter).

Managing presets, samples, wavetables configurations & updates are possible and easy to handle.

Operation Panel:

The operation panel gives you real time control to the major voice parameters with a dedicated knob. All parameters are accessible via touch-display and the endless rotary encoders. The part (timbre) has to be selected to alter the parameter on the dependent timbre.

The module specific info display gives the necessary detailed feedback on the parameter changes.

Specifications

Dimensions: 460mm x 295mm x 65mm
Power: External 15V DC power brick 50W
Audio In : 6.3mm stereo jack
Audio Out: Left 6.3mm mono jack, right/left 6.3mm stereo jack
Headphone: 6.3mm stereo jack
MIDI DIN: 1x Midi Input, 1x Midi Output, 1x Midi through
USB 2.0: 2x Hot connect for USB/Ethernet, USB-Midi Host
Pedal SW: 1x Pedal switch input 6.3mm jack
Volume pedal: 1x Standard expression pedal
TFT Display: 5" 800x 480 Colour (24bit) capacitive touch display.
Frontpanel: 37x Potentiometer, 12x linear slider, 12x endless encoder, 30x switches, 42x Leds

Notes: Latest incarnation of Buchla's legendary modular synth. Massively creative with incredible sound and history stretching all the way back to the 1960s.

Supplier notes:
The evolution of the legendary modular analog synthesizer by Don Buchla. The Buchla Easel Command is the newly updated 208C in a standalone desktop form with MIDI and CV control.

Buchla's own Joel Davel led the charge to create a new version of the legendary Music Easel instrument with more modular flexibility and independence, while also providing the means to easily interface with more devices, such as the various DAWs like Ableton and MIDI controllers, including the very expressive Sensel Morph. It's still fully analog in its default configuration and provides the unique and exquisite Buchla experience with greater functionality at a lower cost.

Notes: Gorgeous experimental system based around Make Noise's brilliant Maths, Morphagene, QPAS and Mimeophon modules. Capture and process sounds in stereo and warp them into new dimensions.

Supplier's Notes:
The Tape & Microsound Music Machine music synthesizer is a small stereo system devoted to capturing external sounds and sculpting them into new ones. The Morphagene operates as a recorder that also allows the artist to mulch, layer and rearrange the sound and manipulate the speed and direction of playback. The Mimeophon repeats sounds and subjects them to further manipulation, and when combined with the Quad Peak Animation System (QPAS), incredible stereo sculpting of the spectrum. The Wogglebug and MATHS work to animate these effects, and the XOH provides a final stereo mix and line level or headphone outputs for monitoring and/or performance.

Notes: A true powerhouse of a synth, packaging the Quantum synth engine into a more manageable four-octave design. Five synthesis modes, powerful stereo filters, performance features and outstanding playability.

Supplier's Notes:
Waldorf Iridium has made the impossible possible. The mighty synth engine from Quantum is now available in a compact form. Tracing the footsteps of its bigger brother, Iridium features all the synthesis elements of Quantum as well in a rack-compatible format. The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.

Contributing another entry in Waldorf's rich history, Iridium joins the family as a direct descendant of the PPG Wave. Though, Iridium offers much more than its ancestor. Five different synthesis models are provided by Iridium for each of the three oscillators:

Wavetable
Waveform (Virtual Analog)
Particle (Sampling and Granular Sampling)
Resonator
Kernels

Kernel mode has been introduced with the OS 2.0 of Quantum. This huge upgrade allows one oscillator to be turned into up to six sub oscillators. These can be interlinked through FM at audio rate and arranged in user-definable constellations. Just this upgrade alone would have provided enough additional features to create a synthesizer on its own. Now, all those functions have been integrated into Iridium as well.

Up to 7000 patches can be saved in Iridium. Patches from Quantum can be loaded in Iridium and vice-versa.

Iridium features three digital filters per voice. Two in the Dual Filter section and another one in the Digital Former. Several types are available to choose from:
12 or 24dB and Lowpass/Highpass/Bandpass with optional saturation or dirtiness.
Various filter models are available including those from Waldorf Nave, Largo and PPG 3V.
The Dual Filter section can be controlled independently or together in several different link modes.

The Digital Former offers all the filter types and models from the Dual Filter plus unusual models like Comb, Drive, Bitcrusher and more in addition.

All filters retain a true stereo signal throughout the entire structure of the instrument.

Specifications
16-voice polyphony, duo-timbral
Compatible with the Waldorf Quantum synth engine

3 Oscillators
Oscillator Modes:
Wavetable
Waveform (VA)
Particle (Sampling and Granular Sampling)
Resonator
Kernels (up to 6 sub-oscillators which can be interlinked through FM at audio rate)

3 Stereo Filters per voice
True stereo path
Dual Digital Filter:
Two filters with independable modes
12/24dB LP/HP/BP in all combinations
Nave, Largo, PPG, Quantum and StateVariable models
Digital Former:
Filter models from Waldorf Nave, Largo and PPG in HP/LP/BP/Notch
Comb filter
Bitcrusher
Drive
RingMod
StateVariable mode
Analyzer displayed in Filter view
Filter curve moves when modulated (optional)
Sophisticated filter routing options with modulatable panning and levels

Modulators:
6 Envelopes
6 LFOs
Komplex Modulator (LFO/Envelope combination with user-definable shape)

Mod Matrix:
40 slots
Fast assign mode
One additional control amount per slot
Identical Sources and Destinations can be used multiple times until the matrix is full

Pads:
4x4 silicon pad matrix with RGB backlights
Pads can play notes, chords, arpeggios and sequences
Latch mode

Performance features:
Arpeggiator
Step sequencer with up to 32 steps for notes and parameters
Favourites screen for quick patch recall
Onscreen Mod Wheel, Pitch Bend and Aftertouch

Screen:
Industrial-grade highly responsive touch screen

Patches:
Over 1000 factory sounds
Capacity of 7000 patch memory slots (numbers 0000-9999 can be used)
Patches from Quantum can be loaded and vice-versa
Category filter for patch list
2GB user sample flash memory

Connections:
2x TS output
2x TS input
Headphones output with Gain control
DIN MIDI In/Out/Thru
USB MIDI
USB host for storage and MIDI devices
MicroSD slot
Kensingtonr lock

CV connections:
4 CV inputs plus Gate In, Trigger In, Clock In, Clock Out
Inputs can be used as modulation sources in the Mod Matrix

Overall:
Sturdy metal case with aluminium knobs

Dimensions: 440mm wide by 305mm depth by 85mm height (including controls)
Weight: 5.4kg
19" rack assembly parts available

Notes: Tracing the footsteps of its bigger brother, Iridium features all the synthesis elements of Quantum as well in a rack-compatible format. The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.

Contributing another entry in Waldorf's rich history, Iridium joins the family as a direct descendant of the PPG Wave. Though, Iridium offers much more than its ancestor. Five different synthesis models are provided by Iridium for each of the three oscillators:

Wavetable
Waveform (Virtual Analog)
Particle (Sampling and Granular Sampling)
Resonator
Kernels

Kernel mode has been introduced with the OS 2.0 of Quantum. This huge upgrade allows one oscillator to be turned into up to six sub oscillators. These can be interlinked through FM at audio rate and arranged in user-definable constellations. Just this upgrade alone would have provided enough additional features to create a synthesizer on its own. Now, all those functions have been integrated into Iridium as well.

Up to 7000 patches can be saved in Iridium. Patches from Quantum can be loaded in Iridium and vice-versa.

Iridium features three digital filters per voice. Two in the Dual Filter section and another one in the Digital Former. Several types are available to choose from:

12 or 24dB and Lowpass/Highpass/Bandpass with optional saturation or dirtiness.
Various filter models are available including those from Waldorf Nave, Largo and PPG 3V.
The Dual Filter section can be controlled independently or together in several different link modes.
The Digital Former offers all the filter types and models from the Dual Filter plus unusual models like Comb, Drive, Bitcrusher and more in addition.

All filters retain a true stereo signal throughout the entire structure of the instrument.

Up and down, back and forth
6 Envelopes, 6 LFOs and many more are just waiting for being used as sources in the 40 slots of the Modulation Matrix. Each slot has one additional control amount. Modulations can be directed to almost every numerical value in Iridium. All sources and destinations can be used as many times as desired until the Modulation Matrix is full. If you ever happen to run out of LFOs or Envelopes, you can use the Komplex Modulator for generating a custom shape LFO or Envelope.

Even though Iridium features a staggering amount of parameters to control, everything is organized in a logic structure which is easy to master. The major controls have their own dedicated knob, while the rest is accessible through the touch screen and the encoders around. There are no long menus keeping you from doing what you had planned. Instead, you will find a workflow which you will soon miss on other synthesizers.

Embedded in the front panel, a 4x4 silicon pad matrix invites you to launch notes, chords, arpeggios and sequences with up to 32 steps for notes and multiple parameter lines. Direct access to the parameters is granted by the seven encoders to the left and the right hand side of the touch screen.

Iridium's large color touch screen keeps you informed at all times. Upon moving a knob, Iridium gives you an optical feedback of your changes in real-time. Filter curves move, Particle grain sizes change, Envelopes warp and much more:

Komplex Modulator curves can be drawn with your finger
Envelopes show at which point the voices currently are
Wavetables are displayed in comprehensive view modes
VU meters show which voices are used and the individual voice levels
Different Analyzers show the audio signal at different points

Two Audio Outputs allow you to listen to Iridium, while two Inputs allow Iridium to process external signals. 4 CV inputs plus Gate In and Trigger In are ready to forward external signals to the Mod Matrix. Furthermore, Clock In and Clock Out will get your gear in sync. MIDI connections can be made through USB and DIN MIDI. Iridium is also equipped with a USB Host port for MIDI devices. This port also handles data exchange, in addition to the MicroSD card slot.

Once again, Waldorf have underlined their status with a new and exciting synthesizer.

Notes: Blue version of Soma's weird and wonderful 'organismic' semi-modular synth. Ideal for drum and percussion synthesis but also suitable for melodic sounds, FX and more. Unique.

Supplier's Notes:
Pulsar-23 is a multi-functional analog synthesizer and generator of complex rhythmic patterns.

The Pulsar consists of 23 different modules, including four flexible sound generators with completely different structures, four envelope generators, four looper-recorders, a clock generator with dividers, a controlled chaos generator, an LFO, a two-channel CV-controlled effects processor, distortion, two controlled amplifiers, an inverter, a controlled inverter and two controlled analog switches. In addition to these 23 main units, the Pulsar also contains 13 auxiliary units, such as a four-channel MIDI to CV converter, a noise generator, four attenuators, two dynamic CV generators with sensory control, two impulse converters and single passive electronic components for live circuit bending.

Pulsar-23 can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage. The Pulsar functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination. Additionally, Pulsar offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations.

Pulsar continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes in a special HQ bag with 30 alligator clips cables and PSU.

Notes: Powerful step sequencer built around four well-equipped full-featured 16-step sequencers communicating via both MIDI and CV/Gate. There are no screens or submenus.

All features have their own dedicated controls and have their own dedicated in- and outputs on the large 87-point patch bay. Every aspect of this sequencer is CV-able. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once!

The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped!

Our step sequencer lets you construct complex musical patterns, via both MIDI and CV/Gate. Built around four full-featured 16-step sequencers in a compact and light enclosure, the Komplex Sequencer is a powerful tool both live and in the studio. All features have their own dedicated controls; no screens or submenus, and all features have their own dedicated in- and outputs on the large 87-point patch bay. By patching both internal and external CV sources through the patch bay of the Komplex, you can control any parameter of the sequencer immediately and "sequence the sequence." Controls include Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Transpose, Repeat, Sequence Start Point and Skip. Additionally, the sequencer can vary output range and also has a quantizer on board operable in different scales.

And not only is the sequencer compatible with almost any synthesizer with CV/Gate, MIDI note, velocity and CC information can also transmitted by any of the four sequencers. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once! The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped.

CV Inputs
Clock, Rec Clock, Transpose, Start, Stop, Skip Step, Sequence Start Point, Repeats, Seq Length, Gate Length, Play Mode, Glide, Division, CV Recorder (CV In, Clock, Start, Bank Up/Down)

CV Outputs
CV Out, Gate Out, Start Of Sequence, End Of Sequence, Clock, CV Recorder CV Out (A, B, C, D and CV)

Sequencer Controls
64 Sliders and Step Select Buttons, Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Quantizer and Scale, Output Range, One-Shot Mode, Play/Pause and Stop, Global Play/Pause and Global Stop

Section Controls
Repeat Set, Mode Menu, Skip Step, Glide, Sequence Start Point, Gate

MIDI
MIDI In, MIDI Out, MIDI Clock Out (1 trigger per quarter note)

CV Recorder
Banks A, B, C and D available at corresponding sequencer patch bay outputs. All 7 banks selectable at CV Recorder CV Out by the Select control or Bank Up/Down inputs. CV is recorded and clocked through the CV Recorder CV and Clock inputs or Sequencer Rec Clock inputs.

Extra Features
Mode Menu (Skip Step Mode, Repeat Mode, Unipolar/Bipolar CV Output, MIDI Message, MIDI Channel, MIDI CC) and Firmware Updates

Casing:
Powder coated aluminum casing, silk screened printing and wooden side panels.

Dimensions
46.2 cm x 29 cm x 4 cm (L x W x H)
18.2" x 11.4" x 1.6" (L x W x H)

Net Weight
3.2 kg / 8.8 lb

Shipping Weight:
4.5 kg. / 9.9 lbs including power adapter and instruction manual.

Power Requirements:
9VDC power adapter. Only use the KOMA adapter shipped with the unit.

Accessories
Included: dust cover, manual and power supply unit.
Rackmount kit available separately

Notes: Erica's flagship drum machine is a thing of beauty. Hybrid four-voice architecture with digital sound engines feeding into analogue filters and overdrive. Beautiful design, brutal sound. A creative and original instrument.

Supplier's Notes:
It's rather sudden- the bolt of lightning strikes quickly, but the roar follows behind, as if giving one time enough to inhale. Finally, it strikes your ears like the skies breaking apart and in all its magnificence it rides the wind. PERKONS - a deity of old known by many names and also by ours on the eastern coast of the Baltic Sea - THUNDER, lord of the skies. Erica Synths proudly present our newest creation - PERKONS (THUNDER) - a drum machine and synthesizer that will change your approach to electronic rhythm synthesis - an instrument which bears the weight of a storm beneath its sturdy casing.

PERKONS features four sonically versatile hybrid voices (digital sound engine + analogue multimode filter with overdrive) and a sequencer with simultaneous control over all four percussion tracks.

Each voice has 3 sound engine modes, a HP/BP/LP filter and 8 controls for nuanced sound design, including an internal BBD FX send. All voice parameter settings can be saved as KITS. To add dynamics to the performance, parameter automation is implemented and a modulation LFO can be assigned to all parameters.
For a real thunderstorm, integration with external gear is considered - each voice has a dedicated velocity-sensitive trigger input, individual output and FX send and return with 6.3mm jack sockets, along with extensive MIDI implementation. All voices are summed and run through a built-in optical compressor and master overdrive.

PERKONS HD-01 is a unique live performance and sound design instrument that tears down the borders between drum machine, synthesizer and drone instrument. Time to ride the skies!

Features:

4 hybrid voices (digital sound engine and analogue multimode filter with overdrive)
8 controls per voice
Velocity sensitive trigger inputs for drum pads
Individual voice outputs
Individual sends and returns
64 kit and 64 pattern memory + additional memory on the SD card
Built-in bucket brigade delay and optical compressor
Modulation LFO with morphing waveforms; up to 8 modulation destinations per voice
4 track sequencer, 4 time divisions and 4 time multiplications per track
Per-step ratchets and probabilities
4 shuffle algorithms
MIDI IN and MIDI OUT

Notes: Updated version of the ground-breaking synth, sampler and sequencer. Better than ever, with legendary sound quality and portability.

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

Introducing the all new OP-1 field. Injected with more than a decade of ideas, refinements and improvements. Just to mention a few: stereo throughout the whole signal chain, Bluetooth MIDI, USB type-C, a new speaker system with a passive driver for detailed, fat and loud sound, a massive 24 hour battery life, multiple tapes and recording formats, new great sounding reverb and the 'dimension' synth engine, an all glass, flush, high resolution display. The graphics have also been meticulously reworked, screen by screen.

Reworked, refined, reborn.

Think of OP-1 field as the natural continuation of its predecessor. Updated with the latest technology, improved design and finely tuned with professional musicians, recording artists and sound designers in mind. Higher quality in all aspects, from its circuitry to connectivity and flexibility, it's tailor made for professionals in the field.

The new stereo sample engine is just one of the features that takes the OP-1 field to a higher level. With increased sampling time up to 20 seconds and dual layer mode for instant mixing of the a and b channels or via an assigned LFO.

Four new recording formats: Studio 4-track, vintage 4-track, porta and disc mini.
All with their own unique characteristics and graphics. Now with multiple tapes or discs, up to 8 in total.

If it feels thinner, it is.

By lowering the aluminium body around the keyboard, the new OP-1 field feels lighter, thinner and more precise. with 2k moulding Teenage Engineering have also managed to fit a dual 2.4 GHz antenna system inside the aluminium body.

The back is warm, velcro and bass.

Two soft velcro rings have been added on the back for fastening covers and accessories. Perhaps you want to stick your op-1 field on top of your full size keyboard, or slap it on a guitar? Use the included adhesive looped back and start experimenting. On the right you'll find an additional passive loudspeaker for hugely improved bass. And for a 'no-more-cold-metal-on-your-lap' experience, the aluminium body has been folded in a warm, soft touch, hard cover.

The first accessory out using the velcro rings is the Bill Amberg leather wrap that attaches to the back and wraps around the op-1 field and locks around the encoders.

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

Notes: PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analog FX processor.

The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.

Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes in a special HQ bag with 30 alligator clips cables and PSU.

PULSAR available in orange, black and white colours.

Please note that Pulsar is an experimental analog synth that means that it has some small noise and bleeds that can't affect your studio production or live performance but can be hearable in some modes. If you need a perfect silence and isolation of sound modules, using digital hardware is 100% recommended.

Specs

Range of input and output CV and audio signals: 0 to + 10V
Main output voltage swing: 2V
1/4 inch jack: 7 total
Mini-jack (for Eurorack connection): 8 total
MIDI input: standard DIN socket
Headphone output: 3.5 mm mini-jack
Supply voltage: 12 volts (plus in the center)
Consumption current: 0.3 amperes
Weight: 4 kg
Dimensions: 380 x 280 x 80 mm

What's in the box:

PULSAR-23
PSU
22 multi-colour cables with alligator clips 65cm
8 multi-colour cables with alligator clips 30cm
High-quality handmade bag for transportation

Notes: This is a special one. Seven-voice, four-part multitimbral analogue goodness from this boutique Argentinian brand. Stunning sound and depth, combining vintage fatness with contemporary precision.

Supplier's Notes:
The GS e7 is a subtractive synthesis polyphonic analogue synthesizer. The sound generation is carried out in a total analogue way. Each voice has two voltage controlled oscillators (VCO), a noise source, a mixer, a voltage controlled filter (VCF) and a voltage controlled amplifier (VCA). The control signals are digitally generated by a microcontroller, which is capable of processing three low frequency oscillators (LFO) and two envelopes (EG) of the ADSR type. In addition, it incorporates an effects processor with chorus and delay.

The GS e7 interface was designed to be simple and intuitive.

It also has MIDI connections, USB, balanced stereo audio outputs, headphone output and CV inputs.

*** Please note: This synthesiser comes with a US type A mains lead with UK plug adapter. ***

Specs

Polyphony: 7
Multitimbral: 4 parts
Oscillators: 2 voltage controlled analog oscillators (VCO) with sub-oscillators. Hard sync.
Oscillator Waveforms: Triangular, Saw-Tri, Sawtooth, Pulse with PWM. It is possible to mix the pulse with the other waveforms.
Filter (VCF): 24dB / Oct low pass filter (4 poles) with resonance control.
Envelopes: 2 (Attack, Decay, Sustain, Release), Velocity to Attack
LFO: 3
LFO waveforms: Triangular, Ascending ramp, Descending ramp, Square, Sample and Hold
Effects: Chorus, Delay
Presets: 512 programmes, 128 multi
Conennections: MIDI IN, MIDI OUT, MIDI Thru, USB, Pitch CV, Cutoff CV, Gain CV, Ext input, Audio Out (L/Mono, R, 1/4" TRS balanced), Headphones
Power supply: DC 12V 3A
Dimensions: 520mm x 190mm x 108mm
Dimensions (with packaging): 620mm x 290mm x 230mm
Weight: 4.6 kg (estimated)

Notes: Cost-effective all-in-one bundle from Moog: two semi-modular instruments, mixer, cables, accessories and educational materials. Just add speakers or headphones and you're all set.

Supplier notes:
Moog Sound Studio: A complete analog synthesis studio in a box. Everything necessary to start patching today. All you need is a pair of headphones!

Ready to take the next step in your analog synthesis journey? The Moog Sound Studio has you covered. Moog Sound Studio is an all-inclusive bundle of semi-modular synthesizers and accessories created to provide users with all of the equipment, cables, accessories, and educational tools needed to enter the world of analog synthesis for the first time or to continue to explore sound in an immersive new way. All you need is your own headphones or personal speaker and you're ready to get started!

Moog's Mother-32 and DFAM synthesizers are a perfect pairing to anchor any electronic studio. Mother-32 is a versatile performance and production synthesizer with a powerful step sequencer and 64 slots of sequence memory. Its classic Moog synth voice delivers raw analog sound, deep Moog bass, and soaring synth leads, forming an excellent compliment to DFAM's rich analog rhythms and percussive patterns. Equally impressive on their own, these synths become truly magical when combined into a single system. By patching Mother-32 and DFAM together, a symbiotic sonic relationship is formed that unlocks new capabilities and empowers new ideas.

Along with a duo of semi-modular analog synthesizers, each Moog Sound Studio includes a personal stereo summing mixer with 3-way power distribution to provide flexible signal routing and power your entire system conveniently from a single power supply. Also included are a series of guided exercises, exploration games, experimental patch sheets, imaginative studio art, and more to outfit your studio and take your synthesis skills to the next level. And of course, all of the cables and accessories needed to connect everything are included as well!

Moog Sound Studio takes the magical environment and hands-on learning experience of Moog installations found at events around the world and presents them in a way that empowers you to explore synthesis with joy and confidence from the comfort of your own home or studio.

This is an exciting time to be a part of the growing synth community. The Moog Sound Studio is here to provide a meaningful electronic experience that informs, inspires, and nurtures synthesists at any point in the creative journey.

Mother-32
Mother-32 is an intuitive and expandable semi-modular synthesizer that adds raw analog sound, powerful sequencing, and extensive interconnectivity to any creative, electronic, or modular ecosystem. Mother-32 Excels at: Classic analog bass & leads and powerful step-sequencing with pattern memory.


DFAM
DFAM (Drummer From Another Mother) is a semi-modular analog percussion synthesizer that empowers an expressive hands-on approach to percussive pattern creation. DFAM Excels at: Rich electronic drum patches and organic analog sequencing that breathes.

Personal Stereo Summing Mixer and Instrument Cables
This 4-input analog summing mixer (1/4" IN, 1/8" stereo OUT) features selectable mono or stereo configurations for versatile routing options, and the built-in 3-way power distribution hub supplies power throughout your Moog Sound Studio conveniently from a single power supply. The included instrument cables come in lengths and colors to compliment the system and reduce clutter.

2-Tier Rack Kit
Conveniently stack both synthesizers and the summing mixer together as one connected system to maximize studio space and orient instruments vertically for optimal interconnectivity.

Cable Organizer and Custom Patch Cable Set
The included patch cable organizer connects to the two-tier rack or mounts directly to any wall, keeping patch cables neat and orderly for a hassle-free workflow. A custom set of patch cables has been selected in lengths, colors, and quantities to maximize system patchability.

Guided Exercises, Exploration Games, and Experimental Patch Sheets
Learning synthesis doesn't have to be intimidating! Included games and educational materials allow the player to explore at their own pace while enjoying the journey. Developed with artists who know these instruments best, these detailed and fun exercises are designed to accelerate your synthesis experience by exploring new skills to support your ongoing synthesis practice - A perfect jumping-off-point for beginners or source of inspiration for the seasoned pro.

Studio Art
All original artwork, created by Jim Stoten (M32/DFAM) and Philip Lindeman (SUBH/DFAM), has been thoughtfully designed to aid users in the exploration of new imaginative worlds. The characters, poster, and objects that accompany each Moog Sound Studio come together to transform any space into an immersive creative environment.

Notes: A modern classic. Analogue-focused drum machine with a few nice digital features for good measure. Proper weighty sound and huge sound-sculpting options for live or studio use.

Supplier's notes:
True analogue. Eleven instruments. Sequencer. MIDI/USB/SD-Card. Samples. Sampling inputs. Balanced individual outputs.

Although it may appear similar to the classics XBASE 09, 999 and 888, the ALPHA BASE has an entirely new design under the hood. Jomox have put in the concentrated know-how of their drum machines and synths of the past 20 years - they've simplified some things, but also added new components or have combined them new. The outcome is the best sounding and most versatile drum machine that Jomox have ever built.

Notes: Strictly limited-edition full-scale reissue of an underrated analogue classic from 1973. The miniKORG 700FS is a classy monophonic instrument with aftertouch and spring reverb.

Supplier's Notes:
Back To The Future: a limited edition authentic revival of the miniKORG 700.

The miniKORG 700 was KORG's first mass-produced monophonic synthesizer released in 1973 at a time when the form of synthesizers as musical instruments had not been fully established. After a lot of experimentation, the miniKORG 700 arrived bringing the world of synthesizers to a wide group of users by offering simple operations that could producing extreme changes in sound, and was championed by a strong base of admiring musicians.

The miniKORG 700FS is an authentic revival of the miniKORG 700S, (an improved version of the miniKORG 700) that was released the following year. The revised miniKORG 700FS offers added functionality such as an arpeggiator, spring reverb and aftertouch. The miniKORG 700FS is a fully-realized analog synthesizer that was developed in conjunction with the original designer, Fumio Mieda.

(Note: To avoid confusion in the following text, both the original miniKORG 700 and the miniKORG 700S are listed as "miniKORG 700" for the most part.)

Why revive the miniKORG 700 now?

The real beauty and awesomeness of the sounds produced by the miniKORG 700 could not be realized through analog modeling technology that uses computational integrated circuitry such as DSPs and other devices to model analog circuitry. And although KORG continues to produce analog synthesizers such as the prologue, the minilogue and many others, we recognize that these instruments owe their existence to the miniKORG 700.

While theoretical know how is important when designing analog circuitry, deep experience is also required to understand what the results will actually be once the circuitry is completed. Ten years have passed since the monotron, a next-generation analog product from 2010 was developed by young KORG engineers and analog enthusiasts. It took some time for the full vision of these engineers to be explored and delivered but at last we've finally arrived - at the start.

KORG's wish is for customers to experience the beauty and awesomeness of the authentic analog sound through the miniKORG 700FS designed by the KORG analog engineers under the supervision of Fumio Mieda, who designed the original circuitry, ensuring that the elements that go beyond the circuit schematics would be faithfully represented.

While the miniKORG 700 was KORG's first synthesizer, it also produced some of the fattest and most dense sounds of all of our synthesizers. The miniKORG 700FS, features oscillators with a penetrating sound and an authentic recreation of the Traveler controller, one of the key features of the miniKORG 700.

The volca keys and volca bass use the filter circuit from the miniKORG 700, because the clear and penetrating characteristics of this filter were a perfect match for products that specialize in lead and bass synth sounds with a strong presence. The miniKORG 700 sound sits easily in today's music, particularly with its lead and bass synth sounds.

The miniKORG 700 came about as a sub keyboard that players would set atop their organs (frequently used in the 1970s) to augment the organ's sound palette. Nowadays, the beautiful lead synth sound of the miniKORG 700FS works well with stage keyboards such as or electric pianos, organs and so on.

The controls on the miniKORG 700 were laid out below its keys in a row, so that players who set the instrument on top of their organ would find them easy to access. Even today, this layout is intuitive and easy to understand, with a unique look that no other instrument offers.

When the miniKORG 700 was originally released, electronic components were larger in size, limiting its functionality due to the small space inside. Thanks to changes in technology, there's now have more space to add a spring reverb effect as well as a joystick for pitch bend and modulation. The new version also features aftertouch for added expressiveness, as well as important features an arpeggiator, USB port, MIDI IN connector and a CV/GATE IN jack.

Dimensions (W x D x H): 744 x 280 x 122 mm/29.29" x 11.02" x 4.80"
Weight: 8.5 kg/18.74 lbs.
Power supply: AC adapter (DC 12V)
Power consumption: 9W

Notes: The top dog of the Hydrasynth range, featuring a dual synth engine offering 16 voices (double the standard model) and a larger six-octave keyboard. Serious synth power with great wavetable sound.

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

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


Supplier's Notes:
The ASM Hydrasynth Deluxe is the new flagship Hydrasynth. Offering a dual-engine setup with a total of 16 voices plus an all new 73-note keybed featuring ASM's much sought after PolyTouchr polyphonic aftertouch functionality, clearly in a class of its own. With essentially two Hydrasynths in one instrument, KeySplit and Dual voice mode patches with 8 independent voices each are possible. You also have separate balanced stereo audio outputs for each of the two parts. The easily accessible 4 octave ribbon controller adds for truly expressive playing. The Hydrasynth Deluxe of course offers CV/GATE I/O for interfacing to modular and other voltage controlled synths. There's a ton of potential for sound creation, using ASM's WaveScan oscillators together with the Mutator waveshaping section and user configurable filters. A plethora of LFO's and Envelope's plus Insert and Master Effects makes this a dream sound creation tool and quite possibly the ultimate synthesizer and controller combo for your rig.

Tech Specs

Type: Polyphonic Wave Morphing Synthesizer
Sound Engine Type(s): Wavescan
Analog/Digital: Digital
Number of Keys: 73
Type of Keys: ASM POLYTOUCH Polyphonic Aftertouch Keyboard, On/Off Velocity-sensitive
Other Controllers: Ribbon Controller, Pitch Bend, Mod Wheel
Polyphony: 16 voices (Full/Layer/Split)
Number of Presets: 1024 Single Programs, 1280 Programs in Multi (Upper/Lower)
Number of Multis: 640 Programs
Oscillators: 3 x Wavescan oscillators (219 Waveforms), 4 x Mutator wave shapers (8 Types), Noise (7 Types)
Mutators: 8 Types (FM-Lin, WaveStack, PW-Orig, PW-Squeeze, PW-ASM, Harmonic Sweep, Hard Sync, PhazDiff)
Noise: 7 Types (White, Pink, Brown, Red, Blue, Violet, Grey)
LFO: 5 per Voice (Sine, Triangle, Saw Up, Saw Down, Square, Pulse27%, Pulse13%, S&H, Noise, Random, Step), Tempo syncable, Semitone Lock
Envelopes: 5 per voice, Tempo syncable, Variable trigger sources
Filter Types: 1 Multimode Filter (16 types) and 1 Variable LP-BP/Notch-HP filter, series or parallel routing
Filters: Filter 1 (LP Ldr12, LP Ldr24, LP Fat12, LP Fat24, LP Gate, LP MS20, HP MS20, LP 3-Ler, BP 3-Ler, HP 3-Ler, LP Stn12, BP Stn12, HP Stn12, LP 1 Pole, LP 8 Pole, Vowel), Filter 2 (LP-BP-HP, LP-Notch-HP)
Effects: 9 Insert Effects, 5 Delays, 4 Reverbs
Effects Types: Chorus, Flanger, Rotary, Phaser, Lo-Fi, Tremolo, EQ, Compressor, Distortion, Delay, Reverb
Arpeggiator: 8 types (Up, Down, Up&Down, Up/Down, Order, Random, Chord, Phrase)
Other: Mod Matrix (32 slots), Macro Controllers (8), Favorites (32), Randomizer (Patch and Module), MPE Compatibility, Warm Mode, Microtuning
Audio Outputs: 4 x 1/4" Balanced (L/Mono Upper, R Upper, L Lower, R Lower)
Headphones: 1 x 1/4", 1 x 1/8", Separate volume control
USB: 1 x Type B
MIDI I/O: In/Out/Thru
Pedal Inputs: 2 x 1/4" (expression, sustain)
Other I/O: 2 x 1/8" Inputs (Mod 1, Mod2), 5 x 1/8" Outputs (CV, Gate, Mod1, Mod2, Clock)
Power Supply: 12V DC switchable power supply
Additional: Utility shelf
Height: 3.62" / 9.2cm
Width: 44.45" / 112.9cm
Depth: 13.62" / 34.6cm
Weight: 29.33lbs / 13.3kg
MPN: HSLX

Notes: Killer digital drum machine from the excellent Modor. Six instruments, 128-step sequencer and some of the freshest, most innovative drum sounds we've heard in a long time.

*** New upgrade - July 2023 ***

Introducing this new upgrade for the DR-2, OS010. Built in cooperation with Berlin-based Canadian electronic music artist Nicolas Bougaieff!

Bougaieff frequently uses polyrhythmic structures, dividing bars or musical phrases of different instruments into different numbers of steps. Have one instrument play 17 steps in the time another instrument plays only 16 steps, or 8 steps in 5 steps, or... Like stretching N steps of one instrument over M steps of a second one, giving them an N:M speed ratio.

He felt that there were only rather limited possibilities in hardware sequencers and drum machines to achieve this.

The process of achieving this was quite challenging, but the result was worth it! This is a very intuitive way to work with polyrhythms, making use of stretched clocks. It is ready for download now on Modor's download page on their site!

Apart from the main sequencer clock, the DR-2 now has 2 polyrhythmic clocks (or 'polyclocks'), called polyclock A and B. Each of these 2 clocks relates to the regular 'main' clock with a certain N:M ratio. The polyclock takes N steps in the time the main clock takes M steps.

Next, every instrument can separately choose a clock:
the main clock,
the A polyrhythmic clock,
or the B polyrhythmic clock.

This means, you can let, for example, a snaredrum play 7 steps while the rest of the instruments plays 8 steps. The 7 steps are stretched equally in time over the 8 steps of the other instruments.

How is this done?

Keep the A or B button down, and set the N:M ratio using the SELECT/BPM (for N) and VALUE/SWING (for M) knobs.

Keep an instrument button A...F down and hit the A or B button to assign that instrument to one of the polyrhythmic clocks. Hit it again to return to the main clock.

Supplier's Notes:

The DR-2 is a 6 instrument digital DSP drum synth, with a built-in 128-step drum sequencer. At first sight, it will feel recognizable in some ways. There are sounds that will remind you of the good old classic drum machines, and the step sequencer will get you building drum riffs from the first second you touch it. But Modor uses digital sound synthesis to get beyond the possibilities of a classic drum machine, and the step sequencer does more than just hitting drums...

First of all: although it's digital, the DR-2 is not about sampling. It's a drum synthesizer, like a classic analog drum machine, but it uses digital sound synthesis algorithms instead of analog circuitry. There are no samples in the DR-2, and there's no sample memory.

Just like the Modor NF-1, the DR-2 is not built to recreate the classics of the past. The DR-2 uses digital sound synthesis to innovate drum sounds and rhythms. Many sounds will be recognizable. It is possible to make classic sounding bass drums, snares and rimshots. It's not difficult to program classic floorfillers with the DR-2. But with 12 synthesis parameters per drum, you'll easily find yourself creating your own individual sound.

The DR-2 has 6 drum 'channels', drumsets made of 6 drum instruments. These channels don't have predefined instruments. You can choose freely which instruments you want in your 6-channel drumsets. The DR-2 works with drum 'models', of which you can pick one for every channel. You can consider these 'models', or synthesis algorithms, as a collection of small but dedicated drum synthesizers, of which you can pick 6 to form a drumset. There are models for bass drums, snares and cymbals, but also for some more unusual drum sounds, clicks and ticks.

Every model has up to 12 sound synthesis parameters: Pitch with pitch decay, curve and amount, amp volume with panning, amp decay and curve, and parameters X, Y, Z and T that have a different function in every model, see the table below.

The DR-2 has an output jack connector for each of the 6 channels A-F, and 2 master L/R outputs. If there's no cable connected to a channel output, the corresponding channel is sent to the master L/R outputs. The individual channel outputs are mono, but have a panning parameter to give it a stereo position in the master mix.

But there is more! The A-F output connectors are actually insert points, you can use 6.35mm (1/4") TRS jack connectors to route a channel out of the DR-2, and send it back in if you want. This way, you can use external effects, equalisers, compressors, ... on each of the 6 channels individually, and still have them panned and mixed in the master outputs of the DR-2.
Next to the audio connectors, the DR-2 has 6.35mm (1/4") TS connectors for 24PPQN clock input and output, and has classic din-5 MIDI IN, OUT and THRU connectors.

The sequencer of the DR-2 has a lot more options than just the classic 16-step sequencer. First of all: you can use 32nd notes, so the DR-2 doubles the resolution of a classic 16-step sequencer. The DR-2 has 16 step buttons but you can see 32 step leds on the front panel. Keep the '16/32'-button pressed to access the steps-between-the-steps.

A pattern can use up to 4 of these 16/32-step pattern parts, these can be accessed with the 1-16/17-32/33-48/49-64 buttons. Using SHIFT + one of these buttons sets the pattern length. So, it's actually a 4x32 or 128-step sequencer.

But there's more: each instrument has it's own Accent, Flam, Tuplet, Break and Reverse patterns. Keep the ACC, FLAM, SHIFT+FLAM, BREAK or REV button pressed while using the step buttons.

MEASUREMENTS
Width: 440mm without rack ears, 480mm with rack ears (19")
Height: 267mm (10.5"/ 6U)
Depth: 40mm (front) - 80mm (back)
Weight: +/- 6kg

CONNECTIONS
9V, 600mA adapter connection, positive voltage on center pin
MIDI IN/THRU/OUT connections, 3x 5-pin DIN connection
Clock In/Out connections, 2x 6.35mm mono jack
Audio Instrument Outputs/Inserts, 6x 6.35mm TRS or mono jack, unbalanced
Audio Left/Stereo output, 6.35mm TRS or mono jack, unbalanced, capable of driving headphones
Audio Right output, 6.35mm mono jack, unbalanced

Notes: Strictly limited-edition full-scale reissue of an underrated analogue classic from 1973. The miniKORG 700FS is a classy monophonic instrument with aftertouch and spring reverb.

Supplier's Notes:
Back To The Future: a limited edition authentic revival of the miniKORG 700.

The miniKORG 700 was KORG's first mass-produced monophonic synthesizer released in 1973 at a time when the form of synthesizers as musical instruments had not been fully established. After a lot of experimentation, the miniKORG 700 arrived bringing the world of synthesizers to a wide group of users by offering simple operations that could producing extreme changes in sound, and was championed by a strong base of admiring musicians.

The miniKORG 700FS is an authentic revival of the miniKORG 700S, (an improved version of the miniKORG 700) that was released the following year. The revised miniKORG 700FS offers added functionality such as an arpeggiator, spring reverb and aftertouch. The miniKORG 700FS is a fully-realized analog synthesizer that was developed in conjunction with the original designer, Fumio Mieda.

(Note: To avoid confusion in the following text, both the original miniKORG 700 and the miniKORG 700S are listed as "miniKORG 700" for the most part.)

Why revive the miniKORG 700 now?

The real beauty and awesomeness of the sounds produced by the miniKORG 700 could not be realized through analog modeling technology that uses computational integrated circuitry such as DSPs and other devices to model analog circuitry. And although KORG continues to produce analog synthesizers such as the prologue, the minilogue and many others, we recognize that these instruments owe their existence to the miniKORG 700.

While theoretical know how is important when designing analog circuitry, deep experience is also required to understand what the results will actually be once the circuitry is completed. Ten years have passed since the monotron, a next-generation analog product from 2010 was developed by young KORG engineers and analog enthusiasts. It took some time for the full vision of these engineers to be explored and delivered but at last we've finally arrived - at the start.

KORG's wish is for customers to experience the beauty and awesomeness of the authentic analog sound through the miniKORG 700FS designed by the KORG analog engineers under the supervision of Fumio Mieda, who designed the original circuitry, ensuring that the elements that go beyond the circuit schematics would be faithfully represented.

While the miniKORG 700 was KORG's first synthesizer, it also produced some of the fattest and most dense sounds of all of our synthesizers. The miniKORG 700FS, features oscillators with a penetrating sound and an authentic recreation of the Traveler controller, one of the key features of the miniKORG 700.

The volca keys and volca bass use the filter circuit from the miniKORG 700, because the clear and penetrating characteristics of this filter were a perfect match for products that specialize in lead and bass synth sounds with a strong presence. The miniKORG 700 sound sits easily in today's music, particularly with its lead and bass synth sounds.

The miniKORG 700 came about as a sub keyboard that players would set atop their organs (frequently used in the 1970s) to augment the organ's sound palette. Nowadays, the beautiful lead synth sound of the miniKORG 700FS works well with stage keyboards such as or electric pianos, organs and so on.

The controls on the miniKORG 700 were laid out below its keys in a row, so that players who set the instrument on top of their organ would find them easy to access. Even today, this layout is intuitive and easy to understand, with a unique look that no other instrument offers.

When the miniKORG 700 was originally released, electronic components were larger in size, limiting its functionality due to the small space inside. Thanks to changes in technology, there's now have more space to add a spring reverb effect as well as a joystick for pitch bend and modulation. The new version also features aftertouch for added expressiveness, as well as important features an arpeggiator, USB port, MIDI IN connector and a CV/GATE IN jack.

Dimensions (W x D x H): 744 x 280 x 122 mm/29.29" x 11.02" x 4.80"
Weight: 8.5 kg/18.74 lbs.
Power supply: AC adapter (DC 12V)
Power consumption: 9W

Notes: Typically creative stuff from Soma Lab. Four channels of analogue drum synthesis, unique looping trigger generators, pseudo-random 'Shaos' generator and DSP-based effects.

Supplier's Notes:
Pulsar-23 is a multi-functional analog synthesizer and generator of complex rhythmic patterns.

The Pulsar consists of 23 different modules, including four flexible sound generators with completely different structures, four envelope generators, four looper-recorders, a clock generator with dividers, a controlled chaos generator, an LFO, a two-channel CV-controlled effects processor, distortion, two controlled amplifiers, an inverter, a controlled inverter and two controlled analog switches. In addition to these 23 main units, the Pulsar also contains 13 auxiliary units, such as a four-channel MIDI to CV converter, a noise generator, four attenuators, two dynamic CV generators with sensory control, two impulse converters and single passive electronic components for live circuit bending.

Pulsar-23 can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage. The Pulsar functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination. Additionally, Pulsar offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations.

Pulsar continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes in a special HQ bag with 30 alligator clips cables and PSU.

Notes: Waldorf draw on their proud history with a new wavetable synth building on the classic Microwave 1 and modern Microwave II/XT. Serious synth power from this eight-voice monster.

Supplier's Notes:
M's musical heart is an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER - as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage - are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control).

With M, Waldorf are musically returning to their roots by bringing back classic Microwave and 'modern' Microwave II tone generation as a new-generation classic hybrid wavetable synthesizer with an analogue lowpass 24 dB/Oct VCF - SSI 2144 Improved Ladder Type - with resonance and analogue saturation feature, true stereo analogue VCA with panning option, and much more to explore in a desktop-friendly form factor featuring a wide range of unique sounds. Plentiful presets - totalling 2,048 sound programs (divided into 16 banks, each with 128 sounds) - professionally programmed by world- renowned sound designers also include all of the classic Microwave sound sets, such as MW1 Factory Sound Set, MW1 Soundpool 1-5, the fat-sounding Analogue and Bassco, as well as PPG Wave 2.3 sounds cleverly converted for the original Microwave. Moreover, it also features freshly-programmed sounds utilising M's myriad new features - from true hard Sync (when working in its Modern Microwave II/XT mode) to the ARP (arpeggiator) and MIDI-syncable global LFO (Low Frequency Oscillator).

But beating at M's musical heart as an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER - as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage - are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control). Consequently, there is no hard Sync or ring modulation available in the Classic Microwave I mode, where 16-bit wavetables are bit-reduced to 8-bit and a 240 kHz non-anti-aliased sample rate is offered, whereas the Modern Microwave II/XT mode offers a 40 kHz sample rate with band-limited wavetables, although both oscillators - OSC 1 and OSC 2 - offer the same panel parameters.

Two LFOs are generating a periodic waveform with adjustable frequency Rate and Shape that can be used for modulation purposes, are also always at hand. However, unlike other Waldorf synthesizers, there is no modulation matrix in M. Making a conscious design decision to set up M's modulation facilities directly on the corresponding display page, to paying tribute to the 1989-vintage Microwave.

Back in the here and now, M takes performance to a whole new level, thanks to that advanced ARP with 16 preset patterns, chord mode, and an ability to synchronise to MIDI clock. Furthermore, four programmable ENVELOPES allow adventurous users to manipulate sound parameters via rate or timed modulations.

Musically making a connection to the outside world is important to any synthesizer, so M offers six (rear panel-positioned) stereo analogue outputs - arranged as MAIN OUT (L/Mono and R) and AUX OUT (A, B, C, and D), the latter of which can be used to route each of the four Multi (multitimbral) parts to different outputs, if desired; a stereo headphone output (with an associated Volume knob in addition to the topside Master Volume knob); 5-pin MIDI IN, OUT, and THRU DIN connectors, complimented by a USB 2.0 MIDI port (for computer connection to transmit and receive MIDI data); an SD Card slot (for updating M's firmware, importing/saving sound patches, and importing/saving M-specific data, such as user wavetables); and - last but not least - a Kensington compatible security lock slot.

Notes: Arguably the best experimental drum synth in the world. Unique semi-modular, 'organismic' design with over 100 patch points and extensive controls for the four drum channels. Immense.

Supplier's Notes:
PULSAR-23 is an organismic drum machine designed by Vlad Kreimer. It has a semi-modular structure and consists of 23 independent modules. PULSAR can be used for the synthesis of percussion instruments and rhythms, bass and melodic lines, effects and sound landscapes, as well as a source of control voltage and powerful analogue FX processor.

The PULSAR functions in three different modes: stand-alone, MIDI control and CV control. Moreover, all the above features and control modes can work simultaneously in any proportion or combination.

Additionally, PULSAR offers live circuit bending capabilities and the use of the artist's body conductivity to create patches and cross modulations. PULSAR continues the line of organismic synthesizers begun by LYRA-8, but now in the area of percussion instruments.

Also, it has MIDI control and synchronization and a lot of smaller modules such as 4 assignable attenuators and 2 dynamic CV sensors for CV generation etc. In general, there are 55 knobs, 11 switches and over 100 inputs and outputs for patching, Eurorack integration, external mixing and processing, live circuit bending!

It comes in a special HQ bag with 30 alligator clips cables and PSU.

Specifications

Range of input and output CV and audio signals: 0 to + 10V
(Pulsar inputs are protected against overloads and can receive signals in the range of -20 + 20
volts for a long time without problems)
Main output voltage swing: 2V
1/4 inch jack: 7 total
Mini-jack (for Eurorack connection): 8 total
MIDI input: standard DIN socket
Headphone output: 3.5 mm mini-jack
Supply voltage: 12 volts (plus in the center)
Consumption current: 0.3 amperes

Only a well-stabilized power supply must be used! If the supplied PSU is out of order, it is recommended that you modern switch mode power supplies with excellent stabilization for replacement.

Watch the polarity!

Weight: 4 kg
Dimensions: 380 x 280 x 80 mm

What's in the box

Pulsar-23
Power Supply 12V
20x65 cm patch cables with alligator clips
10x30 cm patch cables with alligator clips
Protection and transportation soft bag

Notes: *** Introducing MPC Stems- March 2024 ***

Akai Professional now introduces the next chapter of sampling innovation and production powered by the groundbreaking MPC Stems bringing sampling into a new chapter.

With MPC Stems, you can access the raw building blocks of any sample or vinyl record, isolating the DNA of any record. Producers can now manipulate the Drums, Bass, Music, and Vocals, opening new creative possibilities.

Akai Professional introduces the ultimate creative workflow with Stems Separation seamlessly integrated into the leading MPC series, powered by MPC 2 Desktop Software.

With MPC Stems, producers and beat-makers can now unlock unmatched sampling creativity by easily isolating drums, bass, music, and vocals from any audio, vinyl recording, or sample revolutionizing the art of sampling.
Experience lightning-fast workflow with superior sound quality, keeping you inspired throughout the creative process.

Slice and isolate samples while maintaining chop regions across each of the four stem layers.

Take complete control with direct manipulation of stem layers from the pads, adjusting volume, pitch, pan, start, and end points with instant responsiveness.

MPC Stems requires MPC 2 Desktop Software running 2.14 or higher, compatible with MPC Live, MPC Live 2, MPC One, MPC One +, MPC X, MPC XSE, MPC Key 37, MPC Key 61, MPC Studio Mk 2 in Controller Mode.


The Power of Sound

Introducing the Akai Professional MPC Key 61, the revolutionary new standalone production synthesizer keyboard powering the next chapter of the MPC legacy. Building on the history of powerful sequencing and revolutionary sampling, MPC Key 61 adds the most advanced next-generation virtual instruments and effects to MPC, adding to its arsenal of industry-leading music production tools. And now, with the addition of a 61-key semi-weighted keybed with aftertouch, the MPC experience ascends to an unprecedented level of creative interaction and expression, delivering the world's most powerful and complete standalone workflow.

Breaking Sound Barriers

Inside MPC Key 61, experience a new dimension of sound like never before. Powered by 25 plugin instrument engines at your fingertips, and with over 6000 cutting-edge presets, MPC Key 61 delivers the most modern-day sound pallet ever programmed in a production synthesizer. Each plugin instrument features advanced synthesis, deep parameter editing, and modern effects developed for a truly inspiring musical experience-all designed with a fast and vibrant touch interface for an intuitive and compelling workflow. Immerse yourself in a world of sound.

Keys to Expression

The MPC Key 61 features an incredibly expressive and playable semi-weighted keybed with aftertouch to drive its world-class sounds with dynamic responsive control. With players and producers in mind, technology and artisanship were combined to breathe inspiration into every performance. The MPC Key 61's keybed is designed to deliver the highest performance experience possible connecting the dots between sound and feel. The 16-velocity sensitive RGB pads on MPC Key 61 are the same award-winning pads as the MPC One. In addition to the iconic MPC pads are the renowned Time Correct, Swing, and Quantize features of MPC that continue to endure as mainstays of modern music production.

Plugin to a World of Effects

MPC Key 61 includes over 100 state-of-the-art effects ready to load across your music productions for mixing and mastering. Insert lush and spacious Reverb & Delay effects to your tracks, add bounce and punch to your drums and mix using modern or vintage style compressors and limiters. Experience plugin FX like never before only inside MPC Key 61. MPC Key 61 is the world's first production synthesizer incorporating modern day vocal FX plugins which can also be used for the most creative sound design.

Touch Strip and Hands-on Control

The onboard assignable Touch Strip Controller is a catalyst for new ways to control, create and interact with your own signature sounds. Dedicated Pitch Bend and Modulation Wheels mean an added touch of expression to elevate your compositions. Bend the notes of your synth and lead sounds in Fabric XL, add gentle vibrato to your stringed instruments in Session Strings, or dial in the speed of the Organ's rotary Leslie cabinet and hear your parts swell with a wide chorused tremolo.

Specifications

Keys: 61 semi-weighted, full-size keys with aftertouch

Pads: (16) velocity- and pressure-sensitive pads, RGB-backlit, (8) banks accessible via Pad Bank buttons

Knobs + Performance Controls: (4) 360- touch-sensitive Q-Link knobs for parameter adjustment, (1) Touch Strip multi-function 5.5" (140 mm) touch-capacitive controller with LED indicators 360- encoder for display navigation and selection via push, (2) Pitch Bend and Mod Wheel, (3) 270- knobs for gain, mix & level adjustment

Buttons: (44) dedicated-function buttons

Display: 6.9" / 176 mm (diagonal), 5.9" x 3.7" / 150 x 93 mm (width x height), Full-colour LED-backlit display with touch interface

Memory: RAM 4 GB, Storage 32 GB (user storage, 13 GB pre-installed content), 4 GB (MPC operating system), 15+ GB free-space for user storage expandable via SATA connections

Power: Via IEC (Included), Auto Switching Internal Power Supply (100-240v)

Connections: (2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2) (w/ XLR Mic Preamps), (4) 1/4" (6.35 mm) TRS outputs (2 stereo pairs), 1/4" (6.35 mm) stereo headphone output, (1) 5-pin MIDI input, (1) 5-pin MIDI output, (1) 5-pin MIDI thru, (8) 1/8" (3.5 mm) CV/Gate outputs, Ethernet Network port, USB Type-A ports, (1) USB Type-B port

Other Controls: (2) Line | Instrument switches +48v Phantom Power switch 1/4" (6.35 mm) TRS Footswitch jacks (Sustain + FS2) (Variable and switch compatible) 1/4" (6.35 mm) TRS Expression Pedal input

Notes: The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of Bass, Lead, Pad and Effect sounds. Additionally, with its total of six filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These four synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI and additionally via CV/gate (1V/octave) inputs for every synthesizer channel.

Notes: The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of bass, lead, pad and effect sounds. Additionally, with its total of 6 filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These 4 synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI.

www.youtube.com/watch?v=UWFsfUa9pUk

Notes: ***POWER SET FOR EU AND AUSTRALIA 220-230V:
The Pittsburgh Modular Structure 208 and Structure 360 eurorack enclosures use a switching power supply that needs manually set to the correct AC input voltage. The internal switch has already be properly set for 220-230 VAC. This setting works for the EU and Australia or other countries that use 220-230 VAC power.
For use in countries that use 100-120 VAC power, such as North America and Japan, the switch inside the case on the AC/DC regulator needs to be switched to the left. The switch is marked with a Yellow sticker printed with "AC input voltage can be selected by switch. Check input voltage avoiding damage before power on." The switch is located on the side of the enclosure below the arrow.
Please contact Pittsburgh Modular with any questions. service@pittsburghmodular.com***

Structure EP-360 Eurorack Enclosure

Maximum Power for a New Generation -

Beautifully stained hardwood triple row, 360hp powered eurorack travel case with lid. A huge case to house a monster synth. Features include a professional, heavy duty, internal power supply designed to exceed the needs of the most demanding analog and digital eurorack systems.




Everything is New:
With years of research and two case lines under our belt, we decided to start over and produce a line of cases for the next generation of eurorack synthesizers. The eurorack modular ecosystem is expanding faster than ever and manufacturers are constantly pushing eurorack cases and power supplies to the limits. What started as a power supply designed to drive primarily analog synthesizers has transformed into a supply that needs to simultaneously meet the unique demands of sensitive analog circuitry, power hungry digital processors, and ground sensitive user interface modules.

We started with what matters most. Clean power. A lot of it. Up to 3x the amount of clean power available in cases from other brands. Next we turned our focus to the enclosure itself and there was only one goal. Make the case stronger. Our engineers tested countless combinations utilizing different types of wood, joints, adhesives, assembly techniques, and hardware to ensure that Structure cases are as durable as they are beautiful.

With a clean and gorgeous design that promotes creative exploration, the Structure enclosures are our most robust and refined case line yet. With massive amounts of both room and clean power, you can reach completely new heights in your creative performances.






Includes:
Structure EP-360

Power
:
6 Amps of Clean +12v Power

6 Amps of Clean -12v Power

5 Amps of Clean +5v Power

Custom Powered Bus Board with 15 Keyed Eurorack Power Headers Per Row, 45 Power Headers Total

External On-off Rocker Power Switch with LED

Universal IEC Power Connector Works Anywhere

Structure EP-360 Enclosure
:
Hardwood and Steel Construction (No cheap plastic here)

Triple 120hp Rows

Removable Lid

Lid Fits Over Fully Patched System (No need to remove patch cables)

Edge to Edge Rail Design Reduces Gaps Between Modules and the Side of the Case

24 Smooth Sliding Square Nuts Per Rail (Holds up to 72 modules)

Beautifully Hand-Stained Hardwood

Matching Black Steel Hardware Set




Structure EP-360 Dimensions
:
External Depth with lid:9 1/4"
External Depth without Lid: 5 1/2"
External Height: 17"
External Width: 25 1/2"
Internal Depth Above Power Supply: 2 3/4"
Internal Depth Above Bus Board: 3 3/4"
Internal Depth Above Nothing: 4 1/4"

Notes: One of a small selection of vinyl-style DJ controllers on the market, the One features 7-inch turntable-style platters and a scratch-friendly Mag Four crossfader. A great option for scratch DJs and those who prefer the vinyl feel.

Supplier's Notes:
The Rane One Motorized DJ controller takes the high-performance features, reliability and exceptional quality we're trusted for and without compromise, combines them into the ultimate Motorized DJ Controller.

The One continues Rane's reputation for high-end, no-compromise sound quality and creative freedom. The gig-ready One represents the pinnacle in music control for DJs commanding the best in performance and sound.

The One gives DJ's a familiar, performance driven, intuitive layout with everything you need, where you need it. Take control with the multi-function performances pads, aluminum FX paddles, dedicated loop section and mixer controls.

The One features authentic motorized 7" turntable platters for high-performance precision. Experience the traditional vinyl-like touch, with all the creative tools the digital world has to offer. With support for leading DJ software platforms like Serato DJ Pro, Algoriddim's djay Pro AI, and Virtual DJ, the One brings a true turntable experience to the portable arena.

If you like scratching, you're going to love the Mag Four crossfader. Rane's lightest and smoothest fader ever, the Mag Four gives you swift and precise control over your cuts, with a software cut-in adjustment available in Serato DJ Pro.

The One has 8 multi-function performance pads per deck for full creative control. Each deck includes Hot Cue, Pitch 'n Time, Saved Loop, Roll, Sampler, Slicer, as well as Serato DJ Pro's Scratch Bank feature. Everything you need for creative control.

With 6 radio-style stackable FX buttons, instantly activate any combination of software FX with a single press, fine-tune with depth and beat parameter controls, then activate with the independent aluminum paddle controls with latch or momentary positions.

Tech Specs:

Digital Audio:

Converters: Cirrus Logic, 24-bit PCM, 48 kHz
Digital Signal Processing: 32-bit, floating point, double precision
Dynamic Range (A-weighted, unity gain):
ADC: 113 dB
DAC: 113 dB
CD Input to Analog Output: 110 dB
CD Input to USB Output: 113 dB
USB Input to Analog Output: 113 dB

Inputs:
2x XLR / 1/4" (6.35 mm) TRS Combo (Mic 1-2)
1x RCA stereo pair (Aux)
2x RCA stereo pairs (CD/Phono 1-2)

Outputs:
2x XLR (Main)
2x XLR (Booth)
1x RCA stereo pair (Master)
1x 1/4" (6.35 mm) TRS (Headphones)

1x 1/8" (3.5 mm) TRS (Headphones)
Pads: 16x velocity-sensitive multi-color back-lit pads (8 per deck, 5 modes each)
Faders: 1x MAG FOUR tension-adjustable crossfader with independent Contour and Reverse controls, 2x Standard channel faders with shared Contour and Reverse controls

Connections:
2x XLR outputs (Main)
2x XLR outputs (Booth)
1x RCA stereo output pair (Master)
2x XLR / 1/4" (6.35 mm) TRS inputs (Mic 1-2)
2x RCA stereo input pairs (Deck 1-2)
1x RCA stereo input pair (Aux)
1x 1/4" (6.35 mm) TRS output (Headphones)
1x 1/8" (3.5 mm) TRS output (Headphones)
2x USB Type-B ports
1x IEC power cable input

Power
Connection: IEC
Voltage: 100-240V, 50/60 Hz
Consumption: 50 W

Dimensions (wxdxh): 26.5" x 13.6" x 4.9" (674 x 345 x 124.3 mm)
Weight: 23.55 lbs. (10.68 kg)

Notes: A true MIDI powerhouse, based around a 128-pad matrix and 16-track MIDI sequencer with slick programming workflow and Ableton-style pattern mode for live performance.

*** Version 2.0 updates - January 2024 ***

In this version, Squarp have put a lot of effort into improving the ergonomics and screen designs.

As for features, the focus has been on expanding patterns from 8 to 16 per track. Follow-actions have been introduced to bring more life to your sections, adding logic and randomness to the construction of your tracks.

A new MixMute mode has been created to enhance live performances, improve transitions between projects and arm your tracks for multitrack recording.

Now you can engage in multi-track recording and capture on multiple tracks simultaneously.

Two new effects are making their debut as well: FX ECHO, the best delay Squarp have made so far, and FX OUTPUT, allowing rerouting to a different output in the middle of the effect chain.

You can now Import/ExportMIDI files, either to save and reuse your own patterns in different projects or to load complex MIDI files from a computer.

The Curve algorithm is now accessible in automation mode, Squarp have added a track compensation mechanism and Auto-load.

Supplier's Notes:
Professional standalone sequencer

Genuine centerpiece of a setup, it offers every tool needed to compose songs in the studio and perform them on stage. From vintage to modern synths, from modular systems to your favourite DAW, Hapax can sequence and synchronize all your gear, while bringing you carefully crafted tools, designed for maximizing creativity.

The midi powerhouse.

Up to a million notes and events

16 tracks per project, 8 patterns per track.

Thanks to its dual-processor architecture, Hapax can record and transform tremendous amounts of data in no time, without a hitch.

Express yourself.

MPE compatibility

Hapax is the first hardware sequencer that fully supports MIDI Polyphonic Expression. Record the finest gestures, slides and articulations of your playing, without compromising quality.

Around the clock performance.
Dual-project architecture



Hapax can handle two separate and independent projects, that can be played simultaneously. This lets you compose or load an entire project while the first one is already playing, enabling endless sets and seamless transitions.

Dawless is more.

Hapax offers broad connectivity options for perfect integration in any setup.

Adaptive workflow.
Several ways to write music
Writing a melody: use a polyphonic or MPE track and take advantage of the advanced step sequencer to quickly lay down notes or edit your live recording.

Composing a beat: control up to 8 different instruments with a single track. The drum sequencer is tailored for very easy rhythm writing and jamming.

Real-time midi effects.

Bring your synths to life

Hapax embeds multiple real-time, polyphonic, non-destructive midi effects, as well as project-wide assignable LFOs. Each parameter of these effects can be automated in the dedicated mode, and processed in the mod matrix, which provides even more ways of routing and modulating.

Powerful composition tools.

Algorithms

Powerful tools for offline note transformation and generation, right at your fingertips. Harmonically invert your motive, generate a controlled-random counter-melody, slowly ramp up the velocities, emphasize every fifth 8th note...

Hi-res recording

Hit the red button, and record from the encoders and 128 pads of Hapax, external midi instruments (included MPE controllers) or any incoming analogue signal, at a high resolution of 192 ppqn. Looper style recording, count-down and metronome options, punch-in mode, you'll certainly find the options that best suit your workflow.

Time elasticity

Each track has an elasticity value which changes its playback speed, expressed in percentage of BPM. Quickly double or halve the speed of a track, or create slightly shifted tracks that will slowly drift out of phase with each other.

Fluid editing

Using hardware should never get in the way of creative flow. The undo/redo button lets you go back in time as needed, thanks to its extensive history. Additionally, the snapshot function enables you to save the state of a pattern and recall it with a single press. Together with dedicated copy, paste and delete buttons, Hapax offers a complete toolbox for the prompt editing of your tracks.

Harmony, simplified

For fast and intuitive chord building, the chord live mode brings harmonic capabilities to anyone, with or without deep theoretical knowledge. With its colourful interface, the chord mode displays a synesthetic melding of hearing, vision and touch.

Simple by design.

Trimmed to perfection

Squarp designed Hapax from the ground up, deconstructing everything you thought you knew about sequencing- aiming for a high-end product, with dual arm processors for computation power and a rugged yet minimalist housing.

As music-making should remain an enjoyable process, dedicated buttons were over key combinations and imagined a clear-cut interface as well as a simple architecture. Squarp have striven to minimize the importance of screens for live performing, but the dual grayscale display helps keeping track of things in a studio context.

Hapaxos
Evolving firmware.
The Hapax Operating System has been written with extra care, prioritizing stable and fast operations. New features and parameters will be added regularly.

Specifications
Model name: Hapax
Hardware: 128 RGB MATRIX pads
52 clic pads
9 sturdy clickable encoders
2 OLED greyscale displays
SD card for saving projects
CPU: dual ARM design
RAM: 32MiB
Housing: machined aluminium 2mm
Housing (back): unibody ABS

Sequencer
Dual Sequencer (2 Projects)
16 tracks per project
8 patterns per track

Input
2× midi in (DIN + TRS)
2× CV in [-5V to +5V] (16bit)
Stereo pedal (footswitch)

Output
4× midi out (3× DIN + TRS)
4× CV out [-5V to +5V] (16bit)
4× GATE out [+5V]

Bidirectional I/O
USB Host (link a controller)
USB Device (link a computer)
Power supply: 15V, 1.2A, 18W (included)
Dimensions: 358 × 206 × 48 mm
Weight: 1.855 kg

Notes: A unique approach to FM synthesis in this updated version of Kodamo's ludicrously powerful EssenceFM. Up to 300 voice polyphony, hugely powerful touchscreen editing and stereo effects.

Supplier notes:
The EssenceFM is a powerful and easy to use FM synthesiser, allowing you to explore the endless soundscapes offered by FM synthesis. With a super-responsive touchscreen, assignable knobs and workflow optimized for sound design, creating rich and unique sounds is easier than on any other FM synthesiser.

The EssenceFM engine allows to create ridiculously powerful sounds made of more than 6 operators. That's why it's been given 300 voices of polyphony, you get the easy-to-program 6 op FM synthesis and the ability to layer many voices to create huge, rich-souding instruments.

There are 1800 operators and 4200 envelopes running at the same time, more than you will ever need.

This synth is the result of Kodamo's efforts to create the best user interface to interact with FM synthesis. No endless menus, no weird key combinations, no complex structure to remember. Everything is displayed on screen, every element is editable by pressing on it.It requires some trial and error to find the perfect sound, and that exploration process is fun only when the interface doesn't work against you. The EssenceFM is full of small details that makes workflow better: 1024 undo/redo steps while editing, copy/paste on every element, clear navigation using 4 modes and a breadcrumb, real-time envelope level display on the operators and much more. All that makes for a powerful and enjoyable synthesiser.

What you can do with it:
Create your own FM algorithms by drag and dropping operators on the touch screen. An almost infinite number of configurations is possible
Layer up to 128 voices per patch, each consisting of 6 operators, for incredibly rich sounds
Draw your custom waveforms on the touch screen to use them as oscillators or LFOs
Thicken the sound with the built-in effects
Take advantage of its 16 part/300 voice multi-timbrality to create full songs with it
Use it to make analog-like sounds with the built-in resonant filter
Connect it to your audio recording gear and effect modules in many different ways with the four balanced stereo outputs
Explore FM synthesis in the most convenient way possible with the Undo-Redo buttons, allowing for any action to be undone
Try microtunings, layer splits, round robin, MPE, and many other advanced features.

Package Contents:

EssenceFM synthesizer (MKII version)
Printed user manual
2x 3U 19" rack mount brackets
4x screws
Universal (100-240V) AC adapter
IEC power cable
2x rubber strip

Notes: Inspired by the early 80s Synton Syrinx, the SER-2020 is a semi-modular monster, featuring an excellent formant filter section, unique Touch 'N Bend Control and MPE-compatible MIDI interface.

Supplier's Notes:
The SER-2020 is a monophonic semi-modular analog synthesizer with an formant filter section, designed to use as standalone synthesizer or in combination with Eurorack modules. Inspired by the Synton Syrinx *(1) added the flexibility of an MS-20. Its filter design features a combination of a 24dB/octave VC Low Pass Filter, and two independent Resonant VC Peak Filters for precise and dynamic sound shaping. The sound is ranging from solid bass sounds to articulated formant effects. Other features on the SER-2020 are the Touch 'N Bend Control together with the MPE (MIDI Polyphonic Expression) capabilities makes the SER-2020 a special instrument which response to its player. The flexible routing makes the SER-2020 a versatile machine for sound effects.

Key Specifications:
2 VCO's (CEM3340 based)
1 Sub-Oscillator
Ring Modulator
Noise Generator
Audio Mixer
Multi-Mode Sync & Sync D-Tune
3 VCF's (CEM3350 based)
2 ADSR's
2 LFO's with Reset & Shaper Modes
Auto-Glide
Multiple Triggering
Touch 'N Bend Pad
Bend Assign
Sample and Hold
Semi Modular Setup - CV inputs and outputs
Signal and Headphone output.
MIDI interface
USB MIDI interface
MPE compatible - Sensitive for; Strike (note-on velocity), Press (aftertouch), Glide (pitch bend), Slide (brightness) and Lift (note-of velocity).

The SER-2020 consist of two VCO's and one sub-oscillator, driven by VCO 1. Both VCO's deliver a triangle, sawtooth, square wave and pulse signal, which can be selected. A rich spectrum can be obtained with Pulse Width Modulation of VCO 1 and VCO 2. The LFO 1 and 2 signals can be feed to the pulse width modulation section introducing phase shift effects and Doppler frequency shifts. Since the both VCO's have a separate LFO for PWM, chorus-like effects can be obtained by controlling both pulses with different LFO speeds. VCO 2 can be synchronized to VCO 1 in different modes. Synchronization is applied when two or more VCO's have to produce exactly the same pitches, without phase shift or beat effects. When VCO 2 is detuned from VCO 1 another effect occurs, which will result in quite dramatic tone colors.
Each VCO has an individual output, also the noise generator and sub-oscillator has individual outputs.

The most important sections of this synthesizer is the filter. The SER-2020 features a very extensive filtering system, which consists of the standard 24 dB/octave low pass filter and two independent band pass filters, which together form the Voltage Controlled Formant filter.
Both band pass filters have a frequency control and a resonance control for setting the selective amplification in the pass band. The bandpass filters are equipped with a control voltage mixer for LFO, ADSR and key range voltages. The LFO control can be used for the external modulation input.
The low pass filter is an standard 24 dB/octave roll-off. It has a frequency control and a modulated CV mixer from several sources like LFO, ADSR and the key range. The LFO control can be used for the external modulation input. Also the resonance of the low pass filter can be controlled.

The SER-2020 has two ADSR generators, of which one is used to control the internal VCA, and the other one to control the filter section. The control signal can be inverted by means of the ADSR controls in the filter section, so that the filters can be swept in opposite directions.
ADSR 1 and 2 have a positive and negative (inverted) direct output available on the patch panel.

The SER-2020 has two independent Low Frequency Oscillators (LFO's) of which the rate can be controlled, and for LFO 2 also the wave shape.

LFO 1 generates a triangle wave which exclusively is routed to the pulse width modulation control input of VCO2. LFO 1 also generates a square wave and a pulse wave. The square wave is available as direct output on the patch panel. The pulse wave of LFO 1 is internally routed to the sample and hold generator as clock source.

LFO 2 is more versatile and can be used for the modulation of the VCO's and the filters. Moreover LFO 2 can be used as a one shot generator which means that a signal is generated much alike an Attack/Release generated function. Except for the LFO 2 rate control with the preset knob, it also can be controlled dynamically with the pad.

Several sections in the synthesizer can be controlled with the bend pad, by pressing it with the left hand index and middle finger. The pressure sensitivity for the VCO, VCF and VCA can be adjusted. The touch 'N bend pad also reacts on the MIDI modulation control and the MIDI brightness (CC#74) control for MPE compatibility.
Also the speed of the rise/decay mode of the LFO 2 is possible. Pressing the UP pad will result in a shorter cycle, and pressing the DN pad in a longer cycle.

Notes: A tiny powerhouse of a mixer and audio interface. High-end electronics crammed into a compact, battery-powered format, featuring six stereo inputs, MIDI and Bluetooth support.

Supplier's Notes:
Ultra-portable pro-mixer and audio interface

TX-6 is an ultra-portable, battery-powered mixer and multi-channel audio interface. Comparable to larger units, but with even more tech packed into one sturdy little machine.

Mix 6 stereo input channels, use tempo sync, discover the internal synthesizer and sequencer or use the built-in tuner. MFi compatibility even lets you connect to your ios devices.

The smallest of its kind.

Tx-6 features a 6 channel stereo mixer with a configurable knob layout. Choose to have the three-band EQ at your fingertips, or customize each knob to control whichever setting you prefer. With more than meets the eye, TX-6 is packed full of features and connectivity options.

Battery powered

The rechargeable battery holds for about 8 hours. For energy efficiency, the display automatically goes to sleep when not in use, and led strength is completely adjustable.

Synthesizer & sequencer

TX-6 also functions as a portable synthesizer and sequencer with 4 oscillator waveforms and 4 synthesized drum sounds. Use tempo sync to stay on the beat.

8 built-in effects

Explore send effects like reverb, chorus and delay, and creative effects freeze, tape, filter, and distortion. Each channel has a three-band EQ and adjustable compressor.

Quality and engineering

TX-6 is a sturdy little machine. Encased in CNC aluminium with 2k moulding, custom-made encoders and faders, and custom PCB - engineered for portability.

Wireless connectivity

With BLE, you can use TX-6 as a wireless controller for other BLE MIDI devices or trigger and sync the internal synth and sequencer from other sources.

Super slimline cables

High quality, slimline cables custom-made for tx-6. The narrow profile allows you to use all 6 channels at once and makes for an easy pack down.

Customizable interface

When you're ready for the studio, use tx-6 as a 12 channel audio interface and connect to any daw over USB-C. MFi also allows you to connect to ios devices.

DJ mode

Turn TX-6 on its side and use it as a DJ mixer. Turn channel 1 into a fader to crossfade between the channel 5 and 6 so you can fade or cut between the two.

6.35 + 3.5 mm output

Connect your audio output through 3.5 mm mini jack or use the included and removable 6.35 mm jack to 3.5 mm mini jack adapter.

Field bags

Designed to fit TX-6 field mixer and constructed in heavy duty fabric and hardware, field bags are designed for durability, ready to be used out in the field.

Multitrack elegance.

The first portable pro-mixer that can be used as a multi-functional 32-bit 48khz audio interface that has an instrument tuner, built-in digital FX, synthesizer and drum machine.

Connect to your daw for 12 channel multitrack recordings. Use the internal synth and sequencer, or control them via external midi device. With MFi you can even connect to your ios device.inputs and outputs.

Specifications

Inputs and outputs.

32-bit/48kHz USB interface
3.5 mm mini jack to 6.3 mm jack
Headset mic input
Aux output
Connect to iPhoner, lightning cable
Stereo or mono for each input

Dimensions and weight

90 mm (102 mm with adapter) x 62 mm x 23 mm
160 g / 5.6 oz

Electrical characteristics
Audio inputs:
Impedance: 10 kOhm
Analog gain: 0 - 42 dB
Max level 8 dBu, 2 Vrms
TLV320ADC3140 burr-brown
SNR ~ 102 dBA
Audio output (main and aux):max level 8 dBu, 2 Vrms
Cirrus Logic Master Hifi CS43131
SNR > 120 dBA
Audio output (cue):max level 2 dBu, 1 Vrms
Cirrus logic CS47L35SNR > 110 dBA
Handling
Ambient working temperature: 0-50-C (32-122-F)
Ambient storage temperature: 0-30-C (32-86-F)

Clean the shell of the unit with a microfibre cloth. Use pressurized air to remove dust from the faders.

To keep the battery healthy, the unit should be charged at least every 6 months. If not used for a long time, it may not charge again.

Notes: One of the most exciting new synths of 2020. Extremely high-quality wavetable synth engine with great expressive features like a CS80-style ribbon controller and polyphonic aftertouch. Powerful.

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

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


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

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

As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths.

Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market.

The new ASM Polytouchr keybed allows not only the standard velocity and aftertouch found on other keybeds but it also supports fully polyphonic aftertouch.

In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them.

The Polytouch keybed features a high quality, standard sized keys, so you can start playing it instantly.

The tone generation capability is the heart of any synthesizer.

The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms.

Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, the oscillators 1 & 2 have our WAVELIST mode.

This mode allows you to pick and choose 8 waves, from the bank of 219, arrange them in the order you want, and then morph from one to another.

Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways.

Each MUTANT allows you to choose from the following processes:

FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs.

Wavestack- creates 5 copies of the incoming sound and allows you to set a detune amount.

Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun.

Pulse Width - This will pulse width modulate ANY input sound.

PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound.

PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section.

Harmonic Sweep - this will sweep the harmonics of the incoming sound.

The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like.

The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.

The Mixer allows you to mix levels as well as pan the input source.

There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2.

The filters can be set to be parallel or series for ultimate flexibility.

If oscillators and tone generators are the heart of a synthesizer, the filters are the soul.

The Hydrasynth has two filters that can be configured in series or parallel.

The first filter has 11 different filter models, giving you multiple options for tailoring your sound.

The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked.

5 DAHDSR Envelopes.

An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.

The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in
sync to your song.

You can also loop the envelopes to create LFO's whose shape can be voltage controlled in the modulation matrix.

The modulation capabilities on the Hydrasynth are endless.

With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations.

Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator.

The Modulation matrix points themselves can also become modulation destinations.

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

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

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

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

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

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

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

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

Notes: Designed for Serato and Algoriddim Djay, the long-awaited Mixon 8 Pro is a four-channel hybrid controller with detailed jogwheel displays. Standalone mixer and four FX paddles give versatility for creative mixing.

Supplier's Notes:
Enhanced jog wheels with real-time displays

Boasting sleek, touch-sensitive gun metal platters and high profile rims, the enhanced jog wheel design of the Mixon 8 Pro allows you to control your music precisely. And thanks to the new vivid on-jog displays, DJs are kept well informed with real-time track information, including virtual needle illumination, a playhead position indicator, and track time remaining or elapsed.

Four FX pedals for instant effects

As an industry first, the Mixon 8 Pro features 4 sturdy onboard FX Paddles, providing instant tactile control of all your effects. Each channel also has a 3-band EQ and dedicated sound colour filters to shape your music even more (LPF/HPF).

Stand-alone mixer inside

The powerful inbuilt standalone mixer with independent level meters for inputs and outputs gives you flexible connections to either turntables or media players so you can mix digital and analogue sources simultaneously (2x Phono/4x Line). For even more convenience, you can also route the dual Mic inputs (XLR/Jack) with dedicated talk-over functions into the mixer channels to perfectly EQ your live vocals with onboard controls.

Technical data

In- & outputs: XLR Master-Output, 6.3 mm jack Booth-Output (TRS), RCA Master-Output, 2x RCA-Input (Phono/Line), 2x RCA-Input (Line), 1x Combo-Mic-Input (XLR/jack (TRS)), 1x Mic-Input 6.3 mm jack (TRS), 1x USB-B, 1x USB-C/USB-B, 2x Headphones (6.3 mm/3.5 mm jack)
Dimensions: 657 x 68 x 391 mm
Dimensions docking station: 320 x 9 mm
Weight: 5,7 kg
Minimum system requirements: Please refer to the manufacturer's specifications for the system requirements of your DJ software.
Incl.: Controller, manual, USB cable (USB-A to USB-B), power supply (12V/3A)

Notes: A standalone alternative to the clip-and-scene production workflow of software like Ableton Live. Huge production and performance potential with built-in synths, effects and sampling power.

FORCE 3.2 is the MOST POWERFUL STANDALONE music production system for studio production and live performance. Now, FORCE 3.2 delivers even more inspiring plugin FX, sounds, creative editing, arranging and vocal effects processing as well as award-winning mixing and mastering plugins from world-renowned AIR Music Tech.

MPC Plugin Instruments
New Sounds Mode
New AIR Effects
Probability & Ratcheting
Automation Snapshots | Track Reorder
FORCE Tuner

Supplier's Notes:
Introducing Force, the ultimate in standalone end-to-end production workflows, complete with every tool you need to produce, remix, mashup and perform your tracks live. Fusing clip-launching, a linear arranger, MIDI Multi capability, step sequencing, sampling, synth engines, tactile touch screen control and much more, all in a singular standalone device, Force is primed for any setting, from the studio to the mainstage - no computer needed.

Launch Clips, browse your sounds, edit MIDI data, manipulate samples, arrange your composition, apply XYFX, sculpt synth sounds and much more, all from Force's 7-inch, full-color, capacitive multi-touch display.

Find your creative flow with Force's arsenal of tactile controls. Trigger scenes/clips, step sequence, finger drum and play note data with an expandable 8x8 clip launch matrix. Discover new ways to supercharge your performance via 360-degree rotary encoders with OLED feedback for immediate real-time access to all core controls or any assignable parameter. Fast-track your workflow with Force's collection of smart controls for navigation, playback/recording control, note expression, crossfading and much more.

Load your samples from a USB thumb drive or SD card, or expand Force's storage with the SATA drive bay. Capture audio with (2) XLR/14-inch combo inputs with phantom power, switchable to line/instrument level. Route your audio to two stereo 1/4-inch outputs, selectable per track within Force's UI. Use the headphone out as a cue bus to audition clips/scenes. Take control of your modular gear with four independent CV/Gate outputs and unite your peripheral MIDI equipment courtesy of MIDI In/Out/Through ports and USB via Force's unprecedented MIDI Multi capability. Connectivity and storage restrictions are things of the past!

From sparking that initial idea to arranging and final mixdown, everything your production demands is here. Record, program and sequence with multiple track types including Plugin Tracks with MPC-style Drum Tracks, Audio Tracks, Keygroup Tracks, MIDI tracks and CV tracks. Sketch out song sections in performance mode, then arrange these on Force's linear arranger. Add the final polish to your track using dozens of processors and effects from the AIR FX suite, all controllable via smart assignments on the rotary encoders or the displays on the touch user interface.

For the DJ, Force immediately connects to your live rig either as a feature-rich side-cart or a solo centerpiece. Remix and mashup tracks on Force's 8x8 clip matrix. Import multiple stems, then time-stretch and pitch-shift your content all in real-time. Assign tracks to Force's crossfader and load full tracks, stems or loops to Force's 8x8 matrix. Add an extra dimension to your performance with tactile XYFX. Connect Force to your wireless network and sync your project with any Ableton Link compatible application or hardware device. The creative possibilities are only as limited as your imagination - adding an extra dimension to your DJ performance has never been simpler.

KEY SPECS:

Pads:
(64) velocity- and pressure-sensitive pads, RGB-backlit

Knobs:
(8) 360- touch-sensitive Knobs
(1) 360- encoder for display navigation and selection via push
(5) 270- knobs for gain, mix & level adjustment

Buttons:
(56) dedicated function buttons; red-, amber-, or green-backlit

Display:
6.9" / 176 mm (diagonal)
5.9" x 3.7" / 150 x 93 mm (width x height)
Full-color LED-backlit display with touch interface

Connections:
(2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2)
(4) 1/4" (6.35 mm) TRS outputs (2 stereo pairs)
(1) 1/4" (6.35 mm) stereo headphone output
(1) 1/8" (3.5 mm) MIDI input
(1) 1/8" (3.5 mm) MIDI output
(1) 1/8" (3.5 mm) MIDI thru port
(4) 1/8" (3.5 mm) CV/Gate outputs
(1) Ethernet link port
(2) USB Type-A ports
(1) USB Type-B port
(1) SD card slot
(1) power adapter input

Power:
Via power adapter: 19 V, 3.42 A, center-positive, included

Dimensions (width x depth x height):
13.8" x 15.3" x 2.85"
350 x 389 x 72.5 mm

Weight: 8.53 lbs./3.87 kg

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

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

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

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

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

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

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

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

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

Notes: Genuine standalone all-in-one DJ system courtesy of Denon's battery-powered Prime Go. Up to four hours of battery life (you can plug it in too) in a two-deck setup with HD touchscreen, effects and lots more.

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

New Features
Bluetooth Audio Input and Keyboard Connection for Supported Devices

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

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

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

Additional Bluetooth Compatibility Information

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

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

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

Engine DJ Preparation Software (Desktop)
Improvements and Fixes

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

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

Various other stability enhancements and improvements

Supplier's Notes:
With up to 4-hours of builtin, lithium-ion battery power, PRIME GO is the ultimate, backpackable, most portable standalone DJ console ever. Prepare DJ sets on a plane, train or car, use as a fully featured pro-grade back-up for larger events, or play outdoor, mobile, after-party or club gigs.

Powered by a dedicated, multi-core internal processor, the PRIME GO runs 'Engine OS.' A purpose-built embedded software platform built for DJs offering you super-fast track load times, intuitive navigation, management, and search, so you can be at your creative best. The mission for Engine OS is clear, to keep evolving, providing more creative features to enhance the DJ's performance and experience.

PRIME GO's, 7" HD Touchscreen gives DJs tactile control of digital media library navigation, waveform views plus track search and load. It offers familiar 'touch/swipe' control over WiFi streaming of premier music services and enables direct, onboard recording to connected USB/SD media.

Small in size but BIG in connectivity and DJ workflow features. PRIME GO has independent dual mic control, pro-grade I/O and 24-bit/44.1kHz audio quality. All critical pro-DJ features are at hand, including dual-FX engines, 2-deck mixing, auxiliary input plus bank switching performance pads.

7", HD multi-touch display for waveform views, music library navigation, track preview, search and load.

Assignable Beat FX module and in-line Sweep FX/Filter combine for creative audio contouring.

Dual-bank (2x4) ultra-responsive trigger pads for hot cue juggling, looping and beat rolls.

With built-in Wi-Fi and an Ethernet Link port for hardwired internet connections, the PRIME GO connects you with your favorite music streaming service or personal cloud storage without being tethered to a computer. Log in to your streaming account directly on the unit for instant access to the world's largest music collections. The PRIME GO offers a vast array of streaming service options including Beatport/Beatsource Streaming, SoundCloud GO+, and TIDAL, so whatever the genre the PRIME GO has you covered. If that's not enough, connect your Dropbox account to access your personal music collection remotely from anywhere in the world.

No sacrifice of line faders with 2 independent, level controlled mic channels plus 1/4" jack and mini-jack headphone monitoring.

Pristine 24-bit/44.1kHz audio quality with 2-channel mixer, crossfader and 3-band EQ control. Timestretch and Key Shift functions for creative 'Open-Format' DJing.

Audio
Frequency Response: 20 Hz - 20 kHz (+/- 1 dB)
Dynamic Range: > 109 dB (A-weighted)
Signal-to-Noise Ratio: > 92 dB (A-weighted)
Channel Separation: < -88 dB (1 kHz, unity)

Headroom:
Aux: > 15 dB
Mic Input: > 20 dB
Outputs: > 15 dB

T.H.D.
Aux: < 0.01% (1 kHz, unity)
Microphone: < 0.02% (1 kHz, unity)

Analog Input:
Aux: +15 dBV (maximum), 0 dBV (unity)
Microphone: -40 dBV (unity), -54 dBV (minimum)

Analog Output:
Master, Balanced: +18 dBu (maximum), +4 dBu (unity)
Master, Unbalanced: +15 dBu (maximum), 0 dBu (unity)
Booth: +18 dBu (maximum), +4 dBu (unity)
Headphone Output: < 40 mW

Connections:
(2) XLR outputs (master left/right, balanced)
(1) RCA output pair (master left/right, unbalanced)
(2) 1/4" (6.35mm) outputs (booth left/right, balanced)
(1) 1/4" (6.35mm) stereo output (headphones)
(1) 1/8" (3.5mm) stereo output (headphones)
(1) RCA input pair (line-level, unbalanced)
(2) XLR + 1/4" (6.35mm) inputs
(1) USB ports (for USB drives)
(1) USB port (to computer)
(1) SD card slot
(1) Ethernet port
(1) Power adapter input

Power:
Connection: DC, Center Positive
Voltage: 19V 3.42A
Consumption: 30W maximum
Dimensions (Width x Depth x Height): 411mm x 274mm x 53mm/16.2" x 10.8" x 2.1"

Weight (Without USB and Power Cable)
8.11 lbs./3.68 kg

Notes: Akai's mid-range MPC features full-size pads plus a built-in rechargeable battery and speakers. Integrated phono stage makes it easy to sample from vinyl. A hugely capable studio centrepiece.

*** Introducing MPC Stems- March 2024 ***

Akai Professional now introduces the next chapter of sampling innovation and production powered by the groundbreaking MPC Stems bringing sampling into a new chapter.

With MPC Stems, you can access the raw building blocks of any sample or vinyl record, isolating the DNA of any record. Producers can now manipulate the Drums, Bass, Music, and Vocals, opening new creative possibilities.

Akai Professional introduces the ultimate creative workflow with Stems Separation seamlessly integrated into the leading MPC series, powered by MPC 2 Desktop Software.

With MPC Stems, producers and beat-makers can now unlock unmatched sampling creativity by easily isolating drums, bass, music, and vocals from any audio, vinyl recording, or sample revolutionizing the art of sampling.
Experience lightning-fast workflow with superior sound quality, keeping you inspired throughout the creative process.

Slice and isolate samples while maintaining chop regions across each of the four stem layers.

Take complete control with direct manipulation of stem layers from the pads, adjusting volume, pitch, pan, start, and end points with instant responsiveness.

MPC Stems requires MPC 2 Desktop Software running 2.14 or higher, compatible with MPC Live, MPC Live 2, MPC One, MPC One +, MPC X, MPC XSE, MPC Key 37, MPC Key 61, MPC Studio Mk 2 in Controller Mode.

Supplier's Notes:
Meet MPC Live II, the full MPC experience in its most portable configuration yet. Everything you need to make music, anywhere, right at your fingertips.

There's no need to compromise for portability. MPC Live II is the complete MPC experience without missing a step. A rechargeable lithium-ion battery means you can work anywhere for hours. Full-size MPC pads give you the ultimate in drum performance and the expanded function buttons allow for quick editing on-the-fly so you never miss a beat.

For the first time ever, you now have studio-grade monitors built-in directly to your MPC. No need to waste precious time looking for your headphones, untangling cables or powering up external monitors. These full range stereo monitors deliver low end thump along with tight top end to make portable beat-making the sonic experience you need to feel your music.

MPC Live II integrates into your creative space with all the ports, jacks and connectivity you need. USB 3.0, 2x2 MIDI, CV/Gate, 3 stereo outs and more. WiFi and Bluetooth connectivity make for a completely wireless workflow. No matter the device, MPC Live II is ready to get connected!

MPC Live II will super charge your production. With MIDI performance to tap in to as many devices as you need, an intuitive and streamlined layout not to mention the MPC workflow features you need; 16 Levels, Note Repeat, Auto Sample, Chords & Notes More and so much more. Get ready to level up to the MPC Live II.

KEY SPECS:

Pads:
(16) velocity and pressure-sensitive pads, RGB-backlit
(8) banks accessible via Pad Bank buttons

Knobs:
(4) 360- touch-sensitive Q-Link Knobs
(4) Q-Link Knob columns accessible via Q-Link button
(1) 360- encoder for display navigation and selection via push

Buttons:
(27) dedicated function buttons; red, amber, or green backlit

Display:
6.9" / 176 mm (diagonal)
5.9" x 3.7" / 150 x 93 mm (width x height)
Full-color LED-backlit display with touch interface

CPU: Quad-core ARMr processor
RAM: 2 GB
Storage: 16 GB, expandable via SATA connections

Connections
(2) 1/4" (6.35 mm) TRS inputs (1 stereo pair)
(6) 1/4" (6.35 mm) TRS outputs (3 stereo pairs)
(1) 1/4" (6.35 mm) stereo headphone output
(2) RCA inputs (1 stereo pair)
(2) 5-pin MIDI inputs
(2) 5-pin MIDI outputs
(4) TRS CV/Gate jacks, 8 outputs total
(1) Ethernet link port
(2) USB Type-A ports
(1) USB Type-B port
(1) SD Card slot
(1) Power Adapter input

Power:
Via power adapter: 19 V, 3.42 A, center-positive, included
Via battery: Up to 5 hours of battery life

Dimensions (width x depth x height):
16.2" x 9.6" x 1.8"
411.5 x 243.8 x 45.7 mm

Weight:7.45 lbs/3.38 kg

Notes: Flagship instrument based on NI's excellent Maschine software but presented here in standalone format as an all-in-one groovebox, capable of creating everything from beats to synths and samples.

Supplier's Notes:
MASCHINE+ is a sampler, a drum machine, a synth, and an on-stage superpower. In short, it's whatever you make it. Leave the laptop behind, jam with your other gear, and create beats in minutes with a wealth of on-board sounds, instruments, and effects.

It's the iconic MASCHINE workflow, with fewer strings attached.

Standalone means more focus, more freedom, and more music making. Plug in, power up, and get creating straight away in the embedded MASCHINE+ production environment - from first ideas to finished tracks. Dial in effects to tweak your sounds, or sample audio and make it your own with an intuitive interface designed to keep the creative juices flowing. And if you want to bring your ideas into a DAW, copy them over, and boot up the MASCHINE software on your computer to pick up where you left off.

As well as its classic groovebox workflow, MASCHINE+ includes MASCHINE+ Selection: A dedicated package of nine synths and sampled instruments, 35 effects, and seven Expansions (including two of your own choosing) that work seamlessly in standalone mode. It includes heavy-hitters like MASSIVE, FM8, MONARK, PRISM, the MASCHINE Factory Selection, RAUM, and PHASIS. That means its 16 pads can sound like a dusty vintage drumkit, a warped wavetable lead, or an organic modal synth - pretty much anything you can think of if you flex your sound design skills.

Whether you're digging records or ripping radio edits, record any sound into MASCHINE+ and quickly chop and stretch the results into your own custom kits. Or transform and twist them in real-time with the Audio plug-in. The same goes for guitars, vocals, drums, and anything else - more sounds means more creative ways to make music.

Bring real expression to live performances with intuitive control over your music - tap out beats, run arpeggiators, or tweak synth melodies in real time. MASCHINE+ is an intuitive live sequencer, a fully-fledged groovebox, and a powerful performance synthesizer rolled into one.

Clips let you arrange your ideas with even more freedom. Create transitions across scenes, add unique variation to patterns, record MIDI directly into the full arrangement, and freely add audio wherever you need it. Once you've fleshed out your ideas, you can use MASCHINE+ as a powerful tool to push tracks past the finish line.

Play and sequence outboard gear and capture the results, or manipulate external audio in real time with effects. MASCHINE+ can control, mix, and manipulate the rest of your setup with MIDI, line, and mic inputs to bring everything together instantly. And if you want to work with a computer, it doubles up as a classic MASCHINE controller too.

MASCHINE+ is Wi-Fi enabled, which means you can install new sounds, instruments, and effects at the touch of a button, without a computer in sight. When it comes to jamming with others or playing out live, keep in sync with other music apps, DAWs, and compatible gear with Ableton Link.

Need more sounds? Expansions are great for giving MASCHINE+ some sonic love, with presets for its synths, one-shot samples, loops, and kits.

AUDIO INTERFACE SPECIFICATIONS

Line-In
Full Scale Level: +18,6 dBu
Dynamic Range: 100 dB
THD+N: 0.003 %
Frequency Response:: 20Hz-20kHz +/- 0.1 dB
Crosstalk L/R: -96 dB

Mic Input (max gain)
Full Scale Level: -32 dBu
Dynamic Range: 90 dB
THD+N: 0.01 %
Frequency Response:: 20Hz-20kHz +/- 0.4 dB

Mic Input (min gain)
Full Scale Level: -3.4 dBu
Dynamic Range: 102 dB
THD+N: 0.004 %
Frequency Response:: 20Hz-20kHz +/- 0.15 dB

Line Out
Maximum Output Level: +18.0 dB
Dynamic Range: 102 dB
THD+N: 0.003 %
Frequency Response:: 20Hz-20kHz +/- 0.5 dB
Crosstalk L/R: -100 dB

Headphone Out:
Maximum Output Level: 29.4 mW @ 33 Ohm load
Dynamic Range: 102 dB
THD+N: 0.007 %
Frequency Response:: 20Hz-20kHz +/- 0.35 dB
Crosstalk L/R: -60 dB

Dimensions: 322 x 301 x 51 mm / 12.68'' x 11.85'' x 2.01''

Weight: 2.50 kg / 5.51 lbs

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

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

DRM1 MKIV: Familiar, yet evolved

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

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

DRM1 MKIV: Sociable and dynamic

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

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

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

DRM1 MKIV: More power under the hood

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

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

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

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

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

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

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

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

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

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

Return options:
1) To Stereo 3 channel

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

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

Notes: One of our favourite small live/studio mixers, shown here in 16-channel form with built-in digital effects. Clean sound, decent three-band semi-parametric EQ and built-in audio interface. Very impressive.

Supplier notes:
The ZED-16FX is ideal for groups who need to travel light. It gives musicians, venues and hire companies access to 10 full mono channels, 3 stereo channels and a high quality effects unit in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

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

The ZED-16FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ, with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, the ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge, 69dB of range to be exact, and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

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

Based on the proven pre-amps from the hugely successful PA series, ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Updated version of Rode's outstanding podcast/video/streaming mixer. Fully integrated audio production setup with microphone and instrument inputs, audio interface and built-in effects.

Supplier's Notes:
The RODECaster Pro II is the ultimate audio production solution for streamers, podcasters, musicians and content creators. Combining revolutionary features with superior sound quality, unmatched ease of use and endless customisability, it is all any creator will ever need to record incredible audio.

Combining all of the elements typically found in a professional podcasting, streaming or studio setup into one powerful, easy-to-use console, the RODECaster Pro II simplifies the audio production process, allowing any creator to get set up to record high-quality content in seconds.

The large (5.5-inch) high-definition, full-colour touchscreen with haptic feedback, tactile rotary encoder, bright RGB colour-coding and hands-on controls makes navigating the RODECaster Pro II super simple.

Pre-loaded presets and the intuitive VoxLab processing editor make capturing professional-quality sound effortless. Every feature, from setting up a microphone channel to programming the SMART pads, has been designed to maximise creativity, and every function can be controlled on-board via the user-friendly interface or with a computer via RODE Central for maximum convenience. Incredible audio, incredibly easy.

The RODECaster Pro II offers an unparalleled feature set designed to make anyone sound exceptional every time they hit record. Four studio-grade Neutrik combo inputs with our ultra-low-noise, high-gain Revolution Preamps deliver astonishing clarity and transparency with any microphone or instrument. Users can craft their own unique sound with a full suite of studio-quality APHEX processors, including the legendary Aural Exciter, Big Bottom and Compellor, and powerful on-board effects, including reverb, delay, pitch shifting, robot effects and more. A high-performance quad-core audio engine delivers significantly more processing power than any other content creation console on the market and unlocks huge potential for future updates.

The RODECaster Pro II features four high-end studio preamps that have been designed from the ground up to deliver pristine audio quality with any microphone or instrument. With an ultra-low noise level of just -131.5dBV and a whopping 76dB of gain on tap, they eliminate the need for microphone boosters, lifters or external processing, even with the most demanding dynamic mics. They are highly transparent, allowing every detail of what's plugged in to shine and providing a clean platform to shape and enhance the signal using the on-board processing and effects.

Every great recording starts with a great microphone and a great preamp. The RODECaster Pro II features four phenomenal preamps that rival boutique designs that cost thousands of dollars per channel, complete with broadcast-quality faders for precise gain adjustment, accurate digital level metering, and high-power headphone and speaker outputs for monitoring in stunning definition . Just add a RODE mic and you're golden.

To compliment these high-end preamps, the RODECaster Pro II offers studio-quality signal processing powered by one of the most revered names in pro audio: APHEX.

On-board is a suite of legendary APHEX processors each painstakingly remodelled for the RODECaster Pro II to deliver authentic emulations of classic hardware units. This includes the Aural Exciter for adding sheen and sparkle, Big Bottom for adding richness and depth, and the legendary Compellor master compressor/leveller for adding that all-important final touch. There is also a de-esser, noise gate, high-pass filter and equaliser, also powered by APHEX.

These can be tweaked to taste using the RODECaster Pro II's innovative VoxLab processing editor, which utilises three intuitive controls to change multiple parameters on multiple processors for achieving pro results in seconds, or via the advanced editor for granular editing (either on-board or with a computer). All settings can be saved as presets and re-loaded at any time on any channel.

Every podcast, every stream, every studio is different. The RODECaster Pro II is designed to adapt to any creative vision, with endless customisability allowing users to design their perfect setup no matter what kind of content they are creating.

Specifications

Acoustic & electrical

Processor: 1.5Ghz quad-core audio engine
Bit Depth: 24-bit
Sample Rate/s: 48kHz
Equivalent Noise: -131.5 dBV EIN
Gain Range: 76dB
USB Connectivity: 2 x USB-C connectors (dual audio interfaces)
Bluetooth Connectivity: Wide-band speech Bluetooth
MicroSD Card Transfer Rate: USB 3.0 130 MB/s
Screen: HDR with haptic feedback and auto brightness

Mechanical

Dimensions (mm): 305 x 270 x 60
Weight: 1950g
Included:1 x RODECaster Pro II
1 x SC27 USB-C to C cable
1 x USB-C Power Adaptor
1 x AC Power Cable

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

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

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

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

ENNER consists of:

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

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

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

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

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

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

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

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

Specs

Array of filters

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

Pink noise generator

NOISE - noise output

Delay

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

Piezo

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

The five-voice synth

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

Rhythm\Bass synth

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

External

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

Power

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

Grounding

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

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

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

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

DRM1 MKIV: Familiar, yet evolved

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

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

DRM1 MKIV: Sociable and dynamic

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

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

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

DRM1 MKIV: More power under the hood

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

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

Limitations & Recommendations

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

Specifications

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

Notes: ZED-18 has an incredibly advanced feature-set for a mixer at this level - it gives musicians, venues and hire companies access to 10 full mono channels and 4 stereo channels in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

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

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

ZED-18 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-18 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Brilliantly unusual synth based on eight analogue tone generators, functioning more like an electric organ or FM synth than a conventional subtractive architecture. Unique sound.

Supplier notes:
Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of VCOs. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Specifications:

Max output voltage: 2 v 0-to-peak
Output connector: mono 6.3 mm TS or TRS (balanced) jack
Output resistance: 100 Ohm
EXT IN: 1 v 0-to-peak
EXT IN connector: 6.3 mm TS jack
HOLD GATE: full HOLD volume +5 V
HOLD GATE connector: 6.3 mm TS jack
CV DELAY : unipolar, range of 0 to +5 volt
CV DELAY connector: 6.3 mm TS jack
CV VOICES: unipolar, range of 0 to +5 volt
CV VOICES connector: 6.3 mm TS jack
Power supply: stabilised, +12 V, 0.2 A, centre positive
Power Consumption: 2 watt
Dimensions: 266 x 266 x 62 mm
Weight (without power supply and packaging): 2.5 kg

Notes: Brilliantly unusual synth based on eight analogue tone generators, functioning more like an electric organ or FM synth than a conventional subtractive architecture. Unique sound.

Supplier notes:
Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of VCOs. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Notes: Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of "VCOs". Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.