The patchable modular synth experience is now available in a compact, affordable package. With the excitement of a full-sized modular synthesizer packed into a fun table-top unit, PHENOL includes tons of amazing features. But the best part is that it sounds fantastic!
*comes with 10x starter banana cables*
*includes 24V international Power Supply*
The PHENOL Kickstarter was a success! Thank you to all backers who supported the project!
PHENOL is a new type of electronic instrument from Kilpatrick Audio. Inspired by modular synthesizers, PHENOL offers the creative potential, sound and hands-on experience of a modular synth, in a sleek, compact and affordable package. And best of all, PHENOL is compatible with modular systems because it uses the same voltages and banana connectors as the Kilpatrick Format and similar modular synthesizers.
Whether you already love modular synthesizers and want a smaller instrument for portability, or whether you've heard about modular synths and want to get your feet wet, PHENOL offers an amazing instrument at a great price.
*For audio demos, please visit - http://www.kilpatrickaudio.com/?p=phenol#sounds
**For Phenol user manual, please visit - http://www.kilpatrickaudio.com/?p=phenol-manual
Moog Music's engineers have crafted the Sub Phatty's oscillators to perform with extreme accuracy and require almost no warm-up time. Just power up, dial in your settings, and put your fingers to work on the keys to summon crisp and detailed waveforms, a vibrant and articulate sound that more than honors the rich sonic density synonymous with Moog creations.
The Sub Phatty is the first analog synth to feature Moog's transformative new Multidrive section; at low settings Multidrive adds warmth and girth, but when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level. Experiment with this new circuit and unlock an undiscovered world of vivid analog tonalities.
The mixer section offers innovations of its own, including a sub oscillator that outputs a square wave one octave below Oscillator 1. Use this powerful tool as a third oscillator for added depth, or to craft your own customized incarnation of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver low-frequency content, rich with body and punch. If your goal is to sculpt analog percussion and sound effects, look no further.
The Sub Phatty features a wide range of parameters just below the surface, and all features are easily accessible from the instrument's front panel, or via the free standalone/plugin editor. Select filter poles, assign wave mod destinations, or specify pitch bend amounts i it's all there.
The Sub Phatty brings a fearless new voice to the Moog family of synthesizers. With its streamlined interface and dynamic sound design flexibility, this new synth fuses an unparalleled connection between human & machine, opening the door to unprecedented sonic exploration.
The Sub Phatty's filter includes the transformative new Multidrive circuit, a unique combination of OTA distortion and FET drive, which serves as the sparkplug in the instrument's powerful sound. At low settings, Multidrive adds warmth and width; when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level.
Users can access a total of 16 definable presets via the 4/4 preset matrix on the Sub Phatty's front panel. This matrix also doubles as a control panel for the instrument's subcutaneous nerve center, users can select filter poles, set pitch bend amounts, toggle between legato glide modes, and more. These functions can also be accessed via the included Sub Phatty standalone/plugin editor.
The configuration of the Sub Phatty's mixer section allows users to easily determine, at any given moment, which sources overdrive the filter and which simply pass through it. The mixer section further hosts controls for a square wave sub oscillator; those operating the Sub Phatty can utilize this tool as a third oscillator for added depth, or to craft their own customized incarnations of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver rich, punchy low-frequency content, designed for analog percussion and sound effects.
Ever since the K4815 Pattern Generator module was released to great praise in 2010 we have been planning a follow-up product that would take the Pattern Generator concept to a whole new level. After five years of planning and exploration we are proud to present: CARBON
CARBON offers several distinct and powerful functions that will change the way you compose and perform.
CARBON is primarily designed as a pattern-based sequencer. It has six tracks which can each hold 64 steps. Steps can be generated randomly, edited interactively, or recorded from a MIDI keyboard one step at a time, or in real-time while the sequencer is running. Polyphony and CC recording is supported so each step can contain chords or other performance data. The fun begins once you've got some notes playing back on a track. Choose a region to play back, say, the first 8 steps. The track will play those same 8 steps over and over. Now move to another track and record a new sequence. This sequence can be a different length, or play back at a different speed. It can even play backwards while the other sequence plays forwards.
Remix with Patterns and Scenes:
The real power of CARBON is how variations of sequences can be made. By simply turning the PATTERN control, different steps in the sequence can be enabled and disabled. The patterns will surprise and inspire you by creating new rhythms and motifs with a simple twist of a knob. These are all based on your original sequence and can be changed at any time. Adding in the concept of scenes lets you quickly switch between different parts of a song or different variations. Scenes can store the range of steps to play, the pattern, track mute state and a number of other parameters. Switching back and forth between scenes offers endless performance potential without ever missing a beat. The best part of the CARBON sequencer is that all the recording and editing can be done in real-time without ever stopping the sequencer.
Do you fire up your DAW software in the studio to simply route MIDI signals from your keyboard controller to various instruments? Creating a session just to route MIDI is clunky and slow, and on stage requiring a computer can be a liability. The LIVE button allows live playing to any combination of outputs.
MIDI Switching / Routing System:
CARBON is a complete performance switching system allowing you to easily send your keyboard signal to MIDI and analog instruments. Two built-in MIDI outputs enable separate routing of clock and channel signals from each track. The analog section supports four CV/gate outputs plus reset and clock signals. Both monophonic and duo/polyphonic output types are supported. You can even send to multiple MIDI and analog instruments at the same time!
Does your favourite keyboard controller lack a keyboard split function? It's never been easier to send MIDI where you want it. Send your left hand to one instrument and your right to another, or two others if you want. Quickly switch back to a single instrument across the entire keyboard at the touch of a button.
A good arpeggiator has been the holy grail for electronic performers for decades. CARBON has a powerful internal arpeggiator which supports all the standard arp types plus loads more. Each of the six tracks in CARBON has a separate arp so you can make serious harmonic madness!
When the sequence is running the arp automatically syncs to the sequencer. When it's stopped the arp starts as soon as you press a key. Intelligent reload arp programming allows you time to change chords without losing a step.
USB MIDI Host:
Want to use a USB controller that lacks MIDI output ports? No problem! CARBON has a built-in USB host interface that will power your class-compliant MIDI device and allow you to use it to control CARBON or send MIDI or CV/gate signals to any device. You no longer need a computer or other dedicated box to use your favourite USB MIDI controller.
USB to MIDI and CV Interface:
Need to use your computer for bigger compositions? Don't worry, you don't have to disconnect CARBON. When plugged into a PC or Mac, CARBON becomes a powerful MIDI and CV interface. Use the control surface to run your DAW software. The display can also be controlled via MIDI. (open spec - future software / plugins required). All your instruments connected to the MIDI and analog CV ports can be used directly from your DAW software. The analog clock and reset outputs can also be used to drive analog clock-based gear from your DAW.
The A77X is a horizontally designed monitor that combines all of the technical innovations in the AX-Series. Due to its powerful, compression-free sound reproduction and excellent radiation characteristics, it is suitable both for nearfield and midfield monitoring.
The special feature of the A77X is its 2 1/2-way system. Both 7" woofers start to work together at 38 Hz and at 400 Hz one woofer fades out and only the second woofer continues to operate in the midrange up to 3 kHz. This prevents interferences and possible phase cancellation in the critical midrange. Even though frequency transitions and potential distortions lie outside these areas, the human ear is particularly sensitive to midrange frequencies.
Especially noteworthy in the A77X is the extremely wide stereo foundation and brilliant stereo imaging. Treble and mids are reproduced with three-dimensional realism and the lows are, as expected from a double woofer design, massive without compromising on precision.
The instruments on the DRM1 MKII are as following:
Kick: mainly but not only for making big and fat kick drums
Drum1 and Drum2: very flexible instruments that can generate kick- and tom sounds a s well as bongos. Anything from zapp to bling and fantastic PIUU
Multi: 3 x oscillators can be detuned and gives you nice cowbell-like sounds. If you like submarines you can create a nice sonar ping
Snare: what can we say about that? Well, you get what you expect.
Hi Hat1 and Hi Hat2: that's analogue (heavy- or soft-) metal
Clap: classic analogue hand claps.
The instruments of the DRM1 MKIII can be triggered by MIDI (of course velocity-sensitive). There is also an optional trigger option avilable that connects the drum machine to your analogue step sequencer or whatever gives out gate voltage or switch trigger. Beside the main outputs each channel is equipped with an individual output that also can be used as an channel insert.
This version comes with triggle inputs for each drum. The trigger option allows you to integrate voltage control to cue each sound plus open and close the hi hats.
3 in stock $596.40
The instruments on the DRM1 MKII are as following:
KICK: Mainly but not only for making big and fat kick drums.
DRUM1 and DRUM2: Very flexible instruments that can generate kick- and tom sounds a s well as bongos. Anything from zapp to bling and fantastic PIUU...
MULTI: Three oscillators can be detuned and gives you nice cowbell-like sounds. If you like submarines you can create a nice sonar ping.
SNARE: What can we say about that? Well, you get what you expect.
Hi Hat1 and Hi Hat2: That's analogue (heavy- or soft-) metal.
CLAP: Classic analogue hand claps.
The instruments of the DRM1 MKIII can be triggered by MIDI (of course velocity-sensitive). There is also an optional trigger option avilable that connects the drum machine to your analogue step sequencer or whatever gives out gate voltage or switch trigger. Beside the main outputs each channel is equipped with an individual output that also can be used as an channel insert.
Quickly switch between your tracks and control EQ, compressor, gate and more. Mix with the sound of the included Solid State Logic SL 4000 E. Or customize your channels to fit your needs - there are over 60 Console 1 ready plug-ins available from Softube and Universal Audio.
The Console 1 hardware gives you hands-on control of EQ, compressor, gate, volume and pan on all your tracks. No MIDI mapping is needed - the hardware is tightly integrated with the Console 1 software, straight out of the box.
Pamper your tracks with the sound of the legendary Solid State Logic SL 4000 E console - probably the most used high end console in the history of music recording. Softube's emulation was developed in close collaboration with SSL, and it's included with the purchase of Console 1.
Expand Your Options:
Customize your channels with any of the over 60 available Console 1 ready plug-ins from Softube and Universal Audio. Mix and match units from Chandler Limited, Fairchild, Teletronix, Tube-Tech, Abbey Road Studios and many others. Pre-mapped and ready to go.
A Lifetime of Mixing:
Console 1 is a premium Swedish design, built to last for many years of mixing. Its steel chassis makes it solid as a rock, and the knobs and buttons have the responsiveness and feel you'd expect from a high end analog console.
Add More Consoles:
In addition to single Console 1 ready plug-ins, there are entire Console 1 channel strips available, with EQ, compressor, gate and modelled saturation from the original analog hardware. Currently, the options are Solid State Logic XL 9000 K-Series for Console 1, British Class A For Console 1 and Summit Audio Grand Channel for Console 1, with more to come.
Control Your DAW:
Console 1 works with any major DAW on the market. But certain DAWs - currently Presonus Studio One and Cakewalk SONAR - feature additional integration, meaning you can use the Console 1 hardware to control vital DAW functions such as track selection, volume, send levels, pan and solo/mute. We aim to have this functionality added for all DAWs.
And the Winner Is:
The first-generation Console 1 was an immediate success and did not only receive prestigious awards and praise from the pro audio press - but more importantly, the end users loved it. Even seasoned engineers such as Michael Brauer, Jason Goldstein, Dave Isaac and Gareth Jones took the system to their hearts.
Three years after the original Console 1 release, it is time to introduce the Mk II version. It has the same build quality as the original units, with some minor layout changes such as more visible LED markers. More importantly, efficient manufacturing processes have made the system much more affordable.
The MX-1 Mix Performer brings together your synths, drum machines, loops, DAW tracks, and more into a single performance-optimized mixing instrument. Combining elements of a mixer, control surface, audio interface, and step-based effector, the MX-1 is designed to be the nerve center of your electronic music rig. It's a mixer you can play - and so much more.
With six analog inputs, four AIRA Link USB ports, digital I/O, send and return jacks, and the ability to stream 18 channels to and from your DAW, the MX-1 brings together a wide range of musical sources and puts them directly under your fingertips. But this is no ordinary mixer. The smooth, solid faders each have six different volume curves available. Every channel has an adjustable Tone/Filter knob with ten types of filters, EQs, and isolators. Mutes are placed for quick access, working with the LED-lit faders to clearly show their status, even in dark environments. The DJ-style headphone cue monitoring lets you smoothly mix in any source whenever you're ready, or drop in tracks right on the beat. Separate headphone and master volume knobs along with smooth and bright metering keep levels firmly in check. And everything, including all the FX configurations and settings, can be saved and recalled for instant access.
There's no question that effects play a huge role in creating a unique vibe and defining your sound. And the MX-1 integrates effects in exciting new ways. Not only do the MX-1's effects sound great, they're designed for ready manipulation and rhythmic sensibility, thanks to the MX-1's tempo awareness and the TR-style step interface. In addition to an aux send for feeding external effects, each channel has its own Beat FX including Filter, Side Chain, and Slicer. These are applied using sixteen TR-style step sequencer buttons like those found on famous Roland drum machines. This lets you independently filter, duck, and slice each channel, creating cool rhythmic variations, polyrhythms, and all manner of intricate grooves. Beat FX can be instantly switched on and off per channel with dedicated, illuminated buttons. Six kinds of Master FX, each with lots of variations, add spice and drama to any or all channels. And the large control knob gives them supreme playability. The Master FX can even be step-sequenced in various combinations, creating stunning movement and glitchy interludes that must be heard to be fully appreciated.
Computers already play a big role in production, and they increasingly play a role in performance. But they don't always integrate so well with other live instruments, and require their own audio interface and controller. The MX-1 addresses these problems through its ability to operate in any one of three different modes. In Control Surface mode, the MX-1 can sync to your computer and act as a high-quality MIDI controller for your DAW. Cool. But it gets way more interesting... In Mixer mode, the MX-1 can mix all connected sources, including analog and digital inputs, AIRA gear, and your computer's output. While there's a dedicated channel for a stereo output from your computer, you can also send computer audio to USB channels 1 thru 4 if no device is connected to the AIRA Link USB ports. Very cool. In External mode, the MX-1 can send all its inputs directly to your DAW, acting as a high-quality audio interface. At the same time, it can mix 18 channels back from your DAW, putting them on the MX-1's faders. This lets you utilize the recording, clip triggering, effects, and mixing functions of your DAW along with the MX-1's cue monitoring, sync, and performance-optimized mixing and effects capabilities. It's mind-bending stuff. Just take a moment to imagine the possibilities. While the MX-1 obviously makes working with a computer way more fun, it's just as happy on its own. So whether it's full hands-on control of your DAW or completely out-of-the-box production and performance, the MX-1 is right at home.
The MX-1 is so much fun to play that you're bound to want to plug all kinds of things into it. Four individual 1/4-inch jacks support just about any kind of instrument, and the stereo 1/8-inch jack is perfect for smartphones, tablets, and various gadgets. There are also four AIRA Link USB ports that make connecting your AIRA gear literally plug and play. With fully automatic detection, AIRA Link USB ports transmit audio, MIDI, and sync over a single USB cable. One of the ports can even provide bus power for a compatible AIRA device like the TB-3 Touch Bassline or VT-3 Voice Transformer. AIRA Link reduces cable clutter and makes setup fast and simple. The MX-1 is also fully time aware and gives you hands-on control of start, stop, tempo, and timing. Sync an array of musical devices over MIDI or AIRA Link. Control everything with the brightly lit TR-style start/stop button and large tempo knob with fine adjustment, shuffle control, and tap function.
This superbly made, professional quality DJ turntable is designed primarily for DJ use in nightclubs, touring and mobile applications. It can also be used by music lovers to play their record collections at home. Its sleek, elegant gloss-black and silver design fits into any stereo music or home entertainment system, and its built-in switchable phono preamp enables it to be used with a wide variety of receivers, powered speakers and other A/V components. As an added benefit, the turntable offers a USB output that allows direct connection to a computer for easy LP-to-digital conversion.
Built to deliver exceptional music reproduction even under the most demanding conditions of professional use, the AT-LP1240-USB utilizes a powerful direct-drive 16-pole, 3-phase motor for unwavering speed stability along with easy back-cueing, forward and reverse play and quiet operation at 33-1/3, 45 or 78 RPM. The turntable features an S-shaped tone arm with adjustable tracking force (counter-weight) and anti-skate adjustment and a removable universal cartridge mount (cartridge available separately).
Additional DJ-friendly features including a damped cast-aluminum platter with stroboscopic speed markings and slip mat, an illuminated speed indicator and adjustable pitch control, a start/stop button, a removable stylus target light, a dedicated tone arm grounding lug, a hydraulically-damped lift lever and a locking tone arm rest that keeps the arm and cartridge in place during transport.
The turntable includes PC- and Mac-compatible Audacity software that converts the audio on a record to MP3, WAV or other format digital audio files.
The ART Pro MPA II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.
Each microphone input circuit, with selectable 48V phantom power, features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone.
The Pro MPA II can operate at either a low or high plate voltage on the 2 integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display output levels while multi-colored LED arrays show tube gain.
Housed in a standard 2U space rack mountable steel chassis, with CNC routed black anodized aluminium face panel, the Pro MPA II is designed to deliver years of reliable operation in the studio, production facility, or on the road for live sound reinforcement.
The 4ms Dual Looping Delay (or DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular time-base and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.
What is a "Looping Delay"?
Modern looping devices grew directly from hardware digital delays of the late 70s and early 80s. A looping delay, modelled on units such as the classic Lexicon PCM42, has the very long storage times associated with dedicated looping, but without triggered record and playback functions.
By default, a looping delay records and plays continuously, though recording can be suspended at any time with Infinite Repeat. Sustain of delays and loops is mainly accomplished with regeneration, allowing an organic, evolving approach to sound creation as new material replaces old, more or less gradually. The 4ms Dual Looping Delay also provides advanced clock input and output facilities that allow for locking delayed and looped material with sequencers and rhythm devices of all descriptions.
The 4ms Dual Looping Delay is conceived and designed by Gary Hall. Implemented and manufactured by 4ms Company
Improved advanced analog Jomox dual membrane circuitry.
Looking at the drumskins of an acoustic drum, you can mostly find two vibrating membranes that modulate and interact with each other by the coupling through pressure waves of the content air.
That produces the typical sound of a drum. Non-linear waves on a two-dimensional membrane which is co-excited from the other. By resonance and counteractive interference new frequency bands and overtones are brought about. Mostly a noise-like signal is added (e.g. snare strainer) that either excites the membranes as adds an own envelope to the resulting sound.
In the Mod.Brane 11 there are two 2-pole filters (F-OSCs) arranged in a way that dampen is like a limited range of resonance. They can interact between each other by two coupling parameters 1_2 coupling and 2_1 coupling. Coupling is a combination of addition (mixing) and frequency modulation. 2_1 coupling acts inversely with negative values and even with positive values. So every possible feedback and interference mode can be produced.
A dual noise generator which provides either white noise or a multitone metallic noise or a mixing of both, combined with a decay envelope, can produce percussion-like and cymbal-like tones which are mixed to the rest of the membrane signal. A part of the signal excites the F-OSCs, and the other part is mixed as a noise envelope to the signal.
Two internal LFOs which control the tuning of both F-OSCs expand the sound spectrum once more.
All analog parameters are either storeable and controllable via Midi. The Midi notes control the pitch of the F-OSCs.
Too, the modules are controllable via CV/Gate and via trigger pads for live drummers. With the trigger input, the threshold and velocity dependend dynamics can be adjusted.
Four routable CV inputs let all internal sound parameters (incl. LFOs and metallic noise) be controlled by CV sequencers. Every CV input provides an own programmable amount which can be negative too (i.e. subtracting the CV value from the internal value). The range reaches from 0..5V.
The ATH-E70 features specially designed housings that provide incredible isolation. The isolation - and the comfort - are enhanced by the four sizes of silicone eartips (XS/S/M/L) and medium-size pair of Comply T500 foam eartips included with the headphones, which allow you to create a custom fit. The ATH-E70 also includes a detachable 1.6 m (5.2') cable, with newly developed A2DC (Audio Designed Detachable Coaxial) connectors at the headphones and a 3.5 mm (1/8") stereo mini-plug output, a 6.3 mm (1/4") adapter, and a carrying case.
MOTOR 49's endless rotary encoders provide immediate feedback about your software, plus the convenient, backlit transport section puts all playback and record functions right at your fingertips. You get fast, easy-to-read information at-a-glance, thanks to MOTOR 49's spacious, backlit LCD screen. We've also loaded this amazing controller with a variety of extremely-useful presets (and even more are on the way), so you can start creating quickly, without mapping or instant recall. Ready to go right out of the box, just connect to your computer and download the free audio recording, editing and podcasting software at www.behringer.com, which comes with 150 instruments and effects plug-ins. MOTOR 49 is the fast and easy way to get you back "in-touch" with every element of your creativity.
Based on the classic SYSTEM-100M modular synthesizer, the SYSTEM-500 is a fully analog recreation of one of the most revered electronic instruments of all time. Newly designed in Eurorack format, the SYSTEM-500 delivers the classic character and functionality of the original with the advantages of a modern instrument. Built in the USA and assembled in Japan, the SYSTEM-500 is made to exacting standards with top-quality components and solid controls. And it's surprisingly affordable, turning the fantasy of finally owning this legendary instrument into reality.
Classic System. New Format:
The SYSTEM-500 consists of Eurorack format modules that you can mix and match in any combination to create the ultimate Roland modular synthesizer. Each module is completely analog and has been designed for maximum compatibility with the world of contemporary synthesizer and effects modules. The SYSTEM-500 is a compact, powerful system that opens up vast possibilities for sound design and musical exploration.
572 Phase Shifter + Delay + LFO:
The 572 Phase Shifter, Delay and LFO is a time-based, multi-effects module. The 572 includes a five-stage phase shifter, analog audio delay, a control voltage gate delay, and an LFO. The phase shifter has panel controls for shift frequency and resonance amount that can vary from subtle to a deep, lush analog effect. Similarly, the audio delay has independent knob control of delay time and resonance (or feedback) for short chorus-like modulation delays. Both the phase shifter and delay can be modulated by the 572's internal LFO or external CV signals and feature wet/dry effects mix controllable via the front panel or with CV.
The LFO section has a knob for controlling frequency and features both normal and inverted output jacks. The gate delay has knobs to control threshold, delay time, and gate time for modifying incoming gate signals from other modules.
Rated at 100 watts rms/channel @ 8 ohms (130 watts rms/channel @ 4ohms), with a frequency response from 10 Hz to 40 kHz the SLA-1 is perfect for professional, project and home studios. Capable of delivering 260 Watts when bridged mono into an 8 ohm load, the SLA-1 can easily move out of the studio and into any live rig or installation as an ideal monitor amplifier or zone amp solution.
The SLA-1 has been designed to deliver in the most demanding audio applications. Housed in an aluminum and steel single space 19-inch rackmount chassis, the SLA-1 uses a proven toroidal transformer design for unmatched long-term reliability.
The SLA-1 features SmartFan, an advanced, thermal dependent fan assisted convection cooled system. The SmartFan system is dependent upon the internal ambient temperature of the unit, and runs at high or low levels depending on the amplifier's cooling needs.
XLR and 1/4-inch TRS balanced inputs as well as multi-way output binding posts are ensure the SLA-1 can be quickly and easily tied in to any system without modification. A simple to install tamper proof cover is included.
The professional sound you deserve:
We are the only company that use the same Class-A mic pre design throughout our entire product range, whether you're in the studio with an Audient console or on the road with iD22, you're always guaranteed the same world class Audient sound.
Brilliance on the inside enables brilliance on the outside:
iD22 provides you with high performance AD-DA converters from Burr Brown, the leaders in converter technology. Quality in the analogue stages of design comes from years of experience as analogue console designers, and when coupled with outstanding converter technology it enables you to hear audio as it's supposed to sound. The importance of converters should never be underestimated. Experience audio the Audient way.
Grows with your needs:
iD22 is more than just a two in, six out interface. As your system grows iD22 can be expanded via the optical input and output connectors, supporting both ADAT and SPDIF. If you need to track drums or simply need more inputs you can expand up to ten inputs via an eight-channel mic pre such as our ASP880.
You can't unhear quality:
During iD22's development we discussed ways in which we could showcase iD22's versatility in a variety of genres. We were so confident you could make a release quality recording with iD22 we decided to get out in the field and record three different artists varying in style. Listen to the result for yourself...
Integrate your outboard:
Two fully balanced insert points enable you to bring your outboard gear in from the cold and prior to conversion. Insert your favourite compressors or EQs and start creating vocal chains that rival the very best. The insert return also gives you direct access to the analogue to digital converters - providing the cleanest signal path possible, making it great for print-backs or integrating outboard line level sources.
Customise your control surface:
iD22 has a range of incredibly flexible console style monitor control functions such as mono, polarity, dim, cut, speaker select, talkback & cue mix monitoring. We know how important it is to focus on the music and to make tracking as simple as possible we added three programmable function keys. No more time spent searching for software controlled features, just assign the monitoring functions you need to the three hardware function keys and allow the creativity to flow. Real hardware control at your fingertips!
Plug in and be inspired:
As well as offering you 2 channels of mic pre, iD22 has a harmonically rich JFET D.I input. Designed to replicate the input stage of a classic valve amplifier, you can plug your guitar, bass, keyboard or drum machine straight in and start recording instantly.
Discover just how simple it can be:
We understand the need to keep things simple and iD22's mixer app was designed with that in mind. Whether you're creating low latency cue mixes or utilising the flexible monitor control, iD22 tightly integrates the hardware and software making the recording process easy. Enabling you to concentrate on what's really important - the music.
Quality deserves protection:
iD22 has been designed to last, from its all-metal construction, hand finished aluminium knobs and high grade component selection, iD22 will stand up to countless late nights in the studio and days on the road.
Fully programmable, analog synthesis for all players; monologue is the next-generation monophonic synthesizer that shares the spirit of the acclaimed minilogue, with a completely new voice and powerful new features.
The monologue is a 25-key, fully programmable monophonic analog synthesizer with a voice all its own. While sharing its sleek layout, knob-per-function workflow and high-quality construction with the best-selling minilogue, monologue is a truly unique new synth for all types of musicians; featuring new voicing and sound sculpting abilities - at an amazing price. The monologue's completely new filter, modulation, drive, and LFO can generate powerful basses and sharp leads, creating awesome mono sounds that showcase its single-voice design. The step sequencer has also been dramatically expanded, allowing more intuitive and more complex editing. With a line-up that gives you a choice of five eye-catching colours, this compact instrument has a strong personality to match your own.
Redesigned monophonic analog circuitry:
The monologue contains monophonic analog synthesizer circuitry that builds on the circuitry of the minilogue. But that doesn't mean that the monologue is simply a one-voice model of the minilogue. It's a monophonic beast with stunning power that comes from a redesigned envelope section, modulation routing, and a filter with powerful low-end punch.
The structure is 2VCO, 1VCF, 1EG, 1VCA, and 1LFO. In addition to the same distinctive circuits as on the minilogue (such as the wave shaping that shapes the overtones of the oscillator, and a sync/ring switch), the filter section uses a two-pole filter to deliver aggressive sound. Newly featured is a drive circuit that adds overtones and distortion to the sound, letting you generate fat basses and sharp lead sounds to your heart's content. The LFO rate can be adjusted into an unprecedentedly ultra-high-speed range to generate crazy space-shattering sounds, or switched to one-shot mode to act, in a sense, as an additional envelope.
The monologue goes beyond analog synths in its price range by adding 100 preset locations. Select a program for instant access to great sounds - - ranging from thick basses to deep subs to brilliant cutting leads and even percussive sequences. No need to have deep synthesis knowledge; just choose a sound and tweak - a workflow that is very familiar with musicians today. Built-in programs provide 80 preset sounds and sequences made by creative artists around the world including legendary electronic artist Aphex Twin, plus 20 user locations for saving custom sounds.
16-step sequencer for highly-evolved motion sequences:
The step sequencer of the monologue has been significantly enhanced to deliver musical, complex rhythms that are easy to capture, see, and edit. It supports both real-time recording with overdubbing capability as well as step recording that lets you record simply by pressing keys in the desired order, and you can also use the 16 physical buttons for quick editing or for improvisatory performance. The motion sequence function lets you record up to four knob movements to apply time-varying change to the sound, and allows you to record not only continuously changing values as on previous models, but also values with step-wise variation. Since it's designed to let you create different sounds at each step, you can make unprecedented sequences, such as a sequence that generates a drum pattern from a single program.
There's also a key trigger function that lets you play back a sequence while you hold down a key, and even transpose it. Another new function is slide, which can be used to produce smooth bass lines by specifying portamento for each step.
From smooth curves to muscular straight lines. The stylish visuals featuring aluminium and wood are inherited directly from the minilogue, but have been modified to a straight, direct design that bespeaks the power of a monophonic instrument. In spite of its stout construction, the compact and light-weight body is only 1.7 kg / 3.78 lbs., providing an unprecedented combination of toughness and portability.
In addition, unlike most analog synthesizers in its class, the monologue can operate on batteries. Even if you're a hardware performer who uses numerous units, you won't need to worry about providing additional power supplies and installation space.
Sync with Audio Sync:
In addition to 5-pin In/Out and USB MIDI, monologue includes Audio Sync connectivity, which allows it to play in time and integrate seamlessly with KORG volcas, electribes, minilogue and SQ-1. Use the monologue with your DAW as a USB MIDI controller or a versatile analog voice. Send clock over USB and use Audio Sync to chain monologue's clock to other Audio Sync-equipped products.
The POG2 will take you even higher. Use the new attack control to fade in lush, smooth swells. Tune in the new second sub-octave to reach deeper than ever before. The 2-pole resonant low-pass filter now includes two additional Q modes. Slide in the newly enhanced detune to further refine your sound.
The POG2 delivers unrivaled tonal variations - and now you can save your favorite settings, and recall them with a click. The POG2 just plain sounds better, thanks to an enhanced algorithm that delivers a more focused and in-the-pocket harmonic performance. And all this is now packed into our rugged and pedalboard-friendly diecast chassis.
*UK 230V power adapter included*
The highly versatile iNUKE NU4-6000 gives you options, and lots of them. And because the NU4-6000 is so much more efficient than conventional designs, it runs cooler and doesn't require the massive heat sinks and heavy toroid transformers typically associated with its conventional counterparts. Thanks to our "Zero-Attack" limiters, which offer maximum output level with exceptionally-reliable overload protection, you can run the NU4-6000 full-out for hours on-end. Our revolutionary high density Class-D technology, combined with ultra-efficient, switch-mode power supplies, ensures this feather-light powerhouse will drive your rig effortlessly for many years to come.
Thanks to our revolutionary Class-D amplifier technology, we are able to provide you with enormous power and incredible sonic performance in an easy-to-use, ultra-portable and lightweight package. Class-D amplification makes all the difference, offering the ultimate in energy efficiency and eliminating the need for heavy power supplies and massive heat sinks. This amazing technology makes it possible to design and build extremely powerful products that are significantly lighter in weight than their traditional counterparts, while using less energy and protecting the environment.
The front panel controls and indicators provide your system's vital signs at a glance. After pressing the Power button, the Power LED lights to show the amp is ready for action. All channels feature positive-detent Gain controls with Signal LEDs that light when a signal is present, as well as Clip LEDs to indicate when the signal is distorted and you need to reduce the input signal.
Just as elegant as the front, the rear panel is home to the combo XLR and 14 " TRS Input connectors, making the iNUKE compatible with virtually any source, balanced or unbalanced. Professional twist lock speaker sockets are provided to ensure every drop of output power gets to your loudspeakers. The rear panel is also where you'll find the switches that enable the NU4-6000 amp to run in your choice of dual mono, stereo or mono bridge mode.
The NU4-6000 features a built-in 3-way Crossover, which is selectable as: Full-Range mode, where the output is sent unfiltered to your loudspeakers; LF mode, which sends the low-frequency content (<100 Hz) to passive subwoofers, or HF mode, where the high-frequency content (>100 Hz) is channelled to your full-range loudspeakers.
Sporting massive output ratings, lightweight Class-D technology, an equally lightweight price tag - and all the amenities a professional audio engineer could ask for - the iNUKE NU4-6000 power amplifier is a serious amp for your most demanding applications.
Output and Modulation types include Pulses, Gates, LFOs, Digital Noise, Loopable S&H modes and a collection of Arpeggios and Rhythmic Loops.
Tempo-sync for all Outputs is provided by the on-board Clock or
an External Clock Input with Tempo ranges from 20 to 270 BPM.
Outputs can be set to any Clock Division or Multiple from 1/16th
of a Beat to 16 Bars and can be Offset up to 360 Degrees.
Intuitive interface allows user-definable control over knob and parameter behavior to match the preferences of individual users.
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The PEG has full CV control of envelope shape, skew, and ping (clock) division/multiplication, as well as a plethora of triggering and cycling options (AD, AR, quantization, cycle), and a tap tempo button for each channel.
- Scale knob is an attenuating inverter for main envelope output (Maximum 0V to +10V non-inverted, and Minimum -10V to 0V inverted).
- Bi-polar button centers main envelope output around 0V (-5V to +5V output)
- "+5V ENV" jack is a non-scaling output that always produces a 0V to +5V envelope, regardless of Scale and Bi-polar settings
- "OR" jack outputs an analog OR of the two scaled envelope curves. This outputs the highest value from either envelope at any given moment, taking into account the Scale and Bi-polar controls.
- End-of-Rise (EOR) gate output goes high when envelope finishes a rise portion, and goes low when envelope begins a rise portion
- End-of-Fall (EOF) gate output goes high when envelope finishes a fall portion, and goes low when envelope begins a fall portion
- Jumper for each channel changes EOR output to a Half-Rise gate output. The Half-Rise jack goes high when 50% of the time of the rise portion has elapsed, and goes low after 50% of the time of the fall portion. Using the Skew parameter, this jack provides a variable phase gate output useful for quadrature effects and clock phase shifting and trigger delay effects. Factory setting is EOR for red channel, Half-Rise for blue channel.
- Cycle button for each channel forces envelope to self-cycle in sync with the ping clock (LFO mode). Button lights up when in cycle mode.
- "T" jack toggles the state of both channels' Cycle button when a gate is applied
- "QNT" jack for each channel triggers an envelope to start at the next quantized beat, with respect to the divided/multiplied ping clock. Holding a gate high on this jack causes the envelope to repeat.
- "Async" jack for each channel causes an envelope to output immediately (asynchronously). Holding a gate high results in an AR envelope (rise-sustain-fall). If cycle mode is enabled, the envelope will continue to cycle at this new phase with respect to the ping clock. Phase can be reset to being in sync with the ping clock by pressing the cycle button or applying a pulse to the QNT jack.
CV input jacks:
- CV control of Ping Div/Mult, Skew, and Curve using the CV jacks. Respective knobs set the center offset for the applied CV
- CV of 0-10V will modulate the parameter's full range However, a 0-5V CV will modulate the parameter within a very useful range.
1 in stock $307.05
Get this digital monster DDM4000 and become the star of the night.
Fluctuating Random Voltages:
- Two sections for creating a fluctuating voltage
- CV input and control over a bandwidth of .05hz to 50khz
Quantized Random Voltages:
- Pulse input for generating 1v/oct quantized random voltage
- CV input and knob for controlling distribution of random voltages
- Two different algorithmic outputs:
- "N+1 states" and "2N states". N is an integer number in the range 1...6 that can be adjusted with the manual control (Man N) and an external control voltage CVN with attenuator. Whenever the rising edge of the input clock signal (Clk In) appears a new random voltage is generated at the N+1 resp. 2N output. The N+1 output is capable to generate N+1 different voltage levels (or states), the 2N output up to 2Ndifferent states. If for example N is set to 4 the N+1 output generates up to 5, the 2N output 16 different states. The voltage steps of the 2N output are adjusted to 1/12 V in the factory.
Stored Random Voltages:
- Pulse input generates random voltage
- 1st output covers 0-5V range
- 2nd output is voltage controlled and knob alters the distribution of voltages
- Three dedicated outputs for pink, white and blue noise
Sample & Hold:
- CV input, pulse input and CV output
- Odd/even pulse output (for deciding incoming pulses)
- Odd/even CV output (for sampled voltages)
- Portamento/slew/glide with voltage control over slew time
The West Coast Random Source is a clone of the reverend mother of random, the Buchla 266 Source Of Uncertainty. It generates noise in three timbres, sample & hold, then fluctuating, quantized and stored random voltages and finally a slew limiter. It might be a large module but you won't get more random of all shades from one single module.
From top to bottom, all three MS Series stands feature sonic isolation and decoupling components. The MS-90 delivers four non-marring sound decoupling pads that stabilize monitors of varying sizes. The MS-100 and MS-90 feature two rubber couplers between the column and the top/bottom plates and spike decoupling designs under the top and bottom base plates. Add the MS-90 to your studio and discover what you've been missing in your mix!
The MS-100 and MS-90 offer three internal channels that run the length of the column. So your studio remains clear of untidy cables, two channels are designed for audio and power respectively. For additional stability, the larger third channel can be filled with shot or sand.
The MS Series studio monitor stands are made from the highest quality materials, such as Series 6000 aluminum, and backed by award-winning design that marries both form and fashion. The modern studio owner will love the contemporary look while the veteran engineer will appreciate the solid build and versatility.
Depending on the needs of your studio, the MS-90 is available in two studio standard heights: 45" and 36". Both are identical in construction and features except for height. Choose the height that's best for your studio design!
Following in the multi-award-winning footsteps of its predecessors, the new Mercury 7 series offers, yet again, improved performance, enhanced styling and a wider choice of finishes to coordinate with a broad range of interior decor.
This professional stereo turntable features a high-torque direct-drive motor for quick start-ups and a USB output that connects directly to your computer.
Other features include: forward and reverse play capability; cast aluminum platter with slip mat and a start/stop button; three speeds 33/45/78; selectable high-accuracy quartz-controlled pitch lock and pitch change slider control with +/-10% or +/-20% adjustment ranges; and removable hinged dust cover.
A selectable internal stereo phono pre-amplifier allows the turntable to plug directly to components with no dedicated turntable input. A USB cable and adapter cables are included along with Mac- and PC-compatible Audacity software to digitize your LPs.
The AT-LP120USBC BK comes complete with the Audio-Technica AT95E cartridge and is also compatible with all Audio-Technica cartridges and any 1/2 inch mount cartridge from other manufacturers.
In variable mode you can record up to 1000 steps. Record until you are done and and the BrainSeed will play them back. With a new recording the buffer clears and the recording starts at step 1.
In fixed length mode you can record 8, 16 or 32 steps which is great for jamming as you can punch in where ever you like and overwrite values.
ReSeed is the recording function that can be enabled manually or automated with a gate signal. A simple quantizer with four options (on, off, major and minor) is oeratedwith one button. A transpose input (Shift) allows for modulating the recordings and is being quantized when the quantizer is activated.
The BrainFreeze parameter freezes the module holding its current value and producing no new triggers, great for breaking up a sequence and producing new rhythms. The cycle input accepts CVs and clocks and makes it possible to playback the sequence forward, in bounce mode, pendulum style, randomly or addressed by CV. When progressing to the next step the BrainSeed will produce a trigger, available at an output.
With a Tap Tempo button and five sync'ed clock outputs, the QCD is a versatile head-of-the-chain "Master" clock module, and/or a complex rhythmic pattern generator.
The M.Brane 11 is fully controllable by MIDI. Furthermore, there is an audio input provided to trigger the sound by a drum pad piezo pick up or an external audio signal. The usage of this unique drum module is simple and self-explaining at most points.
2 analog T-bridge oscillators become electronic membranes. Why? Because they can be coupled, and their dampening can be controlled. Then add a little noise, add a little envelope, and the brand new electronic percussion synthesizer of Jomox is ready.
But because this would have just been too simple, everything is storable again and controllable by MIDI. You can use this small box either in a live setup driven by a hardware sequencer or in a production as very versatile synth in order to create incredible analog electronic percussions.
The DH-ADSR is exactly the same circuit as the original Model D envelope and therefore features the same contour shape and retrigger behaviour, but with the addition of a release control. However, they have also added a pulse delay and pulse stretch circuit, along with a re-trigger facility (both of these can be switched out of circuit so that the envelope is a simple ADSR unit).
The addition of pulse stretching and retrigger makes it into an LFO module and it can perform in a similar way to the EMS Synthi A and VCS3 Trapezoid generator, with a variable delay between each trigger and a variable "on" time - however it can also have full ADSR envelope on each retrigger too!
- PREDELAY - This control determines how long (up to 10 seconds) the start of the envelope is held off, after a gate is received. This ability to delay the onset of the envelope is especially useful when used in conjunction with a standard ADSR: With both envelopes receiving the gate simultaneously complex envelopes can be produced as the DH-ADSR only starts running through its stages after the standard ADSR has completed. Once their outputs are mixed together in a mixer a single evolving envelope with multiple stages is produced!
- Use of the bipolar mixer found in the MINIMOD CV MIX-OFFSET-VCA module can enhance this technique even further, with more precise control over the polarity/offset of the envelope mix possible. Using the VCA of this module could allow for external modulation over either/both of the signals. It goes on...
- HOLD - When in Del-Hold mode (switch down) the HOLD control determines the gate length applied to the envelope, and thus controlling its length/overall shape. When the switch is up, normal ADSR action is produced.
- RETRIG - In this mode the DH-ADSR becomes an LFO, which can mimic the "Trapezoid" function of the vintage EMS designs. HOLD controls the length of the trapezoid shape, and PREDELAY allows for adjustable gaps between each repeat of the shape produced.
Accelerated Transient Response Delivers the Knockout Punch:
It takes huge pulses of energy (current and voltage) to propel a woofer cone out fast enough to match a bass beat. That's called Transient Response and it's the holy grail of amp design. By carefully selecting transistors with extremely high slew rates and optimizing other proprietary parts of our circuitry, our amps are able to react instantly to even the most demanding electronic bass impulses. If the woofers in your PA system can keep up, your audience will hear a tighter, crisper, more natural sound. Instead of operating relatively continuously like most power amps, the EPQ304 features rail tracking for effectively modulating the power supply rails with only the peaks of the input signal. This technology has revolutionized pro audio amp designs with its outstanding performance and efficiency. When combined with switching-mode power supplies that do away with heavy toroid transformers, our new designs provide more dynamic punch and, since they are so much more efficient, run cooler and don't require huge, heavy heat sinks.
Sublimely Simple Operation:
The front panel controls and indicators provide your system's vital signs at a glance. After pressing the Power button, the Power LED lights to show the amp is ready for action. All channels feature positive-detent Gain controls with Signal LEDs that light when a signal is present, as well as Clip LEDs to indicate when the signal is distorted and you need to reduce the input signal. Just as elegant as the front, the rear panel is home to the balanced XLR and 14 " TRS Input connections, as well as the professional locking speaker Outputs. The same panel contains the switches that put the Channels 1/2 and 3/4 of the EPQ304 in Mono, Stereo (two channel mode) or mono Bridge mode.
The remarkable 4-channel EPQ304 power amp was built for the working musician. It is exceptionally light, packs a massive 300 Watts of output power, thanks to our Accelerated Transient Response (ATR) technology and is built rugged enough for life on the road. Plus, the EPQ304's ultra-light price tag will leave cash left over for you to get more stuff to amplify!
Blend your dry signal to create lush layers. Enough tonewheel and combo organ inspiration to light your fire and cook up some green onions!
*UK 230V power adapter included*
Also included is a DC coupled VCA, the input of the VCA is normalised to the output of LFO 2, so a 0 to +5V input to the VCA CV input gives control of the LFO waveform amplitude. It can also be used as a stand alone VCA.
This module is very useful for controllers such as the Waldorf KB37 where the modulation wheel gives out 0 to +5V, this can be routed to the VCA CV module so the level of the modulation waveform can be easily controlled. This makes it very easy to add VCO vibrato or filter 'wah' with control of modulation amount from the modulation wheel or other controller.
The Attack and Release functions allow the user to set the general operating range and then automatically adapt to the audio being processed. A full auto mode is also available. The ultra-precise LED meters while two LED meters clearly display the gain reduction for each channel.
Launch Codes has two primary modes:
The Control Mode is a manual mode where you use the buttons to generate gates and triggers. Gates can be temporary or toggling.
The Sequencer Mode turns the module into a clocked 32-step sequencer with five tracks, reset, performance mutes, a special CV mode and the possiblity to chain patterns.
Sequences are entered by playing the buttons; both gates and trigger can be generated. Triggers are played immediately but recorded in a quantized fashion.
Options, selectable with the Opt button:
- MODE: control mode, sequencer mode with reset or special CV sequencer mode
- LENGTH: pattern length, per pattern; either 8, 16 or 32 steps. When prolonging the sequence length Launch Codes automatically fills the pattern by doubling the data.
- GENERATE: creates variations of the loaded pattern when pressing the button. A copy of the original pattern is loaded into the undo memory so you can recall it anytime.
- LOAD: press ths button for one second to load all saved settings and sequencers. This overwrites all temporary settings.
- SAVE: press this button for a second to save all sequences, mute states, pattern chains and settings.
- CV sequencer: the reset socket now acts as a CV input which modifies the behavoiur of the sequencer:
- CV Step Generate: At 0V the sequencer plays as usual but the higher the CV gets 8max. 5V), the higher the chance of random step generation.
- CV Scrub: The CV can address steps within the sequence, even in addition to the running clock.
- CV Freeze Loop: A CV above 5V freezes the sequence and starts looping it from this point on.
Special settings: manual reset, deactivating the automatic pattern data doubling, selection of the standard CV sequencer mode (CV Step Generate, CV Scrub or CV Freeze Loop).
Various kinds of MIDI commands like program change, pitchbend, aftertouch and control change in relative and absolute mode with different acceleration amounts are possible. All these properties are fully programmable on the devices very fast and easy for each control separately.
The encoders can work as high resolution 14bit controllers too (control change or pitchbend) which makes them suitable for sensitive parameters like resonating filter cutoffs or similar things.
Use the internal 18 setups to save your individual settings. Backup and restore of all settings by sysex dumps is possible too.
The factory settings are perfect to control music and video software products out of the box if they are freely assignable. So any additional device programming isn't necessary for many applications.
The little box is also a great extension for your Ableton Live setup.
There you can control all the continues parameters like track volumes, rack macros, send amounts, track pannings and switchable patameters like clip launch/stop, mute, solo, rec arm, monitor and track select. A special control surface script for Ableton Live 8/9 with all necessary mappings is enclosed in the package. With that script you can also use two UC4 devices to control up to 16 tracks simultaneously.
Check out this amazing power box and you will get a reliable mate...
Ahead of its time when it debuted in 1982, the VB-2 Vibrato has been rediscovered by modern players looking to create unique guitar textures with stompbox effects. Thanks to its expressive, one-of-a-kind sound, this rare pedal has gone on to become one of the most valuable BOSS effects in the vintage market. Now, the progressive spirit of the VB-2 has been reborn as the Waza Craft VB-2W. Using all-analog circuitry, the VB-2W authentically reproduces the true pitch-shifted vibrato of the original pedal, and also adds an innovative new vibrato mode and real-time control function for enhanced expression.
Waza Craft: The Art of Superior Tone.
Since the beginning, the engineers at BOSS have been committed to achieving the finest guitar tones using any technology necessary, from old-school analog circuits to high-tech DSP. Continuing this enthusiastic spirit, we are pleased to introduce the Waza Craft series. In Japan, "Waza" is the term for art and technique, and these special edition pedals proudly carry the Waza symbol to represent the pinnacle of BOSS design and craftsmanship. With final sound approval carried out by BOSS in Japan, the Waza Craft series brings you exceptional tone and touch response through carefully selected analog components, refined circuitry, and meticulous attention to detail.
A big part of the sound of the Taurus was the way in which the VCF interfaced with the VCA, so on Raging Bull the VCA is always in the audio path. A toggle switch allows you to select 'always open' or CV control of the VCA from CV input 1.
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2 in stock $178.09
The revved-up FX processor puts advanced parameter control right at your fingertips: no longer are you confined to rigid presets that limit your creativity. With the DJX-750, you can change FX parameters on-the-fly, pushing your performance to the next level. In no time you'll be creating powerful sets with your own custom-tailored effects sounds, all of which can be controlled in real-time. Some parameters at your disposal include bit crusher depth, manual filter sweeps, panning (LFO Rate), delay/echo time and much more. You can even set delay and echo timing relative to the internal BPM counter for extremely musical results.