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Coming Soon: Studio Equipment

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FORTHCOMING
2hp Play Sample Player Module (black faceplate)
2hp
Cat: 709207 Rel: 03 Dec 18
e-mail me when released
coming soon $TBA
FORTHCOMING
2hp Play Sample Player Module (silver faceplate)
2hp
Cat: 709206 Rel: 03 Dec 18
e-mail me when released
coming soon $TBA
FORTHCOMING
4ms Pod 20 Powered Eurorack Enclosure
Cat: 706834
 
20HP metal enclosure for Eurorack modules with built-in power supply
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod20 is 20HP with 1.34" (34mm) of available module depth. The built-in power supply has two power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod20 includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.
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e-mail me when released
coming soon $103.80
FORTHCOMING
4ms Pod 20 Unpowered Eurorack Enclosure
Cat: 706833
 
20HP metal enclosure for Eurorack modules
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod20 Unpowered is 20HP with 1.34" (34mm) of available module depth. No power supply is included, you must supply your means of powering modules with a DIY power supply or a front-facing module such as the Row Power. Two holes on the rear face are plugged with removable plastic plugs, and can be used for DIY applications.
Read more
e-mail me when released
coming soon $57.78
FORTHCOMING
4ms Pod 26 Powered Eurorack Enclosure
Cat: 706837
 
26HP metal enclosure for Eurorack modules with built-in power supply
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod26 is 26HP with 1.34" (34mm) of available module depth. The built-in power supply has two power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod26 includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.
Read more
e-mail me when released
coming soon $113.43
FORTHCOMING
4ms Pod 26 Unpowered Eurorack Enclosure
Cat: 706836
 
26HP metal enclosure for Eurorack modules
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod26 Unpowered is 26HP with 1.34" (34mm) of available module depth. No power supply is included, you must supply your means of powering modules with a DIY power supply or a front-facing module such as the Row Power. Two holes on the rear face are plugged with removable plastic plugs, and can be used for DIY applications.
Read more
e-mail me when released
coming soon $63.13
FORTHCOMING
4ms Pod 32 Powered Eurorack Enclosure
Cat: 706840
 
32HP metal enclosure for Eurorack modules with built-in power supply
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod32 is 32HP with 1.34" (34mm) of available module depth. The built-in power supply has two power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod32 includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.
Read more
e-mail me when released
coming soon $124.13
FORTHCOMING
4ms Pod 32 Unpowered Eurorack Enclosure
Cat: 706839
 
32HP metal enclosure for Eurorack modules
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod32 Unpowered is 32HP with 1.34" (34mm) of available module depth. No power supply is included, you must supply your means of powering modules with a DIY power supply or a front-facing module such as the Row Power. Two holes on the rear face are plugged with removable plastic plugs, and can be used for DIY applications.
Read more
e-mail me when released
coming soon $67.41
FORTHCOMING
4ms Pod 60 Powered Eurorack Enclosure
Cat: 711005 Rel: 03 Dec 18
 
60HP metal enclosure for Eurorack modules with built-in power supply
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod60 is 60HP with 1.34" (34mm) of available module depth. The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod60 includes twenty (20) M3x8mm stainless steel screws and is compatible with M3 Knurlies.
Read more
e-mail me when released
coming soon $182.99
FORTHCOMING
4ms Pod 60 Unpowered Eurorack Enclosure
Cat: 711004 Rel: 03 Dec 18
 
60HP metal enclosure for Eurorack modules
Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod60 Unpowered is 60HP with 1.34" (34mm) of available module depth. No power supply is included, you must supply your means of powering modules with a DIY power supply or a front-facing module such as the Row Power. Two holes on the rear face are plugged with removable plastic plugs, and can be used for DIY applications.
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e-mail me when released
coming soon $88.81
FORTHCOMING
Adam SP5 Studio Pro Headphones
Cat: 705853
 
Closed-back headphones with S-LOGIC Plus technology
Notes: ADAM Audio is renowned worldwide for its industry-leading professional studio monitoring technology. Introducing the Studio Pro SP-5 extends its expertise to the studio headphones product category. The SP-5 is a closed-backed, circumaural headphone manufactured to exacting standards, delivering a smoothly balanced sound across a broad frequency spectrum from 8 Hz to 38 kHz. Its sound characteristics are best described as analytically precise, being developed to satisfy the exacting demands of pro audio monitoring and mixing.

This premium headphone integrates Ultrasone's S-LOGIC technology, employing transducers spatially arranged to exploit the natural form of the human ear and utilizing the natural acoustics of the wearer's pinna to channel sound into the ear canal. The result is a superbly natural sound experience with startlingly realistic spatial imaging of a quality typical of a stereo monitoring system installed and calibrated by experts. This system makes mixing on the SP-5 easier than on traditional headphone designs that simply point directly at the ear canal.

Another advantage of headphones deploying S-LOGIC technology is that they require less SPL to deliver the same subjectively experienced volume. This reduces distortion artefacts and avoids listening fatigue, making the SP-5 an excellent choice for long mixing sessions. Great care has been taken to ensure that this headphone is comfortable to wear for extended periods.

ADAM Audio developed the SP-5 in collaboration with the Bavarian company Ultrasone, a manufacturer famed for its decades of experience in first-class quality headphones 'Made in Germany'. ADAM Audio's speaker technology experts put the transducers selected for the SP-5 through an intensive re-voicing process to give the SP-5 its own special character that mirrors the unmistakably precise ADAM Audio sound.

ADAM Audio CEO Christian Hellinger explains: "We're very pleased to have worked with such a renowned industry partner to offer our first ADAM Audio headphone. Our collaboration has produced a headphone that fits perfectly into ADAM Audio's range of reference-class monitors and follows the same objectives of providing ultra-precise reproduction of audio material while avoiding hearing fatigue.
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e-mail me when released
coming soon $534.01
FORTHCOMING
AJH Synth Fixed Filter Bank 914 Inductor Based Bandpass Filter Array Module (black)
Cat: 708095
 
14 band inductor based fixed filter bank - black, 30HP
Notes: This 30HP wide module features twelve fixed frequency, inductor based bandpass filters, set at half octave interval spacing and covering from 125 Hz through to 5.8kHz. It also features low pass and high pass shelf filters, again they are fixed frequency and both are active inductor based circuits. It has a vintage pedigree that harks back to the original and highly sought after 914 Fixed Filter bank from the 1960's Moog 900 series modular synthesiser system, however we have brought this design up to date and made it compact enough to fit into skiff friendly Eurorack cases by using gyrator based active inductors, and have added some other very useful features too - the bands are split alternatively to left and right channels, each having their own individual output, and there is also an inbuilt Voltage Controlled cross-fader that allows panning between the left and right banks, with a mix of all bands available in the central position.

In addition, we have a second cross fader that can mix between the dry incoming signal, or an external signal fed into input 2, and this is cross-faded against the wet MIX Output - this allows Voltage Controlled crossfading from wet to dry signals, or between wet and external signals - and the level of each can be adjusted using the Input 1 and Input 2 level controls.

A further addition is the feedback control, this is similar in design to the resonance control on a regular VCF, but because of the multiple fixed filters topology it is rather different in operation - it would normally be added in small amounts to thicken up the sound, however we have allowed the feedback to traverse to quite extreme settings for howling feedback and even soft clipped self-oscillation, especially for the noise merchants out there...

Using L/C inductor topology bandpass circuits rather than the usual Sallen Key R/C active bandpass filters does give a slightly different sound and this is part of the magic of the original 914 filterbank, as the LC based circuit exhibits less phase shift against frequency that the more common Sallen Key R/C based bandpass filters that are used in many Modular synths.

Many people often wrongly assume that a fixed filter bank is exactly the same as a graphic equaliser - however this is certainly not the case, if all of the controls of a graphic EQ are set to centre then a flat frequency response is expected and the output will sound very similar, or identical to the input - this does not happen with a fixed filter bank, the frequency response rises and falls as it passes between each stage (but to a lesser extent than if the filters are all set to maximum output), so it acts as a soft slope comb filter, and the resulting output sounds very different from the input signal. Also, with all of the individual filters turned to zero there will be no output at all.
Read more
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Fixed Filter Bank 914 Inductor Based Bandpass Filter Array Module (silver)
Cat: 708102
 
14 band inductor based fixed filter bank - silver, 30HP
Notes: This 30HP wide module features twelve fixed frequency, inductor based bandpass filters, set at half octave interval spacing and covering from 125 Hz through to 5.8kHz. It also features low pass and high pass shelf filters, again they are fixed frequency and both are active inductor based circuits. It has a vintage pedigree that harks back to the original and highly sought after 914 Fixed Filter bank from the 1960's Moog 900 series modular synthesiser system, however we have brought this design up to date and made it compact enough to fit into skiff friendly Eurorack cases by using gyrator based active inductors, and have added some other very useful features too - the bands are split alternatively to left and right channels, each having their own individual output, and there is also an inbuilt Voltage Controlled cross-fader that allows panning between the left and right banks, with a mix of all bands available in the central position.

In addition, we have a second cross fader that can mix between the dry incoming signal, or an external signal fed into input 2, and this is cross-faded against the wet MIX Output - this allows Voltage Controlled crossfading from wet to dry signals, or between wet and external signals - and the level of each can be adjusted using the Input 1 and Input 2 level controls.

A further addition is the feedback control, this is similar in design to the resonance control on a regular VCF, but because of the multiple fixed filters topology it is rather different in operation - it would normally be added in small amounts to thicken up the sound, however we have allowed the feedback to traverse to quite extreme settings for howling feedback and even soft clipped self-oscillation, especially for the noise merchants out there...

Using L/C inductor topology bandpass circuits rather than the usual Sallen Key R/C active bandpass filters does give a slightly different sound and this is part of the magic of the original 914 filterbank, as the LC based circuit exhibits less phase shift against frequency that the more common Sallen Key R/C based bandpass filters that are used in many Modular synths.

Many people often wrongly assume that a fixed filter bank is exactly the same as a graphic equaliser - however this is certainly not the case, if all of the controls of a graphic EQ are set to centre then a flat frequency response is expected and the output will sound very similar, or identical to the input - this does not happen with a fixed filter bank, the frequency response rises and falls as it passes between each stage (but to a lesser extent than if the filters are all set to maximum output), so it acts as a soft slope comb filter, and the resulting output sounds very different from the input signal. Also, with all of the individual filters turned to zero there will be no output at all.
Read more
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Mini Mod Glide + Noise MK2 Module (black)
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Mini Mod Glide + Noise MK2 Module (silver)
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Mini Mod Sample Hold & Slew Module (black)
Cat: 708087
 
Sample & Hold, Track & Hold, Gated Slew, Clock & Noise generator - black, 12HP
Notes: A real powerhouse module that takes up only 12 HP of rack space. It can generate random and pseudo random control voltages, staircase waveforms, deliberate aliasing of audio signals, portamento type effects, adjustable audio range noise and has many other uses too.

It can be switched between Sample & Hold or Track & Hold modes, and the unique "Restrict" control affects the way the hold output changes with respect to the current input level and previously held output level. With the control fully off the unit behaves just like any other S/H, but at fully clockwise the output is restricted to move by only a small amount after each new sample. The output will still have the same range as the input, but will need more hold commands to get there. This versatile Sample and Hold circuit was designed by Tony Allgood, and is built under licence from Oakley Sound.

The Sample Hold & Slew module also includes a very well featured Slew generator, which includes a Gated Slew function. It can be used independently or chained with the S&H module. Slew mode can be switched between Linear or Exponential Slew types. There is a Gate input, so that the Slew on/off can be switched using an External CV (Gated Slew), and also the Slew control logic can be reversed by a toggle switch that doubles as a manual Slew on/off switch. In addition, it has slew up only, slew down only or slew up and down modes, which are selected with a three-way toggle switch. An indicator LED lights when Slew is active

There is also an inbuilt analogue Noise generator, which is normalised to the input of the Sample and Hold section, and there are both regular and clipped Noise outputs - the Clipped Noise is particularly useful with the sample and hold section, as it is weighted to produce higher random voltages. Both Noise outputs are fed through an internal "Noise Colour" control - at centre position it allows the noise through unfiltered, turning the control anti-clockwise introduces low pass filtering of the Noise, and rotating it clockwise introduces high pass filtering. The Noise source itself is based on an analogue band gap shunt regulator configured in avalanche mode, and it generates white noise with a gradual roll off above 8kHz. It is a little "grainier" in character than the noise from our MiniMod Glide & Noise module (which uses a reverse biased transistor as a noise source), so is a useful compliment to this module as it does not generate exactly the same sounding Noise

Lastly, it includes a wide range clock generator with a rate LED. The range is from one cycle every thirty seconds to around 2 kHz and the clock output is normalised to the Clock Input of the S&H section. It also has a Clock Out jack so that it can be externally patched to other Eurorack modules.
Dimensions: 12HP wide, 26mm Deep
Current draw: 55mA Positive, 40mA Negative
Read more
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Mini Mod Sample Hold & Slew Module (silver)
Cat: 708090
 
Sample & Hold, Track & Hold, Gated Slew, Clock & Noise generator - silver, 12HP
Notes: A real powerhouse module that takes up only 12 HP of rack space. It can generate random and pseudo random control voltages, staircase waveforms, deliberate aliasing of audio signals, portamento type effects, adjustable audio range noise and has many other uses too.

It can be switched between Sample & Hold or Track & Hold modes, and the unique "Restrict" control affects the way the hold output changes with respect to the current input level and previously held output level. With the control fully off the unit behaves just like any other S/H, but at fully clockwise the output is restricted to move by only a small amount after each new sample. The output will still have the same range as the input, but will need more hold commands to get there. This versatile Sample and Hold circuit was designed by Tony Allgood, and is built under licence from Oakley Sound.

The Sample Hold & Slew module also includes a very well featured Slew generator, which includes a Gated Slew function. It can be used independently or chained with the S&H module. Slew mode can be switched between Linear or Exponential Slew types. There is a Gate input, so that the Slew on/off can be switched using an External CV (Gated Slew), and also the Slew control logic can be reversed by a toggle switch that doubles as a manual Slew on/off switch. In addition, it has slew up only, slew down only or slew up and down modes, which are selected with a three-way toggle switch. An indicator LED lights when Slew is active

There is also an inbuilt analogue Noise generator, which is normalised to the input of the Sample and Hold section, and there are both regular and clipped Noise outputs - the Clipped Noise is particularly useful with the sample and hold section, as it is weighted to produce higher random voltages. Both Noise outputs are fed through an internal "Noise Colour" control - at centre position it allows the noise through unfiltered, turning the control anti-clockwise introduces low pass filtering of the Noise, and rotating it clockwise introduces high pass filtering. The Noise source itself is based on an analogue band gap shunt regulator configured in avalanche mode, and it generates white noise with a gradual roll off above 8kHz. It is a little "grainier" in character than the noise from our MiniMod Glide & Noise module (which uses a reverse biased transistor as a noise source), so is a useful compliment to this module as it does not generate exactly the same sounding Noise

Lastly, it includes a wide range clock generator with a rate LED. The range is from one cycle every thirty seconds to around 2 kHz and the clock output is normalised to the Clock Input of the S&H section. It also has a Clock Out jack so that it can be externally patched to other Eurorack modules.
Read more
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Next Phase Analogue Multi Tap Phaser Module (black)
Cat: 708079
 
12 stage multi tap stereo phaser - black, 18HP
Notes: The next generation 12 stage, analogue multi tap Phaser, which is a development of, and replacement for, our earlier MegaPhase 12 unit. It includes all the features of the MegaPhase 12 and is also built around the circuitry of the superb sounding EH Smallstone Phaser, which was used to such great effect on synthesisers and string machines by J M Jarre on his early albums. It has the same versatile Stage and Emphasis stage switching, and the same configuration of stereo outputs, where the left channel is taken from the Stage switch, and the Right output from the Emphasis Stage Switch.

New features include independent Level Controls for Input 1 and Input 2, and a Phase "Colour" Control, which can lighten or darken the phasing effect. We have also used much lower noise internal VCA's and low noise audio op-amps along with a four layer PCB design, so that the S/N ratio is improved and the noise floor is considerably reduced compared with the previous MegaPhase 12 phaser. Like its predecessor it occupies 18HP of Eurorack space.
Read more
e-mail me when released
coming soon $TBA
FORTHCOMING
AJH Synth Next Phase Analogue Multi Tap Phaser Module (silver)
Cat: 708085
 
12 stage multi tap stereo phaser - silver, 18HP
Notes: The next generation 12 stage, analogue multi tap Phaser, which is a development of, and replacement for, our earlier MegaPhase 12 unit. It includes all the features of the MegaPhase 12 and is also built around the circuitry of the superb sounding EH Smallstone Phaser, which was used to such great effect on synthesisers and string machines by J M Jarre on his early albums. It has the same versatile Stage and Emphasis stage switching, and the same configuration of stereo outputs, where the left channel is taken from the Stage switch, and the Right output from the Emphasis Stage Switch.

New features include independent Level Controls for Input 1 and Input 2, and a Phase "Colour" Control, which can lighten or darken the phasing effect. We have also used much lower noise internal VCA's and low noise audio op-amps along with a four layer PCB design, so that the S/N ratio is improved and the noise floor is considerably reduced compared with the previous MegaPhase 12 phaser. Like its predecessor it occupies 18HP of Eurorack space.
Read more
e-mail me when released
coming soon $TBA
FORTHCOMING
AVP Synth ADS7 Analogue Drum Synthesiser
Cat: 704198
 
Drum synthesiser with built-in 32-step sequencer & MIDI control
Notes: ADS-7 is an analogue drum synthesiser inspired by the drum machines/synthesisers of the 70s-80s with a built-in 32-step sequencer and MIDI control. It has 65 controls, 4 switches and 28 buttons with which you can have a wide control over the sound parameters, sequencer and MIDI. It has individual audio outputs and individual trigger inputs for each of the seven sounds.

Assembled in Moscow/Russia using discrete components and OTA chips.
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e-mail me when released
coming soon $TBA
FORTHCOMING
Behringer NX1000D Class D Power Amplifier With DSP Control (1000W)
Cat: 699341
 
Class-D amplifier with 1000 watts output & DSP control
Notes: The NX range of power amplifiers pack large Wattages into exceptionally lightweight and rack-mountable packages. And because the NX range is so much more efficient than conventional designs, they run cooler and don't require the massive heat sinks and heavy toroid transformers typically associated with their conventional counterparts. Thanks to our 'Zero-Attack' limiters that offer maximum output level with exceptionally-reliable overload protection and SmartSense Loudspeaker impedance compensation, which provides fully linear frequency response at any speaker load impedance, you can run the NX range full-out for hours on-end. Our revolutionary high-density Class-D technology, combined with an ultra-efficient, switch-mode power supply ensure these feather-light powerhouses will drive your rig effortlessly for many years to come.

Thanks to our High-Density 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 systems 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 Limit LEDs to indicate when the amplifier is running at full capacity. Just as elegant as the front, the rear panel is home to the combo XLR and 1/4" TRS Input connectors, making the NX range 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 NX amp range to run in your choice of dual mono, stereo or mono bridge modes. The ranges built-in Crossover switch sets the amp to Full-Range mode, where the output is sent unfiltered to your loudspeakers, or Bi-amp mode, which sends only the low-frequency content (<100 Hz) to passive subwoofers, while the high-frequency content (>100 Hz) is channelled to your full-range loudspeakers.

Our new SmartSense Technology puts the punch back into Class-D amplification, providing vastly improved full-range frequency response with more powerfully-dynamic bass, and smoother high-frequency reproduction. The resulting output is no longer dependent on the actual load, but is rendered perfectly ruler flat via impedance compensation. NX's design also incorporates a significantly-higher damping factor that yields better amplifier control over the loudspeaker for stronger audio reproduction especially in the LF area.

Sporting massive output ratings, lightweight Class-D technology and an equally lightweight price tag plus all the amenities a professional audio engineer could ask for the BEHRINGER NX range of power amplifiers are serious amps for your most demanding applications.
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e-mail me when released
coming soon $254.70
FORTHCOMING
Behringer X Touch One Universal Control Surface
Cat: 699322
 
Universal control surface with touch-sensitive motor fader & LCD scribble strip
Notes: Lay your hands on your music with the X-TOUCH ONE Universal Control Surface. This brilliant controller has everything you need for your home studio or live setup, yet can grow as your needs expand. From the touch-sensitive, motorised fader and dynamic LCD scribble strip, to the rotary encoder, 34 illuminated buttons, 8-segment LED meter, large jog/shuttle wheel and dedicated transport controls, the X-TOUCH ONE is a feature-packed surface for precision control and bird's eye view of your critical mix parameters.

When it comes to integration, the X-TOUCH ONE has you covered with the most widely used protocols in the industry. With included support for HUI and Mackie Control, you can be sure it will work seamlessly with all compatible music production software, allowing you to focus on what counts... the music.

The X-TOUCH ONE supports Mackie Control, HUI, and MIDI communication protocols for seamless integration with every compatible music production software. The text printed on the top panel corresponds to standard Mackie Control MC protocol. You also have the option of MC User mode, which allows you to assign specific MC functions to any of the buttons (except for the top five buttons in the Master/Channel section). To make it easy when working with the most popular compatible DAWs, we've included labelled overlay templates for your X-TOUCH ONE that indicate the typical button functions for each DAW.

Your music is the embodiment of your imagination and creativity. Your controller should be equally inspired and dynamic in its response to your creation. That's why the X-TOUCH ONE features a fully automated and touch-sensitive 100 mm motorised fader. Every move or automation you write can be seen in the fader movements in real time, perfectly synced with your DAW.

The on-board LCD scribble strip at the top of the fader provides an instant visual readout of which track and parameter you are adjusting - totally eliminating old school tape-and-marker labelling.

With 34 dedicated and illuminated buttons, a single rotary control with LED collar, an 8-segment LED meter and time code display, the X-TOUCH ONE is a feast for the eyes as well as the hands. You'll know in brilliant colour if a channel is muted or soloed, and see how hot the level is pumping as you make changes during recording or mixing. Arm your track or adjust panning at the same time and marvel at how you ever relied on a mouse to do a controller's job.

Navigation is a breeze with the abundant features on the X-TOUCH ONE's surface. The large jog/shuttle wheel and tape-style transport controls provide intuitive control over the most used actions in your DAW. Race between fader banks with the touch of a button and make changes by turning an actual control knob. It's like bringing your on-screen DAW controls to life!

With class-compliant USB functionality, the X-TOUCH ONE is instantly recognizable by Mac and Windows PCs. The dedicated footswitch connector makes it ultra-easy to punch in and out, and serves as an additional option for external remote control. The powered multi-TT USB hub provides connectivity for additional USB devices, such as mouse, keyboard or additional controllers. Isn't that awesome?

Tracktion is one of the world's fastest and easiest Digital Audio Workstations (DAW) for composing, recording, editing, mixing and sharing your music with the world. Featuring a single-screen interface, and pushing the envelope in design elegance, Tracktion brings together outstanding Pro DAW features, such as dynamic automation, unlimited track count, MIDI recording and support for VST and AU plug-ins. This powerful music production software gives you all the tools of an entire professional-grade recording studio. Learning a DAW has never been easier, thanks to their vast and readily available library of resources.

The X-TOUCH ONE gives you all the tools you need to streamline your workflow, and get the very best out of your recording and mixing sessions. Take full control of your DAW with X-TOUCH ONE's motorized fader, rotary encoder with LED collar, dedicated transport controls and illuminated key function buttons.
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e-mail me when released
coming soon $150.89
FORTHCOMING
Beyerdynamic Soul Byrd Wired In Ear Headphones
Cat: 709311
 
Wired premium in-ear headset
Notes: Soul BYRD is the perfect all-rounder. With its extra flat in-ear design, its ease of use and its unbelievable sound spectrum, it is your multidimensional companion each day.

Powerful Sound:

Balanced sound and outstanding resolution - the Soul BYRD knows just how to bring out the very best in your favourite songs. When you take it along, you have your music at your fingertips any time and any place.

Extremely Comfortable:

Ergonomically shaped housing ensures a secure and particularly snug fit in the ear. Furthermore, thanks to the flat shape of the housing, the in-ear does not protrude from the ear and is therefore ideal when relaxing or sleeping - nothing pinches when you recline your head or lie on your side.

Individual Fit:

Five pairs of eartips in the sizes XS, S, M, L and XL ensure the perfect fit for your ear. The silicone used to make the eartips is soft, silky and adapts perfectly to the auditory canal, thus allowing you to enjoy the best possible sound reproduction.

What's more, optionally available Comply eartips (400 series) can also be used across the entire BYRD series to suit requirements.

Perfect For Your Life:

The universal three-button remote with microphone provides you with complete functionality on both Android and iOS playback devices. As a result, you can flexibly manage your media playback, phone calls and virtual assistants (Google, Siri, etc.).

And if you decide to give your Soul BYRD a break, you can pack it safely and compactly in its small, practical hardcase.

Sophisticated Design:

Designers and hearing specialists worked closely together to create our BYRD series. The result: simple elegance, a pleasant feel and impressive wearing comfort.

High-Quality Materials:

Soul BYRD's elegant housing is made of anodised aluminium. The beautifully shaped cables are extremely flexible and have a soft surface, which prevents them from creating annoying tangles. Thanks to their special qualities, cable noise is kept to a minimum.

True Reliability:

Robust and durable - these properties were especially important when designing our BYRD series. Therefore, we opted for the use of exclusive high-quality components.

Extremely Sustainable:

Simply practical: Eartips and protective grilles can be easily cleaned or replaced. You will find spare parts for all replaceable components in our online shop. And no matter how intensively the headphones are used, you are assured lasting enjoyment - day after day.
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e-mail me when released
coming soon $73.83
FORTHCOMING
Boredbrain Transmutron Dual FX Loop Crossover Filter
Cat: 704118
 
Nexus for effects pedals & Eurorack effects modules
Notes: Are your effects chains suffering from radioactive decay? The Transmutron allows you to combine pedals (and Eurorack effects) within its sonic reactor to create new and exciting compounds! Different results can be achieved using one of three modes: Fission (crossover filter), Fusion (crossfader), and Fallout (resonant wide-notch filter).

In the primary mode, Fission, the signal from your guitar, bass, synth, or drum machine is split into separate frequency bands, sent simultaneously to different effects, and then recombined to a single output (or two separate outputs). The Splitpoint parameter can be controlled manually or with an expression pedal, and simultaneously injected with a control voltage (CV) source for extremely dynamic reactions!

In Fusion mode, the Splitpoint instead acts as a pre-FX level crossfader, rather than splitting the signal into separate bands. This allows for less extreme blends, especially when modulating. In the third mode, Fallout, a resonant wide-notch filter is applied to both pre-FX channel signals, cutting a hole and creating a phasing-wah effect when using an expression pedal or LFO to sweep the Splitpoint back and forth.

To further shape the signals sent to your effects, the Transmutron is equipped with dedicated hi and low cut filters. In Fission and Fallout modes, the cutoff frequencies of these filters also define the end-to-end sweepable range of the Splitpoint parameter and its centre frequency. The filters have selectable slopes of 12, 24, or 48 db/oct, which also affects the crossover filter, and greatly enhances the resonance of the wide-notch filter. If further separation of the parallel FX channels is needed, a dedicated phase switch is on-hand.

Both FX channels have two sets of sends and returns: 1/4-in for guitar pedals and line-level effects, and 3.5mm for Eurorack level processing. For each channel, the 1/4-in and 3.5mm FX loops can be used simultaneously, as they are in series (3.5mm then 1/4-in). The FX sends are half-normalled so they can be used as buffered copies without affecting the returns. Additionally, the 3.5mm FX loops for each channel can be independently switched to pedal/line-level using internal dip switches, which allows for seamless integration with the Boredbrain Patchulator 8000.

How complex the reaction is up to you! From simple tone shaping using only a couple effects, to interconnected combinations of pedals and Eurorack modulation madness, the Transmutron is just the tool you need to reactivate your effects!
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Bubblesound Instruments Hex VCA Module
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coming soon $251.48
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Bubblesound Instruments Hexar Module
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coming soon $251.48
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Bubblesound Instruments VCA4p VCA Module
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coming soon $232.22
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Doepfer A-132-1 Dual VCA Module
Cat: 710942 Rel: 27 Nov 18
 
Dual VCA with linear response - 4HP
Notes: Module A-132-1 (Dual Low Cost VCA) contains two voltage controlled amplifiers, with a linear response most suited to regulating the level of control voltages (ADSR amount, level of vibrato effect, etc).

In non-critical situations, though, its VCAs can be used to control audio signals.

Amplification is governed by the sum of the voltages patched into the two CV inputs.
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Doepfer A-132-2 Quad VCA Module
Cat: 710943 Rel: 27 Nov 18
 
Quad VCA with linear curve - 8HP
Notes: Module A-132-2 contains four linear VCAs with a common level control section for all four VCAs. The module can be used for all applications of simultaneous amplitude/level control of four different audio or CV signals. The module has a manual level control Amp. and two control voltage inputs CV1 and CV2 available. CV2 is equipped with a polarizer to adjust the effect and polarity of the external control voltage.

The A-132-2 is equipped with an internal connector that can be used to normalize the four input sockets to other modules. So far only the quadrature LFO/VCO A-143-9 is equipped with a suitable matching connector. To connect the A-132-2 and the A-143-9 no soldering is required. A short 10 pin ribbon cable with removable connectors on both ends is used. For the normalling to other modules (e.g. Quad AD/LFO A-143-1, Quad ADSR A-143-2, Quad LFO A-143-3 or other modules with several outputs like VCOs or multimode VCFs) the second side of the ribbon cable has to be wired manually to the outputs of the module in question.

The maximum manual amplification for each channel is about 1.5 (i.e. "Amp." control fully CW). With an external control voltage applied to CV2 the maximum amplification goes beyond 1.5 until the signal starts to clip. The maximum output level is about 20Vpp (i.e. the signal clips at about +10V and -10V).

Typical applications:

Simultaneous level control of up to four modulation sources (e.g. ADSRs, LFOs)

Simultaneous level control of up to four audio sources (e.g. VCO outputs, multimode VCF outputs, multi-channel audio signals)

Simultaneous FM effects with different audio signals (with CV1 or CV2 in audio range)
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Doepfer A-132-3v Dual Linear/Exponential VCA Module (vintage edition)
Cat: 710944 Rel: 27 Nov 18
 
Dual Voltage Controlled Amplifiers (VCA) synth module - 8HP
Notes: Module A-132-3 is composed of two identical voltage controlled amplifiers (VCA). Each VCA has a manual gain control and a control voltage input with attenuator.

The character of the control scale can be switched to linear or exponential.

All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages.

The input has no attenuator available but is capable to process up to 16Vss signals (i.e. -8V...+8V) without distortion.
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Doepfer A-132-4 Quad Exponential VCA & Mixer Module
Cat: 710948 Rel: 27 Nov 18
 
Four identical voltage controlled amplifiers with exponential control scales - 6HP
Notes: Module A-132-4 contains four identical voltage controlled amplifiers (VCA) with exponential control scales. Each VCA has two control voltage inputs (C1, C2), a signal input (In) and a signal output (Out). The control voltage inputs C1 and the signal inputs can be normalled by means of internal jumpers, i.e. the corresponding input signals of unit #1 can be connected to the switching contacts of unit #2. Those of unit #2 can be normalled to unit #3 and those of unit #3 to unit #4. If the normalling is not desired the jumpers have to be removed. In addition the sum of all four outputs is available (bottom left socket with the sum sign). Therefore unit #4 has only one control voltage input (only C1, no C2). If desired this socket can be jumpered as control voltage input 2. But then the sum signal is no longer available as a socket (only as an internal pin). For each VCA output a jumper is available that determines if the output signal of the corresponding VCA is added to the sum signal. From the factory all four jumpers are set (i.e. all four VCA output signals are added). By removing of one or more of the jumpers one can choose which VCA output is added to the sum. The jumpers can be replaced by switches too.

Technical notes:

The control scale for each VCA is about 12dB/V (i.e. 1 V CV decrease corresponds to 12dB level decrease and 1 V CV increase corresponds to 12dB level increase). 0V CV corresponds to about -60dB (i.e. about attenuation by 1000). +5V CV corresponds to about 0dB (i.e. no attenuation or amplification = 1). The full attenuation/amplification range is about -90dB ... + 20dB. Attenuations below -60dB require a negative control voltage, amplifications beyond 0dB require a control voltage more than +5V. For the first CV input of each unit (CV1) an internal trimming potentiometer (attenuator) is available to adjust the control scale for other voltage ranges (e.g. 0...+8V for A-140 envelope control or 0...+10V for external 10V control voltages). To obtain another CV scale even for CV2 an attenuator (e.g. A-183-1) can be used. If an amplification offset is required (e.g. for zero-symmetrical control voltages like LFO) an external offset generator with attenuator/polarizer (e.g. A-183-2) is recommended.

The A-132-4 uses a circuit with four exponential VCAs (SSM2164/V2164). Unfortunately there is no easy way to obtain a linear scale for the VCAs (actually two exponential VCAs are required to obtain a linear VCA, that's how e.g. the A-132-1 and A-132-3 work).
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Doepfer A-133 Dual Voltage Controlled Polarizer Module
Cat: 710951 Rel: 27 Nov 18
 
Two voltage controllable amplifiers which can amplify positively or inverted - 8HP
Notes: A-133 is a special dual voltage controlled amplifier that enables both positive and negative amplifications. Negative amplification means in this context that the signal is inverted. The main application of the module is the processing of control voltages, e.g. ADSR or LFO but the module can be used also for audio applications (e.g. as a waveshaper, see patch examples below).

The amplification range is about -2.5....0....+2.5 (other amplification ranges for small additional charges, e.g. -1...+1 or -5...+5). Amplification can be adjusted manually (Man control) and by an external control voltage with attenuator (CV). The present amplification is displayed with two LEDs: one for positive and one for negative amplifications (not a signal display but amplification display, similar to A-134).
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Doepfer A-183-9 Quad USB Power Supply Module
Cat: 711015 Rel: 28 Nov 18
 
Simple power supply for up to four devices - 2HP
Notes: Module A-183-9 is a simple power supply for up to four devices which can be powered via USB (e.g. keyboards, smartphones). An LED shows is the +5V are present.

The module has no USB function but provides only the +5V supply for USB devices.

A control LED shows if the +5V are present.

Note: The module requires an A-100 case with built in power supply A-100PSU3. Only this A-100 supply has the required +5V available. We do not recommend the usage of an older A-100 case with A-100PSU2 as this would require the +5V adapter A-100AD5 and the max. current would be limited to 100mA.
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