Although it may appear similar to the classics XBASE 09, 999 and 888, the ALPHA BASE has an entirely new design under the hood. Jomox have put in the concentrated know-how of their drum machines and synths of the past 20 years - they've simplified some things, but also added new components or have combined them new. The outcome is the best sounding and most versatile drum machine that Jomox have ever built.
Notes: The MBase11 can do only one thing, but it does it right, and it does this even better than in the past.
The MBase11 is the logical follower of the MBase01 and offers even better performance, more versatility and an even phatter sound. It generates analog bass drums, from extremely powerful to soft and covers the whole range from 909-style to 808-fashioned. And also, the LFO has 8 different waveforms including true sine that can be used to create very different envelopes. The resulting sounds are not simply kicks, this turns out to be a bass drum synthesizer.
The MBase11 has a compression parameter to vary the thickness of decaying sound. It offers a variable gate time to to create very different sounding attacks. It also has a metalise parameter to have hundreds of variations on the attack noise.
For more intuitive editing, JoMox have added an analog potentiometer that works alternatively to the parameter editing when scrolling the data wheel is too hard.
The MBase11 purposefully sounds a bit different to the XBASE 999/888, making it a great sounding expansion for our other drum products and other analog percussion.
The kick sets in very precisely and the attack sounds very snappy at all kinds of sound variations.
The MBase11 can also be used as a real bass with some limitations. If decay is cranked up it is long enough for tones and the pitch can be played on the keyboard in semitones over three octaves.
The kick drum can be triggered by an external analog trigger input. This is especially useful for live drummers who want to thicken up their live drum kit. The trigger input works with regular piezo pickups or audio signals.
Last but not least: one of the most convincing arguments for the MBase11 is the price: This is an inexpensive tool that helps you to create great kick sounds, without the time-consuming searching associated with mostly not satisfying samples. You save time and energy while reaching the sound quality you always imagined.
Notes: We are happy to introduce our new Jomox 19" euro rack module series.
In the 19" euro rack market we also want to keep our concept of storeable analog sound production because it offers just too many advantages.
In order to achieve this, we had to develop a complete new analog control system for our circuitries inside these modules.
We'd like to make these euro rack products interesting for both live drummers and modular people. Therefore, a CV/Gate control and trigger inputs for drumpad pickups are available.
For regular modular use, analog routable CV inputs and an analog output are accessible via 3.5mm jacks. The Gate can be configured as 0-5V (0-15V is accepted too), inversed or s-trigger.
Everything is storeable and can be recalled via encoder klick from 100 presets. But for the analog feel of modular, eight potentiometers give you the fine and precise editing of the most important parameters without stepping through menus.
E-Drummers can create complete E-drum setups, because there is an internal Jomox analog connection bus with a fast digital link which can do a submix and an FX send mix from each module hooked up to the bus.
With this system bus you won't need to use the audio outputs but instead you have a programmable bus system that can link to future master, sequencer and mixing or effects modules - which can take control over the single modules.
This makes the whole modular setup recallable and storeable from a center module like a drum machine.
Also, to link the ModBase modules to our other products, they all have a Midi interface on the rear that can be wired within the rack case and being cascaded from one module to another.
The menu selection is paged by two-colored LEDs for both sides of the menu.
Two internal LFOs which both control the tuning of the kick drum VCO expand the sound spectrum once more.
All analog parameters are either storeable and controllable via Midi. The Midi notes control the pitch of the kick drum VCO.
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 goes from 0..5V.
The T-Resonator transforms timely events into an analog feedbacked filter network. What comes out of this you can hear in the audio samples.
The T-Resonator is something like an M-Resonator + Digital Delay. But you can select 8 different delay algorithms, each with different delays and different feedbacks and modulate them even with an LFO.
Delays reach from less than a millisecond to 1 second, range and structure is depending on the algorithm.
The delay feedback comes across the analog filters, of course.
You can create gaining analog echoes, klingon parties by extremely feedbacked wave guide algorithm and much more.
By the analog feedback everything sounds organic.
The screaming analog feedbacks can delay themselves and thereby form new sound patterns.
The sine LFO gets retriggered by the audio signal and can be shaped with the audio envelope or just run alone. In center position the amount is 0, to the left it's envelope-shaped LFO, to the right it's only LFO.
The filters are made from discreet parts and form a 24 dB pole lowpass filter transistor cascade.
They can, in any thinkable way, be self feedbacked and be coupled or feedbacked with each other, so that extreme sounds and chaotic states create - all what you need today for creative analog sound design.
Incredible bass gains or screaming scratch sounds are no problem. The mix pots are zeroed in center position; any other angle will couple or feedback negatively or positively. FM in both directions is also available.
The input has an adjustable gain and a Hi-Z input to plug in a guitar directly. Any line level signal can be processed, be it either mono or stereo.