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Notes: Inspired by classic 70s analogue drum synths like the Syncussion and Syndrum, the Eurorack version of the Seven Sisters offers seven different sound modes, each with four CV-controllable parameters.

Supplier's notes:
Seven Sisters is a percussion synthesizer featuring seven voices that aims to capture the essence of late '70s instruments such as the Syncussion and Syndrum.

This module contains 7 presets, with one voice playable at a time. Each voice has four editable controls, including volume, and parameters such as decay, pitch, and filter, all of which can be controlled via CV. Each voice also includes multiple oscillators, noise generators, and filters, providing rich, complex tones beyond the capabilities of the original devices. This enables you to recreate classic sounds or craft more realistic snare, hi-hat, and cymbal effects. The result is a powerful percussion synthesizer that combines the essence of early drum synthesis with modern flexibility.

Notes: Inspired by vintage drum synths, the unique Seven Sisters creates everything from classic percussion tones through to experimental synth effects. Play via buttons or trigger inputs compatible with widely available sequencers.

Supplier's Notes:
Seven Sisters is a percussion synthesizer with seven voices that aims to capture the essence of late '70s instruments like the Syncussion and Syndrum.

Each voice is equipped with multiple oscillators, noise generators, and filters, providing rich, complex tones beyond the capabilities of the original devices. This allows you to recreate classic sounds or craft more realistic snare, hi-hat, and cymbal effects. The result is a powerful percussion synthesizer that blends the essence of early drum synthesis with modern flexibility.

You can trigger Seven Sisters using the buttons at the bottom of the unit or trigger inputs at the top. It's the perfect companion for your Beatstep Pro, Korg SQ-64, Eurorack, or other trigger sequencers, whether in the studio or on stage.

Notes: ***B-STOCK: Product with some signs of usage but in perfect working order***


A fresh twist on a simple 303-style acid synth, featuring a triangle/sawtooth/square wave VCO, multi-mode resonant filter, simple AD envelope and a VCA which can be overdriven. Excellent value.

Supplier's Notes:
ADDAC started this module with the idea of developing a complex drum source however, somewhere along the process, it was clear how much better it performed as a synth voice and this lucky accident was embraced.

It features a VCO with a [FREQUENCY] and [FINE TUNE] knob plus a dedicated CV Input and Attenuator knob (tunable over 4 octaves).

The VCO waveform output is achieved by selecting either a Triangle or Saw through a switch. the selected waveform can then be mixed/balanced against the square wave. The resulting mix is then sent to the Filter.

The Filter features a [CUTOFF] and [RESO] resonance knob plus a Cutoff CV Input and Attenuverter knob.

A 3 position switch is used to select the filter type: Highpass, Bandpass or Lowpass.

The resulting output is then sent to the VCA.

The VCA features an Input with [INPUT GAIN] knob which at maximum can amplify the incoming signal by a factor of 2.

This is a very important control, it accepts any signal Trigger, Gate or CV. Whatever input is plugged in the signal is then fed through an AD with a very short attack and controllable decay through the [VCA DECAY] knob plus the CV Input and Attenuverter knob. The resulting slewed signal is then used to control the VCA gain.

This signal is also sent to the CV OUTPUT as well as the LED monitor.

The Accent input adds to the Input signal creating a different amplitude output.


The CV OUTPUT is normalled to the Frequency and Cutoff inputs.

Tech Specs:
9HP
4cm deep
80mA +12V
80mA -12V

The [INPUT GAIN] knob

Usually Attack/Decay envelopes have a maximum voltage of +5v, no matter if the input gate is +5v or above the AD will clip at +5v. In this case, this clipping method was not used, and instead ADDAC allowed the incoming voltage to determine the maximum AD voltage, meaning that if a +5v gate is present then the AD maximum voltage will be +5v but if a gate of +10v is sent then the AD maximum voltage will be +10v.
This also means that with higher input voltages the decay, although falling at the same speed, will be longer than with lower voltages as it has a longer range to go back to 0v.

As previously mentioned, The [INPUT GAIN] knob can amplify the incoming input by a factor of 2, allowing to use a standard +5v gate or envelope and being able to make the resultant AD go up to +10v.

The AD signal is responsible for opening the VCA. Up to +5v the VCA will open to unity gain above this value the VCA will start to amplify and eventually saturate and distort. This saturation will add harmonics to the signal which will change its gentle timbrical nature to a more unique and peculiar timbre that will make the module shine in Acid contexts.

Adding high levels of Resonance or even filter self oscillation in combination with high VCA saturation will create even more harmonics that ADDAC highly encourage the user to explore.

Notes: THE SBG-PRO supports mono, stereo, balanced, and unbalanced input and output via 6.35mm jacks with level matching controls with clipping indication. The module features both direct and voltagecontrolled equal power crossfading between wet and dry sources.

Additionally, an expression input, along with the included 'floating ring' cable and conditioned output, ensures safe, voltage-limited CV control of external devices from your modular system.

The module extends its sibling, the original S.B.G, by adding full size stereo balanced jack connections and voltage control focusing more on connectivity with not just pedals but also pro audio equipment including rack effects, 500 Series modules and mixing consoles.

Notes: The MCO MK II is a highly versatile digital VCO and voice module inspired by 90s/00s digital synths shrunk into just 6HP.

It offers a broad collection of unique, high-quality synth voices, each with extensive, customizable parameters. These parameters can be directly controlled or modulated through assignable internal and external sources. Certain per-voice parameters support audio-rate modulation, including FM, sync, and DSP. Each voice also supports up to four-voice chords, external-triggered envelopes, multiple LFOs, and dual audio outputs for comprehensive desktop like synth functionality.

Voices include a multi dimensional wavetable oscillator based on the original MCO, a complex additive synthesis engine, a multi mode 'JP' type digi-synth, a lush virtual analog implementation, a fully featured vocoder, a bass synth for both kicks and sub sonic tones and finally arebirth and porting of our discontinued SID GUTs chip voice.

Each voice includes factory presets as well as the ability to store and recall user presets. All state is preserved across power cycles.

The MCO is designed to be familiar, quick and easy to use with a high resolution colour display and a rich visual user interface.

A USB-C connection allows for easy firmware updates, user wavetables upload and device config backup and restore. Axon expander modules are also supported to increase CV control options.

Notes: Great value from this pro quality PA speaker, offering powerful, clear sound for larger venues, outdoor settings and small festivals. Bluetooth connectivity offers convenience and ease of use.

Supplier's Notes:
The TX415 is the most powerful unit in the TX Series and there is very little that this speaker can't do. Naturally, it makes easy work out of projecting compelling and pristine sound into large venues of all varieties as well as outdoor event spaces and festival grounds. However, this speaker is just as much about precision and detail as it is about sheer sonic force. The TX415 was tuned and designed in the United States and is optimized for top-of-the-line frequency response. Musicians, DJs, and performers of all kinds can rest assured that your audio will be delivered with pristine clarity, whether it's being played at full blast or at more intimate volumes. This capable speaker is easy to set up and simple to operate, requiring little to no previous knowledge of sound equipment to get up and running.

Thanks to Bluetooth connectivity, the Alto Professional TX Series ensures that users can get their PA system up and running completely cable free. This feature is perfect for any application that requires two simultaneous sources of audio, such as a microphone and background music running at the same timeia wedding MC announcing the bride and groom's first dance over music, a fitness instructor leading a spin class while energetic tunes pump in the background, a busker playing a long to a backing track, etc... In addition, the TX Series' powerful Bluetooth™ True Wireless Stereo (TWS) connectivity allows users to run two units in conjunction with one another without having to purchase any extraneous equipment or cables.

Thanks to an entirely metal grille and sturdy enclosure, you can be sure that these speakers and subwoofers can handle whatever unexpected twists and turns that may lie ahead. As if that weren't enough, users can expect all of this durability with the added bonus of tremendous portability. Not only are these units equipped with ergonomic handles but they are conveniently lightweight, making setup and transport easier than ever.

The TX415 provides solid and reliable performance in just about any situation. Whether it is mounted on a pole or being used as a floor wedge, this powerhouse of a PA Speaker is optimized to deliver rich and crisp sound in any configuration. In addition, the back panel of the TX415 is outfitted with simple, easy to use parameters that give users control over EQ without weighing them down with a confusing array of knobs and sliders.

Notes: Compact, portable sound reinforcement courtesy of Alto's reliable TX series. Suitable for indoor and outdoor use, the TX412 is user friendly and delivers loud, clear sound with the option to link multiple speakers for stereo use.

Supplier's Notes:
The Alto Professional TX412 is an all-purpose solution for any performer or business owner looking to bring serious sonic power to any large space or outdoor area without breaking the bank. Tuned and designed in the United States, this unit punches far above its price point-the TX412 is optimized to deliver sound that is lush with harmonic clarity and detail, even when utilizing all 700W of sheer sonic force that this unit is capable of. Thanks to a set of simple controls, the TX412 is highly intuitive and easy to operate. This powered speaker allows users fine tune their speaker's output regardless of their technical know-how or experience.

Thanks to Bluetooth™ connectivity, the Alto Professional TX Series ensures that users can get their PA system up and running completely cable free. This feature is perfect for any application that requires two simultaneous sources of audio, such as a microphone and background music running at the same time-a wedding MC announcing the bride and groom's first dance over music, a fitness instructor leading a spin class while energetic tunes pump in the background, a busker playing a long to a backing track, etc. In addition, the TX Series' powerful Bluetooth True Wireless Stereo (TWS) connectivity allows users to run two units in conjunction with one another without having to purchase any extraneous equipment or cables.

Thanks to an entirely metal grille and sturdy enclosure, you can be sure that these speakers and subwoofers can handle whatever unexpected twists and turns that may lie ahead. As if that weren't enough, users can expect all of this durability with the added bonus of tremendous portability. Not only are these units equipped with ergonomic handles, but they are conveniently lightweight, making setup and transport easier than ever.

The TX412 provides solid and reliable performance in just about any situation. Whether it is mounted on a pole or being used as a floor wedge, this powerhouse of a PA Speaker is optimized to deliver rich and crisp sound in any configuration. In addition, the back panel of the TX412 is outfitted with simple, easy to use parameters that give users control over EQ without weighing them down with a confusing array of knobs and sliders.

Notes: SWEnigiser Proto VCF/A

Enigiser multimode filter and VCA in 12hp. Circuit based on originalEnigiser prototype kindly loaned by Anthony Linell of Northern Electronics.

VCF
Unique configuration with 3 x 4 filter modes
2x audio input with drive
2x cutoff CV attenuverter inputs
1x cutoff CV input, tunable to 1v/oct

VCF output normalized to VCA input.

VCA
1x audio input with gritty drive, normalized from VCF output
2x CV input. CV1 knob adds offset for drone etc.
CLIP switch for old/new revision Enigiser diode setting adjusting drive character.
+12V 22mA
-12V 22mA
Skiff friendly
Includes power cable, 4 screws+ plastic washers

Available in sand blasted silver and black panel versions.

Notes: SWEnigiser Proto VCF/A

Enigiser multimode filter and VCA in 12hp. Circuit based on originalEnigiser prototype kindly loaned by Anthony Linell of Northern Electronics.

VCF
Unique configuration with 3 x 4 filter modes
2x audio input with drive
2x cutoff CV attenuverter inputs
1x cutoff CV input, tunable to 1v/oct

VCF output normalized to VCA input.

VCA
1x audio input with gritty drive, normalized from VCF output
2x CV input. CV1 knob adds offset for drone etc.
CLIP switch for old/new revision Enigiser diode setting adjusting drive character.
+12V 22mA
-12V 22mA
Skiff friendly
Includes power cable, 4 screws+ plastic washers

Available in sand blasted silver and black panel versions.

Review: Steely Dan's fourth studio album 'Katy Lied' was their 1975 standout moment, capturing a moment in time when the band had gained plenty of traction, and had already ridden the wave of fame for a good time. As a result, their music had grown in creativity and grandeur, expanding outwards from a mere prog rock outfit into a studio project, necessitating a steady stream of session musicians, highest-fidelity gear and lots of money. As ever, infectious guitar hooks and R&B funk structures make up most tracks here, making this an early party rock album if we've ever heard one. Katy may be a love interest or a sumptuous muse - but the title also alludes to a katydid, a species of insect related to grasshoppers or crickets.

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


The music-making essentials

Whether you're a beginner producer, an experienced music maker, or anyone in between, unlock your full creative potential with a MIDI controller that breaks down all the barriers between you, your DAW, and your perfect sound.

Find joy in your workflow

Find the right sound faster than ever. Customise your mix in real-time. Finish that track with ease. Music-making shouldn't feel like work; KeyLab Essential removes barriers and puts the joy back into your workflow.

Your DAW, upgraded

Your favourite synth sounds, your DAW transport, and your mixing desk all in one. Enjoy next-level control over your sounds & DAW projects, seamless communication with Analog Lab, and a bundle of pro creative software to supercharge your sound.

Quickly inspire new ideas

KeyLab Essential doesn't just help you play & navigate your projects - it's also built to inspire. Summon catchy melodies, curious rhythms, and moving chord sequences with its array of creative features, and see where it can take your sound.

That quality feeling

You want the feeling of a premium instrument, the flexibility of a top-class controller, and the ease-of-use of a beginner keyboard. KeyLab Essentials sensitive controls, hybrid synth-feel keybed, and smart layout puts it all at your fingertips.

Your keys to creativity
However you choose to make music, KeyLab Essential has all the creative answers - before you've even thought of the questions. This controller fits right into your setup to become an extension of your creative identity.

Control any DAW

Enjoy plug-and-play connectivity and ready-mapped controls with your DAW of choice. KeyLab Essential doesn't just feature familiar MCU & HUI compatibility; it also has custom scripts for major DAWs for next-level integration.

Customize your workflow

KeyLab Essential easily adapts to your creative needs; recall your favourite 'liked' presets from Analog Lab, navigate your custom-made playlists, activate custom User programs for your own control assignments, and more.

At one with Analog Lab

Turn Analog Lab into a hardware synth and get hands-on with your sound thanks to KeyLab Essential's seamlessly mapped controls. Adjust sound parameters, tweak FX, and browse presets without ever needing to touch your computer.

Main Features

Premium Keybed quality:

61-note velocity-sensitive keyboard with hybrid synth-piano feel

Pads & controls:

1 clickable encoder, 9 rotary encoders, 9 x 30mm faders, 8 transport switches, 4 command switches, 1 modulation wheel & bend wheel, 8 touch & pressure-sensitive pads

Display control:
2.5" LCD display with contextual buttons
Real-time feedback on tweaks and controls

Smart features:
Multi-mode arpeggiator
Chord mode
Scale mode
Hold function
Semitone transpose

Software integration:
Seamless integration with Analog Lab V: select sounds, browse presets, smart-assigned controls
Custom DAW scripts for FL Studio, Logic Pro, Ableton Live, Cubase, Bitwig Studio
Also compatible with MCU/HUI control
Up to 6 user presets for a totally customizable experience

Included Software titles & services:
Analog Lab V software with 2000+ sounds
Ableton Live Lite
Native Instruments' The Gentleman
UVI Model D
2-month Loopcloud subscription
Melodics subscription for 40 lessons

Connectivity
USB-C connects to computers and MIDI Control Center, MIDI 5-pin DIN output for, connection to external instruments, gear, Control input for pedal: sustain, expression, or footswitch
USB-C powered

Platform specifications

Windows:
Win 10+ (64bit), 4 GB RAM, 4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost), 3GB free hard disk space, OpenGL 2.0 compatible GPU, ARM processors not supported on Windows

Apple
Mac OS 11+, 4 GB RAM, 4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost) or M1 CPU, 3GB free hard disk space, OpenGL 2.0 compatible GPU

Required configuration
Works in Standalone, VST, AAX, Audio Unit, NKS (64-bit DAWs only).

Work with ASC
An elegant and simple solution to help you install, activate, and update your Arturia software instruments.

What's in the box
Box content
KeyLab Essential Unit
USB-A to USB-C cable
Registration card

Dimensions for 61 keys
Size : 35 x 9.45 x 2.76 inches (890 x 240 x 70mm)
Weight : 6.8 lbs. (3.08 Kg)

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Dimensions is a true stereo chorus effect for the Eurorack modular system featuring two algorithms. The first is a direct port of our Fluid chorus plug-in, and the second is taken from the unit's namesake. With automatic routing based upon what you plug in the I/O, Dimensions can do mono->mono, mono->stereo, and true stereo chorus duties.

Dimensions' Mode A operation is a ludicrously thick chorus. Most chorus effects have either a single delay line or a pair. Dimensions has six of them, each with its own modulation scheme. The Mode B operation changes the routing to match the vintage rack unit, but keeps the controls available. This results in a subtly different, but equally thick and appealing, effect.

Notes: The Larva is a 6-stage analog phaser with a built-in preamp and morphing capabilities. It offers two phaser settings, letting you easily switch between different sounds or morph between them for unique transitions. Whether used as a classic phaser, a vibe pedal, or just a preamp, the Larva delivers versatility and creative possibilities, always with the Beetronics unique signature.

The interface is intuitive and simple, yet the pedal can produce a huge amount of sounds and movements unique to this phaser. A bar of LEDs tracks the ramp movement, showing if you're in phase one or two, while the bypass LED doubles as a meter to monitor preamp distortion.

As our first phaser, the Larva brings together a large swathe of creative options with a streamlined, user-friendly design-modulation sweetness with a touch of gain.

Notes: What does this do?

This is an analogue filter with a separate 3 channel mono mixer, and VCA combo. There is also an internal envelope generator with Decay. All this product needs is a VCO and a trigger signal to complete a mini voice.

The outputs on the filter are meant to be manually patched into one of the VCA audio inputs on the module to complete the mini voice. You can mix and match to create custom filter types.

The Feedback on the product 'Rez', is what makes this sound like an MS20 filter. There are diodes, used as a limiter, and also to wave shape when in self oscillation mode.

Features:

-2 audio inputs with 2 level control knobs.

-Bi-polar FM for the filter.

-Mod input with level knob for the filter.

-FCV Filter CV direct input for the filter.

All CV inputs for the Filter are 1V per octave, Exponential.

-REZ CV

-VOLT CUT output. +5v/5v output. Used to remote control another filter, with the master 'Cut' knob.

-Internal Envelope Generator, with Level Sends to VCA and Filter.

-Separate VCA circuit, with 3 channel mono mixer input.

-1 CV input for the VCA. 'VCV'.

-1 VCA output.

The filter will self oscillate into a sine wave and does track 1v per octave.

Width: 16HP

Current: +65mA,-65mA

PCB Stack: 1 Level, Skiff compatible.

Notes: The RC-500 is an essential partner for guitarists, singer/songwriters, multi-instrumentalists, and anyone who wants to take their looping to the next level. Craft real-time compositions with two loop tracks, mic and stereo instrument inputs, rhythms, and inspiring Loop FX, all backed by premium 32-bit audio quality. Store loops in onboard memories, and explore expanded operation with external controls and MIDI. Filled with next-generation Loop Station features, the RC-500 gives serious creators the tools they need to develop new ideas and deliver impactful performances that will leave audiences wanting more.

Super Sound Quality

Featuring best-in-class 32-bit AD/DA and 32-bit floating-point processing, the RC-500 captures your personal sound with full fidelity and keeps loops crystal clear, even with multiple overdubs. And with 13 hours of stereo recording time, there's plenty of space for extended creative journeys.

Connect, Loop, and Mix

With its versatile I/O and free-flowing interface, the RC-500 is ready to support all your musical visions. Connect mono/stereo instruments and pedal effects, plus a mic to the dedicated XLR input-complete with phantom power if needed. Use the two tracks independently for song-style composition, or together for rich multi-track textures. The LCD backlight changes colour to clearly show the current operation mode, while hands-on track faders and a mic level knob provide direct access to volume control as you loop.

Flexible Creative Control

Three onboard footswitches make it simple to control recording and playback, track switching, and more. For expanded operation, you can connect up to two external footswitches for direct control of many assignable functions, or an expression pedal for continuous adjustments. And for advanced rigs, the space-saving TRS MIDI I/O enables remote operation from MIDI switchers and foot controllers, plus MIDI sync with drum machines and DAWs.

Personalize Your Setup

The RC-500's I/O and footswitches are configured for basic operations by default, but they can be reassigned in a variety of ways to meet your custom needs. Route left/right input sources to separate tracks, or send guitar and vocals to independent outputs. Use the footswitches to turn effects on/off, start/stop rhythms, and more. Custom assignments are saved along with phrase memories, letting you instantly reconfigure the RC-500 for any application.

Energise Performances with Rhythms and Loop FX

Loaded with inspiring rhythms and evocative loop processing, the RC-500 is primed to bring groove and colour to all your looping adventures. Each of the 57 preset rhythms include A/B variations, while 16 different drum kits provide sounds to match any style. Designed for live performance, Loop FX like repeat, scatter, and more infuse your loops with instant sonic energy. There's a cool reverse function too, perfect for creating unique sonic flavours on demand.

Capture, Practice, and Perform

The RC-500's 99 phrase memories let you store loops as fast as you create them, complete with rhythm and kit selections, audio settings, and control assignments. Loop audio can be backed up to a computer via USB. And with WAV import via BOSS Tone Studio, the RC-500 becomes a central playback hub for lesson material, jam tracks, or backing music for your next gig.

Specifications

Sampling Frequency: 44.1 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Recording/Playback: Number of Track: 2, Data Format: WAV (44.1 kHz, 32-bit float, stereo), Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)
Rhythm Type: 57 Patterns x 2 Variations
Rhythm Kit: 16 types
Effect: LOOP FX (only for loop tracks)
Type: BEAT REPEAT, BEAT SHIFT, BEAT SCATTER, VINYL FLICK, Reverb (only for rhythm part)
Memory: 99
Nominal Input Level: MIC IN:-40 dBu (variable), INST IN A/MONO B: -10 dBu
Maximum Input Level: MIC IN:+8 dBu, INST IN A/MONO, B: +8 dBu
Input Impedance: MIC IN: 4 k ohms, INST IN A/MONO, B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +8 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: REC/PLAY switch, STOP switch, TRACK SELECT switch, MEMORY/VALUE knob, MIC LEVEL knob, TRACK 1 slider, TRACK 2 slider, TRACK 1 EDIT button, TRACK 2 EDIT button, RHYTHM TEMPO button, RHYTHM ON/OFF button, MEMORY button, MENU button, EXIT button, ENTER button, INPUT button
Display: Graphic LCD (96 x 32 dots, RGB backlit LCD)
Connectors: INST IN A/MONO, B jacks: 1/4-inch phone type, MIC IN jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max, OUTPUT A/MONO, B jacks: 1/4-inch phone type, CTL 1,2/EXP jack: 1/4-inch TRS phone type, USB port: USB micro B type, MIDI (IN, OUT) jacks: stereo miniature type, DC IN jack
Power Supply: Alkaline battery (AA, LR6) x 4, AC adapter (PSA-S series: sold separately)
Current Draw: 330 mA (with phantom power), 240 mA (without phantom power)
Expected battery life under continuous use: Alkaline: Approx. 3.5 hours (without phantom power), Approx. 2 hours (with phantom power)
*These figures will vary depending on the actual conditions of use.
Accessories: Owner's manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (AA, LR6) x 4, Rubber foot x 4
Options (sold separately) AC adaptor: PSA-S series
Footswitch: FS-5U
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 170 mm / 6-3/4 inches
Depth: 138 mm / 5-7/16 inches
Height (including rubber foot): 62 mm / 2-1/2 inches
Weight (including battery): 950 g / 2.1 lb

Notes: Part of TipTop's exceptional series of Eurorack-format Buchla modules, the 264t provides four sample-and-hold circuits, plus a logic circuit designed to control polyphonic patches. Deceptively simple but surprisingly creative, like most Buchla modules.

Supplier's Notes:
Four independent sample-and-hold circuits, plus a specialized logic circuit for expediently implementing polyphonic patches.

Sample-and-hold's are essentially one-cell analog memories. They are useful for "remembering" the instantaneous value of a control voltage (a detected envelope, for example), for generating equally spaced steps from a constant slope input (as from a 281t envelope generator), and for converting any continuously changing voltage (a random voltage, for instance) into a series of discrete values.

The 264's sample-and-hold circuits have two operating modes: sample and track. In the sample mode, the value of the input is sampled and applied to the output whenever a pulse is received. The output remains at this value until the next pulse arrives. The track mode diers in that an input is applied to the output for the duration of the pulse. The output tracks the input until the end of the pulse and remains at a constant value until the next pulse.

To use the 264t as four independent channels set the separate/common switch to separate. A single CV can be set to all four channels by setting the operate/common to common and plug CV in the the back jack on the with right side.

The Model 264t includes a polyphonic adaptor, which performs the logic necessary to implement four-voice polyphony. Facilities are incorporated for fine tuning and f.m. modulating the oscillators; light emitters display the adaptor's operation.

Specifications:

Size: 18 HP - Depth: 45mm
Power: +12V 60mA / -12V 30mA

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


Tiptop's reissues of iconic Buchla modules continue with the 285 frequency shifter. Edgy, twangy harmonic modulation with ring mod options and stereo operation via sum and difference outputs.

Supplier's Notes:
The 285t combines two sets of functions: the top section features a frequency shifter, while the lower section includes both balanced modulation and classic ring modulation, all with voltage control. The frequency shifter can shift incoming audio using either its internal oscillator or external audio. Both SUM and Difference outputs are available simultaneously for analogue stereo widening effects and more.

As Tiptop Audio continues its aural odyssey of preserving and transforming the hallmark engineering prowess of Don Buchla's namesake synthesizer modules, the 285t brings a constellation of blistering sonic-contouring tools to your Eurorack array. Like its predecessor, the Tiptop Audio Buchla 285t is a menagerie of modulation madness, offering variable degrees of ring, frequency, and amplitude styles of modulation. Plus, its dyad of modulation sub-modules operates independently, with dedicated audio and CV I/O for each, functionally giving you the sum of performance possibilities you'd get with two modules, all in one instrument. Suffice it to say: Sweetwater's synthesists commend Tiptop Audio on capturing the electric magic of Don Buchla's imaginative engineering while transposing it for the world of Eurorack to experience. For a constellation of timbral sculpting and summitting heretofore unknown peaks of daring synthesis exploration, the Tiptop Audio Buchla 285t Frequency Shifter module is your key. Discover what awaits at the fringes of Eurorack possibility!

Note: This module is not compatible with Buchla system voltages. CV signals require a distinct connectivity configurations. Please contact your Sweetwater Sales Engineer with any questions or concerns regarding compatibility or use in your Eurorack case.

Type: Frequency Shifter
Depth: 1.77" (45mm)
HP Size: 18HP
Power Usage: +12V/70mA, -12V/40mA
Power Supply: Requires Eurorack Case and Power Supply
Manufacturer Part Number: 285t

Notes: Thererec is a 6hp smart dual-function generator based on a different approach! Two modern proximity sensors have replaced all the Attack/Decay thing, and this not only saved a lot of space but also turned Thererec into a whole new thing: a fusion between THEREmin gestural expressiveness and a tape RECorder,

Thererec, indeed, can quickly capture your hand movements and translate them into complex Envelopes and LFOs, adding a lot of expressiveness to your set. Once recorded, your movements can be mangled in both time and amplitude; they can be cycled or triggered in one-shot mode, letting you create complex but synchronized control voltage streams.

A straightforward movement with immediate feedback: move your fingers, listen, and connect yourself to the environment. Your body will do the rest.

Thererec sensors will track your movements to generate a voltage flow, and the LEDs and the CV outputs will reflect those movements.

Notes: Toolbox is the newest essential utility module for your modular system. It's designed to summarize and replace all those necessary small one-function modules, often overlooked due to their space and cost requirements. With a compact 12hp design, it offers a comprehensive selection of carefully curated blocks to expand and enhance the potential of every patch. The module is also specifically designed for internal interaction, allowing the combination of various basic blocks to achieve compelling outcomes, from complex rhythm creation to unusual sound shaper. Every system needs a Toolbox!

Since VCAs are always not enough, the first two blocks on the top row consist of two linear and very fast VCAs, which are also great for AM modulation. They are arranged from left to right: input (DC coupled), control voltage input (ranging from 0 to 8V), and output. The two inputs and control voltages are normalized from left to right, facilitating easy stereo operation. These VCAs, designed primarily for voltage attenuation, are versatile tools that excel in scenarios requiring linear response. With audio, their true strengths shine when applied to amplitude modulation (AM) scenarios, where the benefits of linear control become quite significant. Although they are optimized for AM and voltage control, using exponential envelopes with these VCAs can transform them into two highly effective and fast VCAs for audio applications.

The threshold CV (0-8V) is crucial for the functionality of the blocks labeled with an asterisk (*): AND/OR gates, sequential switches, and flip-flops. By default, the threshold for each block (the voltage that must be reached at every input for the circuit to operate) is set very low, allowing almost any positive signal to be used. By increasing the threshold with an external voltage, you will change the point at which the circuits marked with the * begin to operate. This may seem a little tricky at first, but once you master all the functionality of the Toolbox, the Threshold CV rarely found in other Eurorack modules will open up many more possibilities!

Still composed of two identical parts, the second and third rows contain two blocks of two-channel summing (A & B). This region offers many ways to combine two signals. From left to right, input A, B, SUM out inverted SUM out, and two Boolean operators: AND/OR While any input signal can be used here, the first two outputs are primarily intended for audio sources. In contrast, the Boolean outputs are more suitable for summing gates and logic signals. This setup also allows for the use of both logic and analog signals together; don't hesitate to experiment with Boolean operators using analog or audio signals.For example, connecting two different LFOs to the input of the summing section can create many gate rhythms from the two Boolean outputs by varying the threshold with external voltages.

Summing mixers/Mult Out: This section consists of two 3-input summing mixers connected in series: the output of the upper mixer is routed to the first input of the lower mixer, allowing you to combine a total of five signals with two outputs available. To break this connection, insert a patch cable into the first input of the lower mixer. This action separates the two sections, enabling you to sum two sets of three signals each. Additionally, the lower section includes a multed output by default.

A bidirectional sequential switch is located at the center of the module and labeled with three "I/O" tags. This often overlooked component allows for a wide range of functions, from the most practical to the most creative. When a voltage exceeding the threshold level is applied to the * input, the switch connects the upper left jack to the lower right one. If the voltage is below the threshold, the lower left jack is connected instead. Being bidirectional, each I/O can function as both an input and an output, enabling a 2:1 or 1:2 configuration. Try using the switch at audio rate; this can function as a versatile oscillator waveform shaper. Think of something other than this block as a simple channel switcher!

On the right side of the sequential switch, we have a more classic block: the flip-flop. This block outputs a square wave at half the frequency of any signal applied to the input, whether audio or gate. Two flip-flops are available, which can be used individually or normalized in series. This block is handy for creating sub-octaves of square format from any sound or as a clock divider.

Offset / Attenuverters: Located at the bottom are two offset and attenuverting channels.This section comprises two identical blocks that can easily attenuate, invert, and offset any input signal. Each block features an input jack, one output, and two small knobs. The first knob functions as an attenuverter, allowing you to invert and scale the signal at the same moment. The second knob, the offset, adds a static voltage of +/-0-8V to the resulting output. This functionality is crucial when seeking a more refined control over voltage or a signal. Without any signal at the input, you can use the offset knob as a manual control generator for any control voltage (CV) in your system. For example, try to change the threshold with it.

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


DAP's entry-level club-style mixer offers a lot of bang for your buck. This four-channel design features three-band EQ, eight inputs and an assignable crossfader.

Supplier's Notes:
The DAP CORE Club is a 4-channel DJ mixer and can be considered the little brother of the DAP Core MIX-4 USB. It has 8 Line/MP3 inputs, a microphone input and Bluetooth playback module. Each channel has a volume fader, 3-band equalizer, gain and cue knob. The crossfader can be assigned to channel 1/2 or 3/4.

The CORE Club has an output with volume control for both master and booth. In addition, you can choose from three crossfader curves. VU indicators are provided for both the master output and for each channel separately to prevent clipping.

Bluetooth playback module & mic input
Talk over function
3 crossfader curves
VU channel indicators
8 line/MP3 inputs

Specifications

Inputs

Mono Inputs: 1
Mono Input Connector: 3-pin XLR, TRS balanced 6.3 mm
Stereo Inputs: 8
Stereo Input Connector: RCA

Outputs

Main Outputs: 1
Main Output Connector: RCA
Monitor Outputs: 1
Monitor Output Connector: RCA
Record Output: 1
Record Output Connector: RCA

Audio Specifications

THD Level: < 0.05 %
Signal-to-noise Ratio: > 80 dB
Crosstalk: 75 dBu
Signal-to-noise Ratio (Mic): > 85 dB
Signal-to-noise Ratio (Line): > 80 dB
Frequency Response Minimum: 20 Hz
Frequency Response Maximum: 20000 Hz
Phantom Power: No

Sound Editing:

Parametric Channel Equalizer: 3 Bands
Input Channel Equalizer Gain Range: 12 dB
Input Channel Fixed Frequencies: 100, 1.000, 10.000 Hz
Microphone Input Equalizer Gain Range: 12 dB
Parametric Microphone Equalizer: 2 Bands
Microphone Input Fixed Frequencies: 100, 10.000 Hz

Wireless Specifications

Bluetooth Audio Profile: A2DP
Bluetooth Range: 25 m

Product Properties

LED Indicators: BT Pairing, Input level, Output level, Power

Electrical Specifications and Connections

Power Supply: 240 V AC 50/60 Hz
Output voltage: 15 V AC
Power Consumption: 8.2 W
Power Connector In: Low Voltage DC plug

Mechanical Specifications

Fader Length: 60 mm
Height (mm): 84 mm
Width (mm): 292 mm
Length (mm): 356 mm
Flightcase Size: 14"
Housing: Metal
Colour: Black
Weight: 4.2 kg

Included Items

Included Accessories: Adapter

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Envelope with filter with serious attitude

This mangled, filter-sweeping, abruptly overdriving pedal is designed to respond to your playing. It syncs its wave-thumping movement with the force at which you play. It multiplies dynamics into a hyper-exaggerated frenzy. It adds just the right amount of movement to punch through the mix and it reacts to an external trigger of your choosing to follow your tempo. Six selectable frequency ranges mean you're always gonna have just the right quack and oomph for whatever's plugged in! The sounds are wild, the thump is thick, and the animation is deep.

Controls

Input: Plug an instrument in to this jack.
Trig: Plug another instrument in to this jack and use it to trigger the filter sweep.
Out: Connect this to the amplifier.
Sensitivity: Determines the point at which the filter engages and the frequency range of the filter shift in relation to the input amplitude.
Intensity: Simultaneously blends in the resonance, amount, and grit of the filter.
Vol: Adjusts the output volume of the DEEP ANIMATION.
Frequency Selector: Selects the frequency range of the filter.
Bypass: True bypass the effect.
Up / Down: Controls the polarity of the filter decay once triggered. UP sweeps the frequency from higher frequencies to lower ones and DOWN, the opposite.
Additional Features: There is a subtle light to indicate the external trigger behind the main bypass LED.

Specifications

Dimensions: 5.92" x 4.72" x 2.34" (including hardware).
Weight: 21 oz.
Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).
Current Draw: 18 mA.

Notes: A fresh, original take on pitch shifting, the HammerOn generates hammer-on pitch shifts which alternate between two different intervals. Seven modes provide a range of effects, from simple hammer-ons to automatic techno guitar sequencing with trills.

Supplier's Notes:
Hands-free Hammer-Ons

Hammer-on notes in conjunction with your hands to create never-before-heard licks and riffs - the only limit is your imagination.

7 pedals in 1

Seven modes range from pitch jumps and harmony effects to pitch sequences and drop/capo tunings - HammerOn is like seven pedals in one.

Play the Impossible

Impossible Mode allows you to hammer-on pitch shifts that alternate between two selectable pitch amounts.

The DigiTech HammerOn is a versatile effects pedal with an amazing amount of flexibility and options to create and channel your musical ideas. Take the time to get to know the many options and see if it sparks new creative ideas.

The PITCH 1 footswitch is dedicated to always be a hammer-on selectable momentary pitch shift above or below what you are playing. PITCH 2 footswitch has 3 different modes of operation selectable using the MODE button. There is a button called DRY+ that can turn on the dry signal and a button called TRILL that can mimic rapid presses of the footswitches.

With all these options it's like having 7 pedals in one:

1. HAMMER-ON: An instantaneous momentary pitch shifter pedal
2. HAMMER-ON with TRILL: A rapid fire hammer-on action pedal
3. HARMONY-ON: An instantaneous harmony creation pedal
4. The IMPOSSIBLE Pedal: A dual alternating momentary pitch shift pedal
5. DROP/CAPO SEQUENCE: A multi-setting pitch transposition pedal
6. SEQUENCE with TRILL: An automatic guitar riff sequencer
7. SEQUENCE with DRY and TRILL: An automatic techno guitar sequencer

Specifications

Electronics
Sample Rate: 44.1 kHz in classic mode, 22 kHz in chords mode
Frequency Response: 20 Hz-16 kHz (classic mode), 20 Hz-11 kHz (chords mode)
Signal to Noise Ratio: > -106dB (A weighted); ref = max level, 22 kHz bandwidth
THD: 0.004% @ 1kHz; ref= 1 dBu w/ unity gain
A/D/A Conversion: 24-bit

Input / Output
Input Type: 1/4" Unbalanced TS
Max Input Level: +5 dBu
Input Impedance: 1MO
Output Type: 1/4" Unbalanced TS
Max Output Level: +10 dBu
Output Impedance: 1kO (Effect enabled or effect bypassed), True Bypass

Physical

Dimensions: 5.12"(13.00cm) x 3.57"(9.06cm) x 1.84"(4.67cm) (L x W x H)
Weight: 1.12 lbs. (508g)

Power

Power Consumption: 2.3 Watts (258 mA @ 9VDC) typical
Power Requirements: External Adapter (included), 9 VDC 1300 mA

Notes: Make your music Hypersonic

Send your tone soaring with the HyperSonic 3-octave pitch rise.

New octaver blend modes

Create never-before-heard sonic textures with new octaver blend modes.

MIDI-capable

Ready to integrate with advanced performance rigs with support for 5-pin MIDI control.

Artist-inspired design

Unique artwork and signature style make the MonoNeon Signature Whammy a bold addition to your pedalboard.

The DigiTech MonoNeon Whammy pedal goes where no whammy pedal has gone before, with new octave blend modes and up to 3 octaves of HyperSonic pitch shifting. Developed in collaboration with trailblazing bassist MonoNeon, the MonoNeon Whammy delivers mind-blowing pitch manipulation for guitar and bass alike.

Included in the box:
MonoNeon Whammy Pedal
Power Supply
User's Manual
2 Guitar Case Stickers
Warranty Registration Information Card
Special MonoNeon Customizing Kit

> Gaffer's Tape - Neon Yellow & Neon Orange
> Mini Permanent Marker

Specifications

Input / Output
Instrument Input Type: Unbalanced 1/4" TS phone jack
Max Input Level: +5 dBu
Input Impedance: 1 MO
MIDI Input: 5-Pin DIN
Output Type: Unbalanced 1/4" TS phone jack
Max Output Level: +10 dBu
Output Impedance: 1 kO

Electronics

Frequency Response: 20 Hz to 20 kHz
Signal to Noise Ratio: >105 dB (A-weighted): ref = max level, 22 kHz bandwidth
THD: 0.004% @ 1 kHz; ref =1 dBu w/ unity gain
Sample Rate: 44.1 kHz
A/D Conversion: 24-bit
D/A Conversion: 24-bit

Physical

Dimensions: 6.5" (16.51cm) x 7.75" (19.68cm) x 2.5" (6.35cm) (WxDxH)
Shipping Weight: 3.8 lbs. (1720g)

Power
Power Consumption: 2.4 W (265 mA @ 9VDC)
Power Requirements: 9 VDC External Adapter (center negative)
Included Power Adapter: PS0913DC (9V DC @ 1.3 A) center negative

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


The usual solid MIDI Fighter build quality and LED feedback combine with rotary encoders and push-button options in the Twister. Configure it for your chosen software and get creative.

*** Midi Fighter Utility Update- 2.90 (July 2024) ***

A new version of the Midi Fighter Utility is now available! DJ Tech Tools focused this release on implementing some community feedback and fixing the connectivity issues that disabled online firmware updates in the past. Be aware that since 2.85 and previous releases can't go online you won't be notified via the app that an update is available. Future firmware and utility updates will work fine moving forward.

In order to use this software plug in your Midi Fighter directly to your computer via USB (DO NOT USE A USB HUB) and follow the onscreen instructions in the utility. You'll be prompted to update your firmware as new firmware updates are available. If no new firmware updates are available, it's time to use!

Release Notes (2.90)

Fixed server connectivity issues
Fixed factory firmware flashing (Windows)
Fixed invisible options in drop down menus
Replaced Checkboxes with toggle switches
Fixed naming inconsistencies between "Midifighter" and "Midi Fighter"
Fixed model and firmware text scaling (Windows)
Improved text scaling for better visibility on large screens
General design update for an improve experience in low light
Increased log window width for improved readability
Updated app icon
Updated flashing status icons
Updated Midi Fighter 3D and 64 layout graphics

Supplier's Notes:
The most playable knob controller around.

Each knob doubles as a super powerful button. Turn the encoders to control a parameter in any software and twist their built in buttons to quickly reset the knobs or turn effects on and off. This means each knob is like 3 knobs.

The heart of the Twister are the 16 "Endless Encoders". These are very powerful knobs that don't have a start or ending point. Instead the LED rings show you the position of the knob. This means that the controller and the software are always in sync, even when changing banks, racks or songs on the fly.

The Twister allows for deep customization of every knob across all 4 banks with 5 killer features not found on any other controller. Change LED color, transform an encoder into a DJ filter, enable fine midi control, toggle a parameter on/off, or setup a "shift" knob so pressing a push-encoder activates control of a secondary function

The Midi Fighter twister was designed with producers in mind. We need compact, reliable controllers that are easy to map to our DAW's. The endless encoders respond to the software so everything is always in sync, even when playing back recorded automation.

Combine The Twisters powerful knobs with a DAW template so that every time inspiration strikes, a powerful studio environment is there to support you. This is how the pro's do it - why wouldn't you?

The knobs not only control your typical volume, pan and FX send controls but they also enable a host of quick access to deeper control - only available on the twister. For example, push the encoder to send out a fine resolution range and dial in the exact EQ setting you want. Release and return to normal range control.

You need to be able to react to the dancefloor. Having a dedicated controller is just like being a practiced instrumentalist. Once you have a idea, you can just make it happen as soon the inspiration hits.

*** Firmware update June 2023 ***

If you just bought your Midi Fighter Twister or haven't used the utility in a while chances are you might need to update it's firmware with the latest and greatest. This is a fairly straightforward process as long as you take some extra precautions.

1. Download and install the MF Utility if you don't have it already on your computer (PC/Mac).

2. After you check that any other MIDI related applications (Ableton, Traktor, etc) are closed connect your Twister directly to your computer and open the MF Utility. DO NOT USE A USB HUB

3. Click on "File>Export Settings" and select a destination, this will back up your Twister's settings if you have customized your Twister beforehand and make sure you export it outside of the "Midi Fighter Utility" folder since your OS might lock this location and prevent the MFS file from being generated successfully. If you just got your Twister you can skip this step.

4. If a new firmware is available for your device you should see a message in the utility as soon as your device is detected.

5. Click on the orange UPDATE FIRMWARE button and accept the pop up message warning you not to use a USB hub.

6. Once this process finishes your device will reboot and the MF Utility will now show it has successfully updated the firmware!

Notes: 50th Anniversary Limited Edition

Hand-built in the USA - only 1,974 units will be made!

3 Overdrives in One

Switch between vintage-authentic SILICON clipping, Ge/ASYM Germanium asymmetrical clipping, or LIFT for no diode clipping for either clean boost use or op-amp rail clipping at higher levels.

Mod-Friendly Components

Equipped with a socketed LM741 op-amp and through-hole components for easier modding just as the original 250 were known for.

For Players and Collectors Alike

Whether you're hitting the stage or simply celebrating a history-making overdrive pedal, you won't be disappointed.

The Overdrive Preamp 250 - 50th Anniversary Edition pedal celebrates the introduction of the original 250 pedal in 1974. Widely considered to be one of the most influential overdrive pedals, the original 250 helped shape the sound of rock and metal in the late '70s and early '80s. The Overdrive Preamp 250 - 50th Anniversary Edition pedal is hand-built in the USA using the authentic design of the original pedal, while adding two extra modes for modern sonic versatility.

The Overdrive Preamp 250 - 50th Anniversary Edition is actually three overdrive pedals in one. Set it to Silicon mode for a faithful reproduction of the original 250's bite and grind, courtesy of an authentic LM741 op-amp. Select Ge/ASYM mode to engage a Germanium diode for asymmetrical even-order clipping that provides a distinct tonal character with incredible touch response. Or switch to Lift mode to remove diode clipping completely from the signal path, for use as a clean boost and preamp.

Complete with a commemorative 50th Anniversary badge, custom artwork and colour-matched LED, and a 50th Anniversary pedal topper, the Overdrive Preamp 250 - 50th Anniversary Edition pedal is ideal for players and collectors alike.

What's in the box

1 x DOD Overdrive Preamp 250 - 50th Anniversary Edition
1 x 50th Anniversary Pedal Topper w/Hex Wrench
1 x Serialized Certificate of Authenticity
4 x Stickers
4 x Guitar Picks
Full-colour owner's Manual


General Specifications

Dimensions: 4.68" (11.88cm) x 2.63" (6.68cm) x 2.25" (5.71cm) / (L x W x H) - (Jack W = 2.92" (7.41cm))
Weight: 0.60 lbs. (272g)
Input: 1/4" Instrument Phone Jack
Input Impedance: >300kO typical
Output: 1/4" Instrument Phone Jack
Output Impedance: 9.1kO - 27.5kO (based on Level control position)
Gain: +9.5 dB to +46.7 dB
Power Input: 2.1mm DC Barrel Jack, centre (tip) negative
Chassis: Aluminium
Power Supply: 9V Alkaline Battery, DigiTech PS0913DC Power Supply, Other well-regulated 9V centre (tip) negative supply +18V tolerant
Consumption: 7mA typical
Warranty:1 year

External dimensions

Dimensions: 6.94" (17.62cm) x 3.38" (8.58cm) x 2.88" (7.31cm) (L x W x H)
Weight: 0.87 lbs. (367g)

Notes: Compact acid sound with flexible application possibilities.

Inspired by the look of the classic TB-303, the mother of all bass synthesizers, the DT-303 from Dtronics offers a distinctive and original design.

It is designed to fit perfectly next to an original TB-303 or a clone.

Three adjustable blends with subtle frequency spectrum variations allow distortion levels from very subtle to total distortion. The filter can be used to suppress high frequencies and the volume control can be used to adjust the output level to your own needs.

The three modes, Classic, Turbo and O Drive, can be quickly changed using three buttons, while the bypass knob allows you to quickly return to the original sound. The positioning of the connections (Line In, Line Out, Power) on the back prevents a tangled mess of cables on the instruments.

DT-303 not only works in combination with TB-303 and RE-303, but also with other synthesizers and drum machines. The robust metal housing, its low weight and its compact size make it easy to transport and flexible to use.

Notes: Sometimes pedals can change. Parts drift, pots break, transistors go bad. They go to new homes; they get neglected and resold. Sometimes people get in there and try to revive them to their original state and sometimes they just throw whatever is laying around inside and hope it does the trick. In this case, EQD are pretty sure all the above happened to the fuzz pedal that made its way to James Murphy and ended up finding a forever home with LCD Soundsystem.

Chelsea really does have something special. It's heavy without being too heavy, clean but not too clean. A simple set of controls yet it has an expansive array of tones that makes it very versatile on a wide variety of instruments, has clarity when you need it and can blur all discernable lines when you don't. It still retains the familiar foundation of the classic fuzz it was intended to be, but something special happened to it over the years and it has very much grown into its own thing

Notes: The brilliant Perkons drum machine comes to Eurorack. A single hybrid drum voice with digital sound engine and analogue filter/overdrive, the Perkons Voice is flexible and supremely powerful.

Supplier's Notes:
Erica Synths Perkons Voice is a eurorack incarnation of the percussion voices from the PERKONS HD-01 Drum machine. Like on the drum machine, the module has hybrid architecture, featuring a digital sound engine followed by an analogue multimode filter and overdrive. Users can select among 13 sound generation algorithms and save up to 99 presets that can be recalled easily. Tune and Patch CV inputs are configurable for various CV settings and are tuned to 1V/oct. Module also features a 4-voice poly overlap mode and samples on the "Rompler" engine can be easily replaced.

Specifications:

Audio output: 10Vptp
CV levels configurable: -5V - +5V
Power consumption: +59mA, -30mA
Module width: 14HP
Module depth: 35mm

Notes: The iconic T50 headphone gets a major update, featuring a redesigned take on Fostex's Regular Phase flat-diaphragm driver. Superb sound, excellent comfort. A modern classic goes to the next level.

Supplier's Notes:
The T50RPmk4 is a brand-new headphone developed by Fostex, equipped with a completely redesigned RP planar magnetic driver. Since having debuted in 1974 as part of the T50, Fostex's first ever headphones, the renowned RP driver has been featured in numerous different headphone models throughout the years.

These headphones have been regarded as firstrate monitoring headphones by musicians and sound engineers all over the world. Audiophiles have also sought RP series headphones for their fantastic versatility and unparalleled value-to-performance.

Featuring a new 4th generation RP driver as well as an updated, improved housing design, listeners of all backgrounds can enjoy the increasingly-refined new generation of RP headphones from Fostex.

Specifications

Type: Semi-open
Driver: RP planar magnetic
Impedance: 28 ohm
Sensitivity: 97 dB/mW Max Input: 3,000 mW Freq. response: 10 - 40,000 Hz
Weight: Approx.330 g (excluding cable)
Unbalanced cable : F3.5 mm (4-pole) to F3.5 mm (3-pole) 2 m x 1
Includes conversion connector (F3.5 to F6.3 x 1)

Notes: Pretzel Logic is a 4 bit to 16 step addressable analogue sequencer which outputs gates. Each of it's 16 steps can be addressed in any order for ultimate creative flexibility. It pairs nicely with Polygraf, High Towers and Akropoli; together they make a powerful combination.

It features 4 address inputs, 1, 2, 4 and 8, each of which has an associated input socket as well as a 3 position state switch which allows each address input to be held high, respond to input signals, or held low. Each input has two status LEDs. The red LED displays the signal present at the input socket, while the green LED displays the status of the address input. The combination of signals present at the input sockets, together with the positions of the state switches allows Pretzel Logic to have 16 different output states, numbered from 0 through to 15. The output state of Pretzel Logic can be ascertained by observing which of the 4 address inputs are high. So, for example:

- If no green status LEDs are on, Pretzel Logic is in output state 0

- If green status LED 4 is on, Pretzel Logic is in output state 4

- If green status LEDs 1, 2 and 4 are on, Pretzel Logic is in output state 7

- If green status LEDs 2 and 8 are on, Pretzel Logic is in output state 10

The input sockets may be addressed by various external modules, for example:

- FC Pocket Calculator, FC High Towers, or similar clock dividers with multiple outputs from other manufacturers.

- FC Polygraf or similar grid editors from other manufacturers.

- FC Little Melody, Akropoli or similar.

As Polygraf is capable of storing many user patterns which themselves are selectable by CV, multiple chained patterns are possible. Furthermore, we accept that users will discover their own unique combinations of FC and third party modules to address Pretzel Logic, always bearing in mind that at any time the status of any of the 4 input sockets may be overridden by the 4 state switches. Pretzel Logic may be latched manually via the Latch toggle switch, or externally via the Latch input. When Pretzel Logic is latched, the last output state to go high is held until Pretzel Logic is unlatched.

Notes: 8010A

Studio Monitor

The 8010A squeezes true reference performance and extended frequency response into an extremely compact package.

Small size, huge performance

When studio space is limited or you record on the move, the 8010A is your reliable monitoring companion. Don't be fooled by its affordable price tag and modest dimensions, the 8010A is every bit a Genelec pro monitor: uncoloured, accurate and powerful.

Trust is everything

A combination of enclosure, driver and electronic design gives the 8010A extremely neutral characteristics and the ability to adapt to your space via simple rear panel room compensation switches. So whether you're in a bedroom studio, hotel room or OB van, you can always trust what you're hearing.

System Specifications

Frequency Response: 74 Hz - 20 kHz (+/- 2.5 dB)
Low cutoff -6dB: 67 Hz
High cutoff -6dB: 25 kHz
Peak SPL =105 dB

Maximum peak acoustic output per pair on top of console, at 1 m distance with music material.

Short term max SPL =96 dB

Max. short term sine wave acoustic output on axis in half space, averaged from 100 Hz to 3 kHz, at 1m distance.

Long term max SPL =91 dB

Maximum long term RMS acoustic output in same conditions with IEC weighted noise (limited by driver unit protection circuit) @ 1m.

Self-generated noise: =5 dB SPL
Self generated noise level in free field at 1m on axis (A-weighted)

Weight: 1.5 kg (3.3 lb)

Dimensions
Height: 181 mm (7 1/8 in)
Height with Iso-Pod: 195 mm (7 5/8 in)
Width: 121 mm (4 3/4 in)
Depth: 115 mm (4 1/2 in)

Enclosure material: Die cast aluminium

Enclosure type: Reflex port

Drivers:

(Bass)
Driver type: Cone
Diameter: 76 mm (3 in)

(Treble)

Driver type: Metal dome
Diameter: 19 mm (3/4 in)

Harmonic distortion:
70...400 Hz =3 %
> 400 Hz =0.5 %

Amplifiers

8010A bass amplifier: 25 W Class D
8010A treble amplifier: 25 W Class D

Mains voltage: 100-240 VAC 50/60Hz

ISS Active =0.5 W
Idle =5 W
Full output: 30 W

Signal processing section

Connectors
Input: XLR female, 7 kOhm.

Crossover

Bass/Treble: 3000 Hz

Package contains:
1 x 8010A monitor
1 x mains cable 1,8 m
1 x operating manual
1 x IsoPod kit

Notes: The First Aid Kit is here to be your first choice, regardless of whether you're picking out your first utility module, building a minimal system or expanding a large system, by offering a powerhouse toolbox built on the principle of "everything you need, nothing you don't."

Offering ten functions in just 8hp, you can feel assured that you are no longer likely to run into dead ends while patching, because you need just one more utility - no need to buy lots of specialized utility units either, which can be both costly and space ineffecient, as you get all in one with the First Aid Kit.

Functions include:

5v DC source
Buffered multiple
LED voltage indicator
Summing 3-to-1 mixer
Signal inverter
Half-wave rectifier
Full-wave rectifier
Gate-to-trigger generator
Attenuverter
Bipolar and unipolar 8v offset generator
Functions can be used independently of each other, and the unit can be patched with itself for even more functions. Enjoy a toolbox that will solve nearly any problem you're facing, all in a compact-yet-comfortable 8hp.

The First Aid Kit replaces lots of other individual modules, and gives both newcomers an excellent starting point for what can feel like boring but necessary purchases, while also offering excellent utility to both large and small systems.

The First Aid Kit: don't get caught without one when you need it most.

Notes: Solist is not your average performance mixer and mute combination - far from it. Designed in collaboration with Bries, Solist contains four channels of soft vactrol muting, controlled by tactile and pleasantly clicky mechanical switches. Solist will help make your performances shine - but most importantly, the red solo switches allow you to override the current state of the mute switches, allowing for creative transitions between solo and mute states during your performance.

While the audio circuit is fully analogue, it is also entirely isolated from the digital circuit that controls the mutes. Running on a fast and reliable Raspberry Pi RP2040, you get all the benefits of digital control without the downsides of digital audio processing. Best of all, the mechanical state of the switches determine the state of the module, so even if you power cycle, you will return to your previous state.

The analogue mixer section can be used simultaneously with the individual outputs of the Solist, so for those who already have a mixer solution, the buffered individual outputs will bypass the mixer entirely. You may of course also use both simultaneously for exciting parallel processing opportunities.

Solist brings a whole new aspect of muting and soloing to your Eurorack performances, and with soft opening and closing vactrols, you'll never have to worry about clicks, truncated transients or actuation noise.

Notes: Not just another clone or continuation of the 808-esque, acid-style kicks of the Mutant Bassdrum - the Mutant BD9 seeks to explore uncharted bassdrum territory by having an integrated sub-oscillator for maximal auditory obliteration.

Parametric bassdrum synthesis offers creative control of the core sound

The primary analogue VCO offers classic 909-esque sinusoidal bassdrums, but can also be switched to generate a square wave bassdrum

The PITCH of the VCO spans several octaves, from about 30Hz to 240Hz, and can be modulated with voltage control

A novel PITCH DECAY circuit allows you to adjust the duration and AMOUNT of the pitch-modulation envelope applied to the bassdrum, from short blips to exaggerated tom-like sweeps

The AMPLITUDE DECAY allows adjustment of the length of the bassdrum, from short punchy kicks to massive booms. This parameter is voltage-controlled with a snappy CV response time, allowing you to modulate the duration of your kicks per step.

The CLICK generator is responsible for the attack intensity of the BD9. A fair amount of circuitry goes into creating this subtle punch at the beginning of the kick. The level of this effect is adjustable up to a fairly dramatic extremity.

The overall timbre of the BD9 varies with the DRIVE control from warm, analogue bassdrums at low settings to speaker-shattering overdriven sounds at high settings. Output levels are modular-level signals, unlike many classic line-level percussive devices.

Still not heavy enough? Try the sub-oscillator.

A square wave sub-oscillator derived from the primary oscillator's pitch can be mixed in (manually and with voltage control) to the BD9. The effect can be subtle deepness or extreme timbre changes.

A jumper on the back of the module allows you to select between the sub-osc being a raw square wave or having some of the high frequency components removed with a lowpass filter.

At high OUTPUT DRIVE and SUB LVL combinations, the sub-oscillator can be modulated with CV to saturate the BD9 output in evolving ways.

The SUB OCT can be set to 0, -1 or -2 octaves down from the primary oscillator. A drop of 0 means that you can mix an equal-pitch square wave with a sinusoidal primary wave.

Designed for the contemporary modular synthesiser

Plenty of eurorack-compatible control voltage inputs with bipolar attenuverters allow synthesis of dynamic percussion

A practical analogue trigger circuit allows activation of the BD9 from many signal sources (anything with a positive-going edge lasting 2ms or longer). Most electronic drum pads can also directly trigger the Mutant BD9.

An accent input accepts analogue voltage control (0 to 5V will fully modulate the volume from low to high)

13HP | 30mm deep
+50mA, -50mA

Review: ***B-STOCK: Box damaged, product in perfect working order***


American blues-slanted rock band the Black Crowes put out their second album The Southern Harmony and Musical Companion back in May 1992. It was the first time Marc Ford had featured on lead guitar in place of Jeff Cease who was sacked the year before. It also marked the first time Eddie Harsch joined on keys and set a record at the time for being the first album to feature four rock number ones, and the album itself also climbed to the top spot in the Billboard 200 album chart. Its mix of blues and Southern styles often sees the album being included in lists of the best rock albums of all time.

Notes: White version of the iLoud Micro Pro packs a serious punch for its size. Less than 21 cm tall but offering frequency response all the way down to 50 Hz, these might be the ideal monitors for those short on space.

Supplier's Notes:
The iLoud Micro Monitor Pro delivers sound much bigger than its looks suggest. Sold here as a single monitor, also available as a stereo pair with room correction mic. Seriously impressive performance from a tiny package.

Supplier's Notes:

Unparalleled sound quality wherever you want

The original iLoud Micro Monitor revolutionized the way professionals and audio enthusiasts experience sound in an ultra-portable and compact form factor. It became renowned for its exceptional sound quality and portability, making it a popular choice as an audio reference monitor for both pro-studios, home-recording artists, and mobile setups. Now the iLoud Micro Monitor PRO takes the incredible qualities of the classic Micro Monitor to a new level blending together studio-quality reference audio and a compact form factor, along with a new built-in state-of-the-art speaker correction technology, to deliver unparalleled sound quality wherever you want.

Precise and balanced audio reproduction across the whole frequency spectrum

The Micro Monitor PRO features a bi-amped design with a 3" paper woofer and a 0.75" textile dome tweeter, delivering precise and balanced audio reproduction across the frequency spectrum. This enables you to experience crystal-clear highs, rich midrange, and tight, defined bass that rival larger studio monitors.

Thanks to the new built-in state-of-the-art speaker correction technology, the Micro Monitor PRO provides accurate audio reproduction and a balanced and precise soundstage, regardless of the ambience, ensuring high-quality sound wherever you are.
With XLR and RCA line inputs, the Micro Monitor PRO seamlessly integrates into professional audio environments and consumer systems alike, making it suitable for on-the-go setups as well.

Quick and easy setup and room correction

The flip foot design allows for quick and easy setup of the speaker position to achieve the perfect sweet spot, whether you're in a studio, home office, or on the go. It provides optimal positioning and angling for your listening experience.

The internal power supply eliminates the need for external adapters, streamlining your setup.

With its compact size and lightweight design, the iLoud Micro Monitor Pro is the perfect companion for any environment, delivering unparalleled sound quality wherever you want it.

A full-blown studio at home or on-the-go

The iLoud Micro Monitor PRO comes with various free bonus contents.

Registering your iLoud Micro Monitor PRO unlocks powerful software tools, as well as exclusive discounts on other IK products.

Best in class audio reference for studio, home and on-the-go setups

Type: 2-Way bi-amped, digitally controlled compact studio monitor
LF driver: 3" composite cellulose fiber, custom-made mid-woofer
HF driver: 1" low-distortion silk-dome tweeter
Acoustic design: DSP-tuned bass reflex
Number of amps per speaker: 2
Amplifier type: High-efficiency Class-D
Total power: 50 W RMS
LF power: 30 W RMS
HF power: 20 W RMS
Crossover type: Digital, Linear Phase
Crossover frequency: 2.5 kHz
Frequency response: 50 Hz to 20 kHz i 2dB, 42 Hz to 22 kHz @ -10dB
Phase response: System remains coherent within +/- 30- from 500 Hz to 20 kHz
Sensitivity: -10 dBu signal generates 90 dB SPL @ 1 m
Continuous max SPL: 94 dB
Peak SPL: 107.3 dB
Peak SPL: 109.3 dB
Placement setup: Manual switches for LF Extension, LF trim, HF trim, Desk position

Fully automatic built-in digital calibration, and compatible with X-Monitor control software

LF extension switch: Sets -3 dB point of the frequency response at 50 or 80 Hz (LFE)
LF switch: Low shelf, +2 dB or -3 dB from 100 Hz down
HF switch: High shelf, +2 dB or -3 dB from 8 kHz up
Desk switch: -3 dB at 250 Hz and +4 dB at 1.2 kHz
Calibration: Fully automatic and built-in digital calibration
Full DSP control
Compatible with X-MONITOR macOS and Windows control software
Total Latency (TOF): 3.00 ms
Totally DSP controlled
1 x XLR balanced input, 1 x RCA unbalanced input, 1 x USB type-C, C8 power socket
Flip foot for quick and comfortable desktop setup
Internal PSU - 90 to 240 V AC, auto-ranging, 50 or 60 Hz, 1 A max
MIC input for ARC from XLR connector

Dimensions

Size: 208 mm/8.18" x 105 mm/4.13" x 153 mm/6.02"
Weight: 1.37 kg/3.02 lb (each)

Notes: The Stereo I/O 1U is an all-in-one audio input/output module designed to bridge the gap between your Eurorack system and line-level devices. Whether you want to process external audio with your modules, monitor your patch with headphones, or connect your system to mixers or interfaces with line level - Stereo I/O 1U has got you covered.

Audio I/O allows you to effectively interface your Eurorack modular system to the balanced line-level world (+4 dBu). You can send and return to rack mount/desktop fx units, patch to external line-level instruments like synths and drum machines, interface to a DAW and much more.

The rear-mounted 3-pin CHAIN IN connector allows you to sum (in parallel) other audio sources to go from Eurorack level to the BAL LINE OUTPUTS. This could be from modules like the Mixup 3U, Xfade 1U, Stereo Mix 1U, and XY I/O 1U. You could also use this to connect with the 3-pin headers on the Palette and 7U cases audio i/o boards.

The rear-mounted 3-pin CHAIN OUT connector allows you to directly connect the level-shifted BAL LINE IN to the inputs of other compatible devices such as the Mixup 3U, Outs 3U, Stereo Mix 1U, XY IO 1U, and Headphones v2 1U. You could also connect the to the TRS jacks of the Palette and 7U cases audio i/o boards.

Dual Balanced ins and outs for the studio or the road. Interface your rack with the balanced line level world; send and return to pedals or desktop FX units; patch in and out of your DAW, external synths, drum machines and other line-level instruments.

A space-friendly, feature-rich, highly flexible solution for all your stereo line level input and output needs. Includes a dedicated headphone jack/volume and a clever cue bus for monitoring signals outside of the main output or to add a 2nd source to the main outputs.

Notes: A user-friendly approach to melody and harmony, the Exquis offers an alternative control method for those who want to break away from conventional keyboards. Compatible with MIDI or CV/gate.

Supplier's notes:
A controller, an app, an instrument.

The Exquis controller gives you immediate access to the rules of harmony to improvise with or without theoretical prerequisites, and offers you dimensions of expressiveness that you can quickly master. In combination with the Exquis app, a unique workflow opens up, allowing you to create an entire song in a few minutes: choose sounds, record loops, play the conductor and structure your songs in complete spontaneity.

Exquis offers an intuitive way to guide you on the right path, while allowing you to get out of it. No hassle: just choose a scale, and follow its luminous path to play in tune. Thanks to our default note layout, it's very easy to make chords; Exquis arranges notes that sound good together next to one another. You will be amazed at how harmony falls under your fingers.

Compared to a piano keyboard, on our note layout the semitones are also arranged horizontally, the harmonious (third) notes are always next to one another, and the intervals starting from any note are always the same. If you prefer, you can change the note layout, and soon even create your own tailored note layout using our editor.

On the default note layout, scales can be simply represented by a pair of light paths; whether you are a beginner, amateur or experienced musician, just follow the colors, with one or two hands, to stay in tune and improvise spontaneously. Explore many scales (major, minor, dorian, oriental...) and soon you will be able to create your own using our editor.

Our default note layout goes back to the basic logic of harmony, putting notes that sound good together (thirds) next to one another vertically. Each type of chord (major, minor, diminished, dominant etc) always forms a single and unique transposable form.

Inspired by the finesse of acoustic instruments, the keys of Exquis are both firm enough to play percussion and short notes with precision, and soft enough to modulate long notes with sensitivity. Tap, press, and tilt multiple keys independently using the MIDI Polyphonic Expression (MPE) protocol. The encoders (clickable, with infinite and smooth rotation and with a slight resistance) allow you to control the effects of a sound being played, as well as certain essential settings in the various menus.

In order to allow musicians to create new rhythms and moods, the application natively includes exclusive features. For example, we were inspired by the workshops of Jacob Collier and will soon allow the use of tuplets (particular divisions of beats such as 1/5 or 1/7), useful for creating grooves with a drunk effect.

The Exquis keyboard is a MIDI controller compatible with all software, MIDI synthesizers and modular synthesizers. The Exquis app, although optimized for the controller, is also compatible with all MIDI controllers, and like all MIDI controllers, the Exquis keyboard is compatible with most DAWs and plug-ins.

Dear users of modular synthesizers, Exquis connects directly to your favorite devices thanks to the CV outputs: GATE, PITCH and MOD. You can also connect Exquis to your MIDI synthesizers using the MIDI IN and OUT ports.

Notes: Introducing Jazzman's own exclusive range of brand new 7" hard-wearing wooden record cases, in equal measure stylish and functional, solving the age-old problem of storing, transporting & displaying your precious 45s once and for all!

The PRO Large holds 150 x 7" records, and is available in your choice of 2 finishes: Dark Walnut or Graphite Grey.

This new updated design is again custom made to an exact specification in limited numbers. They don't just look the business, they've been built for professional use and will last for many years to come.

Ugly, bulky industrial cheap n' nasty mass-produced flight cases they are not! No flimsy plastic, chipboard, MDF or cheap cardboard either! These cases are hand-crafted from ethically-sourced & hard-wearing wood, the ultimate 7" record cases for all serious record collectors & professional DJs.

Each case has been hand-made in the EU from wood that has been sourced from managed and sustainable forests. They have been custom built to Jazzman's exact specifications before being stained and lacquered for a durable finish:

The lid is fully removable via detachable metal hinges so you have unfettered access to your records
Interior lined with soft & durable black felt to add both extra cushioning and a luxurious feel. Each interior is also embossed once with Jazzman's shiny 45CASE logo
All corners made with extra strong interlocking dovetail joints
Dual metal catches on the front are lockable with padlocks (not included) to keep your records secure from unwanted attention
Strong metal brackets feature on all corners to further protect against knocks & damage
Wood sourced from managed and sustainable forests
The base has 4 sturdy rubber feet to protect the bottom of the case when standing
Each cases has dual compartments, securely holding up to 150 of your prized 7" records. The interior dimensions will also accommodate double-bagged 45s.

Important note: due to the innate variability of wood grain, each box is unique and will differ slightly to the image shown. Records are for illustration purposes only and are not included!

Details:

Exterior size: 420 x 220 x 220mm
Weight when empty: 3.2kg (7lb)
Weight with 150 records: 11kg (24lb)

"I'm really impressed with this box, nobody's made them like this for years, a nice new home for my best stuff" - Mark 'Butch' Dobson (World #1 Northern Soul DJ)

"Jazzman are already known for making great records, well done to them for making the nicest record boxes I've seen in years" - Norman Jay MBE

"Sturdy and with a classic design, this is the best 7" box I have come across" - Eddie Pillar (Acid Jazz)

"Northern, Funk, Rockabilly, Garage - these are the boxes to keep 'em in, f*** marvellous!" - The Legendary Keb Darge

Notes: Excellent basic analogue synth with its own distinctive character. The UNVO-1 is a two-oscillator design with a 'strain' and filter circuit to sculpt your sound. Control via the knobby front panel for experimental tones and powerful bass sounds.

Supplier's Notes:
It is powered by a center negative DC 9V adapter or a single 9V battery.

It contains two VCOs (oscillators) with a wide range.

The SUB oscillator has a different frequency and waveform, and is input to the main, respectively. Each of them has a range switch, so it works like an LFO under the switch. The color of the range switch (white, black) corresponds to the color of the SUB.1 and SUB.2 on-off switches next to the FREQ knob of the main oscillator.

When the WAVE switch is turned on, the WAVE knob is activated, and the SUB OSCILLATOR.1 and 2 are shaken.

The main VCO×2 is mixed and fed into the strain + filter circuit. This special filter has a FREQ knob and a TUNE knob. The TUNE knob powerfully amplifies the input signal while also tracking specific pronunciations.

The filter is a circuit that has been fine-tuned so that it can very effectively enhance the bass and treble of this input signal.

Unlike other switches, the noise-on switch moves sideways, left (VCO.1), middle (OFF), and right (VCO.2). They are populated in VCO.1 and 2, respectively.

It is a noise machine that can output a very strong signal that generates a variety of noise sounds.

This analogue synth runs on DC9V negative center or a 9V battery.

The main 2 VCOs can receive 2 oscillators and noise generator inside and go to 2 different filters.

2 oscillators can be tuned with each two FREQ. knobs and controlled with the wave knob.

RED switch is for wave knob working.

Black and White for tone of oscillators

Notes: EGL-1 is a desktop analogue synthesiser that is ideal for a variety of duties. The unit's sub-oscillator can be configured to determine the emitted waveform and decays when the Push switch is pressed. There are four LFOs routed to the primary VCO for bountiful modulation capabilities. The VCO itself is routed through a boost circuit for a some extra flair that's sure to punish listeners in all the right ways.

EGL-1 Features

VCO routed through boost circuit
4 LFOs provide ample modulation possibilities
Integrated sub-oscillator
Push switch causes the sub-oscillator to decay
Two types of modulation can be applied to the MAIN VCO (oscillator).

The bottom stage mixes four LFOs and allows you to adjust the input level to the MAIN VCO with the level.

The middle stage allows you to input a WAVE to the SUB OSC (another oscillator) with adjustable rise and fall of the oscillator, which can then be fed into the MAIN VCO.

The push-button in the top right-hand corner rapidly decays the power of the SUB OSC as long as it is pressed. While it decays, it has an effect on the sound of the MAIN VCO.

The MAIN VCO output also has an output circuit to make the sound more powerful.

The EGL-1 operates from a 9V centre-minus or battery. Neither is included.

Notes: No-nonsense analogue business here from JMT. Square wave VCO and sub-oscillators can be morphed and wave folded to create unique timbres.

Supplier's Notes:
The JMT Synth EWG is a desktop analog synthesiser with a wide-ranging VCO and two reconfigurable sub-oscillators that emit square waves, ideal for thick bass tones. Two adjacent knobs can control the pulse of the square waves, allowing for a wide range of tones and timbres. Two reduce knobs govern the leve of each sub-oscillator, allowing the user to blend the tones to their taste. The EWG-1 is powered by a DC9V center negative adapter or a single 9V battery.

Notes: The NOSC-12, from JMT Synth, is a 12 oscillator drone synthesiser, six main oscillators with six sub oscillators. There are frequency controls for each of the oscillators, including the sub oscillators, which also include sync switches for each of the oscillator pairs. Each of the oscillators are mixed together to a 1/4" output jack.

NOSC-12 Features

12 Oscillator Drone Synth
12 Suboscillators, one per Osc
Volume Controls for each OSC
Sync switches for each OSC.

Notes: The JMT RVO-3 is an analog noise synthesiser featuring 2 oscillators. 1 main oscillators with 1 sub oscillators paired to it. Each of the oscillators features their own frequency controls, and sync switches for each of the oscillators pairings allowing a wide range of textures. It has a main VCO with a frequency control knob and a push button allowing a short envelope to control the frequency. Additionally, controls for the waveshapes and stability of the VCO and sub frequency VCO allow for further manipulation of timbre.

Notes: Simple but effective approach to signal routing here from Jolin Rosa. The Morpher is a four-in/four-out crossfader, scanner and switcher, allowing you to shape, route and manipulate any signal with ease.

Supplier's Notes:
ROSA is a multi-mode crossfader, scanner, and switcher that allows seamless morphing between up to four inputs and outputs. With its three operating modes (Scan, Wave, and Pass), you can easily shape and route signals to fit any patch.

A quick overview:

Scan Mode: Morph between up to four inputs with adjustable curves using the KNEE control.
Wave Mode: Independently control the four VCAs for complex dynamic changes.
Pass Mode: Route a single input (or mix multiple inputs) to up to four outputs, perfect for quadraphonic setups or parallel processing.
Infinite Analogue Potentiometer: For smooth, continuous transitions.
Global SHUT Control: CV-controlled mute for immediate silence.

Notes: The first outing for KMA's unique and custom AI driven True Double Tracker technology was in the ENDGAME, their powerhouse end-of-chain pedal. KMA designed their dead-simple-to-use, TDT Algorithm in ENDGAME to be as authentic to the doubling recording process as possible, but they realise that not everybody needs all the bells and whistles of such an all-encompassing device.

However, the processing power requirements required for TDT meant a simpler device wasn't yet possible. But as demand from the community grew, KMA's team worked hard to squeeze it down and make it happen.

So, meet GEMINUS - all of KMA's True Double Tracker goodness in a compact pedal that's suitable for any board. Whether playing live or recording with a single instrument, GEMINUS is the perfect solution for adding "fatness" and "width" to your performances - it really does feel like you are playing the same riff twice!


Enabled via the soft bypass footswitch, GEMINUS accurately replicates the minor differences that exist between two separate recordings. The TDT WIDTH control spreads your doubled tracks, anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split.



KMA has carried out extensive research on how to make double tracking sound exactly how they think it should perform. In the process, they've spent thousands of engineering hours working on our own proprietary technology, even developing their own custom neural network AI with onset detection in the process for our algorithms.

The mode for the TRS input and output jacks is selected by the toggle switch. You can choose between stereo in and out, mono in and stereo out or mono in to mono out, so no matter your signal and tonal desires, GEMINUS will fit into your rig with ease.

For the most accurate performance (and just like the real double tracking scenario in the studio), their custom True Double Tracker algorithm should ideally be fed with a mono signal. Obviously if you are trying to emulate what traditionally happens in the studio, you wouldn't normally double up a stereo source. Having said that, the TDT algorithm has been optimised to still have a useful and very pleasing widening effect on stereo input signals, just take care that using too much doubling on some stereo sources may cause your carefully crafted reverb, delay or other modulation effects to turn to mush or even add phase issues.

To help tailor the Doubling to your own taste, the TIME control changes the timing range of the doubled AI-driven onset detection. Essentially, it's all about the tightness of the doubled signal to fit differing playing styles. Variable from an extra tight mode, that's perfect for extra fast riffs, to a looser timing that can just the right amount of density to more open playing styles, this control is a powerful weapon to make your riffs fit your musical goals. The centre detent is GEMINUS' default factory position, but turning the knob left will give a tighter feel. Crank the knob to the right and the doubled signal becomes much more relaxed.


While the LEVEL control affects the balance of the doubled signal against the original source. Useful for those times where you might want maximum width, but a little less (or even more) of the sound to be doubled against the original. Centre detent of the knob is GEMINUS' default factory position. There's some clever panning stuff going on under the hood here too, so neither the doubled or original signal is louder on one side or the other, when in Stereo.

Finally, the new PITCH selector switch can add some additional movement to your doubled signal, extending the usefulness of GEMINUS beyond standard doubling. When the switch is at the centre default position (-) there is no pitch adjustment, (~) adds some subtle modulation, while (?) adds even more wobble. In this mode, it doesn't mean that your second guitarist will sound like they are off on a quest for enlightenment all on their own (!), it is just super handy for those times when you want more chaos and instability in your ensemble.

To top it all off, they've added a switchable real True/Buffered bypass and 'silent' relay-based soft switching. When KMA were testing our new pedal platform, they really loved the clarity and signal integrity of KMA's Buffered Bypass, plus there are zero clicks and pops when switching in this mode, which is why it is the recommended and default mode on shipping. However, they know some players have some special devices like extra fussy vintage fuzz pedals and the like, so they added the ability to select True Bypass mode via an internal dip switch.

Phew, seems that there's quite a lot going inside GEMINUS then. We believe our True Double-Tracker in this pedal is the best sounding, yet easiest to use doubler you'll ever play - period.


Go forth and multiply your riffs!


Product Type:

Stereo True-Double-Tracker (Proprietary Doubler) pedal

Bypass Type:

Switchable True/Buffered Bypass with 'silent' relay-based soft switching

Power Supply Requirements:

9 V DC - Centre (-) negative 2.1mm

Current Draw (max):

< 100 mA

Product Dimensions / Weight:

H: 60 mm / 2.36 inch
W: 74 mm / 2.91 inch
D: 128 mm / 5.04 inch
Weight: 350 g / 12.35 ounces