Search dance music

Notes: The M4000D Mini Mellotron was developed to meet the needs of keyboardists who want an even smaller and lighter Digital Mellotron. The Mini is also designed to fit perfectly on top of the regular M4000D to make a great looking dual manual Mellotron. Instead of the M4000D's wooden keyboard, it includes a high-quality, semi-weighted Fatar piano-style keyboard with velocity sensitivity, and mono aftertouch.

Specifications

100 instantly accessible Mellotron and Chamberlin sounds, captured from original tape sources at 24-bits, uncompressed
Expansion slot for 100 additional sounds
A and B sound banks simultaneously accessible, with mix control
Controls for volume, tone, normal/half-speed play and pitch adjustment
A, B and Master outputs available on unbalanced 1/4-in. line connectors
1/4-in. connectors for sustain, expression, and volume pedals, and for headphones
MIDI in, out, and thru
Dimensions: 32 in (W) x 13 in (D) x 3 in (H); weight: 21 pounds

Notes: The Lumen Handpan is the world's first electroacoustic handpan.

It sounds and plays like an acoustic handpan, but offers incredible flexibility by comparison. With the Lumen Handpan, you can play in any tuning. It also includes samples from various handpan types, giving you full control over the sound. These individual settings - including volume control - can be adjusted via the built-in display and touch interface.

And the most important feature of any handpan: the strike dynamics. The 9 pressure-sensitive pads deliver impressively nuanced response, along with polyphonic aftertouch, creating an expressive and immersive playing experience.

The integrated 360-degree full-range speaker and a battery that lasts up to 8 hours make the Lumen Handpan fully portable and versatile. It can also be played using headphones, in which case the internal speaker can be disabled. DAW integration via MIDI is also supported.

Notes: The Lumen Handpan is the world's first electroacoustic handpan.

It sounds and plays like an acoustic handpan, but offers incredible flexibility by comparison. With the Lumen Handpan, you can play in any tuning. It also includes samples from various handpan types, giving you full control over the sound. These individual settings - including volume control - can be adjusted via the built-in display and touch interface.

And the most important feature of any handpan: the strike dynamics. The 9 pressure-sensitive pads deliver impressively nuanced response, along with polyphonic aftertouch, creating an expressive and immersive playing experience.

The integrated 360-degree full-range speaker and a battery that lasts up to 8 hours make the Lumen Handpan fully portable and versatile. It can also be played using headphones, in which case the internal speaker can be disabled. DAW integration via MIDI is also supported

Notes: Discover the perfect harmony of our top-of-the-line modules with our ORACLE system - a meticulously crafted 66hp stereo desktop instrument that seamlessly integrates our selection of eurorack modules: a full-featured system that offers a vast array of capabilities in a compact form factor. With ORACLE, you can dig into unorthodox sequencing, interactive modulation, and innovative stereo sounds- spanning styles ranging from ambient to techno, as well as experimental soundscapes and sound design.

At the heart of the system is our renowned module Chaos; within this compact ecosystem, it can unleash its full potential and seamlessly integrate with the other modules.

Chaos can produce control signals quickly and creatively with minimal user input. It can be used as a rhythmic or melodic sequencer, as a random or deterministic source of modulation: A random stream of data that you can manipulate at your linking and then loop.

Our ORACLE system is, indeed, built on the fundamental concept of loops, a powerful and versatile technique used in many forms of audio production. While loops are traditionally used to repeat audio samples, our system, ORACLE, expands on this concept by allowing you to loop various elements, including gestural movements, waveforms, note progressions, and beats from random sources.

With Thererec, our sketchable dual-channel function generator, you can experiment with your system's interaction differently. Move your hands over the sensors and loop your movements to create intricate voltage patterns, envelopes, or LFOs. With Thererec, you can unlock a new level of creativity in your system design.

One of the key features that sets our system apart is our advanced stereo oscillator, Proteo. With its innovative approach, it can convert any voltage source into high-quality audio waveforms and put them in a loop.Waveforms can be frozen or left in a constantly evolving state, giving Proteo an unheard distinctive sound. With Proteo, you can explore new territories and experiment with different audio sources, allowing you to create truly unique stereo sounds.

Axis includes all the classic blocks for audio amplitude management, such as a dual-function generator, dual VCA, a crossfader, channel volume, AM modulation, and dynamic control capabilities like velocity.The idea is to manipulate a sound over three axes: its length, its volume, and its place inside the stereo field.

At the end of the chain, Endline is our ultimate solution for your summing and outputs needs. This high-quality module offers four stereo channels of summing, sub-mix capabilities, two sends and returns, a headphone output, and transformer-balanced outputs.

Notes: Discover the perfect harmony of our top-of-the-line modules with our ORACLE system - a meticulously crafted 66hp stereo desktop instrument that seamlessly integrates our selection of eurorack modules: a full-featured system that offers a vast array of capabilities in a compact form factor. With ORACLE, you can dig into unorthodox sequencing, interactive modulation, and innovative stereo sounds- spanning styles ranging from ambient to techno, as well as experimental soundscapes and sound design.

At the heart of the system is our renowned module Chaos; within this compact ecosystem, it can unleash its full potential and seamlessly integrate with the other modules.

Chaos can produce control signals quickly and creatively with minimal user input. It can be used as a rhythmic or melodic sequencer, as a random or deterministic source of modulation: A random stream of data that you can manipulate at your linking and then loop.

Our ORACLE system is, indeed, built on the fundamental concept of loops, a powerful and versatile technique used in many forms of audio production. While loops are traditionally used to repeat audio samples, our system, ORACLE, expands on this concept by allowing you to loop various elements, including gestural movements, waveforms, note progressions, and beats from random sources.

With Thererec, our sketchable dual-channel function generator, you can experiment with your system's interaction differently. Move your hands over the sensors and loop your movements to create intricate voltage patterns, envelopes, or LFOs. With Thererec, you can unlock a new level of creativity in your system design.

One of the key features that sets our system apart is our advanced stereo oscillator, Proteo. With its innovative approach, it can convert any voltage source into high-quality audio waveforms and put them in a loop.Waveforms can be frozen or left in a constantly evolving state, giving Proteo an unheard distinctive sound. With Proteo, you can explore new territories and experiment with different audio sources, allowing you to create truly unique stereo sounds.

Axis includes all the classic blocks for audio amplitude management, such as a dual-function generator, dual VCA, a crossfader, channel volume, AM modulation, and dynamic control capabilities like velocity.The idea is to manipulate a sound over three axes: its length, its volume, and its place inside the stereo field.

At the end of the chain, Endline is our ultimate solution for your summing and outputs needs. This high-quality module offers four stereo channels of summing, sub-mix capabilities, two sends and returns, a headphone output, and transformer-balanced outputs.

Notes: The world first heard the instantly recognizable sounds of the Mellotron on hits from the Moody Blues ("Nights in White Satin") and the Beatles ("Strawberry Fields Forever") in the 1960s. In 2010, Mellotron reintroduced the iconic tape-based machine in a compact digital version, the Mellotron M4000D, that retains the authentic sound, look and feel of the original keyboard while adding some significant improvements.

The M4000D has been used onstage and in the studio by artists, musicians and producers including Foo Fighters, Red Hot Chili Peppers, Smashing Pumpkins, Wilco, Incubus, Queens of the Stone Age, Eels, Jackson Browne, Bruno Mars, Band of Horses, Fleet Foxes, Sean Lennon, Brendan Benson, Air, Kooks, Train, Elbow, Michael Beinhorn, Bob Rock, Raphael Saadiq, Noel Gallagher and Gotye.

Specifications

100 instantly accessible Mellotron and Chamberlin sounds, captured from original tape sources at 24-bits, uncompressed
Expansion slot for 100 additional sounds
A and B sound banks simultaneously accessible, with mix control
Controls for volume, tone, normal/half-speed play and pitch adjustment
A, B and Master outputs available on gold plated balanced XLR and gold plated unbalanced 1/4-in line connectors
1/4-in connectors for sustain, expression, and volume pedals, and for headphones
MIDI in, out, and thru
Dimensions: 34 in (W) x 19.5 in (D) x 5.25 in (H); weight: 38.5 pounds

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

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

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

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

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

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

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

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

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

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

Notes: The Nord Wave 2 is a powerful 4-part performance synthesizer combining Virtual Analog synthesis, Samples, FM and Wavetable with an intuitive layer-focused interface. With 48 voice polyphony, innovative performance features and hands-on controls, the Nord Wave 2 offers outstanding sonic possibilities with advanced layering and tweaking on the fly.

With 4 independent synthesizers in one the Nord Wave 2 offers exceptional possibilities for layering both classic waveforms and samples. Dedicated OLED displays for Program and Oscillator sections provide an excellent overview when shaping your sounds. The wide range of performance features and instantly tweakable hands-on effects makes the Wave 2 our most versatile performance synthesizer ever. The new Monitor mode displays your settings for Amp Envelope and Filters in the Program display for better overview and control.

The Wave 2 features a Program Layer section with faders for easily controlling the volume or pan for all 4 layer parts at once. The Layer section also provides handy features for quick layer focus, pan control, solo and multi-editing. The Split mode offers three split points providing up to 4 zones with optional crossfades. The flexible Hold functionality lets you latch and hold slots independently in the background while playing something else on top. The new Group feature allows you to group 2, 3 or 4 layers and lets them share the same Filter, Envelope, Arpeggiator, LFO and Effect-settings - perfect when creating complex multi-layered sounds that can be edited as one coherent sound.

The Oscillator section for each of the 4 layers offers 4 modes: Analog, Wavetable, FM and Samples and is easily browsed with our new direct category mode. The Oscillator Control features additional control over shape, sync or detune. The Wave 2 features a powerful multi-oscillator Unison effect with true Superwaves simultaneously generating hundreds of waveforms for extremely thick and fat sounds.

The Sample section has 1 GB of memory and comes loaded with a wide selection of quality samples including Strings, Brass, Guitars, Choirs, Chromatic Percussion as well as the exclusively licensed sounds of the legendary Mellotron and Chamberlin. All sounds are easily replaceable using the Nord Sound Manager. Adding your own custom sample instruments has never been easier thanks to the new streamlined Nord Sample Editor 3 for Mac and Windows that lets you map, loop and transfer samples to your Nord Wave 2 in a breeze.

The Filter section has 6 Filter types featuring classic 12 and 24 dB Low Pass, a High Pass, High Pass/Low Pass and a Band Pass filter, together with a stunning emulation of the transistor ladder filter from the legendary Mini. The unique modeling of these filters captures the true character and response of the classic analog instruments, allowing for flexible and precise sound design. The Filter section is equippied with full ADSR envelope.

The Wave 2 features a dedicated LFO for each layer with a choice of waveforms plus AD/AR Modulation Envelope with dedicated velocity setting and Invert mode. The LFO has several morphable parameters and the rate can be synchronized to the Master Clock.

The Amp Section is equipped with a full ADSR envelope featuring a powerful new Transient Attack mode for adding more punch to your sounds.

The Wave 2 features an extensive range of morphable parameters that can be controlled from four different sources: Velocity, Aftertouch, Wheel and Control Pedal. All morph sources can be quickly assigned to control multiple parameters simultaneously and the powerful Impulse Morph feature lets you instantly change any parameter of your sound. Instantly assign LFO, Oscillator Control or Filter to the Modulation Wheel.

The Nord Wave 2 is truly a rhythmical powerhouse with both a classic arpeggiator and a polyphonic mode with directly editable patterns. The Poly mode is a polyphonic Arpeggiator that will retrig all held keys either straight or patterned featuring different inversions for exciting harmonic variations. The brand new Gate mode chops your sound up in a rhythmic pattern with adjustable depth. The Pattern mode contains a wide selection of Rhythmic Patterns allows easy editing for creating your own custom patterns.

The Master Clock of the Wave 2 allows the LFO, Arpeggiator and various effects to be synchronized, either internally or by an external MIDI clock. With Master Clock synchronization you can synchronize 4 layers with individual patterns, all perfectly in sync with Delays and LFO's. A Tap Tempo allows you to easily tap to the tempo of a drummer or to playback tracks.

A separate Effect section for each layer featuring a great selection of instantly tweakable high quality stereo effects modelled after classic stomp boxes. Tremolo, Pan, Ring Modulator, Chorus, Ensemble and Vibe effects with Rate and Amount control. All effects are controllable via Control Pedal (or other Morph sources) and can also be synchronized to the Master Clock for rhythmic effects. EQ with Bass and Treble control - or 1 Band Sweepable EQ. A sparkling Tube Drive emulation is also available. Advanced stereo Delay effect with Ping Pong mode, Analog Mode and Tap Tempo. New features include creative new Feedback options for adding Ensemble, Chorus, Vibe as well as HP/LP and BP filter in the Feedback loop. The Reverb section has five different Reverb sizes (Booth, Room, Stage, Hall and new Cathedral) for adding some ambience to your sounds, and the amount is now morphable. New features include Bright and Dark modes for either extended or reduced treble. The new Chorale effect adds a lush modulation effect.

Notes: The Nord Lead A1 is a 4-part multitimbral synth with a classic layout, extensive filter options and effects. With its powerful panel interface and pre-programmed modulation matrix, creating unique and exciting sounds is very inspirational and quick.

At the heart of the Lead A1 is our new analog modeling engine. Taking our virtual analog synthesis to the next level, this modeling recreates a total analog signal path with uncanny realism, and is capable of immense sonic variety. With 26-voice polyphony and four simultaneous synthesizer parts, the Lead A1 is a true synthesizer powerhouse that goes far beyond the current trend for limited capability analog reissues.

Fundamental to the design of the Lead A1 is a brand new simple yet sophisticated front panel interface. The design is in fact the result of requests from professional players - even the most experienced programmers - who need to create the perfect sound as quickly as possible for today's live or studio time demands. The Lead A1 allows easy patch creation and experimentation thanks to a new and unique oscillator section, pre-programmed modulation matrix, and simplified ADR envelopes. Dive in and create incredible patches far quicker than would normally be possible with a synthesizer of such power.

The Lead A1's new Oscillator section generates 47 different waveforms from classic analog to digital harmonic and inharmonic waves, whilst unique Oscillator Configuration Shortcuts make programming more immediate than ever. Start with a single Oscillator waveform select an Oscillator Configuration Shortcut - Pitch, Detune, Shape, Sync, Sub Mix, FM, AM or Noise - and use the Adjust knob to adjust the settings of the configuration. The end result is high speed programming without the need for the usual complexity of routing and patching, and with the opportunity for ready experimentation. A fast track to stunning sound design for both advanced and less experienced programmers.

The Lead A1's filter section features classic 12 and 24 dB Low Pass, a High Pass and a Band Pass filter, together with stunning emulations of the diode and ladder filters from the legendary Mini and the TB-303 synthesizers as used in the Lead 4. The Lead A1's modeling of these filters capture the true character and response of the originals, allowing supremely flexible and precise sound design. The filters are super-smooth with a warm analog character.

The Lead A1's effects section features two stunning brand new analog models of an Ensemble and Chorus, modeled on specific vintage synths and adding classic warmth and analog feel. Alongside these, choose from great-sounding Ring Modulation, Phaser, Flanger, or Drive per slot, and in addition a separate Delay and Reverb for each slot.

A classic Nord feature, the Morph function via Mod Wheel, Velocity or pedal, allows you to control multiple parameters of the Lead A1 simultaneously. Morph is exceptionally easy to set-up and use - just hold the Morph button and adjust any desired knob.

The Lead A1 features four separate Arpeggiators with Up/Down and Random modes and a 4-octave range. Any or all can be sync'd to the Lead A1's master clock.

The Master Clock function of the Lead A1 allows the LFO, Arpeggiator and Delay to be synchronized, either internally or slaved to external MIDI clock. A Tap Tempo button allows you to easily tap to the tempo of a drummer or to playback tracks.

Having four identical, equally powerful synthesizers at once opens breathtaking layering possibilities. The Split-mode gives you two 2 slots on each side of the split. A flexible Hold functionality lets you latch and hold slots independently in the background while playing something else on top.

New in the Lead A1 is the Multi-Focus Mode that allows editing and control of all four slots simultaneously. Save this mode as part of a Performance and you have live realtime control over all four slots of the Lead A1.

The Lead A1 features four independent audio outputs with the ability to route each slot to a different output. Plus control of Pan via the front panel knob is a welcome new addition in the Lead A1.

Unique to the Nord Lead A1 is the new 'Like' function, a simple and brilliant practical feature to use during patch creation. When programming a patch it's often not clear if it's yet perfect. Now with the Lead A1 you can simply 'Like' what you've done into a temporary location and continue editing. You can Like up to 50 variations, with the ability to scroll between them to compare your favourites or go back to a specific Liked version to edit in a different way. When you're ready, save your favourite patch or patches to the Lead A1's memory.

A popular feature of the Lead 4, the Mutator function allows variations of a patch to be created by adjusting one, some, or all elements of a patch by set percentages. There's also a wild Randomize mode to create an entirely new patch with all parameters randomized.

A newly designed "Fat-As-Fat-Can-Be" Unison Mode let's the Lead A1 challenge any vintage analog instrument.

Notes: To the casual observer SiX looks like any other compact desktop mixer. Look a little closer and like all SSL consoles, SiX reveals a carefully considered feature set that is driven by an obsessive desire for total flexibility, to encompass every creative eventuality. It may be small but SiX is a classic SSL design. It carries the DNA of 40 years of true expertise in creative studio workflow. Listen to SiX and you will experience the impeccable sonic performance that is the hallmark of every SSL console. It is powerful and intuitive. Inspired and rewarding.

SiX is a condensed professional console for use in the studio, in post-production, on stage, and for podcasting. SiX offers big console sound and an impressive set of utility features in a format that is small enough to stick in a bag a go wherever you need it. SiX is stunning value; it offers two recording channels with SuperAnalogueTM mic pres, two band EQ, an essential one knob version of the classic SSL Channel Compressor, a new two-band Channel EQ, inserts and 100mm faders.

There is a two-knob version of the legendary G-Series Bus Compressor on the main mix bus and the unique Listen Mic Compressor on the Talkback. In mixdown mode it is a very capable twelve channel summing system that offers analogue detail, depth and width to your mixes

SiX is an SSL SuperAnalogue design - it gives you the sonic signature of a large format SSL console on your desktop or in your backpack. Its signal path is fully balanced from front to back on everything except the headphone output. It delivers pristine, detailed audio with wide dynamic range, ultra-low noise, ultra-low distortion and superb imaging. If you want to know more about the technical reasons why SSL mixers sound so good read our Lifting The Veil document.

In addition to Mic Pre's, SiX's SuperAnalogue Recording channels feature classic SSL feed-forward Channel Compressor circuit and two band SSL EQ with shelf and bell curves. It has two mono SuperAnalogue - Mic' Pre's taken from large-format duality and AWS consoles, offering phantom power, 75Hz HPF and independant line-level inputs.

SiX has a G Series Bus Compressor on the main mix bus. This uses the same circuit design as the legendary SSL Bus Compressor from our larger consoles but with a fixed ratio, attack, and release settings and a more modern quad-VCA chip. Easy to get that SSL glue and punch on your master bus. It has two mono channels with SSL SuperAnalogue - Mic' Pre's; these are transparent, fast and have a much wider available gain range than you would typically get on a compact desktop mixer - 66dB of gain compared to the more typical mid-40s or 50dB found in desktop mixers. They have phantom power, 75Hz high pass filter and an independent line-level input which can be switched to instrument level input with high impedance.

Moving down the channel strip we have a brand-new one knob compressor circuit. This design is based on and has the same sound as the classic SSL feed-forward Channel Compressor circuit. It has a program-dependent attack time, a fixed release time and fixed ratio. Simply adjust the threshold, watch the traffic lights flash to see how much compression is happening and rely on the circuit to automatically adjust gain to match input levels. This is a cool-sounding circuit that makes it simple to dial in a consistent level and get signals sitting right in the sweet spot.

Both mono channels have a new two-band SSL EQ that may be independently switched between shelf and bell curves, with different centre frequencies for each type. This approach draws upon the SSL design legacy of specifying response curves and centre frequencies for channel EQ that are immediately intuitively pleasing in their response; these curves and frequencies were selected by our team as the most "musically useful" for a wide range of sources.

SiX has 100mm faders. We spent some time working on alternate fader tapers and settled on a law that gave us the most control over the most useable gain range, making on-stage level control far easier than it would be with a rotary or a 60mm fader as found on other compact mixers. Each channel has a fully balanced insert point for integrating other signal processors which is after the EQ and Compressor circuits, and like all SSLs the insert send is always active - meaning you can use this as a "dry" record send to your DAW if required. At the bottom of the mono channels we have an ALTernate input switch which can source 2 extra mono channels from a connector on the rear of the console which can be used at mixdown.

SiX has two stereo input channels with -10/+20 dB trim for line sources such as synthesisers, drum machines, output from soundcards etc. These have their own balance controls and 100mm faders. If only the Left input of a stereo channel is connected (and the right left free) the channel will automatically switch to mono, panned centre. While SiX might be small it can handle a lot of inputs at mix-down! Using the two mono input and the two stereo input channels gives SiX its name, but we also have two stereo EXTernal inputs (with volume controls in the master section) which can be sent to the mix bus. Include the ALT inputs and we have up to 12 channels that can be summed into the main mix bus.

SiX has a collection of professional routing & monitoring features taken directly from our large format console heritage. It has two Stereo Cue buses (with level and pan controls) for individual artist foldback mixes. The Master Section has main and alternate monitor outputs with a proper monitor source matrix, as well as mono check, dim and cut. The fader channels all have proper PFL and a Mute button that routes the muted signal to a 'Bus B'. Bus B can be used as a convenient DAW record send but it can also be routed to the monitor matrix. This means that the muted signal can be monitored without it feeding the main mix bus and then switched in to the main mix with the Mute button - perfect for live webcasting because a remote feed can be monitored 'offline' and punched in to the broadcast feed. There is a talkback mic' input with phantom power and SSL's unique, crunchy Listen Mic Compressor, which of course also serves as a unique processing tool that delivers that classic 1980's slammed drums sound.

Notes: Introducing SSL 18 - a new era in rackmount production technology from Solid State Logic. Developed from our unmatched expertise in analogue and digital design, SSL 18 offers exceptional audio performance with a studio session-ready feature set, delivered with the signature SSL sound and premium quality that professionals trust. Whether you are recording, producing or mixing, SSL 18 enhances production workflows while elevating the performance of your creative space, it's the ultimate centrepiece for your studio. Welcome to a new era in rack mount interface performance.

Next-generation 32-bit/192 kHz converters provide the platform for SSL 18's analogue design to shine, with unrivalled dynamic range performance of 120 dB across all microphone, line-level and instrument inputs - capture your sources like never before. Experience 125 dB dynamic range on the monitor and line outputs to hear your music with uncompromised fidelity. Need to work on headphones? No problem, with the unbeatable 120 dB dynamic range on offer from the dual-headphone outputs.

SSL 18 features eight high-performance SSL-designed mic pre's, with switchable Mic/Line configuration. Leveraging our renowned engineering expertise, they deliver ultra-low noise recordings and a huge dynamic range, making sure you capture every detail of the performance with stunning accuracy. Their advanced 2-stage circuitry ensures ultra-low distortion while maintaining the natural character of the source - or flip them into Legacy 4K Mode to add real analogue saturation and the iconic 4000 series sound to vocals, drums, and more. What's more, in Line mode the mic preamp stage is completely bypassed - perfect for connecting external outboard gear. Located on the front of the unit, inputs 1 & 2 also offer instrument/Hi-Z inputs to capture DI'd guitars and vintage synths/drum machines.

SSL 18 comes equipped with ten balanced line-level outputs located on the rear of the unit. To ensure optimal signal integrity and maximise headroom, line outputs 1&2 and 3&4 can be configured between +9 and +24 dBu, providing seamless compatibility with a wide range of studio monitors and vintage equipment operating at lower levels. Outputs 3 to 10 operate at +24 dBu, perfect for integrating professional outboard equipment. For producers, all outputs are DC-coupled and capable of sending control voltage to synthesizers and modular rigs.

Custom headphone mixes with two independent headphone outputs, configurable for different types with 'Standard', 'High Sensitivity', and 'High Impedance' settings. SSL 18's headphone outputs can also be repurposed as line-level outputs for added flexibility.

SSL 18 features a full monitor controller section with built-in talkback input. Line outputs 1&2 and 3&4 offer alternative speaker switching with Alt and Cut accessible via the monitor controls located on the front panel. Alternatively, customise the monitor controls via SSL 360 and tailor them to your workflow. SSL 18 also features a dedicated talkback input channel that can operate in MIC or LINE mode. LINE mode is great for re-processing audio through the classic Listen Mic Compressor - crush drums, parallel vocals, and more.

The SSL 4000 series consoles (often referred to as '4K') are renowned for imparting a unique 'mojo' to sounds and instruments that pass through them. This mojo comes from multiple stages of harmonic distortion from compressor VCAs, VCA faders, and other crucial components such as the transistor mix amps. Using modern components, SSL has developed a circuit that distils the two essential characteristics of the 4K sound into a single design. Legacy 4K Analogue Enhancement injects a controlled amount of finely-tuned, sweet-sounding harmonic distortion and a 'forward' yet musical high-frequency EQ boost into the signal path, giving your sound the 4K mojo and presence that artists and engineers have loved for decades.

A host of digital audio connections means that SSL 18 is ready to expand your I/O count whenever you are, with an additional 16 channels via ADAT and a further two via S/PDIF. SSL 18's dedicated Word clock output provides rock-solid clocking for integrating external digital devices into your system.

The SSL 18 mixer offers comprehensive management of all inputs and outputs, as well as detailed, scalable input metering in SSL 360-. In the SSL 18 mixer you can create and manage the control room monitor mix, as well as configure up to four independent mixes for performers. In addition, a flexible Mirror Routing system allows you to route any input or aux master directly to an output - perfect for feeding personal monitoring systems, external metering and outboard FX. Create different templates for tracking, mixing and more, then save them as a profile in the SSL 18 mixer.

Designed by the same engineering teams behind the esteemed range of analogue and digital mixing consoles, SSL's rich heritage can be found throughout the design and feature set. SSL 18 is the only product in its category that is designed to properly integrate with professional outboard gear, thanks to the +24 dBu capable inputs and outputs.

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


Broadcast-ready update of ARS's flagship audiophile rotary mixer. Small design changes mean even better sound quality and improved cueing. Still hand built in Japan to the highest standards.

Supplier's Notes:
Model 9100B Music Mixer

4 channel table top mixer

Model 9100B (broadcast mixer) Music Mixer Wood TYPE (Headphone Monitor Trim: Cue-Mix-Pgm special version)

ARS Model 9100B DJ Mixer is a Japanese made, 4ch. rotary mixer with world's first 3band hybrid isoeq Hi-EQ Mid-EQ Low -Iso on each channel.

This 4 channel High Quality Rotary DJ Mixer has a 3 band Isolator on the master. Potentiometer and Switch are All ALPS .

A long time in the development phase this mixer is a beautiful example of Japanese hand made precision workmanship- highly recommended.

It is designed with purist ideals with only essential features.

ARS 9100 has 3 band hybrid iso-EQ hi-EQ mid-EQ low-iso on each channel and 3band Iso on the master.

The Master Isolators can be boost of cut from +18db ~ -8.

The Ch hi-EQ mid-EQ can boost or cut from +12db ~ -12db. LOW-ISO boost of cut from +6db ~ -8.

Each channel has Post Fader Send. also Return and Effect Loop.

* Due to the Model-9100 is designed for a professional use, The body is no power switch to avoid accidentally power off while playing.

* Minimizing the power noise by designing the All circuit board and the power circuit board independently and setting them apart.

Specifications
Frequency Response: +-1dB 20Hz-20Khz
Input: 3 x Phono: 47K Ohm / 5 x Line: 20K Ohm
House Output:RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Booth Output:RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Effect Loop: RCA Unbalanced Impedance 20K Ohm
Effect Loop Output: RCA Unbalanced Impedance 600 Ohm
Send Output: RCA Unbalanced Impedance 600 Ohm
Retrun: RCA Unbalanced Impedance 20K Ohm
Isolator Frequency Response:
3band hybrid isoeq 1-4Ch /Low-ISO /MID-EQ/HI-EQ
Master 3Band Iso: 10 - 300 Hz / 300 - 3000 Hz / 3000 - 20000Hz boost of cut from +18db ~ -8.

Headphone Monitor Trim: Cue-Mix-Pgm
Power Consumption: 25w
Power Requirement: US-115V/EU-230V(Selectable)
Dimensions: (W)306 x (H)250 x (D)100 mm
Front Panel Colour: Black

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


Future Retro's unique modern take on vector synthesis takes full advantage of an impressive hybrid synth engine. Digital oscillators, ring modulation and complex envelopes meet a multi-mode analogue filter with paraphonic capabilities. Quirky and flexible.

Supplier's Notes:
The Vectra is a unique hybrid synthesizer with a flexible architecture that allows many different forms of synthesis to be realized. It's the best of both worlds... The Vectra utilizes digital oscillators, ring modulators, noise sources, vector mixer, LFO's, complex envelopes, and modulation routings providing many capabilities that would be very difficult to produce with analogue circuitry alone. This allows for accurate tuning, repeatability of complex patches, and patch storage. The Vectra also provides a multi-mode analogue filter, VCA, and final output, as these provide the best sonic qualities.

The Vectra includes a powerful and fun sequencer and arpeggiator, with many new capabilities. Although the Vectra is a self contained instrument, MIDI can be used to interface with other devices.

The Vectra provides four oscillators, white and pink noise sources, four ring modulators, a four-channel mixer, five LFO's, six morphing envelopes, six primary multimode analogue filter types, a main analogue VCA, and numerous internal modulation routings and VCA's controlling modulation amounts.

It really is like having a powerful self-contained semi-modular synthesizer with approximately 500 internal signal routings, and around 256 storable sound parameters.

The synthesizer architecture is designed to allow the greatest flexibility in recreating multiple synthesis techniques of the past while introducing several new innovations. The sound section has been inspired by features of the greatest synthesizers ever made, while not focusing specifically on recreating any instrument in particular. The Vectra is in fact it's own unique self-contained instrument.

The oscillators are digital as this provides the highest degree of tuning stability, while allowing both virtual analogue and digital waveform generations. With features like oscillator Sync, PWM, the new waveform Phase Slice, and Fade features, independent glide times per oscillator, constant beat detuning, and paraphonic voice modes, not to mention FM, AM, ring-modulation, and dedicated LFO's, envelopes, and VCA's per oscillator really make these oscillators a power house.

The four-channel mixer is unique in that it provides an even balance when mixing multiple sources, either manually with the joystick, or applying automated vector mixing, or mixer modulation.


OSCILLATORS (1-4)
Frequency Range: <0.01 Hz to 20.00 kHz
Analogue Modelled Waveforms: Sine, Triangle, Sawtooth, Square, Pulse Width Modulated
Pulse Width Range: 1% to 99%
Pulse Width Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Digital Waveforms: 500
Number of Digital Waveforms per Oscillator: 2
Waveform Modulation Types: PWM, Slice, Fade
Waveform Start: 0 to 255 samples
Waveform Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Waveform Modulation Amount: 0 to 100
Octave Range: -7 to +5
Pitch Tuning: Semitones
Fine Tuning: 128 steps per semitone
Constant Beat Detuning: -/+5.00Hz
Paraphonic Modes: 8 total
Sync: Off/On, 0-360 degrees
Glide Time per Oscillator: 0ms to 14.7 seconds
Key Tracking: On/Off

OSCILLATOR FREQUENCY MODULATION (1-4)
Modulation 1 Source: LFO
Modulation 1 Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO,
Envelope
Modulation 2 Source: Envelope
Modulation 2 Control: Off, Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO,
Envelope

Modulation 3: Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, Filter LFO, Filter Envelope, Amplifier Envelope

Total Modulation Range: 0.5 to 10 octaves
Individual Modulation Amounts: -99 to 100

LFO (1-4, Filter)
Analog Modelled Waveforms: Sine, Triangle, Ramp, Sawtooth, Square, Random
Digital Waveforms: 500
Waveform Start: 0 to 255 samples
Initial Frequency Range: 0.001 to 1001Hz (greater with key tracking and modulations)
Fine Tuning: 128 steps per semitone
Key Tracking: On/Off
Sync: Off/On, 0-360 degrees
Frequency Modulation Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope, Filter LFO
Total Modulation Range: 1 to 10 octaves
Modulation Amount: -99 to 100

41

ENVELOPES (1-4, Filter, Amplifier)
Initial Envelope Stages: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/Loop
Modulated Envelope Stages: Delay, Attack, Hold, Decay, Sustain, Release, Repeat/Loop
Normal Envelope Contours: 5
One-Shot Envelope Contours: 4
Looping: On/Off with repeat time
Envelope Times per Stage: 0ms to 14.7 seconds
Sustain Level: 0 to 100%
Key Sync: on/off (retriggering)
Attack Reset: Off/On
Time Modulation Sources: Off, Random1, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y

MIXER
Channels: 4
Audio Sources:
Oscillator (1-4)
Oscillator (1-4) controlled by Envelope (1-4)
Oscillator (1-4) controlled by LFO (1-4)
Ring-Modulation of Osc 1&2, Osc 2&3, Osc 3&4, Osc 4&1
White-Noise
White-Noise controlled by Envelope (1-4)
Pink-Noise
Pink-Noise controlled by Envelope (1-4)
Mixer Types: Manual, Envelope, One-Shot, Key-Synced, Free-Running, Modulated
Automix X:Y Location Stages: 4
Automix Stage Times: 0ms to 14.7 seconds
Mod Mix X:Y Location Stages: 2
Mod Mix Control Sources: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y,
LFO, Envelope
Mod Mix Sources: Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO, Envelope,
Filter Envelope
Mod Mix Amount: 0 to 100
Output Gain: 1.00x to 5.00x

ANALOG FILTER
Primary Filter Types: 4p low-pass, 2p low-pass, 1p low-pass, 2p band-pass, 2p high-pass, 2p notch
Filter Frequency Range: approximately 20 Hz to 20 kHz
Resonance: 0 to 100
Key Tracking: Off/On
Modulation 1 Source: LFO
Modulation 1 Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO-4,
Filter Envelope
Modulation 2 Source: Envelope
Modulation 2 Control: Off, Randon1/2, Key1/2, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, LFO-4,
Envelope-4
Modulation 3: Randon1/2, Key1, Velocity, Aftertouch, Mod-Wheel, Stick X/Y, DC+, Mix-1, Mix-2,
Mix-3, Mix-4, LFO-1, Env-1, Amplifier Envelope
Individual Modulation Amounts: -99 to 100
42

ANALOGUE AMPLIFIER (see also Envelope parameters)
Additional Envelope Type: Drone

Envelope Amplitude Modulation Control: Off, Random1/2, Key1/2, Velocity, Aftertouch, Mod-
Wheel, Stick X/Y, LFO-4, Envelope-4

KEYBOARD / SEQUENCER
Keys: 29
Scales: 29
Linear Transpose: -12 to +16
Scale Transpose: -12 to +16 notes
Octave Reiterations: -3 to +3
Tempo: 10 to 250 BPM
Swing: 50% to 75%
Sequencer Modes: Play, Arpeggiate, Fill, Edit, Real-time, Auto
Max Steps per Sequence: 16
Sequencer Parts: Pitch, Velocity, Rhythm (Note-On/Off, Glide, Sustain)
Time Signatures: 1-4, 2-4, 3-4, 4-4, 6-4, 8-4
Directions: Down, Up/Down, Up, Random, (plus 25 complex directions)
Loop Point: 1 to 16 steps

MEMORY
Max Number of Sounds and Sequences: 999
Global Parameters Saved: Output level, MIDI Channel, Fine Tuning, Screen Saver Time, Last File

MIDI
Channels: 1-16
MIDI Messages Supported: Note-Pitch, Note-On/Off, Velocity, Aftertouch, Pitch-Bend, Mod-Wheel,
MIDI Sync: Clock, Start, Stop

OTHER
Input/output: 15V DC input, MIDI (IN/THRU/OUT), 1/4" unbalanced Audio Out
Unit Dimensions: (width) 18.25" x (depth) 11.0" x (height) 3.5"
Unit Weight: 5.0 lbs
Power: 15V DC (centre-pin positive) rated at 1 Amp current.

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

*** Firmware update- February 2025 ***

HapaxOS2.10

Squarp are very pleased with this version, which is both creative and packed with new features, as well as numerous bug fixes that make HAPAX more stable than ever.

Up to 16 pattern per tracks
Arranger fonction
Mix / mute performance mode
Pattern follow actions
Midi import / export
Multi track recording
Track latency compensation
STEP-INPUT REC mode (SH101 style)

Supplier's Notes:
Professional standalone sequencer

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

The midi powerhouse.

Up to a million notes and events

16 tracks per project, 8 patterns per track.

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

Express yourself.

MPE compatibility

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

Around the clock performance.
Dual-project architecture



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

Dawless is more.

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

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

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

Real-time midi effects.

Bring your synths to life

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

Powerful composition tools.

Algorithms

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

Hi-res recording

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

Time elasticity

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

Fluid editing

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

Harmony, simplified

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

Simple by design.

Trimmed to perfection

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

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

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

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

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

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

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

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

Notes: An evolution of the monophonic Typhon synth concept, the Artemis applies similar interface design to a six-voice analogue synth module with Sinevibes digital effects. Lots of power and typically classy Dreadbox sound.

Supplier's Notes:
Artemis is a unique analogue polysynth with a UI inspired by Dreadbox's award-winning Typhon synthesizer. It builds on Typhon's innovative concepts, adding six voices of polyphony, powerful modulation capabilities, stereo FX, voice spreading, and much more!

From classic polysynth tones to aggressive modern sounds and everything in between, Artemis has a wealth of raw synthesis and modulation capabilities to explore.

At its core, Artemis features a fully analogue architecture, based on the smart oscillator implementation found in both the Typhon and the Murmux Adept, allowing effortless transitions between multiple waveforms, mix settings, glide, FM, and more.

These VCOs are paired with Dreadbox's signature filter topology, offering classic 12dB or 24dB per octave low-pass modes, as well as a standalone resonant high-pass filter. The low-pass filter includes dedicated filter frequency FM control for dialling in edgier, modern tones.

Two multi-mode LFOs enhance the modulation possibilities: LFO 1 offers a unique fade-in parameter, while LFO 2 includes XMOD (cross-modulation) control for chaotic, brash textures. Each LFO has multiple waveforms and can modulate pitch, filter cutoff, VCO waveform, pulse width, and more.

This analogue powerhouse is complemented by a suite of world-class FX from Sinevibes, who previously collaborated with Dreadbox on Typhon's FX. With reverb, delay, modulation effects, master distortion, and more, Artemis delivers an extra dimension to your sounds.

Notes: SOLAR 42F is a unique experimental electro-music instrument, an analogue microtonal ambient drone machine. It will inspire you to find a new and spontaneous approach to composing music. It gives you the ability to create a multi-layered, massive sound. The instrument is oriented for live performances, creating film soundtracks, theatre soundtracks, atmospheric sounds, microtonal and background music.

It is an improved version of the older SOLAR 50 model. The instrument was inspired by early electronic musical instruments of the 1920s and 1950s, notably Leo Theremin's "Harmonium" instrument, as well as science fiction film soundtracks.

The new version of the Solar 42F has added a LIN/EXP CV switch, sub oscillators in volt octave voices and a band pass and stereo distortion mode to the filter. Other quality of life improvements include modified graphics - inputs have been labeled in black and outputs in red for convenience - bypasses for each channel of the effector and a LED indication in the joystick unit.

Notes: Part of Teenage Engineering's high-end Field series, the OP-XY is best seen as a pro groovebox, combining polyphonic synthesis, sampling and sequencing. More music-focussed than its OP-Z predecessor, the OP-XY represents a new flagship for TE.

Supplier's Notes:
No-compromise, dual-CPU boosted and fully rebuilt sequencer, sampler, and performance instrument, based on the much-loved workflow of the OP-Z. Now including built-in cv, effect sends, and a best-in-class DAC. with 8 individual instrument tracks and 8 auxiliary tracks for controlling any external synthesizer, modular or otherwise, and adding effects. It's probably the most complete, portable sequencer ever built. It's here. It's real. it's black.

And it's got so much more than you've wished for.

The exterior is all black, and matches the exact dimensions of OP-1 field. A distinct grayscale gradient is at its centre, making it clear that OP-XY is all about serious sequencing. Hands-on graphics on the high-resolution display are all grayscale, with a bright red to indicate recording and parameter locks. all vital keys have LEDs to stay in full control.

Experience the ultra fast sequencing workflow. Punch-in FX lets you add quick, rapid-firing, unique, live variations and adding individual step components creates an extra dimension and deep rhythmic patterns. randomize note timing, velocity and pitch, or use live automation to alter filters. Use brain to create chord progressions, generating tracks that reinvent themselves. Literally.

Run every track, independently, at different speeds and lengths to form powerful polyrhythms. create new sequences every time with step components, variations that can be added to any step on the sequencer, controlling everything from altering pitch to bending, skipping or even multiplying steps.

Main audio-out

Multi-out, featuring:
MIDI
CV/gate
Sync
Aux audio
MIDI IN
AUDIO IN
USB-C

The 2 Vrms main output drives any sound system, real loud. Keep everything locked in sync and sequenced with the multi-out and take control with MID IN. process and sample external audio with the audio-in. control, record and charge with the audio/midi host over USB-C, plus a complete wireless experience with midi over Bluetooth LE -keine bedingungen [no strings attached].

Compose your album, head off to the gig, plug and play immediately, then keep everything locked-in with all the I/O you could ask for. 16-hour, battery-powered freedom lets you perform for hours on-end. create, produce and perform anywhere. Mit allen bedingungen [all strings attached]

The bottom left side features a pressure sensitive pitchbend

Instrument tracks:

8 individually sequenceable instrument tracks
8 unique synth engines
3 samplers
independent send levels per track

Step components
14 unique step components for advanced step sequencing
Apply up to all 14 to every step screen
480 x 222px IPS TFT display

Patterns
9 patterns per track
up to 64 bars per pattern
spread across 4 pages
presets per pattern

Effects: reverb, delay, chorus, distortion, lo-fi, phaser

Hardware
Dual blackfin processing cores
Dual DDR memory
Triple-core dsp co-processor
2x controller MCU's for wireless & low power IO domain

Sensors: 6-axis IMU accelerometer

Microphone: immediate, high quality sampling with the built-in microphone.

Connectors: 3.5 mm stereo line-out with headset mic support
3.5 mm multi-out
3.5 mm midi in
3.5 mm stereo line-in

Tactile input
2 octave musical keyboard
68 ultra low profile mechanical buttons
Pressure sensitive pitch bend
4 x multi purpose grayscale encoders

USB
USB type C connector
USB MIDI host & device
USB audio host & device

Notes: No oscillators, 8 voice polyphony.

The Steampipe is a true physical modelling synthesizer developed in close collaboration with Dutch company 112.dB.

The Steampipe has no conventional oscillators. Instead, it mimics the way sound is created in wind instruments and it is fine-tuned to create a wide range of sounds - everything from wind instruments to strings, pipe organs, crazy effects and beyond. The Steampipe has three major sections - STEAM, PIPE and REVERBERATOR.

The STEAM section can be compared to the lungs and mouth of a musician. The generator creates the flow of air or "steam", the envelope in this section determines the force with which it is blown out. DC/noise is the noise you get when blowing out. DC/Noise on the Steampipe can also be replaced with an external audio source.

The PIPE section can be compared to a flute. In the pipe, the tune is formed. Push (in feedback) bounces the steam like it does in a flute and generates the tone. The delay box subsection changes the flute's tuning and shape.

The REVERBERATOR adds space and ambience to the sound.

The Steampipe is optimized for performance with wind MIDI controllers and it works great with any MIDI keyboard. The overtones the Steampipe produces are very organic and rich and it comes with great-sounding presets. The Steampipe is rather versatile and allows for nuanced sonic exploration, conjuring sonic imagery ranging from from wisps of cloud to fairground band organs, then to industrial horns of the railroad and finally, to massive, otherworldly ambiences.

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

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

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

Reworked, refined, reborn.

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

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

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

If it feels thinner, it is.

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

The back is warm, velcro and bass.

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

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

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

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

The Fireface UCX II is a highly integrated pro audio solution in an ultra-compact format. Designed for use in studio and live recording, the UCX II continues RME's tradition of producing powerful and flexible interfaces for the professional audio market, packing the kind of connectivity and features into a half-rack size unit that is often spread over two - or even three - 19 inch panels.

With up to 20 channels recording and 20 channels playback; RME's stellar SteadyClock FS digital clocking technology; high performance microphone inputs; TotalMix FX mixing and routing software (complete with Parametric EQ and Dynamics processing on every channel, plus Echo and Reverb sends); stand-alone hard disk recording to external USB hard drives or pen drives via 'DURec' (Direct USB Recording); MIDI I/O; a powerful headphone output; and full stand-alone operation, the Fireface UCX II excels with the highest feature to space ratio ever from an RME device.

Developed in time to celebrate the company's 25th anniversary, the RME Fireface UCX II represents the culmination and refinement of 25 years of digital audio innovation.

Throughout its 25 year history, RME has been fully committed to a principle of flexibility - the more flexible a product, the more easily it can be adapted to new requirements. For company founder Matthias Carstens, this lies at the heart of RME's success: "The Fireface UCX II makes us proud and enthusiastic as it represents a natural evolution of our product range."

"Boasting up to 20 recording and 20 playback channels, SteadyClock FS, high-performance microphone inputs, built-in parametric EQ, USB direct recording plus full stand-alone functionality, the brand-new Fireface UCX II truly represents the essence of freedom, flexibility, and passion. At present, no existing audio interface offers more connectivity and functionality in a half-rack package."

The Fireface UCX II houses two mic/line preamps in XLR combo configuration on the front panel, along with two digitally controlled line/instrument inputs, followed by a headphone jack, various control buttons, a display, and the main volume knob. At the rear is a set of ten analogue balanced line inputs and outputs, MIDI I/O, ADAT I/O, AES/EBU and SPDIF I/O, USB 2.0 as well as a switchable word clock I/O.

The RME Fireface UCX II is the first half-rack interface from RME to feature RME's Direct USB Recording (DURec) functionality. Previously only found on RME's Fireface UFX, UFX II and UFX+, any of the Fireface UCX II's input or output channels can be recorded directly to a USB storage device - in any combination, up to and including all 40 channels simultaneously - via the dedicated USB port found on the back panel of the device.

Powered by the integrated DSP, DURec also enables the Fireface UCX II to be used for standalone recording and playback (i.e. without the need for a computer). Suggested applications include creating instantaneous backups of studio, live and rehearsal recording - acting as a fail-safe against a computer hardware failure - as well as for strand-alone field recording, or for use in virtual soundchecks (using DURec for playback of a previous night's live show recording).

The Fireface UCX II also features a Class Compliant / Plug 'n' Play mode, enabling the interface to be used for high-quality, mulit-track recording with an Apple iPad, and providing iPad users with a full set of professional analogue I/O connections.

Additionally, the optional TotalMix FX for iPad app adds full control over the TotalMix hardware mixer, giving users the ability to create, store and load complete mixes directly from the iPad.

Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.

Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.

All of the Fireface UCX II's line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers.com formats) and other studio hardware.

General Specifications:

Power supply: external power supply
Typical power consumption: 13 Watts
Current at 12 Volt operating voltage: 910 mA (11 Watts)
Dimensions incl. rack ears, full depth (WxHxD): 265 x 44 x 155 mm (10.5" x 1.73" x 6.1")
Dimensions without rack ears, body depth (WxHxD): 215 x 44 x 130 mm (8.5" x 1.73" x 5.1")
Weight: 910 g ( 2.0 lbs)
Temperature range: +5- up to +50- Celsius (41- F up to 122-F)
Relative humidity: < 75%, non condensing

Notes: Broadcast-ready update of ARS's flagship audiophile rotary mixer. Small design changes mean even better sound quality and improved cueing. Still hand built in Japan to the highest standards.

Supplier's Notes:
Model 9100B Music Mixer

4 channel table top mixer

Model 9100B (broadcast mixer) Music Mixer Wood TYPE (Headphone Monitor Trim: Cue-Mix-Pgm special version)

ARS Model 9100B DJ Mixer is a Japanese made, 4ch. rotary mixer with world's first 3band hybrid isoeq Hi-EQ Mid-EQ Low -Iso on each channel.

This 4 channel High Quality Rotary DJ Mixer has a 3 band Isolator on the master. Potentiometer and Switch are All ALPS .

A long time in the development phase this mixer is a beautiful example of Japanese hand made precision workmanship- highly recommended.

It is designed with purist ideals with only essential features.

ARS 9100 has 3 band hybrid iso-EQ hi-EQ mid-EQ low-iso on each channel and 3band Iso on the master.

The Master Isolators can be boost of cut from +18db ~ -8.

The Ch hi-EQ mid-EQ can boost or cut from +12db ~ -12db. LOW-ISO boost of cut from +6db ~ -8.

Each channel has Post Fader Send. also Return and Effect Loop.

* Due to the Model-9100 is designed for a professional use, The body is no power switch to avoid accidentally power off while playing.

* Minimizing the power noise by designing the All circuit board and the power circuit board independently and setting them apart.

Specifications
Frequency Response: +-1dB 20Hz-20Khz
Input: 3 x Phono: 47K Ohm / 5 x Line: 20K Ohm
House Output:RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Booth Output:RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Effect Loop: RCA Unbalanced Impedance 20K Ohm
Effect Loop Output: RCA Unbalanced Impedance 600 Ohm
Send Output: RCA Unbalanced Impedance 600 Ohm
Retrun: RCA Unbalanced Impedance 20K Ohm
Isolator Frequency Response:
3band hybrid isoeq 1-4Ch /Low-ISO /MID-EQ/HI-EQ
Master 3Band Iso: 10 - 300 Hz / 300 - 3000 Hz / 3000 - 20000Hz boost of cut from +18db ~ -8.

Headphone Monitor Trim: Cue-Mix-Pgm
Power Consumption: 25w
Power Requirement: US-115V/EU-230V(Selectable)
Dimensions: (W)306 x (H)250 x (D)100 mm
Front Panel Colour: Black

Notes: *** Osmose 2.0 Firmware Update- August 2024 ***

What's New in Osmose 2.0?

Here's a quick overview of the new features:

Press Glide in External MIDI Mode
MPE Arpeggiator in External MIDI Mode
Preset Favourites & Playlists
2048 Preset Slots
Preset & Playlist Changes via Program Changes
New Soundbank Management System
and more!


Next-gen standalone expressive synthesizer. Add emotion & movement to your music with a simple touch.

Osmose is the new standard for musical expressivity. Use intuitive gestures to control this standalone synthesizer and upgrade your playing & production skills. Press, bend, shake, strum & more to interact with keyboards & electronic sounds in a new organic way. Whether you're a veteran keyboardist, a workflow-oriented producer, a daring sound designer, or anything in between, Osmose will take your musical journey to uncharted places.

Explore new ways to play

Behind the expressivity of Osmose lies a few natural gestures you already know well. Discover how they interact with Osmose and enhance your musicianship from the very first touch.

Design & build quality

Designed in France to stand the test of time and touring with style, Osmose is made of quality components and boasts a high repairability index.

A sound engine by Haken Audio

Made for expressivity by Haken Audio, the EaganMatrix sound engine is at home with FM, virtual analogue, and physical modeling synthesis, as well as everything in-between.

Fun to play

Easy-to-tweak presets, a playful interface, and an innovative keybed make for a fun & refreshing playing experience, for players of all levels.

Osmose's browser has been tailored to make it a hassle-free experience. It offers various filters and sub-filters based on both sound types and colours so you can find the sounds in your head quickly.

Main features:

49 Key MPE keyboard with polyphonic aftertouch
Full-size keys with 3-dimension MPE control
EaganMatrix sound engine by Haken Audio: a digital modular sandbox allowing subtractive, FM and different physical modeling synthesis
24 voices of polyphony
Assignable mod and pitch sliders
500 factory presets
128 user presets
Configuration modes: standalone synthesizer, MPE MIDI Controller, and classic MIDI Controller
Filters and sub-filters for browsing
Customisable sensitivity and velocity curves
Multi-mode MPE arpeggiator and innovative pressure glide feature
Digital stereo effects: select between reverb , mod delay, swept echo,analog echo or LPF and HPF delay
Large colour display
9 push encoders
2 Line outputs: Two 14" TS pseudo balanced line outputs
MIDI input, output, and MIDI-thru
USB MIDI
Separated 1/4" TRS headphone output on the front panel (with its dedicated volume knob)
2 continuous pedal inputs assignable to macro or sustain: 6.35 mm Jack
Power: External PSU with lockable connector, 12V, 1.5A, center positive
Dimensions (W x H x D): 894 x 316 x 87.5 mm / 35.2" x 12.4" x 3.4"
Weight: 8.3 kg / 18.4 lbs
Includes a software updater for new firmware and library versions
Includes a Mac/PC editor to create and edit sound

Notes: Top-of-the-range option from A&H, with a focus on pure analogue sound and ease of use. 4+2 channel design with four-band EQ, built-in soundcard and the brand's trademark Xone filters.

Supplier's notes:
Xone:96. The long-awaited follow-up to a genuine club classic.

A new, uncompromising analogue DJ mixer, destined to be the heart of your creativity, Xone:96 takes the legendary soul of the acclaimed Xone:92 and redelivers it, enhanced, and with state-of-the-art digital connectivity.

It's all here. The huge, detailed, space-shaking analogue sound that only Xone delivers. A refined, precision 4-band EQ. Unrivalled dual Xone:VCF filters with CRUNCH harmonic distortion. And a dual 32-bit USB soundcard (24 Channels @ 96kHz) with Traktor Scratch certification right out of the box.

Xone:96 lets you connect your whole rig, from laptops and turntables, to pedals, synths and drum machines.

Two dedicated FX sends, four stereo input channels (with 4-Band EQ), two stereo input channels with all new 3-Band Parametric EQ + two auxiliary stereo return channels. And a separate master insert for your outboard hardware.

Explore new possibilities with a familiar layout of beautifully tactile controls. And rely on the industrial build quality that exceeds the demands of relentless back-to-back performances, night after night.

Xone96: You mixed. We listened.

Notes: The legendary Alpha Base drum machine gets a major update. Sheer analogue power meets hybrid sampling options, now with improved visual feedback, better control and tweaked sound engines. Immense.

Supplier's Notes:
The ALPHA BASE Mk II is the successor of the already legendary ALPHA BASE.

What's new?

-Graphic OLED display
-Real RGB LEDs in the sequencer
-More buttons: Last Step, Roll/Flam, Store Kit/Patt, Rec Para and Rec Sample
-Analogue panning circuitry for the hybrid sample channels
-Improved analogue engine
-Noise volume is controllable in the hybrid sample channels
-More samples
-Headphone volume is independent from mix volume

It's true analogue. Eleven instruments, sequencer, Midi/USB/SD-Card. Samples. Sampling inputs, balanced individual outputs.

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

Kick Drum

The centre instrument still is the analogue kick drum which has gotten a facelifting again. The legendary punch and assertiveness of all Jomox kicks is convincingly continued. LFO, pitch envelope, metallic noise and gate time are famous features that may not and do not miss out.

MBrane
As a second analogue instrument, Jomox have put in a complete MBrane voice. It covers a gigantic spectrum of analogue snare drums, percussions, cow bells, claves, glasses, toms, bass drums etc. etc. It uses the technology of the Mod.Brane11. Of course, this instrument has 2 own LFOS, pitch envelopes and metallic noise as well.

Samples+Filter

The succeeding six instruments are built hybridly and consist of samples that are run through real analogue filters and VCAs. Each analogue sample channel has an own metallic noise that alternatively can be used as a signal source or being mixed to the sample.

With metallic noise only, it becomes a pure analogue instrument again. Four channels make use of a multimode filter that is capable of resonance - again they can be used as true analogue instruments with the self-oscillating filter as the only sound source if you wish.

Hi Hat

Two of these six channels are reserved for hi hats and make use of a proven and improved HH filter that was used in the XBASE 999 already. It is specialized for analogue hi hats and may conjure wonderful noisy hi hats from a sample mixed with metallic noise.

Clap, Rim, Crash, Ride

The succeeding four channels have each a resonateable 2-pole multimode filter that can be switched between LP, HP and BP. The filter cutoff can be modulated by an ADSR envelope and an LFO per instrument. If the filter is self-oscillating, one can create wonderful analogue toms, claves, sticks etc. by means of the VCA envelope behind. Or even extremely bend samples sonically. By principle, each of the four MM filter sample channels is a little synth voice of its own. A sampled synth bass run through the analogue filter is nearly indistinguishable from a real analogue synth.

X Sample 1+2

Moreover, there are two sample instruments that work purely digital. It's even possible that the Alpha Base can sample external audio on these channels for about max. 5 seconds. Which is more than enough for drum samples. The recorded sample can be stored on SD card or being copied to the internal flash memory and then being played back by the other sample channels. Samples can also be copied from SD card into flash memory. The format is RAW/WAV mono 16 Bit / 48kHz. The internal organization divides samples into fixed memory slots that can be addressed by the parameter sample select in the instruments. All samples can be pitched and modulated in a wide range. The sample start and stop can be edited and they are loopable as well. Modulation targets are: pitch, filter cutoff and volume. Each channel has an own LFO for that.

FM Synth

As a little digital gadget, a mini FM synth has been added. With 4 operators and maximum 6 voices it can create weird and crazy percussion sounds up to simple chords. Played over an external midi keyboard, it can be used as a polyphonic synth.

Effects

Two digital effects are on board: delay and reverb that act as send/return effects. Each of the analogue instrument outputs has an own A/D converter. The delay effect can also be inserted into the six hybrid sample channels and becomes then part of the sound production chain. The reverb can easily be killed by an encoder click but is indeed a great advantage for life performances with minimal equipment. Reverb times may reach to almost infinity, and the damping filters act quite extremely so that the reverb meets the requirement of modern electronic music and can be an essential part of sound.

Editing

For the editing of parameters there are 16 encoders arranged in a 4x4 matrix. Each instrument only addresses two pages by 16 values to make the editing as easy as possible, without deep menu cursors.

11 Instruments: Kick Drum, MBrane, Cl HiHat, Op HiHat, Clap, Rim Shot, Crash, Ride, X Sample 1, X Sample 2, FM Synth.
Real analogue Jomox kick drum.
Real analogue Jomox MBrane voice with 2 coupleable F-OSC for complex analogue snare, percussion, bass and tom sounds ranging from 16Hz to 20kHz.
2 sample based instruments with analogue VCA ADSR envelope and/or HH filter, optionally with metallic noise mixed as extra sound source. The HH filter is 2-pole, HP/LP/Res each separated parameters, peakable but not oscillating.
4 sample based instruments with analogue VCA ADSR envelope and/or resonating multimode filter (LP, HP, BP) with ADSR envelope, optionally with metallic noise mixed as extra sound source. The multimode filter can be used as a signal generator in order to generate analogue toms or sticks etc.
2 sample based instruments with external sampling input and pure digital playback.
1 FM synth with 4 operators and max. 6 voices for percussive sounds.
Effects delay, reverb with send per instrument, also insertable into analogue signal path on CH, OH, Clp, Rim, Ride.
LFOs: per instrument one LFO (MBrane 2 LFOs) with 64 wave forms, each assignable on pitch, VCA, filter cutoff.
500 samples 16 Bit/48kHz in internal flash memory.
SD card slot for loading of samples.
USB (Midi Device).
Midi In, Midi Out, Midi Thru.
Inputs: stereo in for sampling, FX or sidechain. Both inputs are Hi-Z and suitable for guitar/bass or work up to line level +20dBu.
Outputs: 8 individual balanced outputs, stereo mix balanced, headphones.
Output Level: max. ca.+14dBu unbalanced, +20dBu balanced on all outputs.
18 encoders
Input Volume, Phones Volume and Mix Volume are analogue potentiometers.
OLED Display 256x64px.
12V 2A DC external power supply.
Stable metal case.
Wooden side cheeks, rubber feet.
Size: 41cm (16.1") x 24cm (9.5") x 8cm (3.2") (back side).
Weight: ca. 3.3kg (7.26 lbs).

Notes: TERRA is a new SOMA Labs synth.

TERRA is a highly conceptual device. The core idea is unity of nature and technology, and a perfect balance between simplicity and versatility. Behind the extremely simple interface hides a complex polyphonic, microtonal synthesizer with a broad and flexible sound palette that ranges from classical beautiful tones to complex atonal noise, and offers smooth and fast transitions between these extremes.

The innovative keyboard design invites new playing techniques and covers the full range of a grand piano with the possibility to tune each note with an accuracy of 125 steps per semitone. To achieve this range with such a simple keyboard we designed a unique system of pitch shifting using four additional sensors. Pressing different combinations of them will result in 16 variations of keyboard transposing, including up to 3 octaves up and down, fifth, fourth, third, tone etc.

Not only do you get the full range of a grand piano in a very compact design, TERRA also offers an entirely new and different approach to playing melodies and chords.

The keyboard consists of 12-note sensors with velocity and pressure sensitivity allowing for the manual creation of slow attack and vibrato, 4 dynamic sensors for timbre modification and control, 4 pitch-shifting sensors and 2 hold sensors for holding the state of the timbre and note sensors.

Inside TERRA there is a three-axis motion sensor for creating a variety of different modulations by simple intuitive movements of your hands and body.

TERRA is digital and contains 32 complex synthesis algorithms. Each algorithm has been carefully designed to be a complete and flexible musical instrument on its own, ready for learning and playing in its own unique way. The goal is to free the musician from long exhausting programming, setting hundreds of parameters for creating one timbre, and instead putting the focus directly on music and performance and following your imagination and inspiration.

TERRA offers the best of both worlds: the direct intuitive tactile connection from acoustic instruments and the flexibility and versatility of synthesizers. TERRA inherits design principles from LYRA-8 and also contains application of the new principles that were announced for ReFLEX, exploring the future of synthesis.

TERRA has an extremely simple interface that gives you instant access to all its functions in several touches, including saving and loading the 96 presets that are stored directly on the playing sensors. TERRA has no display. Instead it shows and lets you dial all necessary data on the 6 LED-sensor triangle in the centre.

TERRA has a built-in FX processor so the stereo output is ready to use, making it a perfect stand-alone performance instrument. While the sound generation is digital, TERRA has a unique custom-built and top quality analogue part that makes it sound rich, natural, clear and powerful at the same time.

The housing of TERRA comes from a solid piece of wood, making each instrument unique and slightly different. In the photo above and in the announcement demo video you can see the prototype of the synth. The final design is in development and we intend to make several different versions.

TERRA is a sanctuary for a natural soul right in the middle of the rumbling plastic world, a ground where you can breathe in and out slowly, and hold on to your roots.

TERRA is our dream about a bright future where we will be both technologically advanced and more connected to nature, where machines and technology are not a prison for our feelings and spirit but their extension.

Synthesis algorithms: 32
Polyphony: 1-12 voices (depending on the algorithm)
Presets: 96
Pitch Shifter presets: 24
Line out: L, R TS/TRS 1/4-inch jacks / 6.35 mm jacks
Maximum line output signal: 13 V peak-to-peak
Nominal line output signal: ~1.5 V (volume 100%)
Headphone output: TRS 1/4 inch jack / 6.35 mm jacks
Headphones impedance: 6-64 ohm
CV-clock input voltage: 3-15 V
Power supply voltage: DC 12 V *
Consumption current: 0.2 A
DC jack: 5.5 x 2.1 mm, "+" in center
Dimensions: 405 x 365 x 57 mm
Weight: 2.2 kg
* TERRA comes with a high quality power supply . If it gets lost, use a high-quality modern switched-mode power supply with 12 V output voltage, at least 0.4 A maximum current, 5.5 x 2.1 mm DC jack, center "+".

What's included:

TERRA - 1 pc.
Power supply - 1 pc.
CV clock adapter (DIN5 - 3.5 mm mini-jack) - 1pc.
Short interface reference manual - 1 pc.
On-table mounting pads - 4 pcs.

Notes: SOLAR 42F is a unique experimental electro-music instrument, an analogue microtonal ambient drone machine. It will inspire you to find a new and spontaneous approach to composing music. It gives you the ability to create a multi-layered, massive sound. The instrument is oriented for live performances, creating film soundtracks, theatre soundtracks, atmospheric sounds, microtonal and background music.

It is an improved version of the older SOLAR 50 model. The instrument was inspired by early electronic musical instruments of the 1920s and 1950s, notably Leo Theremin's "Harmonium" instrument, as well as science fiction film soundtracks.

The new version of the Solar 42F has added a LIN/EXP CV switch, sub oscillators in volt octave voices and a band pass and stereo distortion mode to the filter. Other quality of life improvements include modified graphics - inputs have been labeled in black and outputs in red for convenience - bypasses for each channel of the effector and a LED indication in the joystick unit.

Notes: A thing of beauty. Teenage Engineering channel the vibes of vintage open-reel tape recorders mashed up with modern tech. A proper all-round recording solution, from voice memos to studio work.

Supplier's Notes:
There are thoughts, ideas and fragments that - for the sake of humanity - we need to record and be able to return to as a reference, as a seed for new thoughts or just to remember another time. TP-7 is built for just that, to record sound, music, interviews and important ideas with zero friction in the highest possible quality. A device engineered in every detail to do only one thing and to do it well. A dedicated piece of hardware for ideas, or just a dirty riff.

The ultra-portable audio recorder. Record and listen back using the internal mic and speaker, or use any number of the 3x two-way jacks for external mics, headsets or other signal sources. Multiple connectivity options include USB-C, MFi and Bluetooth. Instant voice-to-text transcription available via the IOS app. Included in the box: 6.35 mm jack adapter, textile USB-C cable, user guide and reusable plastic storage box.

Intuitive muscle reflex control.

TP-7 fits perfectly in the palm of your hand and lets your fingers naturally adopt the controls. The index finger triggers fast forward and the middle finger rewinds. Your thumb records a memo, the pinky selects the mode. It's a genuinely rewarding experience.

Tape reel sensation.

The centre piece of the TP-7 is the motorized tape reel. A delicately engineered brushed motor with ball bearings, and a highly sensitive hall sensor that lets you virtually grab your recording. the reel is also used for scrubbing, to pause, menu navigation and as gentle visual feedback during playback and recording.

The rocker.

The side-mounted rocker allows you to quickly scrub through your audio.
just press on the top edge to fast forward, and down to rewind. watch the wheel spin around and hear your tracks scrub in 'hyperspeed'.

Transcription hell turned into transcription heaven.

We've all experienced the process of transcribing recorded speech to text by hand. A key feature of the TP-7 is its ability to streamline the process of turning audio into text. simply connect your phone to TP-7 via BLE or USB, open the TP-7 app and press transcribe. Job done!

(* Additional languages, text-to-audio edit and other useful features will be added over time.)

Off the record.

Picture yourself in an interview situation. The reel on the TP-7 is spinning slowly, the bright red record lamp is lit. Both the reel and the lamp indicates that a recording is taking place. The interview is going quite well. The situation gets heated, you're suddenly asked some personal questions. In that moment, you gently place a finger on the reel and pause the recording, allowing you to continue the interview 'off the record'.

The importance of zero friction.
(or how to remove steps from thought to action.)

Let's compare TP-7 to the most common recorder today - the smartphone:
Once you've turned on and unlocked your phone, found the recording app and started recording, you've probably forgotten whatever you had in mind. When recording on TP-7: press the memo button and start talking.

Inputs, outputs and 20 years of ideas.

TP-7 features three stereo two-way jacks to be used as either inputs or outputs, for connecting external mics, headphones, studio monitors, or any other audio equipment like OP-1 field or TX-6, recording with all 6 stereo channels. Use USB-C for multi-channel audio interface, MIDI, data transfer and charging, and BLE and MFi for wireless connectivity. TP-7 also includes a 6.35 mm to 3.5 mm jack adapter. Add to that 128 GB of internal storage and you can preserve 5 minutes of ideas a day for 20 years..

Applications.

Interview

Let you, and your subject, focus on the job at hand. When conducting interviews, TP-7's discreet size and dedicated function makes for an unobtrusive recording device.

Podcast

Whether you're in the studio or out in the field, TP-7's high quality audio is perfect for podcast recording. Connect up to 3 external mics, or use the internal mic in a pinch. Keep an eye on your levels with the VU meter and headphones.

Voice memos

Think out loud, tape does the rest. Let TP-7 capture your thoughts, then convert them into accurate text using the TP-7 app. For professionals, and avid thinkers and writers.

Field recording

Inspiration can strike when you least expect it. With an internal mic, 3x inputs, and a 7 hr rechargeable battery, you can use tape to record samples and demos on the go. Never lose an idea again.

Live performance

Use TP-7 in a live performance or recording scenario. Track all the instruments in your studio, or record your live set when performing. You can even use TP-7 as turntables and TX-6 to mix.

The field system.

TP-7 is part of Teenage Engineering's ultra-portable sound recording and performance system. All battery-powered, rechargeable via USB-C and with full interconnectivity (MIDI and high resolution audio). Compatible with iOS, macOS, and windows it's the most powerful, highest quality, portable system in the world 'as we know it'.

TP-7 specifications

Highlights
3x stereo two-way jack input/output/headset connectors
1x stereo headphones connector with 3.5 to 6.35 mm jack adapter
Internal microphone and speaker
Motorised 'tape reel'
128 GB internal storage
24-bit/96 kHz usb audio interface
Bluetooth low energy
Rechargeable battery
7 hr battery life
64x32 pixel monochrome display
LED VU meters
Companion transcription app

Dimensions and weight
96 mm x 68 mm x 16 mm
170 g / 5.6 oz

Electrical characteristics
Two-way jacks (3.5 mm TRRS)

Stereo input:
Input impedance 9.5 kOhm
Analogue gain 0 - 42 dB
Max level 8 dBu (2 Vrms)
SNR 105 dBA

Headset:
Max level out 2 dBu (1 Vrms)
SNR 110 dBA
Microphone SNR 98 dBA

Headphone output (6.35 mm TRS)
Max level 8 dBu (2 Vrms)
SNR 120 dBA

Notes: Building on Supercritical's back catalogue, the Redshift provides a range of characters, based around the Demon Core Oscillator and Neutron Flux Filter. Six-voice analogue design with multitimbral options, MPE control and DSP effects.

Supplier's Notes:
Supercritical Synthesizers introduces their first desktop instrument, Redshift 6 - six voice analogue Variable Character Synthesizer

Supermassively dense analogue oscillator combined with a chameleon analogue filter with versatile gain staging. Now sixfold.

Redshift 6 combines technology from the company's previous products, the Demon Core Oscillator and the Neutron Flux Filter. Each of the six voices features a DCO with analogue waveforms generated under digital control. The filter core is an analogue 4-pole state variable filter also digitally controlled to act like almost any classic vintage synthesizer filter and more. In addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth - plenty of modulators, flexible voice routing, multitimbrality, MPE, and DSP effects.

Redshift 6's idea is something that is wrapped in the moniker "Variable Character Synthesizer". Each voice's analogue path regarding tuning, gain staging, filter, and more is under strict digital control. Redshift 6 has as lush and warm sweet spot inspired by the analogue polysynth tradition, but it can also cover the full range from almost digitally sterile and clean to distorted misbehaviour and beyond. No modelling here - it's all analogue until the bypassable stereo DSP effects processor.

The oscillator, already road-tested in the Demon Core Oscillator eurorack module, is featured in each of the six voices. The oscillator has multiple tricks up its sleeve, each one wrapped as an Engine for the user to choose between. Traditional twin oscillator engines, supersaw engines, flanging phase sync engines, and transistor organ engines are all powerful modes in user-friendly ways that are easily controllable and modulatable.

Redshift 6's six voices can be configured in plenty of ways. Choose between true six-voice polyphony, classic vintage poly dual layer mode with 3+3 voices, six individual voices each with their own patch and physical output, or any combination of the above. Each of the six voices can also operate as a paraphonic voice with up to 16 note paraphony. Additionally, multiple filters can be chained by routing audio from one voice to another.

The form factor of Redshift 6 is a modern, compact desktop device with a 2.7-inch colour screen. Menu diving is reduced to a minimum, with quick navigation via the shortcut button grid. A selection of familiar synth controls are featured on the front panel. A macro mode is included with six user-assignable controls. The back panel features main audio outputs with a DSP effects processor and four auxiliary voice outputs.

One of the major design principles of Redshift 6 is to have a versatile and capable analogue platform and a flexible UI for new Engines, easily updateable via software updates.

Supercritical Redshift 6 Desktop synthesizer module

Technical specifications

Six voices each featuring:
Full analogue signal chain
Digitally controlled analogue Supercritical Demon Core Oscillator
Analog four pole Variable Character Filter
Flexible gain staging with an analogue boost circuit
Physical audio output per voice (2 main outputs and 4 aux outputs)
Optional voice chaining
Bypassable digital effects in main outputs 1-2
2.7" TFT IPS colour screen with a bank of 8 endless clickable potentiometers and quick navigation via button grid
Quick powerful controls for oscillators and filters.
Six user-assignable macro controls
Six parts multitimbral
Modern MIDI implementation with USB-B connection and DIN IN/OUT
MPE
12V power supply
Physical dimensions: 378 mm x 254 mm x 63 mm

Notes: Class-leading performance from Genelec's compact monitors, packing huge power into a small footprint. 32 Hz - 25 kHz frequency response and 110 dB maximum SPL for true professional sound in a tiny package.

Supplier's Notes:
Nearfield monitoring with real muscle. The 8050B has power in abundance, making it ideally suited to larger spaces and longer listening distances.

Detail and transparency

The 8050B represents a class-leading balance of extraordinary SPL output, expansive dynamic range and an intensely detailed, transparent performance. With superb directivity and a wide sweet spot, you're free to move position and still trust what you're hearing.

Mixes that translate

With its neutral performance and ability to adapt to your room via simple rear-panel room compensation switches, the 8050B ensures a flat playback response to help you really analyse the spectral balance of a recording and produce mixes that always translate reliably.

Package contains:
1 x 8050B monitor
1 x mains cable 1,8 m
1 x operating manual

8050B Technical Specifications

SPL:
110 dB

Amplifier Power:
150 W Bass (Class AB) + 120 W Treble (Class AB)


Frequency Response:
32 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
+/- 2 dB (38 Hz - 20 kHz)

Driver Dimensions
o 205 mm Bass + o 25 mm Treble

Dimensions:
H 452 x W 286 x D 278 mm, with Iso-Pod (view in inches)

Weight:
14.4 kg / 31.7 lb

Connections:
1 x XLR Analog Input

Notes: One of the best synths money can buy. Hugely expressive PolyBrute engine expands to 12 voices with the same beguiling combination of FullTouch keyboard, Morphee control and ribbon strip. Immense

Supplier's Notes:
Unleashing the full power of PolyBrute

Continuing the legacy of its predecessor as one of the most powerful and expressive analogue synths ever made, PolyBrute 12 goes a step further.

A multi-faceted tool for musical expression, PolyBrute 12 lets you seamlessly evolve and control any parameters while playing. The input-perfect sensitivity of the keyboard, the bi-timbral morphing presets, the multi-axis Morphee controller, the Ribbon controller - all work in perfect harmony so you can breathe vitality and intricate dynamics into your sound.

PolyBrute's in-the-moment sonic display would not be possible without the raw energy of its Brute oscillators and dual enhanced classic filters. This, combined with its intuitive interface, elegant modulation Matrix and advanced software companion make PolyBrute 12 a synth for the ages - a matrimony of Brute force and human touch.

Full touch, full control

Discover a next-generation keybed and new aftertouch modes that bring you into a direct and tactile connection with your sound.

PolyBrute's patented FullTouch keyboard provides the exact position of every key across the entire range of movement. This not only allows for precise and dynamic aftertouch expression but it also puts versatility at PolyBrute's core - allowing you to go from regular playing modes to exceptional aftertouch and envelope control at the touch of a button.

You can also use PolyBrute 12 to control any MPE-compatible VST. If you don't have a MPE compatible DAW, you can still record expressively using MIDI 1.0, although at a lower resolution.

Mono Aftertouch

In this mode, the note is triggered by regular keyboard velocity and the classic aftertouch area corresponds to an assignable aftertouch signal, where all the voices receive the same level and amount of expression. Great for applying a unified modulation effect to a chord or phrase.

Morph between sonic worlds

Seamlessly blend from one patch to another and find that perfect middle ground

Each preset is made up of two sonic states, A & B. A dedicated Morph knob lets you seamlessly explore a continuum of sound between them. This, combined with the Morphee controller and PolyBrute's keyboard, paves the way for endless patch evolution and expressivity.

Analogue heart, seismic sound

PolyBrute's sound begins with two analogue VCOs sharing much of the same sonic architecture that has made the Brute family renowned.

Each oscillator generates sawtooth, triangle and square waves simultaneously, and you can mix between them to shape just the right signal source and timbre.

Dial in VCO 1's Metalizer wavefolding to escalate from pure to punchy. Bring in VCO 2's sub-oscillator to add an extra lower octave and some added rumble.

Dial in edgy FM effects by modulating VCO 1's frequency with VCO 2, or subtly alter a continuous range of harmonics with soft or hard sync.

1 VCF 1 Steiner

A 2-pole 12db/octave Steiner filter design with continuous sweepable slope types, as seen across the Brute range. The addition of the proprietary Brute Factor feedback control lets you add anything from subtle warmth to a electrified growl.

2 VCF 1 Ladder

Inspired by Dr. Bob Moog's legendary 4-pole 24db/octave ladder design. A low-pass classic, with added gain compensation and asymmetrical distortion to add upfront grit to your polyphonic patches.

Modern modulation sources

Modulation has always been essential in animating synth sounds.

PolyBrute weaves a web of envelopes and LFOs that's intricate and unpredictable in equal measure - a dynamic display of sonic motion.

Three Envelope Generators

PolyBrute's VCF and VCA have velocity-sensitive ADSR envelopes hardwired outside the Matrix for instant gratification. The third Envelope Generator features a delay stage (DADSR) and can be assigned to sculpt any Matrix modulation targets. Use the various repeat and loop modes to add complex movement to your patches.

Three Envelope Generators

PolyBrute's VCF and VCA have velocity-sensitive ADSR envelopes hardwired outside the Matrix for instant gratification. The third Envelope Generator features a delay stage (DADSR) and can be assigned to sculpt any Matrix modulation targets. Use the various repeat and loop modes to add complex movement to your patches.

Three LFOs

PolyBrute's three syncable LFOs span an extremely wide range - facilitating anything from beautiful evolving soundscapes to clangorous audio-range modulation. Options for waveshaping, polarity and retriggering let you take your sound way outside the box. Experiment with Matrix routing and tempo/MIDI sync for hyper-rhythmic effects.

Enter the matrix

The flexibility of modular patching combined with digital precision and analogue richness makes for a transcendent polysynth experience.

32 target parameters, 64 connections in total. Rearrange PolyBrute's signal chain with the touch of a single button. Dial in positive or negative amounts, intuitively assign one or more destinations via any relevant controls, instantly route PolyBrute's array of performance controllers and advanced modulation sources to influence just about anything in the instrument's chain - all without a convoluted array of wires.

But the Matrix doesn't just take care of PolyBrute's all-encompassing modulation routing - it's the centrepiece of every aspect of its architecture. In Presets mode, use the Matrix to select any of the 768 patch memory locations. Morph mode accesses advanced morph state editing. Sequencer mode transforms the Matrix into an intuitive visual pattern editor.

Main Features

61-keys with FullTouchr MPE Technology keyboard
Pitch Bend, Mod Wheel, Ribbon controllers
Morphee touch and pressure sensitive 3D controller
Osc and Noise Mixer with Filter routing
12dB/Oct Steiner Parker Filter

Continuous LP>Notch>HP>BP morphing
Cutoff, Resonance, Brute Factor

24dB/Oct Ladder Filter with Distortion
Three Envelopes
Looping capability
Two ADSR
One DADSR
Three stereo digital effects
Modulation FX : Chorus, Phaser, Flanger, Ring Modulation
Delay : 9 algorithms including BBD, Digital delay
Reverb : 9 algorithms including Hall, Plate, Spring, Shimmer
Distortions : Subtle Tape, Classic Distortion, Soft Clip, Worn Out Tape, Germanium, BitCrusher, DownSampler
Arpeggiator, Matrix Arpeggiator, Sequencer
Stereo audio output
2 expression and 1 sustain pedal inputs
Two Analogue VCO's
Saw
Triangle + Metalizer
Square + Pulse Width
Sub
Linear FM
Hard Sync
Noise Generator
Continuous tone from rumble noise to white noise
Three LFOs
LFO1 and LFO2 with waveform selection
LFO3 with waveform shaping using Shape and Symmetry
Rate control & Tempo Sync
Various retrig options
480 presets and 768 preset slots
12x32 Modulation Matrix
Notes, Accent, Slide per step
3 tracks of automation
MIDI and USB I/O + analogue clock I/O

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.

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

PolyBrute 12 Unit
Power Cord
User Manual
Registration Card

Instrument dimensions
Size : 38.3 x 17.1 x 6.1 inches (972 x 435 x 156mm)
Weight : 50.7lbs (23kg)

Notes: White fog version of Intellijel's brilliant Cascadia, one of our favourite synths of recent years. A huge range of semi-modular circuits combine to create a hands-on instrument with its own distinctive character.

Supplier's Notes:
A massive semi-modular system in a small case with the footprint of a laptop. Cascadia has MIDI in/out/thru/USB, Eurorack compatible signal levels and pro-level audio I/O to interface with the rest of your studio or get your studio started.

Modern Analogue Architecture

Cascadia is packed with a mix of classic East and West Coast synthesizer blocks. Normalized connections let you get straight to the sounds inside. Or, let your imagination run wild and patch any of the modules together however you choose. Make small tweaks to the architecture, or re-route the entire synth to your liking- the choice is yours!

Two Precision Analogue VCOs
VCO A is Thru-zero FM-ready with a dedicated Index VCA, Sub Oscillator, PWM and Soft/hard sync.
VCO B is a combo VCO/LFO with 4 simultaneous outputs
Six Channel Waveform Mixer
Two patchable (normalled) inputs
Noise generator with multiple algorithms.
Optional asymmetric soft clipping on the mix output.
Liquid-Sounding, Cascaded 4-Pole Multimode Filter
Eight Modes: LP1, LP2, LP4, BP2, BP4, HP4, NT2, Phazor.
Additional dedicated outputs for LP4 and HP4.
Input Level Knob for fine control of filter input and resonance balance and added drive.
Multiple FM inputs and a QM input, all with attenuators.

Wavefolder Circuit

West Coast-style parallel wavefolder.

Normalled into the auxiliary input on the VCA in parallel with the filter.

Dual Digital Envelopes

ENV A is a versatile east coast style ADSR / AHDSR envelope generator with a hold function and dynamic level/time control. Normalled to the VCA to instantly shape your sound.

ENV B is a complex, multimode function generator with a West Coast style AR/ASR/Cycling AR, a beat syncable LFO, Burst generator modes, and the Entropic Sequence Generator (added in 1.3). Normalled to the filter for instant FM without patching.

VCA A and Output Path

VCA A is a linear VCA with auxiliary input.
Global Output Mixer with overdrive circuit and bypassable asymmetric soft clipping.

Expansive Utilities Sections
Cascadia also features a whole host of utilities for getting the most out of your patches.

The Utility Row
Sample and hold circuit with white noise normalled to the input.

Slew/Envelope follower.
Attenuverter/Mixer with multiple outputs.

Triple triangle LFO with rate control, rate input and divided outputs.
Triple buffered multiple.

Precision adder.

Signal inverter.

Bi-polar > Unity level shifter.
Expression level control for modulation the TRS expression input on an FX pedal.

Ring Modulator.
VCA B / LPF (LPG) - Auxiliary VCA and 4-Pole Diode Ladder VCF combination for additional dynamics.

The Top Row
Easy to access Pitch, Gate, and Velocity CV inputs.
Pedal Send and Return FX loop with Wet/Dry control, phase inverter and Line/Pedal level switches.

Output Mixer with Overdrive.
Eurorack Level Main output with level control for interfacing with other modular gear.

The Outside world i MIDI, Pedal and Audio I/O
Cascadia is equipped with a ton of I/O to get it connected to the rest of your gear.

Rear Panel

1/4" Stereo Headphone jack.
1/4" Balanced Output Jack.
1/4" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
1/4" TS Pedal FX Send Return and 14" TRS Expression Out.
MIDI DIN In/Out/Thru and USB-MIDI all routed to the MIDI > CV Interface on the top panel.
MIDI > CV Interface
Deeper MIDI configuration is available with the Intelljel Config App. MPE Support has been added in v1.4 and supports the Ableton Live 12 Tuning systems. Dual Mono mode (added in 1.3) allows an additional channel to send it's own Pitch/Gate signal on the CC/MOD outputs. All modes support MIDI Portamento.

MIDI Pitch / Velocity Outputs and Learn Button
MIDI Gate / Trig Outputs
MIDI CC / Mod - Learnable and assignable to any CC or Channel Pressure
MIDI LFO - Multimode LFO synced with MIDI or Tap Clock
MIDI CLK - Dividable MIDI clock with alternate Tap Clock functionality.
Cascadia comes ready to play.
The normalization behind the panel allows for a ton of exploration without ever adding a patch cable; there is years of material to explore in Cascadia and years more when you start patching. Everything you need to get started is included: 14 assorted patch cables, USB-A to USB-C cable, and an international power supply.

Expand and Customize
In addition to additional patch cables, there are great additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage tray- great for an effects pedal or patch cables.

Specs

In the Box: Cascadia Semi-modular Synthesizer
14 Patch cables - 4×10cm, 4×15cm, 4×30cm, 2×45cm
USB-C to A cable
Intellijel cable tie
15V/1.2A AC Adaptor (Euro/American prongs included)

Height: 66mm (from rubber foot to top of knobs)
Width: 348mm (including wood end cheeks)
Depth: 246mm (front to rear jacks).
Power: 15V DC/1.0 A (minimum), centre-pin-positive.

Notes: The ARP 2600 is arguably the most iconic and recognizable synthesizer of all time. Having been used in countless records, film scores, TV shows and game soundtracks since its appearance from the 70's through to today, the ARP 2600's sound remains an essential part of the music world.

The new ARP 2600 M delivers the sound admired around the world, in a more compact and portable format and including added features that make it the ideal incarnation of this historic synth.

When the ARP 2600 FS was announced in January 2020, it quickly became a phenomenal success with musicians all over the world recognizing the faithfulness to the original ARP 2600.

The ARP 2600 M is around 60% the original size, making it lighter, more portable and easier to place and use in a studio. It integrates the same analogue circuitry and components as the ARP 2600 FS, thus faithfully reproducing the characteristic ARP sound.

The ARP 2600 M is built in Japan with the same care and extraordinary quality standard as the ARP 2600 FS, and uses the same analogue components to accurately reproduce the sound and feel of the original.

The Spring Reverb has been re-engineered and adapted to the new size body to the same lush effect.

The ARP 2600 M comes with a dedicated Carry Case that not only protects your instrument, but also makes it easier to transport, thanks to its custom casters with special anti-shock damping technology.

There is also enough space to carry other gear together, like your favourite volca, SQ-64 or MIDI controller!

It is not by chance that the ARP 2600 has been so extremely popular to this day.

More than a synthesizer, the ARP 2600 M is a complete sound design studio. Even today, the ARP 2600 stands as a bridge between the individual elements of modular synthesis and the immediacy of a production / performance instrument. Included are an ample supply of oscillators, envelopes, a filter and amplifier - all of the building blocks of analogue synthesis. But the ARP 2600 M goes even further, with a spring reverb tank and even a pair of built-in monitor speakers. Also present is much of the versatility of a vintage modular system, including a ring modulation, lag and voltage processors, an envelope follower, audio preamp, a clock-able switch, noise source, a sample-and-hold module, signal inverters, an auxiliary mixer, and even a set of parallel-wired/multi jacks.

The new ARP 2600 M is not only faithful to the original, it also includes an array of added features that will make it even easier to use:

Plug and play: Connect any class compliant MIDI controller such as a KORG microKeys, nanokeys or SQ-64 to one of the ARP 2600 M's USB ports (USB-A and USB-B) and automatically get full control of your instrument!

Resized: The new size makes it easier to visualize your patch and also allows you to use shorter patch cables

Filter Choice: Two types of filters from two versions of the original ARP 2600(4012 type, 4072 type)

More MIDI: 5-Pin DIN plug MIDI IN added

Modern Control: Pitch-bend, Modulation, Portamento ON/OFF and Portamento ON/OFF can be controlled through MIDI CC messages (USB/DIN MIDI)

Normalized voltage: The threshold of the trigger signal required to activate the ADSR through the S/H GATE JACK has been reduced from 10V to 5V, making it much easier to use in combination with other gear such as volcas or Eurorack modules

Tweaked Parameters: Improved Attack and Release time ratios

Easy Connections: L/R Stereo Output Jack (instead of XLR)

Speakers turn automatically off when using headphones- improved, smoother sliders

Celebrating the rebirth of this iconic synth, the first 1000 units will come with a special colour road case, as well as a KORG microKEY2-37 so you can start playing right away!

The ARP 2600 FS comes with a diverse variety of music software from Izotope including "Ozone Elements" which lets you not only create songs but also master them using AI, "Skoove" which will help you improve your keyboard playing skills, "Reason Lite" DAW software, as well as software synths from KORG and other brands.

In other words, the moment you get your hands on this synthesizer you'll have a variety of tools to help you take your music to the next level.

Notes: An excellent combination of West Coast and East Coast synth philosophies, the Implexus features a complex wave generator and wave folder, analogue low-pass filter and sinkable LFOs and stereo delay.

Supplier's Notes:
The IMPLEXUS is a hardware desktop synthesizer combining west - and east-coast synthesis techniques into a single formfactor. The IMPLEXUS uses analogue waveshaping, folding and audio rate modulation to create a immense range of sounds and textures!

The IMPLEXUS is a performance-oriented musical instrument which will inspire you to compose music and explore its unique soundscape. The IMPLEXUS has a carefully designed analogue signal path with many unique ways to create intriguing sounds. The many sound shaping methods and modulation possibilities help you to create west-coast style harmonically rich sounds as well as thick east-coast analogue sounds.

The IMPLEXUS has a powerful "one-knob-per-function" interface with graphical feedback, utilizing LED rings to indicate modulators. The drone mode, tap tempo and looping envelopes let you explore the IMPLEXUS as a standalone sound generator. The MIDI and Eurorack compatibility and clock synchronisation options make sure it can be played in every setting. The IMPLEXUS is built to last. It has metal shaft potentiometers, an aluminium casing with scratch and solvent resistant graphics and an internal power supply (no adapter!). The IMPLEXUS is a characteristic, unique and complete musical instrument.

"West-Coast"

The characteristic sound of the IMPLEXUS comes from shaping and folding a sinewave, resulting in a complex waveform. The shaping and folding can be modulated at audio-rate in a single knob turn utilizing the second generator. Instead of subtracting you will be adding harmonics. After tweaking for a while you will be surprised to find out you didn't touch the filter... yet.

Unique filter design

The IMPLEXUS offers a 12dB/oct VCF with a unique analogue topology. This filter offers a lowpass and highpass mode. For cutoff modulation there is an envelope amount control with polarizer and a CV input on the back of the IMPLEXUS. There is an input mixer that has amplitude control over three inputs: complex generator, basic generator and the sub-oscillator.

Syncable delay

The IMPLEXUS has a stereo digital delay with dry/wet, delay-time and feedback control. There is a subtle modulation difference between the left and right channels to create a wide stereo image.
The delay can be synchronized to MIDI and external (modular) clock sources. Also the delay can be synchronized to Tap Tempo. For clock synchronization there are five divisions: 1/1 3/4 1/2 1/3 1/4.

Global pitch controls

The IMPLEXUS has a global pitch control section offering control over glide rate and pitch envelope amount. There is a dedicated vibrato LFO with manual control over amount and frequency.

Syncable LFO's

The IMPLEXUS has two LFO's with a variety of waveforms and multiple modulation destinations. The LFO's offer a wide range of 0.01 - 100Hz and can be BPM synced to MIDI and external clock. The LFO's can also be synchronized to Tap Tempo and can even be set in five different divisions.

Connections

The IMPLEXUS offers a 1/4" stereo balanced output. In addition to that there is a stereo headphone output with dedicated volume control.
There is standard MIDI input and thru over DIN and USB. Also there is a eurorack compatible patchbay on the back. This extends the sound and modulation possibilities of the IMPLEXUS even more!

Built in VCO tuner

There is a strobe tuner with 3 LED's on board, which lets you tune both the Complex and the Basic generator to a perfect "A" within just a couple of seconds.

A unique project by a small company

Majella Audio is a small company, and because of that, Majella Audio do most of the design and development themselves. The amount of hard work and effort that went into this project is what makes the IMPLEXUS a unique piece of gear with outstanding build quality. Majella Audio have created a few "How its made" videos to give you an insight into the design and development of the IMPLEXUS, which are viewable on their web page.

Features/specifications

Generators
Analog Complex Generator consisting of a waveshaper cascaded by a wavefolder to create Complex Waveforms
Analog Basic Generator
Sub-Ocscillator one octave below Complex Generator
Dedicated octave switches with 6 octave settings
Pitch modulation sources: Envelope, Vibrato, Glide, Pitchbend, External 1V/oct (CV)
Cross modulation: Linear FM, Folding, Folder DC Bias

Filter:
Analog VCF
12dB/oct Slope
Switchable Low-pass/High-pass
Mod Envelope to Cutoff with attenuverter
External CV for Cutoff
3x audio input from the Generators

2x LFO section:
Accurate digital waveform generation
5 waveform shapes: Random, Square, Sine, Ramp, Saw
Syncable from all clocking sources or "Free" running
Frequency range: 0.01 Hz-100 Hz
Clock divider options: 1/4 | 3/16 | 1/8 | 1/3 | 1/16
Destinations options LFO 1: Bias, Folder, Harmonics,
Destinations options LFO 2: Bias, Folder

2x Analog Envelope Generators:
1x Modulation EG and 1x Amplitude EG
Attack, Decay, Sustain, Release controls
Velocity amount per Envelope
MOD EG is Loopable as AD-LFO triggered by gate
MOD EG Destinations: Filter Cutoff, Harmonics, Folding, Global pitch
AMP EG has 'DRONE" mode for instant sound generation

Delay FX:
Digital Audio Delay with Analog Dry/Wet mixing
Maximum delay time: 1 second
Syncable delay time from all clocking sources
Clock divider options: 1/4 | 3/16 | 1/8 | 1/3 | 1/16

Performance Features:
"One Knob Per Function" philosophy
LED ring indicators for visual feedback and easy understanding of CV signal routing
Guitar Style Tuner for Basic and Complex Generator making it easy to tune the IMPLEXUS
Drone mode for instant sound without any external gear necessary

Physical:
2mm thick solid aluminium casing
Graphics are underneath the anodisation layer and thus scratch and solvent resistant
Handcrafted wooden side panels made from regional oak
All metal shaft potentiometers
High quality switches and connectors (Neutrik)
Internal power supply (AC Input 100-240 VAC)
No adapters needed
Dimensions: W 345 mm x D 206 mm x H 75 mm
Weight: ca. 3kg
Serial number plate

Connectivity:
External CV inputs: Pitch (1V/oct), Gate, Velocity, Folding, Harmonics, Bias, VCF cutoff
External CV outputs: Complex generator, Basic Generator, Clock output
MIDI IN over USB
MIDI IN over DIN
MIDI thru over DIN
1/4" TRS Balanced line outputs
1/4" Dedicated stereo heaphone amp

Clocking options:
External Modular/Eurorack Clock (automatic detection)
MIDI clock via DIN or USB (automatic detection)
Tap Tempo

Global Controls:
Master Volume
Headphone Volume
MIDI Channel selection

Notes: Combining vintage sound with modern features, the S2400 draws heavily on the iconic Emu SP1200 to create a new instrument with a distinctive character. One of the best samplers money can buy.

Supplier's Notes:
A legend, reborn.

The S2400 is nothing short of a passion project. Along with a small team of talented Software Engineers, CAD Engineers and revered artists, Isla Instruments have developed a future classic.

The S2400 is a passion project - to recreate the sound of one of the world's most iconic sampling drum machines, and bring it up-to-date with modern features. The result is the very best of old school and new school technology coming together.

Brad has been obsessed with drum machines for many years - owning, repairing, restoring, modifying countless makes and models (see his HR-16 mods on YouTube).

Staying true to form in both sonic characteristics and design aesthetic were the main drivers in the realisation of this project, while bringing the hardware into the 21st Century and keeping the same 'instant gratification' and intuitiveness of its spiritual pre-predecessor at heart.

A machine built for the now and the future.

S2400 Specifications

Sampler / Audio:
16-Bit 48Khz 'Hi-Fi' Sampling/Playback Engine
12-Bit 26Khz 'Classic' Sampling/Playback Engine
Engine type assignable to each of the 32 sample slots
Sample up to 21.5 minutes per slot (Classic / Mono),
5.5 minutes (Hi-Fi / Stereo)
Simultaneous (Full Duplex) playback and record with 8 channel LiveLooping functionality.
On-screen waveform display (slice audio, set loop-points with ease)
128 MB of built-in factory drum kits (from some of our featured beta team)
Independent Headphone output for monitoring (effectively 2 extra channels)
DSP based LP/HP Filtering per track (more FX planned for future)

Sequencer:
Multiple sequence entry methods: Live recording, Step Sequence, Piano Roll GUI, TR x0x Style
32 Stereo Audio Tracks w/ 16 Voice polyphony
32 MIDI Tracks (for sequencing external equipment)
96 PPQN Clock
Per track quantization and swing (including classic mode)
Patterns are up to 100 measures, any time signature
All parameters (level, pitch, envelope, filters) configurable per pattern step
Song mode

Hardware

Bright 128 × 64 pixel OLED display (viewable from any angle)
Ultra High quality Grayhill Optical Data Entry Encoder
8 x 60mm Professional Dual Rail Faders
8 x Dual 'concentric' Pro-Audio rotary pots
Broadcast Equipment grade A/V backlit pushbutton switches
Tactile silicone pads backlit with RGB LEDs
SD Card storage (up to 1TB currently tested)
Classic (OG) input and output analogue filtering circuitry.

I/O

MIDI In/Out/Thru (Standard 5-pin DIN)
2 × 1/4" Stereo Mix Out jacks (psuedo balanced)
8 × 1/4" Individual audio out jacks (psuedo balanced)
4 × 1/4" External input jacks (with adjustable pre-amp modes)
2 × Stereo RCA Line/Phono Inputs (with dual phono pre-amps)
Hi-speed USB 2.0 device port. (USB Audio/MIDI)
USB Host port (connect external USB peripherals, MIDI controllers etc).
3.5mm Clock/trigger in and out jacks (to sync/trigger vintage equipment or modular synths)
Universal Voltage100-250V AC Mains powered.

Physical

Rock Solid 16Ga Cold Rolled Steel enclosure with 6mm Anodised aluminium sidewalls.
Aluminium knobs
Dimensions: (Including knobs, jacks, feet)
Imperial: W18" x D12" x H5" (back) 3" (front)
Metric: W460mm x D310mm x H130mm (back) 80mm (front)
Weight: approximately 13lbs / 6Kgs (metric)

*** Please note: This product does not come with the three-pin PSU UK kettle leads required, please purchase separately. ***

Notes: One of the most trustworthy brands in the industry delivers another winner. Proper high-end business, with 12 analogue inputs and 12 outputs, plus an extensive array of digital connections. Great value at this price point.

Supplier's Notes:
Next-gen 28 x 32 USB3 audio interface - Builds on 22 years of proven success as an industry-leading audio interface brand.

New 3.9-inch TFT display - The bright, 24-bit RGB LCD provides 480 x 128 pixel high-resolution metering for all analogue and digital I/O, plus detailed status info and access to hardware settings from a simple and convenient menu.

Superb analogue audio quality and high-end converters - Renowned ESS Sabre32 DAC technology delivers 125 dB dynamic range. Support for all standard sample rates up to 192 kHz.

Ultra-low latency and proven, high-performance MOTU drivers - Round-trip latency (RTL) performance as low as 2 ms at 96kHz with high-performance DAW hosts.

Universal connectivity - Connects to your computer with 5 Gbps USB3 (compatible with USB2) for up to 60 audio channels. Class-compliant firmware and industry standard drivers work with any audio apps. Connects to an iPad™ with USB-C or a Lightning adapter kit (sold separately).

60 simultaneous audio channels - 28 inputs and 32 outputs, including two combo XLR/TRS mic/line/hi-Z guitar inputs with send/return inserts, 8 TRS analogue (line-level) in/out, separate main outs on XLR jacks, two banks of 8-channel optical I/O, stereo RCA S/PDIF digital I/O, and two front-panel headphone outputs.

Advanced mic channels - Cutting-edge components deliver ultra-transparent sound with -114 dB THD+N, 118 dB dynamic range and -129 dBu EIN. Each mic channel provides individual controls for +74 dB of preamp gain, -20 dB pad, 48V phantom power, and phase invert. All settings can be controlled remotely from a computer or iOS device. Each mic channel includes a dedicated send/return insert for outboard gear processing.

Flexible insert returns - When nothing is connected to the front-panel mic inputs, the two rear-panel returns function as additional line inputs with identical signal path characteristics as the other eight line inputs.

DSP mixing and effects processing - Flexible 24-input digital mixer with 8 stereo busses and DSP effects, including reverb, 4-band EQ, gate and compression.

Wi-Fi control - If the 828 is connected to a computer on your Wi-Fi network, you can control everything wirelessly from the CueMix 5 app running on mobile devices or other computers on the same network - even multiple devices at the same time. Manage access to the 828 with network discovery and password protection.

Precision boost/trim for analogue I/O - Calibrate analogue input and output signals in precise 1 dB increments. Apply phase invert individually to analogue inputs.

Control room features - Control your sessions with front-panel "talk" button and "A/B" speaker select buttons to quickly compare your mixes on two sets of studio monitors.

Two flexible headphone outputs - With independent volume control, each headphone output can mirror each other, the Main Outs, any other analogue output pair, any CueMix bus, or any USB output channels. Or you can create a completely customized mix for each headphone that includes live 828 inputs and built-in reverb.

Two banks of optical I/O - Connect outboard digital processors, digital mixers or other gear with 16 channels of ADAT at 44.1/48 kHz or 8 channels of SMUX at 88.2/96 kHz. Bank A can optionally provide stereo TOSLink (optical S/PDIF) I/O up to 96 kHz.

Foot switch input - Connect a standard foot pedal switch (sold separately) for hands-free punch-in and punch-out while recording. Or map the pedal to any keystroke function in your host software.

MIDI in/out/thru - connect MIDI gear without the need for a separate MIDI interface.

Word clock in/out/thru - Supports all sample rates up to 192 kHz.

DC-coupled TRS outputs - Use the 828 to manipulate and sequence voltage-controlled modular synthesizers from a host DAW.

Loopback for live streaming and podcasting - Easily route computer output back to the computer, where you can mix it with live mics and/or guitar inputs from the 828 in your host software for live streaming or podcasting.

Guitar re-amping - Connect your guitar to the front-panel input, use CueMix's near-zero latency to loop to any output (with a re-amp adapter, if needed), and record both the dry signal and your mic'd up amp simultaneously. Then re-amp the dry signal later with different amps and cabs - or amp modelling plug-ins - to experiment with different tones.

CueMix 5 app - Control mixing and settings from your Mac, PC or iOS device.

Performer Lite - Workstation software with over 100 included instruments, dozens of effects and 6 GB of included loops to make music right away. Also includes Ableton Live Lite.

Next-gen 28 x 32 USB3 audio interface with DSP, mixing and effects
New 3.9-inch 24-bit RGB LCD with precision metering for all I/O
Superb analogue audio performance driven by ESS Sabre32 Ultra™ DAC Technology
Ultra-low latency and proven, high-performance MOTU drivers (~2 ms RTL with a 32 sample buffer @ 96 kHz)
Universal connectivity with 5 Gbps USB

Technical Specifications
Sample rates: 44.1, 48, 88.2, 96, 176.4, 192 kHz

Mic/line/instr inputs
2 x XLR/TRS "combo" jacks
Individual -20 dB pad and 48V phantom power
Preamp gain: +74 dB in 1 dB increments
1 MO impedance on the line/instr inputs
Independent balanced send/return inserts

Analogue inputs
8 x 1/4-inch TRS line in (balanced/unbalanced)
2 x 1/4-inch insert returns function as balanced TRS line inputs (with no mic inputs connected)
Max level: +21 dBu
+20 dB digital gain on each input

Analogue outputs
8 x 1/4-inch TRS line out (balanced, DC coupled)
2 x male XLR out
Max level: +21 dBu
2 x 1/4-inch TRS stereo headphone
2 x 1/4-inch TRS sends (balanced, pre-converter)

Digital I/O
2 banks (16 ch) of ADAT optical I/O at 1x sample rates
2 banks (8 ch) of S/MUX optical I/O at 2x sample rates
Bank A switchable to stereo TOSLink I/O (optical S/PDIF)
1 x stereo S/PDIF I/O on RCA (up to 96 kHz)

Computer I/O
1 x USB-C 3.2 Gen 1 (5 Gbps) Type C - USB2 compatible USB audio class compliant (no driver needed)
1 x IF-certified USB 3.2 Gen 1 Type C-to-C cable included
Compatible with USB Type A (with a C-to-A cable, sold separately)
Total USB audio channels: see "Total Audio I/O" below
Round Trip Latency (RTL): ~2 ms (32 sample buffer at 96K)

Total audio I/O
28 in / 32 out (60 total channels) at 1x sample rates
20 in / 24 out (44 total channels) at 2x sample rates
10 in / 14 out (24 total channels) at 4x sample rates

MIDI I/O
1 x MIDI In
1 x MIDI Out/Thru
16 MIDI channels to/from computer host

Headphone
2 x 1/4-inch TRS stereo headphones
Output impedance: <1O
Max output: 14.4 dBu

Phantom power: 2 x individual +48V

Foot Switch
1 x 1/4-inch foot switch input
Mapping: pedal up/down to any host keystrokes

Sync I/O
1 x BNC Word Clock In
1 x BNC Word Clock Out/Thru
Sample rates: all (from 44.1 to 192 kHz)

Front panel
2 x XLR/TRS combo inputs
2 x 1/4" TRS headphone outputs
2 x potentiometer - headphone volume
2 x potentiometer - mic/instr input gain
1 x potentiometer - menu navigation
1 x large potentiometer - main volume
12 x switches - (2) 48V, (2) pad, (6) control room, (2) nav
1 x 3.9-inch 480 x 128 pixel 24-bit RGB TFT display
1 x latching power button

Power
Internal 100-240V autoswitching supply
50-60 Hz - 0.5A max

Dimensions and weight
(width x depth x height, enclosure only)
19 x 12.25 x 1.75 inches / 48.26 x 31.1 x 4.44 cm
11 lbs / 5 kgs

Notes: The kind of instrument Soma Labs do so well: weird but wonderful. Based around 32 complex digital synth algorithms and 12 note velocity- and pressure-sensitive sensors, transposition techniques allow you to play the full range of a grand piano.

Supplier's Notes:
TERRA is a new SOMA Labs synth.

TERRA is a highly conceptual device. The core idea is unity of nature and technology, and a perfect balance between simplicity and versatility. Behind the extremely simple interface hides a complex polyphonic, microtonal synthesizer with a broad and flexible sound palette that ranges from classical beautiful tones to complex atonal noise, and offers smooth and fast transitions between these extremes.

The innovative keyboard design invites new playing techniques and covers the full range of a grand piano with the possibility to tune each note with an accuracy of 125 steps per semitone. To achieve this range with such a simple keyboard we designed a unique system of pitch shifting using four additional sensors. Pressing different combinations of them will result in 16 variations of keyboard transposing, including up to 3 octaves up and down, fifth, fourth, third, tone etc.

Not only do you get the full range of a grand piano in a very compact design, TERRA also offers an entirely new and different approach to playing melodies and chords.

The keyboard consists of 12-note sensors with velocity and pressure sensitivity allowing for the manual creation of slow attack and vibrato, 4 dynamic sensors for timbre modification and control, 4 pitch-shifting sensors and 2 hold sensors for holding the state of the timbre and note sensors.

Inside TERRA there is a three-axis motion sensor for creating a variety of different modulations by simple intuitive movements of your hands and body.

TERRA is digital and contains 32 complex synthesis algorithms. Each algorithm has been carefully designed to be a complete and flexible musical instrument on its own, ready for learning and playing in its own unique way. The goal is to free the musician from long exhausting programming, setting hundreds of parameters for creating one timbre, and instead putting the focus directly on music and performance and following your imagination and inspiration.

TERRA offers the best of both worlds: the direct intuitive tactile connection from acoustic instruments and the flexibility and versatility of synthesizers. TERRA inherits design principles from LYRA-8 and also contains application of the new principles that were announced for ReFLEX, exploring the future of synthesis.

TERRA has an extremely simple interface that gives you instant access to all its functions in several touches, including saving and loading the 96 presets that are stored directly on the playing sensors. TERRA has no display. Instead it shows and lets you dial all necessary data on the 6 LED-sensor triangle in the centre.

TERRA has a built-in FX processor so the stereo output is ready to use, making it a perfect stand-alone performance instrument. While the sound generation is digital, TERRA has a unique custom-built and top quality analogue part that makes it sound rich, natural, clear and powerful at the same time.

The housing of TERRA comes from a solid piece of wood, making each instrument unique and slightly different. In the photo above and in the announcement demo video you can see the prototype of the synth. The final design is in development and we intend to make several different versions.

TERRA is a sanctuary for a natural soul right in the middle of the rumbling plastic world, a ground where you can breathe in and out slowly, and hold on to your roots.

TERRA is our dream about a bright future where we will be both technologically advanced and more connected to nature, where machines and technology are not a prison for our feelings and spirit but their extension.

Synthesis algorithms: 32
Polyphony: 1-12 voices (depending on the algorithm)
Presets: 96
Pitch Shifter presets: 24
Line out: L, R TS/TRS 1/4-inch jacks / 6.35 mm jacks
Maximum line output signal: 13 V peak-to-peak
Nominal line output signal: ~1.5 V (volume 100%)
Headphone output: TRS 1/4 inch jack / 6.35 mm jacks
Headphones impedance: 6-64 ohm
CV-clock input voltage: 3-15 V
Power supply voltage: DC 12 V *
Consumption current: 0.2 A
DC jack: 5.5 x 2.1 mm, "+" in center
Dimensions: 405 x 365 x 57 mm
Weight: 2.2 kg
* TERRA comes with a high quality power supply . If it gets lost, use a high-quality modern switched-mode power supply with 12 V output voltage, at least 0.4 A maximum current, 5.5 x 2.1 mm DC jack, center "+".

What's included:

TERRA - 1 pc.
Power supply - 1 pc.
CV clock adapter (DIN5 - 3.5 mm mini-jack) - 1pc.
Short interface reference manual - 1 pc.
On-table mounting pads - 4 pcs.

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


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

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

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

Reworked, refined, reborn.

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

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

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

If it feels thinner, it is.

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

The back is warm, velcro and bass.

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

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

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

Notes: A massive semi-modular system in a small case with the footprint of a laptop. Cascadia has MIDI in/out/thru/USB, Eurorack compatible signal levels and pro-level audio I/O to interface with the rest of your studio or get your studio started.

Modern Analogue Architecture

Cascadia is packed with a mix of classic East and West Coast synthesizer blocks. Normalized connections let you get straight to the sounds inside. Or, let your imagination run wild and patch any of the modules together however you choose. Make small tweaks to the architecture, or re-route the entire synth to your liking- the choice is yours!

Summary:
Cascadia semi-modular synthesizer.
101 patch points, 34 sliders, 16 knobs, 28 switches, 5 push buttons, and 36 leds.
14 Patch cables - 4×10cm, 4×15cm, 4×30cm, 2×45cm.
USB-C to A cable.
International AC Adaptor.
Intellijel cable tie.

Two Precision Analogue VCOs
VCO A is Thru-zero FM-ready with a dedicated Index VCA, Sub Oscillator, PWM and Soft/hard sync.
VCO B is a combo VCO/LFO with 4 simultaneous outputs
Six Channel Waveform Mixer
Two patchable (normalled) inputs
Noise generator with multiple algorithms.
Optional asymmetric soft clipping on the mix output.
Liquid-Sounding, Cascaded 4-Pole Multimode Filter
Eight Modes: LP1, LP2, LP4, BP2, BP4, HP4, NT2, Phazor.
Additional dedicated outputs for LP4 and HP4.
Input Level Knob for fine control of filter input and resonance balance and added drive.
Multiple FM inputs and a QM input, all with attenuators.
Wavefolder Circuit
West Coast-style parallel wavefolder.
Normalled into the auxiliary input on the VCA in parallel with the filter.
Dual Digital Envelopes
ENV A is a versatile east coast style ADSR / AHDSR envelope generator with a hold function and dynamic level/time control. Normalled to the VCA to instantly shape your sound.
ENV B is a complex, multimode function generator with a West Coast style AR/ASR/Cycling AR, a beat syncable LFO, Burst generator modes, and the Entropic Sequence Generator (added in 1.3). Normalled to the filter for instant FM without patching.
VCA A and Output Path
VCA A is a linear VCA with auxiliary input.
Global Output Mixer with overdrive circuit and bypassable asymmetric soft clipping.

Expansive Utilities Sections
Cascadia also features a whole host of utilities for getting the most out of your patches.

The Utility Row
Sample and hold circuit with white noise normalled to the input.
Slew/Envelope follower.
Attenuverter/Mixer with multiple outputs.
Triple triangle LFO with rate control, rate input and divided outputs.
Triple buffered multiple.
Precision adder.
Signal inverter.
Bi-polar > Unity level shifter.
Expression level control for modulation the TRS expression input on an FX pedal.
Ring Modulator.
VCA B / LPF (LPG) - Auxiliary VCA and 4-Pole Diode Ladder VCF combination for additional dynamics.
The Top Row
Easy to access Pitch, Gate, and Velocity CV inputs.
Pedal Send and Return FX loop with Wet/Dry control, phase inverter and Line/Pedal level switches.
Output Mixer with Overdrive.
Eurorack Level Main output with level control for interfacing with other modular gear.

The Outside world - MIDI, Pedal and Audio I/O
Cascadia is equipped with a ton of I/O to get it connected to the rest of your gear.

Rear Panel

1/4" Stereo Headphone jack.
1/4" Balanced Output Jack.
1/4" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
1/4" TS Pedal FX Send Return and 14" TRS Expression Out.
MIDI DIN In/Out/Thru and USB-MIDI all routed to the MIDI > CV Interface on the top panel.
MIDI > CV Interface
Deeper MIDI configuration is available with the Intelljel Config App (link below). MPE Support has been added in v1.4 and supports the Ableton Live 12 Tuning systems. Dual Mono mode (added in 1.3) allows an additional channel to send its own Pitch/Gate signal on the CC/MOD outputs. All modes support MIDI Portamento.

MIDI Pitch / Velocity Outputs and Learn Button
MIDI Gate / Trig Outputs
MIDI CC / Mod - Learnable and assignable to any CC or Channel Pressure
MIDI LFO - Multimode LFO synced with MIDI or Tap Clock
MIDI CLK - Dividable MIDI clock with alternate Tap Clock functionality.
Cascadia comes ready to play.

The normalization behind the panel allows for a ton of exploration without ever adding a patch cable; there is years of material to explore in Cascadia and years more when you start patching. There is everything you need to get started: 14 assorted patch cables, USB-A to USB-C cable, and an international power supply.

Expand and Customize

In addition to additional patch cables, there are additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage tray - great for an effects pedal or patch cables.

Specs

In the Box: Cascadia Semi-modular Synthesizer
14 Patch cables - 4×10cm, 4×15cm, 4×30cm, 2×45cm
USB-C to A cable
Intellijel cable tie
15V/1.2A AC Adaptor (Euro/American prongs included)

Height: 66mm (from rubber foot to top of knobs)
Width: 348mm (including wood end cheeks)
Depth: 246mm (front to rear jacks).
Power: 15V DC/1.0 A (minimum), centre-pin-positive.

Notes: A tiny studio microphone with a large-diaphragm capsule and groundbreaking features.

CM-1; the latest addition to Teenage Engineering's field system.

A versatile studio quality, ultra-portable microphone that comes with a built-in professional SUB-C audio interface with built-in preamp. Add a 3.5 mm jack and a 48v phantom powered mini XLR, and you have a truly one-of-a-kind battery-powered studio microphone.
A rarity in the field.

Large-diaphragm capsules are preferred for professional recording, but are rare within the world of portable equipment. CM-15 features an ESS sabre analogue-to-digital converter, preserving high-fidelity sound and capturing exceptional detail in any recording situation.

Clean, mean and lean mic-machine.

Clean, rich, transparent and natural sound. Period.

Use the gain switch on the back for padding those mean drums, or the other way around. Battery-powered with an integrated audio interface and preamp, cm-15 is always ready to use wherever you like to record. In other words: 'lean operation'.

CM-15 includes a standard 1/4" and 3/8" adapter, making it universally compatible with standard mic stands and tripods.

The included adapter allows for a 90- to 110- tilt, so you can mount the mic onto a boom arm or to better record overheads. Use tripod mini for portable setups (available separately).

Dynamic sound for any occasion.

Teenage Engineering's first microphone also means a unique sound quality to discover.

Rich, transparent and natural, cm-15 captures clear and clean sound for professional audio productions, always ready to set up wherever you like to record.

Pure craftsmanship.

CM-15 is an incredibly versatile microphone, both inside and outside the studio. The large-diaphragm condenser capsule essentially means you get a better signal, so there is less noise and better depth of sound.

Vocal recording

As a directional mic, CM-15 is perfect for the vocal booth, focused on picking up sounds in front of it.

Instrument recording

With the flattest frequency response at a 50 cm distance, CM-15 is perfect for capturing a variety of instruments, including your drum kit.

Interview/podcast

CM-15 is great for podcasts and interviews, where high audio quality and portability is necessary.

Field production

With a compact form factor and 10 hour rechargeable battery, it's a great tool for every 'trip'.

Camera mic

When filming with a video camera, connect CM-15 through the line out to record synced audio directly.

Multi-use connectivity.

CM-15 has multiple outputs that can be used simultaneously:

mini XLR, 3.5 mm jack and USB-C. It can also be powered three ways, through phantom power, battery or USB-C, instantly detecting the right power source for your connected device.

On the bottom side of CM-15, you will find three audio outputs: mini XLR, 3.5 mm jack and USB-C. The built in table stand can be used to rest and angle the microphone on a surface.

CM-15 includes a mini XLR to XLR cable for connecting to your recording console. The 3.5 mm jack can be used with headphones, while USB-C is used for digital audio interface connection, firmware updates and charging.

Technical specifications

CM-15 highlights

1-inch large-diaphragm capsule
10 hour rechargeable battery
48 V phantom power compatible pseudo-balanced mini xlr output
dual mono 3.5 mm jack line output
USB-C class compliant device with high performance
ESS sabre ES9822Q PRO analogue to digital converter

Dimensions and weight

90 mm x 65.5 mm x 19 mm
132 g / 54.6 oz

Audio characteristics

Self noise: 14 dBA

Max SPL for 0.5% THD: 138 dB
USB SNR dBA FS: 120 dB
Polar pattern: supercardioid
Polarity: positive

The field system.

CM-15 is part of Teenage Engineering's ultra-portable sound recording and performance system. All battery-powered, rechargeable via USB-C and with full interconnectivity (MIDI and high resolution audio). Compatible with iOS, macOS, and windows it's the most powerful, highest quality, portable system in the world 'as we know it'.

Notes: SOLAR 42F is a unique experimental electro-music instrument, an analogue microtonal ambient drone machine. It will inspire you to find a new and spontaneous approach to composing music. It gives you the ability to create a multi-layered, massive sound. The instrument is oriented for live performances, creating film soundtracks, theatre soundtracks, atmospheric sounds, microtonal and background music.

It is an improved version of the older SOLAR 50 model. The instrument was inspired by early electronic musical instruments of the 1920s and 1950s, notably Leo Theremin's "Harmonium" instrument, as well as science fiction film soundtracks.

The new version of the Solar 42F has added a LIN/EXP CV switch, sub oscillators in volt octave voices and a band pass and stereo distortion mode to the filter. Other quality of life improvements include modified graphics - inputs have been labeled in black and outputs in red for convenience - bypasses for each channel of the effector and a LED indication in the joystick unit.

Notes: ALM's latest complete modular system, the Turismo combines classics like the Squid Salmple sampler and ASQ-1 sequencer to create a cohesive, engaging synth. The ultimate Eurorack starting point?

Supplier's Notes:
The Turismo is our fully modern Eurorack modular workstation, blending a curated mix of our
flagship analog and digital modules for a versatile and creative patching experience. It offers
a distinctive ALM character, designed for both precision and fun.
The workstation delivers everything from analog bass, bleeps and leads, lush chords, filtering,
extensive sampling, and DSP effects combined with various sequencing styles and numerous
modulation options plus full MIDI integration. It's an all-in-one creative hub that's endlessly
explorable.
Designed also with live performance in mind, the travel-sized 84hp system fits in a rucksack
and comes with a Decksaver cover for added protection. With MIDI, stereo line-level input,
and headphone output, it's perfect for live sets, DAWless jamming, and seamless studio integration. The system features a custom design with unique coloured controls and neodyme
bronze anodized side panels.
The Turismo is a perfect starting point for Eurorack beginners, offering a seamless pain-free
entry into modern modular synthesis that's immediately playable. For seasoned users, it's a
ready-to-use and well balanced cutting edge system designed for effortless creative exploration.

Feature List:

Numerous analog and digital sound sources including oscillators, chords, samples, noise
and more.
Sample recording and eight channel sample playback.
Five analog VCAs and numerous patch-able digital level controls.
Two fully analog multimode resonant filters.
Three inbuilt Sequencing options to run numerous synced melody and rythmic patterns.
Numerous modulation sources including LFOs, Envelopes, randomisation, quantisation,
syncing etc.
Stereo FX Processing with 18 different programs including reverbs, delays, granular processing and more.
Various utilites - S&H, mults, mixers, slew limiter, etc.
Stereo line level in and headphones out.
Three channel MIDI pitch, trigger and clock synchronisation.
Custom look modules and neodyme coloured case only available as part of the Turismo.
Includes international power, deck saver and patch cables.

Tech Specs:
Dimensions: 440 x 264 x 120mm
Weight: 3.24kg
Size: 6u / 84HP
Power: 12V 4A (approx)
Connectivity: TRS MIDI IN, Stereo Line level In, Stereo Line/Headphone out, USB-C ports
for firmware upgrade.

What's Included:

Turismo System & Modules
ALM023 / mmMidi & mmT expander
ALM022 / SQUID SALMPLE
ALM020 / QUAID MEGASLOPE
ALM026 / MULT
ALM036 / TAZM-O
ALM042 / CIZZLE
ALM032 / MFX
ALM037 / MEGA MILTON
ALM035 / ASQ-1
ALM034 / Pamela's PRO Workout
ALM028 / Pip Slope (mk II)
ALM030 / MCFx2
ALM033 / MEGA-TANG
ALM019 / HPO

Included patch cables:

15cm (x10)
30cm (x10)
60cm (x10)
90cm (x3)
120cm (x2)
MIDI DIN to TRS adapter cable
Squid Salmple USB stick with full sample banks
Universal 12V 5A power supply
Decksaver
Printed Manual

Notes: The latest incarnation of Softube's Console 1 Fader controller expands on the original with features including dual USB-C ports with the option to daisy chain multiple units, parameter mode, expanded DAW compatibility, haptic feedback and high-res screens.

Supplier's Notes:
Console 1 Fader Mk III gives you the control and feel of 100 mm high quality faders, featuring the new Analog Feel fader with capacitive touch to vastly improve your workflow in your DAW and round out the Console 1 Mixing System.

The Fader III is the perfect complement to Console 1 Channel Mk III. Set levels, automation, adjust pan, select tracks and many other functions with the tactile feel of faders - no mouse required! Daisy chain up to four units.

Fader Mk III offers the feeling of a high-quality analogue console, the recall and control of a modern DAW, and modularity that means the versatility you need.

World-class console sound

Authentic, timeless big studio sounds from the company known for exquisitely modeling big studio gear, from Tube-Tech to Weiss. Console 1 Fader Mk III comes with Softube's Core Mixing Suite software. It delivers the award-winning sounds of Softube Tape, FET Compressor Mk II, and Bus Processor in versatile preamp, shape, equalization, and compression sections, and an innovative drive befitting Softube's stellar saturation reputation. It's Softube's take on the perfect channel strip, but users will appreciate the ability to draw on Softube's one-of-a-kind catalogue to design their unique dream console.

Console 1 Fader Mk III key features:

Premium bead-blasted aluminium in a Nordic Night Sky finish.

Ten high-resolution screens that make track navigation a breeze. You'll always know exactly where you're at with screens that show you customizable information like track name, number, level meters, pan, and colour.

Refined Analog Feel faders with capacitive touch make for the smoothest experience possible.

Haptic feedback that feels amazing and communicates critical information in an uber-intuitive way.

Core Mixing Suite featuring:

Softube Tape/Preamp section
Shape: Transient Shaper plus new utility tools
Two equalizers: passive vintage and precise modern
Three compressors based on FET Compressor Mk II, Bus Processor, and OPTO Compressor
Core Modern Preamp and Core Vintage Preamp
Customize your workflow on the fly. Param mode (or parameter mode) gives you fast control over filters, drive, or even compression thresholds.
FabFilter and UADx control for Console 1 Mixing System
Dual USB-C ports with daisy chain compatibility without a hub. Fader offers single connectivity for as many faders as you want.

Technical Specifications

Included Software: Console 1 Core Mixing Suite
Connectivity: Dual USB-C ports
Daisy Chain Units: yes
Power: Incl. 20W USB-C PSU delivers power to multiple units

Operation Modes:
Console 1
Pro Tools HUI
Generic MCU (Volume, Pan, Sends, Solo, Mute)
UAD Apollo Central

DAW Control
Volume
Pan
Solo/Mute
6 Sends
Track Select

DAW Communication
Direct DAW Integration (Logic, Cubase)
Pro Tools HUI (Pro Tools)
Integrated DAW Control (Ableton Live, Reaper, Nuendo, FL Studio, LUNA, Digital Performer, Harrison Mixbus, Bitwig, Cakewalk, Samplitude)

Haptic Feedback
Notch on Zero (volume at unity or pan at center)
Event Mode (fader "vibrates" to indicate clipping)
Discrete Values Mode (fader "snaps" to nearest value when controlling a product with discrete values e.g. an EQ with set frequencies)
Faders: 10 x 100 mm Analog Feel™ Motorized Faders
High Resolution Screens: 10 high resolution screens showing track name, color, number, and VU meter

Unique Features:
Parameter Mode (maps fader to any Console 1 Channel parameter)
Quickly change modes (C1, Pro Tools HUI, MCU, UA Apollo Central)
Select track on solo
Select track on touch
Favourite and Compact mode
Fader Trim
Track Width
Load Strip/Section
Presets (Load/Save)

Buttons

10 buttons with RGB LEDs for track selection
37 buttons with RGB LEDs for Solo, Mute, Sends, and various other functions
Shift button for access to additional parameters

Knobs: 1 touch sensitive high-resolution Analog Feel™ potentiometer for pan and menu control
Mounting options: 100 mm M4 VESA on the bottom. M4 threads on the side
Construction: Anodized aluminum top, injection moulded smooth sides and back with integrated connectivity points

Included Cables
2m USB C to USB C braided
1m USB A to USB C braided
1m USB C to USB C braided

Included Screws:
4 x screws for VESA mounting option
Expandable: Connect up to four Console 1 Fader Mk III units and one Console 1 Channel Mk III units


Dimensions
Dimensions (mm and in):
435 mm / 17.1" length
219 mm / 8.66" width
45 mm / 1.77" height

Product Weight (kg and lbs): 1.8 kg / 3.96 lbs

Notes: One of the most trusted names in audio, MOTU deliver as always with the 16A, offering a whopping 32-in/34-out configuration over Thunderbolt or USB, all with pristine audio quality.

Supplier's Notes:
The 16A Thunderbolt audio interface provides industry-leading dynamic range and large console style mixing. With 64 channels of audio I/O (32 ins and 32 outs), the 16A also supports USB 2.0 audio class compliant connectivity that is USB 3.0 compatible.

As an interface, standalone mixer or patchbay, the 16A provides 32 separate inputs and 32 separate outputs, including sixteen balanced TRS analog inputs, sixteen balanced TRS analog outputs, and two 8-channel banks of ADAT optical digital I/O. Powerful DSP delivers large console style mixing with 48 channels, 12 stereo busses, and 32-bit floating point effects processing, including modeled analog EQ, vintage compression and classic reverb. The unit's extensive routing grid patches ins to outs, or splits inputs to multiple destinations.

Use the 16A as a stand-alone mixer and control everything from the 16A's innovative web app running on your iPad, iPhone, tablet, smart phone, and laptop. Connect a second MOTU AVB interface (1248, 8M or 16A) with a simple Ethernet cable. Add more I/O with the MOTU AVB Switch (sold separately). Build an AVB audio network with multiple switches and sub-millisecond latency, even over long cable runs. Stream hundreds of channels among devices and computers on the network. From initial tracking to final mastering, the 16A delivers superb sound quality, state-of-the-art operation, and reliable performance.

This box contains everything you need to turn your computer into a powerful 24-bit/192 kHz digital audio workstation. As a "hybrid" audio interface, the 16A offers flexible connectivity to your computer via ultra-fast Thunderbolt technology or class compliant, hi-speed USB 2.0, with 32 channels of pristine analog I/O, combined with 32 channels of digital I/O, for a total of 64 simultaneous audio channels.

Connect all of your studio gear, including synths, keyboards, drum machines and even effects processors. Record, monitor, route and process all of these live inputs using the professional on-board digital mixer - with no latency and no processor strain on your computer. Apply hardware DSP-driven effects processing to inputs, outputs, and busses independent of your host computer. Add Classic Reverb with lengths up to 60 seconds. Further sculpt your sound with gating, 4-band parametric EQ, and vintage compression modeled after the legendary LA-2A leveling amplifier.

Add more MOTU interfaces as your needs grow, connected to a state-of-the-art audio network using standard AVB Ethernet switches and CAT-5e cabling, with near-zero network latency, even over long cable runs (several hundred meters). Record and monitor up to 128 audio channels in and out, simultaneously, to a host computer through Thunderbolt. Route hundreds of audio channels among multiple devices and computers on the network.

Control all DSP-based mixing and effects, device settings, and network audio routing using your favorite web browser running on your laptop, tablet or smart phone connected wirelessly or locally to the 16A audio network.

From initial tracking to final mastering, the 16A delivers superb sound quality, state-of-the-art operation, and reliable performance.

Notes: A revolutionary keyboard controller that puts the world's best sound library at your fingertips. Get direct, hands-on control of virtual instruments from NI and thousands more from developers like Arturia, Heavyocity, Korg, Output, Spitfire Audio, and u-he.

Browse and tweak everything from synths and drums to orchestral libraries and scoring tools - all seamlessly integrated with Kontrol's tactile controls and large, high-res screen. Then play with a new level of expression and freedom thanks to a best-in-class keybed, polyphonic aftertouch, Light Guide, and Play Assist features. And with a comprehensive package of included software, featuring the industry-leading sampling platform Kontakt 7, you'll be ready to go from day one.

Polyphonic aftertouch

Take expression one step further with the slightest pressure on individual keys. Bring new layers of nuance to your playing with cutoff, pitch, vibrato, and much more, without reaching for an extra encoder or dial. All three models come complete with polyphonic aftertouch on an industry-leading keybed developed in collaboration with Fatar.

Thousands of instruments made real

Kontrol brings the world's best virtual instruments to life in a genuinely immersive experience. Whatever you're playing, get in-depth control thanks to an unparalleled direct connection to Kontakt. Find sounds quickly with intuitive on-screen navigation, then adjust and play them with intelligent auto-mapping that understands the parameters.

Included software

Kontrol comes with a host of creative music production tools - all fully integrated with the hardware, to give you everything you need to start making music straight out of the box.

Included software
Kontakt 7
A free Kontakt instrument of your choice
Komplete 14 Select
Komplete Kontrol Software
Stradivari Cello

An internet connection and a graphics card that supports Direct 3D 11.1 (feature level 11_0) or higher are required to download and activate this product. Once installed and activated, the product can be used offline.

NKS 2 NKS (Native Kontrol Standard) is NI's technical standard for virtual instruments and effects. It's used across the industry and ensures that all compatible plugins are precisely mapped to controls. Kontrol marks the launch of NKS 2, which powers the unmatched software integration experience.

S88 MK3 Dimensions: 1353 × 347 × 120 mm
Weight: 6kg

Hardware specifications:
1 high-resolution colour screen with glass surface (1280 × 480)
CNC machined, bead blasted and anodized aluminum, 8 × encoder caps, 1 × 4D encoder cap, 2 × wheels (pitch and mod)
RGB illuminated pitch and mod wheels
New button-islands that form a continuous dustproof control surface and are grouped by function

System requirements

MIDI 2.0 compatible
Intel Core i5, Apple M1 (and equivalent or higher)
macOS 13 (Ventura) or higher (compatible with macOS 12 in MIDI 1.0 mode)
Windows 10 (latest service pack) or higher
8 GB RAM

Notes: Combining the signature warm analogue Xone sound with class leading digital connectivity, Xone:PX5 breathes life and soul into electronic music performance. The built-in FX technology offers new levels of manipulation with our new Xone:Xcite FX suite of performance-focused delays, reverbs, modulators, flangers and distorters which are all assignable through simple hands-on control for fine-tuning the FX and expressing the DJ's inner creativity.

Xone:PX5 is a 4+1 channel mixer, equipped with the legendary Xone filter, 3 band EQ on all channels and an intuitive layout.

The versatile Send/Return feature allowing for the connection of external FX hardware with both Send/Return and Master Insert mode connections (Line or Hi-Z) equips Xone:PX5 for numerous enhanced setup scenarios. Each channel has its own dedicated send control for external FX processing and can also be routed to the internal Xone:FX engine.

Connect your laptop or computer to the premium internal 20 channel 24bit 96kHz USB2 soundcard for easy integration into digital DJ workflows, plus plug n' play connection via X:LINK to Xone:K series controllers for expanded MIDI control.

The crossfader has three switchable curve settings for blending or scratching styles and can be easily replaced or upgraded to an Innofader Pro 2 for ultimate crossfader performance.

No matter what your mixing style, Xone:PX5 combines a modern approach to DJing with all the tools required for creating your own individual sound.

Key Features

High quality internal soundcard

Xone:PX5 incorporates a high specification 20 Channel 96kHz, 24bit USB Soundcard, allowing it to be seamlessly integrated into digital DJ workflows.
Additionally the Xone:PX5 Soundcard supports DVS control of Native Instruments' TRAKTOR SCRATCH PRO 2 DJ software. Plug your PC/Mac into the Xone:PX5 and use the TRAKTOR SCRATCH PRO 2 control media (control vinyl or CDs) to intuitively control and scratch with digital audio files stored on your computer.

Xone:FX
Xone:PX5 features the Xone:Xcite FX suite, a new breed of FX specifically tailored for DJ performance. The array of spectral delays, resonators, gritty reverbs and more is accessed through familiar, hands-on controls for instant, instinctive operation, making it easy to add energy and excitement to a track or create entire FX soundscapes. A hybrid FX mode combines the internal and external send & return FX for more advanced FX processing.

Xone filter system

The original and best. The Xone filter is a legend in the DJ booth - none of its imitators come close. Xone:PX5's filter includes HPF, BPF, LPF, resonance control and frequency sweep, plus the option to route the Aux channel and External Return to the filter.

Xone:Sync MIDI clock engine

Xone:PX5 features an integrated MIDI clock engine which can send start/stop messages to external equipment. The 5-pin MIDI Sync/Out connection integrates external software/hardware instruments such as drum machines and synthesizers which can be connected via 14" jack input connections (mono/stereo). Xone:PX5 can also send/receive MIDI clock information through the USB connection.

X:Link
For the ultimate DJ setup, connect Xone:K series controllers to the Xone:PX5 over X:Link for hands-on control over your software, saving USB ports on your computer.

4+1 channels

On top of its four fully featured phono/USB/line channels, Xone:PX5 has a flexible mic / aux channel with XLR and 14" jack connectors and full 3 band EQ. If you don't perform with mics, the additional inputs allow this channel to be used as an extra stereo music source or USB Return channel.

Innofader compatible

Upgrade to an Innofader Pro 2 crossfader (available separately) for ultimate performance. Always a popular choice for scratch DJs.

Technical Specs
Type: Analogue
Channels: 4 + 1
EQ: 3-band / Total Kill (CH 1-4 + CH A)

USB Soundcard:
20 Channel (10 in / 10 out)
USB2 / Class Compliant
24bit / 96kHz
1 x MIDI IN
1 x MIDI Out

Line Inputs: 4 x RCA (CH 1-4), 1 x 1/4" TRS (CH A) Mono/Stereo
Phono Inputs: 4 x RCA (CH 1-4), LN/PH Switch for DVS
USB Inputs: 5 x USB (CH 1-4 + CH A)
Mic Input: 1 x XLR
Master Output: 1 x XLR (Balanced)
Master 2 Output: 1 x RCA (Un-balanced)
Booth Output: 1 x 1/4" TRS
Record Output: 1 x RCA (Un-balanced)
Master Insert: 1 x 1/4" TRS
MIDI Sync/Out: 1 x 5-Pin DIN, DIN Offset Control

Send/Return I/O
1 x 1/4" TRS Send
1 x 1/4" TRS Return
1 x LN/Hi-Z Switch

Internal Xone: FX Yes
Hybrid FX Mode: Yes (Internal < Dual > External)
FX Send: 1 x Pre/Post Selectable (CH 1-4 + CH A)

Filter:
1 x VCF Filter
HPF / BPF / LPF
Adjustable Frequency & Resonance
Assignable CH 1-4 + CH A + External Return

X-Link: 1 x RJ45

Headphones:
1 x 1/4"
1 x 3.5mm
Split Cue Monitoring

Channel Faders: 60mm VCA / Replaceable
Chanel Meters: 12 Segment LED
Channel Fader: Curve 3 Types
X-Fader: 45mm VCA / Replaceable / Innofader Compatible
X-Fader Curve Settings 3 Types
MIDI: Clock Send + Receive; Start / Stop / Pause / Tempo Bend (-/+)
MIDI Assignable: Yes (MIDI CC / MIDI Notes)
BPM Detection: Auto / Manual / Tap Tempo
Earth Ground Terminals: x 2
Headroom: 20dB

AC Mains:
100 to 240V
AC 50/60Hz
Consumption 35W max

Mains Adaptor: 3 pin IEC socket with cable clamp
Fuse Rating: 250V AC T1AL 20mm

Height: 4.3"
Width: 12.6"
Depth: 14.8"
Weight: 11.5 lbs.

Notes: A serious mixer from a legendary name. Tascam's 2400 combines analogue mixing with a 24-track recorder, built-in USB interface and DAW integration. Exceptional versatility in a convenient package.

Supplier's Notes:
Streamline Your Mix Process with Advanced Onboard Processing

The Model 2400's versatility doesn't compromise its mixing capabilities one bit. With per-channel compression, multiple sub groups, and master stereo bus processing including compression and EQ, you'll have the pro-level mix control you need in any scenario. Taking your project from tracking to a final master on the Model 2400 couldn't be simpler.

22 Channels and 24 Tracks, One Solution

With comprehensive 22-channel mixing capabilities, the Model 2400 is an ideal studio and live mixer for everything from larger combos and jazz ensembles to orchestra and choir ensembles. And when it comes to recording, no additional interface or computer are required.

Insert Professional Processors and Effects

Insert points on channels 1-12 allow you to easily integrate a studio rack full of processors and effects units. And, in addition to the onboard Master Bus processing, a send/return loop on the Main output allows you to connect external mastering gear such as compressors, EQs, stereo imagers and sonic exciters.

Ample Aux and Sub Outputs

With 5 Aux sends and 4 stereo sub groups, Model 2400 handles advanced mixing duties with ease. Create more monitor mixes without sacrificing an aux for effects. Connect multiple pairs of studio monitors for checking your mixes. In your studio or on stage, Model 2400 delivers the comprehensive connectivity and routing you need.

Professional Recording Capabilities

Model 2400 seamlessly integrates multitrack recording with studio and live mixing. With the ability to record 24 channels (22 inputs plus the stereo master) of high-quality audio direct to SD card media, Model 2400 is a powerful recording solution even if you're a DAW-less producer.

Sound with Excitement

TASCAM Ultra HDDA (High-Definition Discrete Architecture) mic preamps give Model 2400 the vibrant analogue sound that makes harmonics come alive.

With Ultra HDDA, any sound source will be represented with the utmost clarity and richness, and with an ultra-low noise floor.

Monitor Your Signal Virtually

With the Model Mixer Settings Panel app, users can take advantage of a digital meter bridge across by connecting the Model 2400 via USB to a PC or Mac. Set peak hold times, monitor the input, MTR or USB signal all while being able scale the GUI from a small window to full screen. Take it a step further by porting the app from your computer to a dedicated monitor of your choosing.

Ready to Be Your Studio Centrepiece

Model 2400 delivers the classic analogue console experience in the studio, with an onboard 24x22 audio interface that's ready to meld with modern production workflows. Insert points on channels 1-12 allow you to integrate studio processors and effects. And with the ability to return 22 DAW tracks through Model 2400's mix path and processing, it's also the most versatile analogue summing mixer you'll find.

MIDI Interface

Model 2400's comprehensive MIDI functionality allows full integration with MIDI-based production setups. From controlling drum machines and synthesizers from your DAW software, to synchronizing external effects processors to the tempo of your music and creating click tracks, Model 2400 offers the MIDI functionality you need to make it happen.

Specifications
Recorder
Recording media: SD (Class 10 or higher), SDHC (Class 10 or higher), SDXC (up to 512 GBytes, Class 10 or higher)
File system: SD: FAT16, SDHC: FAT32, SDXC: exFAT
Recording file formats: WAV (BWF), 44.1/48 kHz, 16/24 bit (maximum file size: 2 GBytes)
Playback file formats: WAV, BWF (44.1/48 kHz, 16/24 bit)
Recordable tracks: 24 (22 tracks + stereo mix)

Audio inputs and outputs

Microphone inputs (MIC, 1-12, 13,15,17,19): XLR-3-31 (combo jack), balanced (1: GND, 2: HOT, 3: COLD)
Maximum input level: +10 dBu
Nominal input level: -8 dBu
Minimum input level: -58 dBu
Gain adjustable range: 0-50 dB
Input impedance: 1.9 kO (1-12), 2.4 kO (13, 15, 17, 19)
Line/Instrument inputs (LINE/INST, 1-2): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: LINE: +22 dBu, INST: 19.8 dBV
Nominal input level: LINE: +4 dBu, INST: 1.8 dBV
Gain adjustment range: -10 dB to +40 dB
Input impedance: LINE: 22 kO, INST: 1 MO
Line inputs (LINE, 3-12): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: +22 dBu
Nominal input level: +4 dBu
Gain adjustable range: -10 dB to +40 dB
Input impedance: =22 kO
Stereo line inputs (LINE L/MONO, R, 13/14 to 21/22): 6.3-mm TRS phone jack, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum input level: +22 dBu
Nominal input level: +4 dBu
Gain adjustment range: -20 dB to +30 dB
Input impedance: =11 kO (mono), =22 kO (stereo)
Inserts (1-12): 6.3-mm TRS phone jack, (Tip: Send, Ring: Return, Sleeve: GND)
Maximum input level: +18 dBu
Nominal input level: 0 dBu
Input impedance: 15 kO
Maximum output level: +18 dBu
Nominal output level: 0 dBu
Output impedance: 100 O
Talkback input: XLR-3-31, balanced (1: GND, 2: HOT, 3: COLD)
Maximum input level: -22 dBu
Minimum input level: -65 dBu
Gain adjustable range: 52 dB
Input impedance= 2.6 kO
Main output (MAIN OUTPUT L/R): XLR-3-32, balanced (1: GND, 2: HOT, 3:COLD)
Maximum output level: +22 dBu
Nominal output level: +4 dBu
Output impedance: 200 O
Main inserts (MAIN SEND/RETURN L/R): 6.3-mm TRS phone jack (Tip: Send, Ring: Return, Sleeve: GND)
Maximum input level: +18 dBu
Nominal input level: 0 dBu
Input impedance= 9 kO
Maximum output level: +18 dBu
Nominal output level: 0 dBu
Output impedance: 100 O
Control Room outputs (CONTROL ROOM L/R): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Aux outputs (AUX OUTPUT 1-5): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Sub group outputs (SUB OUTPUT 1-2, 3-4, 5-6, 7-8): 6.3-mm TRS, balanced (Tip: HOT, Ring: COLD, Sleeve: GND)
Maximum output level: +16 dBu
Nominal output level: -2 dBu
Output impedance: 200 O
Phones output 1/2: 2 × 6.3-mm stereo phone jack
Maximum output power: 45 mW + 45 mW (at 32 O)

Control inputs/outputs

USB port: USB Type-B
Protocol: USB 2.0 High Speed (480 Mbit/s)
Click output
6.3-mm standard TS jack: (Tip: HOT, Sleeve: GND)
Footswitch connector: 6.3-mm TRS phone jack (Tip: FOOTSW1, Ring: FOOTSW2, Sleeve: GND, unlatching switches required)
MIDI input and output: 5-pin DIN connector
Format: Standard MIDI

USB audio

Sampling rate: 44.1 kHz, 48 kHz
Bit depth: 16 bit, 24 bit
Maximum number of audio channels: 24 inputs, 22 outputs

Bluetooth
Version: 5.1
Output class: 2 (approximate transmission distance: 10 m)
Supported profile: A2DP
Supported A2DP codecs: SBC, AAC
A2DP content protection: SCMS-T

Audio performance
S/N ratio: (22 kHz LPF, A-weighted), Main mix off: -100 dB, Main mix 0 dB: -80 dB
Equivalent input noise (EIN): -128 dBu (Rs=15 O, MIC IN to INSERT SEND, GAIN knobs at max., A-weighted)
Total harmonic distortion (THD+N): (GAIN knobs at min., 1 kHz), 0,01 % (mic input to main output), 0.004 % (mic input to main output, +2 dBu, BYPASS switches on)
Frequency response: (all gain knobs at min., 1 kHz) 20 Hz to 30 kHz, +0.5/-1 dB (analogue), 20 Hz to 20 kHz, +0.5/-1 dB (digital)
Crosstalk: (PAN knobs fully left or right, 1 kHz), Between channels: -80 dB, Between input and output: -80 dB
Maximum gain: (all GAIN knobs at max., PAN knobs fully left or right, BYPASS on, MASTER BUS IN off), 74 dB (MIC to MAIN OUT), 54 dB (MIC to INSERT OUT), 74 dB (MIC to SUB OUT), 75 dB (MIC to AUX OUT), 24 dB (USB/SD to MAIN OUT)

Computer system requirements

Windows: Windows 11, Windows 10 (64-bit)
Compatible computers: Windows-compatible computer with a USB 2.0 (or higher) port, using Tascam driver, operation not guaranteed with ARM64 CPUs
Display requirements (settings panel software): 1280 × 720 or higher, True colour recommended
Mac: macOS Sonoma (14), macOS Ventura (13)
Compatible computers: Apple Mac computer with a USB 2.0 (or higher) port
Display requirements (settings panel software): 1280 × 720 or higher, True colour recommended
iOS/iPadOS devices: iOS 17/iPadOS 17, iOS 16/iPadOS 16

Power supply and other specifications

Power: AC 100-240 V, 50/60 Hz
Power consumption: 65 W
Dimensions (W × D × H): 681 mm × 568 mm × 133 mm (overall), 639 mm × 568 mm × 133 mm (without side panels)
Weight: 14 kg
Guaranteed operating temperature range: 0-40 -C
Guaranteed operating humidity range: 5-85 % (without condensation)
Included items: AC power cord, Startup Guide, Registration Guide

Notes: 12-voice version of Waldorf's Iridium Core, a compact synth from the same range as the Quantum. Running on the Waldorf OS, the Iridium features a versatile selection of Wavetable, Multi- & Granular-Sampling, Waveform, Kernel FM and Resonator synth engines.

Supplier's Notes:
The Core

Iridium Core provides the core synthesis engine of the Quantum / Iridium platform. It is the heart of Waldorf's most advanced hardware-based synthesis. The essence of forward-looking sound. The Core.

Sonic Explorer

Iridium Core contains 5 synthesis engines: Wavetable, Multi- & Granular-Sampling, Waveform, Kernel FM and Resonator. Combined with a broad selection of digital filter and processing options Iridium Core lets you explore a huge sonic universe of electronic sound. Iridium Core's intuitive and easy graphical interface helps you to keep your flow of creativity.

Wave Traveller

The compact form factor makes Iridium Core an ideal companion to travel with you to all your sonic explorations and performances. It fits well into laptop size bags and in carry on-baggage it leaves enough space to all your other devices you need for your performances.

Driven by Inspiration

Iridium Core comes with a huge collection of more than 1700 factory presets and samples to drive your sonic Wanderlust. Get inspired what the broad and diverse array of sound designers have created to fuel your musical endeavours.

Team Player

Iridium Core integrates into various live performance and studio setups. Its connects with your modular synths, drum machines, sequencers and computers. The compact form factor fits well into your tabletop or space limited setups.

Family Member

Iridium Core shares the same software platform like Quantum, Iridium Desktop & Iridium Keyboard. All instruments are powered by the Waldorf synthesiser OS and will receive joint updates. Thus, the whole family participates from future enhancements and developments.

Specifications

Compatible with the Waldorf Quantum synth engine
Software: Waldorf Synthesis Platform OS

Oscillators
3 Oscillators each capable of 5 synthesis modes:
Wavetable
Waveform (VA)
Particle (Sampling and Granular Sampling)
Resonator
Kernels (up to 6 sub-oscillators which can be interlinked through FM, AM or Wavetable-position at audio rate)

Dual Stereo Filters per voice
True stereo path Dual Digital Filter with independent modes:
12/24dB LP/HP/BP in all combinations
Nave, Largo, PPG, Quantum and StateVariable models
Analyzer displayed in Filter view
Filter curve animation when modulated (optional)
Sophisticated filter routing options with modulatable panning and levels

Digital Former
Filter models like State Variable, Waldorf Nave, Largo and PPG in HP/LP/BP/Notch
Comb filters, Bit-Crusher, various Drives, Ring-Modulation

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

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

Effects
5 slots per layer
Various parallel and sequential routing options
Reverb, Delay, Chorus, Phaser, Flanger, Drive, EQ, Compressor, Tremolo

Performance features
Advanced Arpeggiator
Step-sequencer with up to 64 steps for notes and parameters
2x4 button pads assignable to notes or chords
4 user-assignable potentiometers
6 user-configurable macro buttons
Favourites screen for quick patch recall
XY control on touchscreen
Wheels touchscreen for MIDI controls like mod wheel, pitch bend, aftertouch and velocity
MPE capable

Screen
Industrial-grade highly responsive touch screen with Brightness control
1024x600 pixels

Voices
12 voice polyphony
Duo-timbral
Mono, Legato and Unisono modes

Patches
Over 1700 factory patches
Capacity of 7000 patch memory slots (numbers 0000-9999 can be used)
Patches from Quantum and other Iridium variants can be loaded and vice-versa
Category filter for patch list
2.6 GB sample flash memory preloaded with 2 GB factory samples

Connections
Stereo Audio Out: 2x TS jacks
Stereo Audio In: 2x TS jacks
Headphones TRS output with level control
DIN MIDI IN & Out, mini-TRS Type A (two adapters to DIN MIDI sockets included)
USB Type B (device) for MIDI connection to computer
USB Type A (host) for storage media and MIDI devices
MicroSD slot
2 high-resolution CV Inputs which can be used as modulation sources in the Mod-Matrix
Analogue clock In & Out with clock divider settings

Overall
Sturdy metal case
Dimensions: 346 mm wide by 200 mm depth by 64 mm height (including controls)
Weight: 2.2 kg
External Power Supply: Input 100-240 V / AC 50-60 Hz, Output 12 V DC / 3 A

What's In the Box?
Iridium Core Synthesizer
Two MIDI adapters: mini TRS to DIN sockets
Power Supply
Printed Quick Start Guide

Notes: Next-generation rotary mixer from Pioneer's parent company, AlphaTheta. Cutting-edge digital tech meets analogue richness thanks to output transformers from the legendary Rupert Neve Designs. The best of both worlds.

Supplier's Notes:
Euphoric sound with digital clarity and analogue richness from Rupert Neve Designs transformer

The euphonia produces a euphoric sound with the clarity of digital and the richness of analogue that's never been heard from a DJ mixer before.

To deliver a clearer sound quality that accurately reproduces the expression of the music, the euphonia uses high-quality 32-bit A/D and D/A converters as well as 96kHz/64bit floating point mixing processing operations in the DSP, utilizing the digital signal processing technology AlphaTheta has developed over many years.

All sound coming out of the euphonia passes through a transformer circuit co-designed by AlphaTheta and Rupert Neve Designs, the legendary makers of outstanding analogue audio circuitry and mixing desks revered by artists and sound engineers around the world. This transformer circuit, tuned specifically for the euphonia, adds harmonics to the music and creates a glossy and energetic sound that's smoother for mixing. Low frequencies such as kicks and bass are more stable and punchy, mid frequencies like vocals and instruments have more presence and gloss, and high frequencies such as hi-hats sound silky and natural. The transformer breaks down the barrier between vintage live and modern electric sounds, making mixing easier and surprisingly natural, as if recordings in different styles were originally one piece of music.

Specially developed rotary fader makes you feel one with the music

When you touch the faders on the euphonia, you won't want to let go. To enhance its intuitive mixing experience, the unit is loaded with rotary faders that feature a brand-new carefully developed design to give you the feeling that you and the mixer are one. After extensive testing, the perfect knob sizes were chosen, with an elastomer applied to the outer circumference of each to ensure a comfortable and reliable grip as well as a high level of vibration absorption.

The uniquely developed mechanism for the faders also benefits from optimum weighting. You'll notice a difference in the feel of the knobs when you turn them at different speeds, as a smooth load is applied when you turn a knob slowly for delicate fine-tuning and a limited load level is applied when you turn a knob quickly to instantly reach your intended volume level. And the fader volume curves have been optimized through feedback from numerous DJs, enabling smooth and natural mixing without equalizing, so you can concentrate on volume control. This innovative fader allows for musical expression that will move your audience and enhance your performance.

Energy Visualizer for understanding overall sound at first glance

Get an instant visual grasp of the status of your mix and the balance of track volume levels by glancing at the euphonia's Energy Visualizer. Conventional VU meters only have 1 needle meter, making it difficult for DJs to grasp multiple channel levels at the same time. But the euphonia's uniquely developed Mix Level Meter features a needle meter for each channel so you can visually check the levels for all channels and mix smoothly while keeping the groove going. You can even keep an eye on the balance of the master output by looking at the Spectrum Analyzer, which helps you keep your mixes sounding consistent and smooth, even in a long set, as you "watch" the euphonia's output and adjust it to create your perfect sound.

Next-generation 3Band Master Isolator that transforms sensibility into sound at your will

Highest-quality isolator

The size of the isolator knobs is perfect for rapid turns from centre to maximum or minimum, and the torque load is perfectly balanced for both quick operation and fine sound quality adjustment, with a luxurious feel that's not too light. The cut-off frequency and slope are set to control and highlight the kick, melody, and rhythm bands in a natural yet sharp manner.

Brand-new Boost Send for one-handed effects application

Add one of the built-in Send Effects, or an effect from an external unit, to the sound of any of the master isolator frequency bands.

Specifications

Max. external dimensions (W × D × H): 429.2 × 331.0 × 119.9 mm / 16.90" × 13.03" x 4.72"
Main unit weight: 9.5 kg / 20.94 lbs.
Frequency response: 20 Hz - 40 kHz (LINE)
S/N Ratio: 107 dB (USB, DIGITAL IN)
88 dB (PHONO)
105 dB (LINE)
79 dB (MIC)
Power requirements: AC 110 V - 240 V, 50 Hz / 60 Hz
Power consumption: 43 W
Accessories: Power cord
Warranty (for some regions)
Quick start guide
Precautions for use

Compatible software:
rekordbox
Serato DJ Pro

Terminals

Inputs:
DIGITAL IN × 4 (coaxial)
LINE × 4 (RCA)
PHONO × 4 (RCA)
MIC x 1 (XLR & 1/4" TRS jack)

Outputs:
MASTER × 1 (XLR)
BOOTH × 1 (1/4" TRS jack)
REC × 1 (RCA)
PHONES × 2 (1/4" stereo phone jack, 3.5 mm stereo mini jack)
USB: USB Type-C × 1

Others:
SEND × 2 (1/4" TS jack)
RETURN × 2 (1/4" TS jack)

Notes: The legendary Xone:92 gets a big update. Improved sound, mini innoFader Pro, updated build and more. The iconic filter circuits see major upgrades, with refined curves, silent switching and tweaked resonance. Better than ever.

Supplier's Notes:
The Xone:92 defined club music for a generation. Now, it's back to set new standards. Analog warmth, precision control, and bulletproof reliability - elevated for the next generation of underground innovators and Big Room stars.

The Evolution of a Classic

Building on the Xone:92's revered legacy and featuring hardware enhancements from the acclaimed Xone:92 Limited Edition, we've added silent VCF switching, a new custom innoFADERr crossfader, and a collection of precision upgrades that preserve the legendary 92 DNA while improving performance.

The Iconic 92 Sound. Refined

For two decades, the Xone:92 set the sonic standard for dance music with its all-analogue signal path.

The new Xone:92 delivers the iconic sound that DJs and clubbers have come to love, but with the latest high-performance analogue components in the audio path.

Experience bass that moves crowds, highs that cut through, and a warmth digital can't touch. Connect with your audience on a physical level - from intimate clubs to massive festivals.

The Legendary Filter. Perfected

The Xone:92 filter changed the game when it made its debut in 2004. Twenty years on, it's still the benchmark, and the new Xone:92 takes it further.

The updated filter provides extended frequency precision thanks to an optimised control curve while retaining the 92's fabled filter sound. Silent filter switching enables seamless transitions, and enhanced resonance lets you explore new dimensions in your performances.

Built for the Booth
The new Xone:92 is built to withstand the rigours of clubs, festivals, and relentless touring thanks to its rugged, tried and tested chassis designed for night after night of high-energy sets.

The crossfader has been updated to the industry-favourite mini innoFADER Pror, tuned to match the curve of the original 92 fader while providing a smoother, more precise and longer-lasting mixing experience.

The new Xone:92 revamps the classic Storm Grey colourway with enhanced UV printing for low light legibility, and a refocused legend for increased visibility of key controls, with recessed Filter and XFade assign switches further improving ergonomics.

The Ultimate Analogue EQ

The Xone:92's unrivalled analogue EQ delivers all the control you need to sculpt your sound and get creative with your transitions.

All phono/line channels feature our renowned 4-band EQ with total kill on HF and LF bands, plus dual mid-frequency controls for the ultimate in tonal control.

Mic channels include a 4-band EQ with +/- 15dB on all bands.

Precision Tuned Preamps

The Xone:92 phono preamp has been fine-tuned to get the best out of your vinyl with an RIAA curve tailored specifically for techno and house, and improved Line/Phono source matching for easy integration of analogue and digital sources.

Includes: Spare Knobs, Dual Ground Adapter, Mains Lead, QR Card, Safety & Regulatory Information