Search dance music

Notes: The PRO-SOLO Mk3 converts MIDI data into CV- gate and clock signals. The operation is easy and clear, settings can be saved in non-volatile memory. High-resolution 16-Bit converters provide accurate tracking and fast response. 1V/oct and Hz/V characteristics are possible as well as normal gate and Switched Trigger (S-Trig).

The unit features two CV- and one gate output, additionally there's an analogue clock output. MIDI thru socket can also be used as DIN-Sync output or it can output two additional voltages with a special cable. MIDI synched LFO.

Notes: Play is a high-fidelity sample player with a full feature set.

Up to 32 samples can be loaded at a time and dynamically switched between using the file knob and associated CV input. Playback modes include one-shot, looping, or gated playback; all with extremely low latency. Transform your samples by pitching them up two octaves or down three octaves, all with a pitch knob that can be free running or quantized to semitones. The pitch CV input tracks volt per octave across its entire range and allows for musical sequencing of samples. Play ships with a pre-loaded SD card packed with loops, drum hits, and field recordings to get you up and running immediately.

Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

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

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

The Pod60 includes twenty (20) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: Vowel is a speech synthesis and formant oscillator. It synthesizes and approximates the human voice by generating vowel sounds. These can be manipulated to provide deep low baritones, or high pitched squeaks. Two unique algorithms provide separate takes on this exciting synthesis method and allow for a multitude of talking synth sounds.

Notes: UDG Ultimate Flight Case Multi Format Turntable Black MK2 not only transport your complete set up easily & securely, but also facilitates devices to be setup within minutes. With these premium features incoporated, the UDG Ultimate Flight cases provide premium professional quality in a very stylish modern black colored combination.
Fits: Technics SL-1200MK7, Reloop RP-8000MK2, Denon DJ VL12 Prime, Pioneer PLX-1000, Audio Technica LP120XUSB, or similar size turntables.

We, at UDG have further fined-tuned already a great design concept of our flight case into one specially for the most discerning DJ/producer. Constructed from solid 9mm thick plywood, the outside is laminated in a black finished honeycomb/hexagonal "Stage Grip" pattern. The inner sides are protected with high density diamond embossed EVA foam protective padding. This extremely robust padding protects the equipment against scratches, dust or other damages, creating a unique stylish & practical finish.

Extra wide black finished aluminum profile & massive UDG logo embossed ball corners are incorporated to ensures longevity & maintaining a permanently attractive, professional design. The UDG Ultimate Flight Case Multi Format Turntable Black MK2 also features heavy duty spring loaded handles for a secured lift & load.

UDG Ultimate Flight Case Multi Format Turntable Black MK2 not only transport your complete set up easily & securely, but also facilitates devices to be setup within minutes. With these premium features incoporated, the UDG Ultimate Flight cases provide premium professional quality in a very stylish modern black colored combination.

Specification
Color Black
Weight 7,80 kg / 17.16 lbs
Outer Dimensions (W x H x D) 51.1 x 42.6 x 23 cm | 20.1 x 16.7 x 9.1 inch
Inner Dimensions (W x H x D) 45.1 x 38.6 x 7.8 cm | 17.7 x 15.2 x 3.1 inch
Material Heavy duty construction of 9 mm thick plywood
Protection Extra-wide black solid aluminum profiles
Secure stacking due to stackable ball corners
Sturdy construction
Full padded interior keeps controller well-protected
High density diamond embossed EVA foam protective padding
Extra's Laminated in a black finish with a honeycomb/hexagonal "Stage Grip" pattern
Fits Technics SL-1200MK7, SL-1200GR, SL-1200GAE, SL-1210GR
Pioneer PLX-1000
Denon DJ VL12 Prime
Reloop RP-8000MK2, RP-7000MK2, RP-4000MK2, RP-2000MK2, RP-1000MK2
Stanton ST-150, STR8.150, T.52, T.55 USB, T.62, T.92 USB
Vestax PDX-3000
Numark TTX
Audio Technica LP120-USB, LP1240-USB, LP120XUSB, LP1240-USBXP, LP140XP, LP3, LP5, LP7, LPW40WN
American Audio Power Drive 2.2
Mixars LTA, STA
or similar size turntables
And accessories

Notes: Black Stereo Mixer is just what you need, if your setup has several nowadays gaining popularity modules with stereo inputs or outputs, like Black Hole DSP, Erica Fusion Delay, MI Clouds or some other. In order to save rack space, we designed compact mixer with lot of cool, performance oriented features.

In order to save rack space, we designed a compact mixer with a lot of cool, performance oriented features.

Check out also the Black Pre-fade Listen Expander that is a satellite module to Erica Synths Black Stereo Mixer!

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, we did not economise on the module width, we put design and usability first. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

Notes: The Listen Four is a four channel stereo mixer with line, modular, and headphone outputs. Two mono channels with Pan knobs and two stereo channels with dual inputs provide optimal compatibility with both stereo and mono signals. The Listen Four can be daisy-chained to other Listen modules to create a larger mixer with sub-mix outputs.

Notes: Stmix is a compact 4 channel stereo mixer with an Auxilliar input. This input will allow us to chain a few of them or to insert an extra fifth input.

This module is compatible with Befaco's Hexmix system, and can be internally connected to hexmix module to add the output of STMIX to your main mix.

Specs

Current needs: +12V: 8mA, -12V: 10mA
Width: 6 HP
Depth: 20mm (including power connector)
Aluminiun, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona

Notes: freedom to connect. total control.

The SL MIXFACE is a complete controller device which combines style and simplicity with a powerful engine. Designed for mobility, you can bring it everywhere and use it in total freedom thanks to its hosting capability and auto-mapping of the main DAW apps.

Through its connectivity and the integrated batteries it's a perfect portable device, which with a simple gesture becomes the best desk companion.

Press a button and switch the control from the DAW environment to your favorite instrument and vice versa. All the Transport functions are always ready to go, while you can edit any sound parameter of the instrument or mix the tracks of your song.

Connectivity
The SL MIXFACE is able to host any compatible keyboards turning it into a full 4 layers MIDI controller via USB. Thanks to its connectivity ports it communicates with the computer as device by using Bluetooth and USB at the same time.

Extended capability
The SL MIXFACE perfectly matches the SL controller line expanding its control capability. Thanks to the magnetic system it sticks on it becoming a natural physical controls extention. Simply plug MIXFACE to an SL keyboard and it gets the control of the 4 layers on the fly.

General
OLED display 128 x 64 dots
Navigation Encoder
8 Knobs, 9 Sliders, 8 Buttons
DAW
Rec, Mute, Solo, Select
3 Controls for each Track (Knob, Slider, Button)
Master Slider
Transport
Play/Stop, Record, Next track, Previous Track
Set marker, Next marker, Previous marker, Cycle
Supported DAWs1
Ableton Live
Apple GarageBand
Apple Logic Pro
Avid Pro Tools
Cockos Reaper
Motu Digital Performer
Presonus Studio One
Propellerhead Reason
Steinberg Cubase
Steinberg Nuendo
Controller
12 User Presets
Integration with SL Controllers
4 Zones
Controls for Zone
16 Sets (Knob + Slider + Button)
2 Master Sliders
Connections
USB Device (type micro B)
USB Host (type A)
Bluetooth 4.2 Low Energy
Power and battery
USB powered (when connected via USB)
Three AAA batteries2 (when connected wirelessly)
Size and weight
Width: 26,2 cm / 10,3"
Depth: 13 cm / 5,1"
Height: 3,6 cm / 1,4" - 5,6 cm / 2,2" raised
Weight: 570 g / 1,25 lbs without batteries
Package content
SL Mixface
Micro-USB Cable
Anti-slip desktop pad

Notes: The Pod40X is 40HP with 2.00" (51mm) of available module depth. The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

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

The Pod40 includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: The Pod48X is 48HP with 2.00" (51mm) of available module depth. The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

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

The Pod48X includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: The Mini Case offers 40 HP for mounting modules. A power supply is built-in.

208 mm long x 45mm deep.

PLEASE NOTE: Comes with EU 2 pin plug only - UK adapter may be required.

Notes: The STAY Slim 2 tier keyboard stand is a lightweight (just 2.9kg) aluminium keyboard stand ideal for practice, studio and performance use. This model with curved arms on the top tier enables a peripheral such as smaller synth, laptop or mixer to be placed safely above the main keyboard. The stand is quick to put up and packs away quickly into the neat zip carry case that is included. Despite being so lightweight the keyboard can carry a 61 note keyboard of up to 10kg on each pair of arms. The tripod foot design raises the stand off the ground and provides a very stable plus gives room for sustain and other effects pedals to be placed exactly where you want them. In addition, the stands keyboard arms are height adjustable (top level max height is 1100mm) and the top deck arms are set at a 10 degree angle for ease of playing. Cables can be neatly run down the stand using the proved stretch clips.

- Maximum load capacity: 20 kg (10kg per tier)
- Automotive paint
- Ultra fast assembling
- Product net weight: starting at 2.8 kg
- Tote bag included

Notes: The module contains two ADSR type voltage controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor) behind a front panel with 8 HP only.

Each ADSR provides these controls and in/outputs:

- LED (displays the envelope output)
- A: manual Attack control
- D: manual Decay control
- S: manual Sustain control
- R: manual Release control
- Gate Input
- Retrigger Input
- CVT Input with attenuator (CVT = CV Time)
- Envelope Output 1
- Envelope Output 2

The output voltage range for each envelope is 0 - 10V (10V = attack peak).

The time range of Attack/Decay/Release is about 1ms to 30s.

By means of internal jumpers one can select which time parameters are controlled by the CVT input (e.g. D only or D+R or A+D+R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question).

Socket CVT can be normalled to an internal fixed voltage (i.e. the switching contact is connected to an internal fixed voltage). That way it's possible to change all time parameters simultaneously by means of the CVT control.

Another jumper is used to set output 2 to normal or inverted envelope.

And another jumper is used for the normalling of Gate 2 to Gate 1 (i.e. ADSR#2 is also triggered by Gate 1).

Two more jumpers are used for the optional bus access to the gate signal of the bus for each ADSR.

Notes: A powerful effects creation and mixing hub with flexible controls for multiple configurations!

The EHX TriParallel Mixer is a powerful effects creation and mixing hub with three separate FX loops and flexible controls allow for multiple configurations.

The Tri Parallel Mixer is surprisingly compact considering the level of functionality it provides, while its intuitive controls and I/O make it easy to operate.

Use it to switch between or mix up to three separate effects loops. Send a guitar or other instrument out to three separate amplifiers, or input three separate instruments to switch between or mix to a single output. Mix effects in parallel to create sounds and allow for options not possible when using effects in series (one after another).

Run up to three FX Loops in parallel and create sounds that are not possible by connecting effects in series
Switch seamlessly between FX Loops in XOR mode
Send one instrument out to three separate amplifiers
Mix three instruments into a single output
Power supply included

Specifications

Circuit: AnalogAnalog w/ Digital Control
Bypass: Buffered Bypass
Audio: Mono
Effects Loop: Yes
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 45mA
Year Released: 2019

Notes: Row Power is a clean, regulated, and protected power solution for eurorack systems. Row Power 35 provides 35W of power, suited for any typical eurorack row (84HP to 168HP):

+12V @ 1.4A
-12V @ 1.25A
+5V @ 1.0A

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying-bus cables or the Bus Stick.

Daisy-chain multiple Row Powers to use a single power brick for multiple rows (typically 3-5 rows per power brick). Each row will be independently regulated and protected for ultra-low cross-talk between rows. Rows can also be hot-swapped (plugged/unplugged without powering the whole system down).

Notes: The AT-XP series cartridges provide a high-quality sound for vinyl DJ's. Offering all of the features of a DJ cartridge, but with a Hi-fi sound, the XP series are perfect for the stage and club DJ who prioritises sound quality.

- Audiophile DJ cartridge AT-XP7 pre-mounted on the AT-HS6BK headshell
- VM dual magnet construction
- Durable robust design for high-quality specialist DJ playback
- Tapered aluminium cantilever providing outstanding rigidity
- Compatible with the replacement styli ATN-XP3 and ATN-XP5 as well
- Configuration with single cartridge (AT-XP7). The replacement stylus (ATN-XP7) and a headshell bundle, consisting of the replacement stylus and the headshell AT-HS6BK (AT-XP7/H) are available separately

Notes: More bang for your buck? Omnitronic's four-channel offering is a competitively priced alternative to entry-level mixers from Pioneer or A&H. Built-in mp3 playback from USBs and audio streaming over Bluetooth.

Supplier notes:
- 4 input channels with gain control, LED level meter, 3-band equalizer, cue button and channel fader
- DJ microphone channel with level control, 2-band equalizer, on/off and talkover switch
- Integrated Bluetooth audio streaming for your smartphones and tablets
- MP3 player with USB port and blue LCD screen
- Pre-fader listening to all input channels and the master output via adjustable stereo headphones output
- Crossfader with assignment switches and adjustable curve
- Master channel with level and balance control
- 10-digit stereo LED level meter
- Adjustable monitor output (DJ booth)
- 10 line and 2 phono inputs via RCA jacks
- Balanced XLR and RCA outputs
- Record output, independent of the master

Notes: Low-budget flexibility from the German brand. Three channels with three-band EQ, plus streaming from Bluetooth or USB for added connectivity.

Supplier notes:
- 3 input channels with gain control, 3-band equalizer, cue button and channel fader
- DJ microphone channel with level control and 2-band equalizer
- Integrated Bluetooth audio streaming for your smartphones and tablets
- MP3 player with USB port and blue LCD screen
- Pre-fader listening to all input channels and the master output via adjustable stereo headphones output
- Crossfader with adjustable curve and reverse function
- Master channel with level control and 6-digit stereo LED level meter, switchable between master and PFL signal
- 6-digit stereo LED level meter
- 6 line and 2 phono inputs via RCA jacks
- Balanced XLR and RCA outputs
- Record output, independent of the master

Notes: Versatile stereo digital filter based on Endorphin's Grand Terminal module. CV-controlled cutoff, resonance and separate high-pass filter. Simple but effective.

Supplier notes:
The Squawk Dirty To Me is a stereo filter with voltage controlled resonance. It features eight filter modes and zero-delay feedback.

- Simple and effective 6hp stereo VCF
- 8 filter modes available with meta CV scanning, famous zero-delay feedback Grand Terminal filters
- Additional hi-pass filter in series quickly cuts the boomy low end

Notes: Milky Way is a multi effects module with stereo signal flow. Its algorithms are already known from the Blck_Noir and the Grand Terminal.

- Simple and effective 6hp stereo* FX module
- Comes with "T.F.D" firmware installed: 16 types of effects are available, sorted in two banks
- Meta CV effects scanning
- Volume control with VCA

*depending on the effect type

Notes: Everyone loves bass, so Minirig decided to take the Subwoofer to the next step - rather than the old 30 watts of power, it now has 40 watts of power! This ultimately gives you a cleaner low that matches the new Minirig 3.

Don't just hear the bass - feel the bass:

The Subwoofer works in harmony with your Minirig or Minirig Mini to enhance the low end.

Optimised Airflow Technology:

With Minirig's custom folded horn design you get bone shaking bass, in a small package.

Take the party on the road:

Chuck this little bass bin in your rucksack and complete your Minirig soundsystem set-up.

Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)

Notes: While modular synthesisers are most often used as stand-alone instruments, they also present exciting opportunities for processing external signals. Anything from an electric guitar to an effects send on a studio mixing desk can benefit from the unique sonic capabilities of even a modest Eurorack system.

However, patching in an external source usually requires an adapter cable and plenty of clean gain to bring the signal to Eurorack level. If the signal source is balanced, a balanced input is required as well to provide the best possible interference rejection.

Receive 2 (or RX2 for short) provides a convenient all-in-one solution. It offers two universal external inputs, which accept both balanced or single-ended signals via XLR or 6.35 mm jack connectors.

The circuit incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced receivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic discharge (ESD) protection, it’s rugged enough to survive the rigours of performing on the road.

The very clean integrated pre-amps feature variable gain, ranging from unity to +40 dB on each channel. As a result, Receive 2 can handle just about any signal source you may encounter, including electric instruments, piezoelectric pickups and many dynamic microphones.

Adjusting the gains is a breeze thanks to the dual peak-responding LED meters. A mix output is included as well, so external signals can be easily mixed directly in the module.

Notes: Simple but effective output module, converts stereo instrument-level signal to balanced XLR outs. Ideal for live use but just as good for avoiding unwanted hum in the studio.

Supplier's notes:
Whether it's in the studio or on a live stage, keeping audio interconnections free from unwanted hum and interference can be a challenge. Balanced lines are the proven solution to this problem.

Conventional balanced output solutions often rely on transformers providing galvanic isolation to mitigate the effects of ground loops. Unfortunately, these components are bulky, expensive and colour the sound (often unfavourably, especially in the low end).

Instead, Transmit 2 (or TX2 for short) takes a fully solid-state approach. Offering a stereo pair of XLR balanced outputs, it ensures that the sonic clarity of your carefully planned modular system is not lost in its interface to the outside world.

Engineered to provide massive headroom while retaining extremely low noise and distortion, Transmit 2's circuitry incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced drivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic (ESD) and phantom power discharge protection, it's rugged enough to survive the rigours of performing on the road.

Adjusting the main output level is a breeze thanks to the dual peak-responding LED meters. A high-end headphone amplifier is included as well, controlled by a separate level knob. It can deliver the voltage and current required to power practically any headphones, regardless of the impedance or driver technology. This 3.5 mm stereo socket can function as an auxiliary stereo line output or even drive small passive speakers, making Transmit 2 an all-round flexible answer to all your output needs.

Notes: Latest version of the classic Technics DJ headphones, updating the classic RP-DJ1200 design, which sold more than half a million units in its lifetime. Solid stuff. Popular for a reason.

Supplier notes:
New-Standard EAH-DJ1200 DJ headphones with excellent functionality, furability, and DJ playing performance.

The EAH-DJ1200 is a successor model to the RP-DJ1200, which has sold more than 500,000 units since it was launched in 1996. While inheriting the basic concept of the previous model, the EAH-DJ1200 better meets the needs of today's DJ users, resulting in DJ headphones with more advanced functions, design and sound quality. In addition to ordinary listening, the EAH-DJ1200 provide precise monitoring of the beat even in large-volume sound environments such as those in clubs. The matte finish black colour design also makes it an excellent match for the SL-1200MK7 DJ Turntable.

The newly developed driver uses a 40mm-diameter CCAW voice coil. It achieves clear, detailed sound, and high-durability input (2,500 mW) with no distortion even at high volumes. Also, because the sound is well balanced from low to high ranges, DJ play in high-volume surroundings is not buried in noise and monitoring is comfortable.

The EAH-DJ1200 is a lightweight on-ear type design. The housing is equipped with lockable swiveling mechanisms so the headphones can be used for monitoring with one ear. It adapts to all styles of monitoring by DJs. The headphones can be folded compactly for easy portability and storage.

The detachable cord is easy to clean and maintain. A locking mechanism is provided to prevent accidental detachment of the cord during use. The stretchable coiled cord, coupled with the L-type plug which resists internal wire breakage, enables extra ease of use and high durability. It withstands harsh and intense usage by professional DJs.

Based on the RP-DJ1200, which remained as a long-selling model in the market for more than 20 years, the EAH-DJ1200 sports a contemporary black color scheme for an updated appearance. Armed with high durability and excellent functionality, the EAH-DJ1200 matches perfectly with the SL-1200MK7, which features a matte black finish.

Notes: Pigtronix Infinity 2 is a stereo looping pedal with two independent loops and a streamlined user interface that has been designed to provide an intuitive musical workflow, right out of the box.

The Infinity 2 enables musicians to seamlessly switch between parts, even during initial recording or while overdubbing. This Verse / Chorus type of workflow is further expanded by the ability to delete the loop that is not currently playing - freeing up an open slot for a new loop to be created, without interrupting playback.

Nearly all actions taken by the Infinity 2 occur at the loop boundary. This allows the musician to cue an overdub, switch between loops or stop precisely at the end of a loop, without having to worry about hitting the footswitch at precisely the correct time. Simply tell the machine what to do and it will occur at the end of the current loop. This is the general rule of thumb for all commands, with a few exceptions such as instant stop and fade out, which take place immediately when activated.

A small push-button switch, located above the left footswitch, allows the user to change the functionality of this footswitch to perform various Stop, Stutter and Octave Shift effects. A TRS remote jack allows these special features to be triggered by an external switch. Undo / Redo functionality can also be assigned to the left footswitch, allowing the musician to remove previous overdubs and add them back as desired.

In addition to a dedicated knob for loop Volume, the Infinity 2 also features a Decay knob that causes loop audio to fade out progressively during overdub. With the Decay knob set fully clockwise, the layers pile up at full volume. With the Decay knob set fully counter-clockwise, each overdub lasts for only one loop cycle. With the Decay knob set anywhere in-between those extremes, overdubbing on the Infinity 2 creates constantly evolving loop textures that can be instantly snapped back to a previous state using the Undo function.

The Infinity 2's full-range, high-headroom audio inputs will accept mono or stereo instruments as well as line-level signals. The dual outputs of the Infinity 2 can be routed for stereo output with pass-through and loop audio mixed together, or they can be configured for discrete Wet / Dry operationiwhere the loop audio is summed to one output, and pass-through audio is sent to the other.

Infinity 2 combines the high-fidelity audio and ultra-low-latency looping engine of the original award-winning Pigtronix Infinity Looper, with a much smaller form factor and a user interface specifically designed to make looping fun and musical for everyone.

Notes: The Flame u16MCC is a compact MIDI interface, which converts received MIDI control change commands on 16 outputs into CV voltages between 0 and + 5V. The resolution of the data bytes is 7bit. The outputs each have a passive lowpass filter, which smoothes the output voltages.

Each of the outputs can be assigned a separate control change number between 0 and 127 on its own MIDI channel. The module is programmable via the LEARN function with a MIDI keyboard and MIDI controllers, or via SYSEX commands. Some SYSEX files with default settings already exist.

The module has two MIDI sockets (mini jacks in TRS-B standard) INPUT and THRU. The data received at MIDI-IN is forwarded via MIDI-THRU. Additional MIDI modules can then be connected there.

MIDI/USB to CV/Gate/Sync

Features:

16 ControlChange to 16 CV outputs 0..+5v
programmable via MIDI keyboard/DAW/computer
MIDI start/stop trigger outputs
MIDI input and THRU (TRS MIDI B standard)

Power consumption: 50mA at +12 V and 30mA at -12 V
Depth: 40mm
5 HP

Notes: Clever four-channel utility module designed to make it easier to achieve perfect oscillator tracking and transpose CV signals. Also includes some neat quantising and portamento features.

Supplier notes:
The CalTrans solves issues encountered when playing tonal music with a modular system: tracking problems, curves unrelated to Volt per octave ratio, limited octave range, cumbersome transpose, ...

The CalTrans corrects and expands the range of troublesome VCOs and brings V/Oct tracking to anything that oscillates.

Besides calibration, the CalTrans offers live play features. Each channel can be quantized and any combination of them transposed jointly.

A pair of rotary encoders with detent allow an precise selection of octaves and semitones.

VCOs whose tracking doesn't go high enough to follow the leader will see their pitch repositioned in their highest possible octave so that the global harmony is unaffected.

You can add a pinch of portamento and glissando to each channel and save the whole in user presets.

Notes: This compact Boost & EQ device is based around the tone-shaping options available in old audiophile-grade stereo preamps, making it a great addition to your pedalboard, no matter what instrument you play.

So what does that mean, exactly? It means that you'll hear full frequency response from your Tone Job everywhere you plug it in - guitar, bass, drum machine, synthesizers, steel drums, harpsichord, kazoo, car stereo, or wherever!

The Tone Job has active EQ controls for Bass, Mid and Treble, with up to 20 dB of cut or boost, which is handy for pairing up with other pedals in your chain to breathe new life into old dirt. Unlike boring old graphic EQs, the Tone Job's EQ controls are interactive, so you can experiment with different settings to alter the response and overall feel of the device, getting your tone out of the lunchroom and back on the clock.

Place the Tone Job at the beginning of your chain to alter the overall character of your guitar, or use it at the end to boost output at the end of a long cable run and fine-tune your tone. The Level control on the Tone Job can boost your signal up to 5x the original input level, so you'll always be heard, and makes for a fantastic solo and/or clean boost!

Controls:
1. Level: Post EQ volume control. Can boost the signal up to 5x the input. Unity is around 10 o'clock.

2. Treble: The center position is flat and marked with a center detent in the potentiometer. All settings above this point boost the treble and all settings below cut treble.

3. Bass: The center position is flat and marked with a center detent in the potentiometer. All settings above this point boost the bass and all settings below cut bass.

4. Middle: The center position is flat and marked with a center detent in the potentiometer. All settings above this point boost the middle and all settings below cut middle.

Tech Specs:
Switching
This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

Power
This device takes a standard 9-18 volt DC power supply with a 2.1mm negative center barrel. Pedals will make extra noise if there is ripple or unclean power. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 21 mA
Input Impedance: 1 MO
Output Impedance: <1 kO

Notes: With the BeatBuddy MINI 2 Drummer Pedal, use your foot to take full control over your drummer including transitions, fills, intros, and more.

The ergonomic button makes this drummer pedal perfect for playing or jamming out when wearing socks (or barefoot)!

Over 200 styles and samples of professional drummers result in a versatile and organic feeling drum machine.

The BeatBuddy MINI 2 drummer pedal is a more compact and affordable version of the award winning BeatBuddy drummer pedal. It's used by School of Rock, Taylor Robinson Guitar, Frost School of Music (University of Miami), and more as a tool for efficient and engaging practice.

The ability to play along with beats sampled from professional drummers and control them with nothing but your feet will help you improve your musical talent faster than ever before. Most importantly, the fun you'll be having along the way will keep you coming back for more.

Notes: The Hummingbird is a choppy, sawtooth tremolo modeled on the vintage "repeat percussion" unit and similar to those found in old Valco and Vox amplifiers. It is capable of producing everything from classic "50's style" shimmering tremolo to a synthy, delay-like chop that turns your signal into a burst of short pings and on through to near ring modulation speeds. Simply choosing between modes 1 (slow), 2 (mid-tempo) or 3 (fast) and adjusting the rate and depth controls will unlock a whole new world of amplitude modulation at your feet. The Rate is also expression pedal accessible to allow instant changes on the fly. Using an expression pedal opens up the possibility of true random amplitude modulation! In addition to the modulation, the Hummingbird has plenty of clean gain on-tap allowing you to either boost or cut the signal using the level control. If the Depth is turned to zero, the Hummingbird will become a JFET clean boost!

Controls:
1. Depth: This adjusts how much the oscillator affects the signal. All the way clockwise produces a full chop, all the way counterclockwise produces no chop and the Hummingbird can be used as a simple JFET booster.

2. Mode: Three way toggle switch which selects the range of the oscillator. Mode 1 is slow, Mode 2 is mid tempo and Mode 3 is fast.

3. Rate: This adjusts the speed of the oscillator. Faster clockwise, slower counterclockwise.

4. Level: Adjusts the output volume

5. Expression Jack: Use an expression pedal to adjust the rate with your foot! When an expression pedal is in use the Rate control is defeated. We recommend the Moog EP-2 expression pedal.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 10 mA
Input Impedance: 50 kO
Output Impedance: <10 kO

Notes: One of the most trustworthy names in hi-fi delivers a premium version of the excellent Blue3 cartridge, hand tested and selected in Brooklyn for higher performance and better sound.

Supplier notes:
The Red3 uses a four piece OTL cantilever that has a Grado specific diamond mounted on a brass bushing.

What's the difference between Blue3 and Red3?
Approximately 15% of the Blue2 production run meet higher specifications. These are hand selected from the batch and designated as Red3.

Grado's OTL, or optimized transmission line, technology provides an ideal transfer of signal from the surface of the LP to the generator of the system. This technology rejects unwanted resonances and lowers distortion preserving the fundamental and harmonic frequencies of the music. This also helps keep noise generated by the motor system in the cartridge to a minimum.

Grado's OTL stylus/cantilever design makes records sound quieter, improves the height, width, and depth of the soundstage, and present more detail than previously obtainable.

The Red3 is hand assembled by Grado's team in Brooklyn, with some builders having over 25 years of experience. This updated series of cartridges offers excellent tonal balance, dynamics, and realism, for a most rewarding reproduction of vocals and instruments. The coil winding techniques using ultra high purity copper wire, which were honed during the development of the Lineage Series, have let the electrical circuits achieve unison between the four coils in each phono cartridge. This allows for a precise balance between channels and accurate stereo imaging.

As in all Grado phono cartridges the Red3 is powered by a twin magnet system that optimizes the balance between stereo channels. All internal magnetic circuit parts are held to extremely high tolerances creating the desired stereo imaging. Grado's patented Flux-Bridger design allows the Black2 to have one of the lowest effective moving mass generating systems while creating an excellent balance throughout the full frequency range.

Notes: Excellent value upgrade to standard hi-fi turntable styluses. Designed for smooth sound with a balanced tonal presentation. Hand built in Brooklyn by experienced audiophile specialists.

Supplier notes:
The Silver3 uses a four piece OTL cantilever with a Grado specific elliptical diamond stylus mounted on a brass bushing. A machined turned generator is used to achieve a lower distortion and greater transparency.

What's the difference between Gold3 and Silver3?
Approximately 5% of the Silver2 production runs meet higher test specifications. The cartridges that exhibit these specs are hand-selected to become a Gold2.
Grado's OTL, or optimized transmission line, technology provides an ideal transfer of signal from the surface of the LP to the generator of the system.

This technology rejects unwanted resonances and lowers distortion preserving the fundamental and harmonic frequencies of the music. This also helps keep noise generated by the motor system in the cartridge to a minimum.

Grado's OTL stylus/cantilever design makes records sound quieter, improves the height, width, and depth of the soundstage, and present more detail than previously obtainable.

The Silver3 are all hand assembled by our team in Brooklyn, with some builders having over 25 years of experience. With the recent development of the highly received Lineage Series of cartridges, we were able to have a trickle down of technology and bring some new techniques to the Silver3.

This updated series of cartridges offers excellent tonal balance, dynamics, and realism, for a most rewarding reproduction of vocals and instruments. Our coil winding techniques, using ultra high purity copper wire which were honed during the development of the Lineage Series, have let the electrical circuits achieve unison between the four coils in each phono cartridge. This allows for a precise balance between channels and accurate stereo imaging.

As in all Grado phono cartridges the Silver2 is powered by a twin magnet system that optimizes the balance between stereo channels. All internal magnetic circuit parts are held to extremely high tolerances creating the desired stereo imaging. Grado's patented Flux-Bridger design allows the Silver2 to have one of the lowest effective moving mass generating systems while creating an excellent balance throughout the full frequency range.

The development of the Epoch in the Lineage Series gave us an in-depth experience with using an outer housing as a damping device. This led to the creation of a process which de-stresses the chassis and dissipates unwanted energy & resonant frequencies, allowing the desired signal to travel freely.

Notes: EME (Eloquencer MIDI Expansion) is the perfect companion for the Eloquencer, adding capabilities to sync with MIDI devices, control most of the eloquencer parameters with MIDI interfaces, generating MIDI voices from the eloquencer tracks, and converting MIDI signals to the eurorack world.

Description:
MAIN FEATURES
IN / OUT
DIN-5 MIDI Input, DIN-5 MIDI Output, USB Host.

BUTTONS
4 freely assignable buttons. They can be assigned to:

Next/previous pattern
Next/previous part
Direct access to Pattern mode, Play parts, Duplicate, Project, Gate REC, CV Key REC, MIDI key REC, Free Play...
Save current project
Random 1 to 3 layers of selected track
Reset LFO of selected track
On/Off LFO of selected track
Freeze
Revert
Fill A to H or selected track
Mute A to H or selected track
DJ Nudge FWD/BCK fine/coarse

MIDI CLOCK
Eloquencer can receive 24ppqn sync from MIDI device from its DIN-5 MIDI Input, and can send 24ppqn MIDI clock through its DIN-5 MIDI out.
When working as 'internal' it will send the internal clock to the MIDI output.
When working as 'external' will send the eurorack incoming clock to the MIDI output transformed into 24ppqn.

MIDI OUT
The Eloquencer tracks can be independently assigned to:
- Voice events (note on/off, velocity, ch pressure...) For example Track A can be assigned to Channel 1 Note on/off and Track B can be assigned to Channel 1 Velocity, so track A gates and CV control Channel 1 notes and pitch, and track B controls Channel 1 Velocity.
- Control Change (CC)
- Program Change (PC)

The gate and CV output will work as usual when a MIDI OUTPUT is assigned, so voices can be doubled using the modular and an external synth.

There's a particular execution order for MIDI out events, so the first to be launched is the Program Change, followed by the CC and then the voice events. This way, we can launch program changes before the note on message is received allowing preset changes for each step.

MIDI IN
Both, the DIN-5 MIDI in and the USB can be used to change eloquencer parameters using controllers or to introduce notes in REC MODE using a keyboard.

There are 3 different groups of controls associated to MIDI channels:
- Channel : 8 MIDI channels to control parameters of specific tracks from A to H
- Global : 1 MIDI channel to control Global parameters.
- Focus: 1 MIDI channel to control the parameters of the currently selected track (track in focus). That means that if Track A is selected and we send CC 38, we will be shifting track A, but if we select track B and we send the same CC 38, we will be shifting track B.

When using the USB host input, the EME can send feedback information in case the controller that is being used has LEDs to be updated.

There is a big amount of eloquencer parameters that can be controlled using an external MIDI interface / controller. For example:

Non-destructive track parameters addition/subtraction (CV, CVP, CVR, GL GLP, R...)
Track length
Step mode / Step mode DIV / Step mode REP
Track shift
LFO on/off / Type / Length / amplitude.
Fill
Mute
Random
CV Gate link
Scale group and root
Tempo
DJ Nudge
Shuffle
Clock out
Play / Stop
Direct access to modes (Pattern, Project, Live REC...)
MIDI INTERFACE

A MIDI Channel can be assigned to an Eloquencer Track, so the gate and CV outputs will stop listening to what is sequenced and start listening all note on/off messages coming from the chosen MIDI channel.

Notes: Row Power is a clean, regulated, and protected power solution for Eurorack systems. Row Power 45 provides enough power for two to three typical Eurorack rows (typically up to about 312HP):
+12V @ 2.0A maximum, 1.5A recommended
-12V @ 1.4A maximum, 1.2A recommended
+5V @ 1.5A maximum, 1.2A recommended

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying bus cables or the Bus Stick. For custom power systems, the Row Power 45 has a set of easily soldered holes for using large gauge wire or MTA156 connectors to connect to distribution bus boards.

Multiple Row Power modules can be powered from a single power brick by daisy-chaining with an inexpensive barrel cable. The Row Power 45 can also be daisy-chained to 4ms Company's Pod enclosures. Each power supply is independently regulated and protected for ultra-low cross-talk between rows/pods.

The Row Power 45 is compatible with the 4ms Row Power Shield. This device (sold separately) attaches to the back of the Row Power 45 and monitors the amount of current being drawn, as well as the voltages of the power rails. The information is sent over Bluetooth to be displayed on a phone or tablet.

Electrical and Mechanical Specifications

Module Size:
4 HP Eurorack format module

Power Output:
Maximum average load under normal conditions: +12V @ 2.0A, -12V @ 1.4A, +5V @ 1.5A
Maximum average load under any condition: +12V @ 1.5A, -12V @ 1.2A, +5V @ 1.2A
Powered by laptop-style DC power supply: 2.1mm barrel, positive center, 15V-20V.

Included with the Row Power 45:
16-to-16 pin power cable
2 M3 Knurlie screws

Notes: Forward-thinking controller designed to play nicely with Presonus's own Studio One DAW or Ableton Live. Velocity- and pressure-sensitive RGB pads, context-sensitive screen and eight rotary encoders.

Supplier's Notes:

Modern musicians, performers, and producers need to move quickly from programming drums and samples to playing synth lines and back again. ATOM SQ was designed as a versatile and expressive MIDI pad controller for contemporary music production. Its unique design is optimized for both classic TR-style 16-step beat sequencing and drum pattern editing in Studio One or playing instruments and launching clips in Ableton Liveiyet its staggered and RGB-lit pad configuration is instantly familiar to anyone who's played a controller keyboard. Advanced features let you change the keyboard scale, and a built-in arpeggiator makes the ATOM SQ the most expressive controller you'll ever use. In fact, it's the best PreSonus Studio One MIDI controller available.

A complete production toolkit.
Included with ATOM SQ, Studio One Artist music production software enables you to compose, record, and produce without getting distracted by the tools or hemmed in with track limitations. Easy to learn and intuitive to use, Studio One's unique drag and drop workflow and powerful tools will let you produce faster than ever before. Also included are two carefully-curated loop libraries with custom Impact XT kits. New to version 5: Studio One Artist now lets you use your favorite third-party VST and AU plug-in effects and virtual instruments. You also now have complete support for Studio One Remote to use as a second screen or as remote Studio One control on your iPadr or Android™ tablet. And with ATOM SQ, you have the most flexible PreSonus Studio One MIDI controller available. PreSonus Sphere users now have access to a new exclusive portal loaded with custom-designed tools and curated content by featured PreSonus artists.

Ableton Live integration and more.
ATOM SQ is also unique Ableton Live controller, designed for production and live performance. You can launch clips and scenes during a performance, select devices and edit parameters, navigate tracks and scenes, control each track's volume, panning, and send levelsiplus do all your drum programming in Ableton from the ATOM SQ! Ableton Live Lite is included, so you can get to creating right away. It comes with all of Live's essential workflows, instruments and effectsieverything you need to record songs, create hands-on with your controller, take music made in your apps further and so much more.

Navigation and transport control
ATOM SQ is more than an expressive pad controlleriit also lets you navigate many aspects of Studio One without a mouse and keyboard. You've got transport controls for stop, play, record, and a dedicated Click Track toggle. You can even zoom in and out of your timeline and navigate among your tracks, all without skipping a beat.

Deep control at your fingertips
Deep integration with Studio One's Pattern Editor allows for evolving step sequences that will bring your productions to life. Insert a pattern, change its length, add new variations, and change scalesiright from the ATOM SQ. Need to make changes on the fly? ATOM SQ lets you open the Studio One Pattern Editor, select and edit steps individually, and even copy, paste, duplicate, and delete events, all using tactile controls. You'll build compositions faster than ever before using the built-in step sequencer in Studio One and ATOM SQ. It's fast and easy for anyone who knows how to program a drum machine. And you'll find experimenting to yield particularly rewarding results, because ATOM SQ can constrain your performance to the scale of your choice. No more wrong notes!

However, wherever.
ATOM SQ is highly configurable. You can freely remap instrument parameters to different hardware controls, so your rotary encoders can control everything from filter cutoff to drum tuning, for the ultimate drum programming experience. You can colorize the RGB LEDs as you please to color-code your loops and samples. ATOM SQ's LCD screen is used to display context-sensitive information, and uses a dynamic button system that changes functions depending on the task at hand. Need to add more swing to your arpeggiator or change the CC assignment of a controller? The LCD screen details functions you need, right when you need them for the job at hand.
ATOMSQ

Wherever sound takes you...
With its unique staggered-pad layout, contextual screen design, and customization tools, ATOM SQ lets you stay in the moment of creation. Its small-footprint, USB bus-powered design means you can slip it right into your bag and produce anywhere you and your laptop might happen to go, and the complete suite of integrated software lets you start creating right out of the box. Whether you're in the studio, on stage, or on the road, ATOM SQ gives you the freedom to create, wherever sound takes you.

Notes: Replacement stylus Nagaoka MP-150

JN-P150, Tonar article 6823

Cantilever: hardened tapered aluminum alloy

Stylus: 0.4 x 0.7

Mil naked elliptical block diamond stylus tip

Notes: Really nice stuff here. The filter circuit from ADDAC's 4 Voice Cluster module gets reimagined as a multi-mode stereo or dual mono filter module. A lot of filter action in just 6hp.

Supplier's Notes:

While developing the ADDAC105 4 Voice Cluster module, a new multimode filter to place after the summing mix stage- and the results were so postitive that it was released as a dedicated filter.

To make it more interesting, the circuitry was duplicated, to be able to use it in a stereo signal path.

To make it more versatile, a switch was added to set the working mode from Stereo to Dual Mono where both filters can be used independently.

In Stereo Mode the Left Cutoff is used to control the Right Cutoff.
In this case the Right Cutoff Knob and CV Input are simply bypassed and will have no impact on the Right Channel operation.
This allows immediate sync of both filter frequencies when the Stereo position is engaged.
Optionally there's a jumper in it's back that, when placed, connects the Right Controls back to the Right CV control allowing the possibility to control the offset of the Right Channel Cutoff.

Resonance is independent on both Modes and still has to be set manually to match both channels.

Both the Audio and CV inputs are normalled from the Left into the Right channels.
As standard plugging any input to the Right channels removes this connection.

Tech Specs:
6HP
4 cm deep
70mA +12V
70mA -12V

Notes: Inspired by our ADDAC701 VCO waveform mixing section, our new VC Signal Router also updates our legacy X-Fade/Panner to a stereo configuration that also allows 4 quadrant mixing.

Featuring two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control.

4 quadrant mixing is achieved by using the stereo Master as a X-fader between left and right channels, this way you can plug 4 audio sources and sweep/crossfade between each and any of them using the 3 x-faders. Plug any 4 sources (4 waveforms of a VCO, 4 LFOs, 4 envelopes...) and sweep through morph through or have them all mixed together.

For other configuration types Left and Right X-fader channels can be routed through the Master stereo VCA or sent directly to the outputs. A stereo Direct input can also be routed through the Master VCA or sent straight to the outputs.

The Mono Sum output always mix Left and Right outputs together allowing the possibility to use the module as a peculiar 6 channel mono mixer.

It can be used for both Audio or CV Signals.

Tech Specs:
8HP
4.5 cm deep
40mA +12V
40mA -12V

Notes: This new module should not be judged by it's size, at 6hp it's packed with features.

At its core it features a noise source and two precision Sample & Holds with 0.01% of maximum deviation from the Input which allows for quantized signals to be sent through without any noticeable detuning or the typical voltage drops over time.

The Sample & Hold sections can also be used as a Track & Hold meaning it holds the incoming input while the Trigger input is ON and lets the input flow to the output when the Trigger input is OFF.
Each section also features it's own slew processor with a single control over attack and decay and an ON/OFF switch.

The noise signal is normalled to both sections inputs, meaning that without a jack plugged into the Input the sample and hold function will act upon the incoming noise signal generating random CV values.

The [Trigger A Alternate] switch allows to Link both sections so that any trigger input in Trigger A will alternate between triggering the A and B section.

Besides each section outputs there's also 4 extra outputs: Noise, Difference, Average and Sum. The Noise output is coming from the noise source, the Difference output is the subtraction of section A minus section B, the Average output is the sum of both A plus B and then divided by 2 and finally the Sum output is the sum of both A plus B sections.

MECHANICAL:
Format: Eurorack
Width: 6 HP
Depth: 4 cm

ELECTRICAL:
Max current: +50mA/-50mA
Bus Board Cable: 8 × 2 IDC (Doepfer style) connector

Notes: Following the ADDAC103 T-Networks, this new module is also inspired by Twin T-Networks circuits used in many lengendary drum machines. A simple 4 voice module with frequency controls for each of the voices. This new module also features CV inputs with attenuverters for each voice Frequency. Due to the specificities of the circuit, and to keep the module at a low price, these inputs are not callibrated to 1v/octave.

At each voice input there's a gate to trigger converter so any input source is possible.
Audio inputs can also be used as an input, in this case and due to the nature of the gate to trigger converter, each voice can be used as very destructive filters.

The top 2 channels feature a higher frequency range, the bottom 2 channels feature a lower frequency range.

Notes: Open up your signal routing options with this neat and simple pedal. Split one signal into three, run effects in parallel, mix three signals together, set up ABY routing or set levels. Versatile.

Supplier's Notes:
The Signal Blender provides a number of parallel routing solutions through its use of a pair of send/returns, primary input and output, switching, and volume control.

Signal Blender can be used as a:
Parallel effect blender
3-to-1 mixer
1-to-3 splitter
Active ABY in either direction
Volume level setter

and more.

A courtesy 9V power outlet and phase correction switches for both Sends add further versatility to this box. Clever switching allows for latching or momentary on/off action.

The Signal Blender uses standard 9V center negative power, and has a current draw of 31 mA.

Notes: Buzz. Beep and bloop. Get high on the lo-fi sounds of "old-school" games, toys and terminals!

The Mainframe provides sample rate reduction ranging from 48kHz to 110Hz. A little background... the sample rate is the number of times per second that a sample or snapshot of an analogue signal is taken. For example, CDs (remember them?) had a sample rate of 44.1kHz which means that the original analogue signal is sampled 44,100 times per second.

The sample rate defines the frequency range that can be reproduced while maintaining good fidelity. When the sample rate is reduced the quality of the audio is degraded and aliasing occurs. Aliasing means audible artifacts created when higher frequencies are sampled at an inadequate rate and the result is distortion. The Mainframe's sample rate range is wide enough to take you from sounds that are quite pristine to sounds that are unrecognizable when compared to the input signal.

It also provides bit crushing ranging from 24-bit to 1-bit. What does that mean? Bit crushing is bit depth reduction. Back to the CD example... CDs used a 16-bit bit depth meaning that each of its samples was represented by 16-bits of information. Higher bit depths can accurately represent a greater dynamic range while bit crushing increases the number of sampling errors and creatively degrades the sound to bring us back to those nasty "old school" sounds we love.

The Mainframe's selectable High/Low/Band-Pass filter lets the user shape the artifacts of the bit crushing and sample rate. Another very cool feature is its Sample Rate Tuning Mode where the pedal analyses your input signal in real-time and sets the sample rate to match the pitch of your signal, or a set interval above your signal. This allows you to set the sample rate to match the key of a song, or it will continually adjust the sample rate based on what you play!"

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.5 x 2.75 x 2.1
Current Draw: 90mA
Year Released: 2020

Notes: Designed with versatility in mind, the Fold 6 is a six-stage wavefolder with simultaneous series and parallel outputs, dual signal inputs and voltage-controlled folding and overdrive shaping.

Supplier's Notes:
Often considered to be the opposite of filters within a modular system, wavefolders are designed to fold a signal over itself multiple times. This generates additional harmonics, resulting in rich timbres.

While there is a bewildering array of filter types within the synthesiser world, most wavefolders fall within only a few categories. Diode wavefolders in particular come in just two variants: series and parallel circuit topologies. Choosing a specific folder also means being limited to specific sounds and capabilities.

For the first time, Fold 6 puts forward a 6-stage hybrid series/parallel topology, yielding a greater sonic palette than ever in just 4 HP. Having both main (series) and alternate (parallel) outputs means a single module now gives access to just about all wavefolding tones imaginable.

To take things even further, an integrated symmetrical soft clipper limits the output signals to approximately 10 Vpp, keeping the amplitude within typical Eurorack levels and making it easier to create overdriven sounds at high fold ratios. This clipping stage can be driven continuously using the shape parameter, smoothly transforming the folded waveforms into pulse waves for even more harmonic content.

Two signal inputs are included, to mix audio signals or add in a DC voltage for asymmetric folding. The symmetry can also be manually controlled using the dedicated knob. Of course, both fold and shape parameters feature voltage control, to enable continuous timbral modulation.

Moving beyond simple signal processing, Fold 6 also lends itself perfectly for feedback patching, CV folding or frequency multiplication; its modest size belies the sonic capabilities within.

Notes: Keyboard meets sequencing in Arturia's all-round controller. USB, MIDI, CV and analogue clock compatibility make this 64-step polyphonic sequencer a true all-rounder. Great value.

Supplier's Notes:
KeyStep 37 goes beyond an easy-to-use 64-step sequencer, arpeggiator and MIDI keyboard. It's responsive, dynamic, expanded in every direction to encourage musical exploration - the controller that's built to help write music and also includes Ableton Live Lite, making it a complete music production starter kit, as well as appealing to veteran musicians. Like KeyStep and KeyStep Pro before it, KeyStep 37 offers unique features not found in any other product.

The familiar KeyStep formula, expanded. KeyStep 37 features a velocity-sensitive 37-note keybed, complete with aftertouch and RGB LED feedback, while remaining lightweight and compact.

At the center of the control panel, you'll find 4 new knobs with an LED screen, giving you instant access to inspiring new expressive tools and MIDI tweaking - total creative control.

The new controls unlock KeyStep 37's unique & enhanced Chord mode. Choose from 12 chord types, an array of strum effects, and spread the voices out into complex velocity-sensitive parts that respond like a stringed instrument.

Map out KeyStep 37's 3-octave keyboard range with a scale of your choice using Scale mode. Any key you play will automatically quantize to the nearest note in the chosen scale.

Tap into the inner workings of your MIDI hardware and software with assignable 16 MIDI CC pa-rameters across 4 switchable banks. Use the 4 new controls to tweak settings on the fly for dy-namic performances.

The core of your setup:

KeyStep 37 is designed to be put in control. An accessible interface, a compact design and com-prehensive connectivity make it the perfect centerpiece for your rig - whatever your needs.

Hook up your synth hardware with MIDI in/out. Control your favorite VST instruments with MIDI over USB. Use CV pitch, gate and mod connections for modular integration. Analog sync in/out keeps everything in time without hassle. The best bit? Use it all at the same time.

Included is a free copy of Ableton Live Lite, an accessible music-making suite for your Mac or PC. Register KeyStep 37 for your free download and get creative right out the box - let the music flow freely.

Notes: The classic dub siren, updated and improved. Machine-gun/laser-gun and airhorn sounds with modulation controls and tough build quality for use in live settings.

Supplier's Notes:
Our take on one of the most iconic dub sirens

-Classic machine-gun/laser-gun sound FX

-Brand new airhorn-like sound FX

-Modulation speed and frequency pitch control

-3 Base frequencies for the audio oscillator

Classic laser-gun sound FX machine

SPECIFICATIONS
Audio output: impedance balanced 1/4" TRS Jack

DC Input: 12VDC, 500mA, centre positive, 2.1mm*5,5mm barrel type connector

Dimensions: 120mm*90mm*40mm

12VDC 1A power supply included.