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Notes: Experience - Fuzz Octave

Experience is a unique Fuzz & Octave up pedal that was designed to revive the sounds of the 60's and 70's with a modern touch.

It features 2 stand-alone channels in series (fuzz and octave) which can be used individually or together, offering a wide range of dirty goodness!

The Octave channel produces a classic and easy to manipulate octave up effect, sitar & harmonica like sounds, enhancing your tone with ringing octaves and micro-phonic feedback at the end of every note. It features separate volume and tone controls for a wide range of colours.

The fuzz channel is based on the Jordan Boss Tone fuzz circuit and is capable of producing a wide range of tones. From mild and creamy overdrive and classic fuzzy tones, all the way to heavily distorted goodness with sub octaves, similar to trombone and analogue synth! It is equipped with 2 vintage silicon transistors with FET clipping for richness and detail and four controls (gain, volume, tone and damage) with which you can adjust the type of distortion.

Combining the 2 channels is where the real Experience begins! Create your signature sound exploring the Experience's endless tonal capabilities!

Unleash your creativity and let the Experience do the rest...

Product Height (cm): 5.400
Product Width (cm): 10.200
Product Depth (cm): 12.400
Product Weight (kg): 0.360

Box Height (cm): 6.000
Box Width (cm): 1.000
Box Depth (cm): 14.800
Boxed Weight (kg): 0.445

Notes: Galactic - Multi Modulation

With the Galactic, Tsakalis wanted to create a unique modulation pedal which, lets you combine effects and blend them in a way that brings new textures to your sonic arsenal and creates potential for exploration!

The Galactic has five basic modulation effects - Phaser, Univibe, Vibrato, Rotary Speaker and Flanger - and made it possible for you to use them separately or in pairs, blending them together via a Blend control creating interesting effects from 3D chorus to many other spacey and yet to be named soundscapes. Find your sweet spot for each pair and discover an unexplored Galaxy of sounds and inspiration!

Three expression input jacks let you control the Speed and Depth of the effects, as well as how you choose to Blend them, making your live performance easier and letting you experiment even on stage!

Use the Galactic modulation to enrich your music with the sounds of the unknown!

Product Height (cm): 5.200
Product Width (cm): 12.700
Product Depth (cm): 9.900
Product Weight (kg): 0.369

Box Height (cm): 6.000
Box Width (cm): 1.000
Box Depth (cm): 14.800
Boxed Weight (kg): 0.448

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


The Germanium Filter is Death By Audio's love letter to sticking a pencil in your speaker.

Start with a console-style drive circuit, add in a dash of obsolete germanium transistors and finish it off with a super intense DBA-style filter - BLAMO! You've got a sound heavy enough to crush on and sharp enough to slice a tomato.

The Filter control is extremely unconventional - it'll take you from bottomless, sub-woofered out lows to super searing and brittle highs, with a universe of tone in between. The Germanium Filter will help you find the sweet spot for your instrument in any situation - at a show, in the studio, or even stranded on the side of the highway after your tour van catches fire - hey, it happens!

The Gain knob starts with a dirty boost that then spans through saturated drive, spitting distortion, and a blistering fuzz tone. Get ready for your sound to be cranked up to infinity-and-a-half and captured on tape by the most incredible recording engineer you've ever heard - only there's no engineer and no studio. Just you, your guitar, your amp and the Germanium Filter.

Controls

Filter: Controls the frequency response of the pedal, featuring huge low end, scooped mids, and sharp, piercing highs.

Gain: Sweeps from mild overdrive to blasted-out fuzz. Very interactive with your guitar's volume control.

Volume (internal): Controls the overall output level of the pedal.

Specifications

Dimensions: 5" x 2.5" x 2.25" (including hardware).

Weight: 10.6 oz

Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).

Current Draw: 5 mA.

Notes: Profile Streaming Set

USB-C microphone with cardioid condenser capsule, integrated features, and boom arm for enhanced Podcasting and Streaming applications.

The Profile USB Microphone is where performance meets accessibility. Featuring a cardioid condenser capsule, this USB-C powered microphone puts audio quality and design above all else.

Created for Podcasting and Streaming, the Profile has three fundamental controls; Gain Control to adjust the level of the microphone, Mix Control to balance the microphone with your device audio, and Volume Control to set your head phone monitoring level.

The Profile features an adjustable tilt function with a self-locking joint so you can aim the mic directly towards the sound source. Depending on your needs, the Profile includes either a table stand for compact convenience or a boom arm for optimal positioning.

Plug-and-play simplicity

Setting up a podcast session or live stream can be overwhelming but capturing pristine audio doesn't have to be. With the Profile, one simple connection is all you need to achieve the sound you're looking for. Powered by USB-C, the Profile puts audio quality and ease-of-use first without the need for an interface or complex software. Your device will automatically recognize the Profile, truly making it a plug-and-play experience.

The sound you're looking for

If you're just getting started or you're a seasoned pro looking to simplify your setup, the Profile delivers a natural, warm sound that accentuates the body and presence of the human voice. Built around a German engineered capsule, this cardioid condenser microphone provides a sound that will impress both you and your audience, right out of the box. And to ensure you're getting the best sound the multi-function LED ring turns from green to orange to indicate when your signal is too hot.

Control at your fingertips

Software has its place... but the ability to control your sound with the twist of a dial makes all the difference when you're in the moment. Gain Control allows you to adjust the sensitivity of the microphone, effectively setting the level for your session. Mix Control allows you to balance the levels between your microphone and your device audio so you can monitor what matters to you. The dedicated Volume Control gives you quick access to easily adjust your headphone level while a soft-touch mute button allows you to silence your microphone discreetly.

Form and function

Quality audio is all about microphone placement. The Profile Streaming Set features a boom arm with a sleek and modern design, ideal for on-camera applications. Integrated cable management and an included 3 m USB-C cable provide flexibility with positioning and help to remove clutter from your workspace. For best results, place the Profile within 15 cm (6 in) of the sound source to ensure clarity and warmth in your sound.

Features

Powered by USB-C (macOS/iPadOS/Windows/Android)
Adjustable tilt function (self-locking joint for optimal positioning)
Mute button (with LED ring to indicate when engaged)
Gain control (with LED ring to indicate power and audio clipping)
Mix control (for balancing microphone and device level)
3.5 mm headphone output (for audio monitoring)
Headphone volume control (for adjusting the volume of the headphone)
Cardioid capsule (for off-axis rejection of sound)
Robust metal housing and premium finish
3-point self-locking boom arm (with cable management and adjustable desk clamp)


Delivery includes

Profile USB Microphone
Boom Arm
USB-C Cable (3 m)
Mic pouch
Quick guide
Safety Guide with manufacturer's declarations

System requirements

Windows: 10.0 or later
macOS: 10.15 or later
Android: 9.0 or later
iPadOS*: 14 or later
(* Compatible with USB-C enabled Apple devices)

Specifications

Overall device

Operating temperature: 0 -C to +40 -C (32 -F to 104 -F)
Storage: -20 -C to +70 -C (-4 -F to 158 -F)
10 to 95 %, non-condensing
Dimensions Microphone: O 50 x 152 mm
Boom arm: 780 mm (horizontal reach)
Connectors: USB Type-C (USB 2.0 Full-Speed), 3.5 mm TRS
Cable length 3 m (Profile Streaming Set)
Power supply: 5 V $, max. 200 mA

Weight

Microphone: 350 g
Boom arm: 820 g

Microphone
Transducer principle: Pre-polarized condenser microphone
Pick-up pattern: Cardioid
Sensitivity at max. gain
Sensitivity at min. gain
-10 dBFS at 80 dB SPL
-50 dBFS at 80 dB SPL
Max SPL
Min. gain
Max. gain
125 dB SPL
85 dB SPL
Frequency range: 20 to 20,000 Hz
Equivalent noise level
Min. gain
Max. gain
34 dB(A) SPL
28 dB(A) SPL
Sampling rates 44.1, 48 kHz
Sampling resolution 16, 24 Bit

Headphone output

Connector 3.5 mm TRS
Min. output impedance 16 O
Frequency range: 20 to 18,500 Hz
OS Interoperability
Windows 10.0 or higher
macOS 10.15 or higher
Android 9.0 or higher
iPadOS * 14 or higher (* Compatible with USB-C enabled Apple devices)

Notes: ***B-STOCK: Box opened, product unused & in perfect condition***


This has two LFOs, each with variable waveshape from Saw to Triangle to Ramp waveforms, or variable Pulse width on the Square wave output. LFO 1 has the addition of a low range and a Sync input. The nominal maximum frequency of the LFOs when in Triangle shape is 20Hz, but under certain combinations of settings they will go much higher, well into audio range.

Also included is a DC coupled VCA, the input of the VCA is normalised to the output of LFO 2, so a 0 to +5V input to the VCA CV input gives control of the LFO waveform amplitude. It can also be used as a stand alone VCA.

This module is very useful for controllers such as the Waldorf KB37 where the modulation wheel gives out 0 to +5V, this can be routed to the VCA CV module so the level of the modulation waveform can be easily controlled. This makes it very easy to add VCO vibrato or filter 'wah' with control of modulation amount from the modulation wheel or other controller.

Notes: Great value from this compact eight-channel mixer featuring built-in Alesis effects. Bluetooth and USB in/out give added versatility, allowing you to mix just about any sound source.

Supplier's Notes:
Easy-to-Use Analogue Audio Mixing with Built-in Effects from Alesis

The Alto Professional TrueMix 800 FX is a portable audio mixer with built-in DSP effects that delivers all the essential features you need for home recording, livestreaming, podcasting, or performing. The TrueMix 800 FX features 16 effects including chorus, flange and an assortment of high-quality delays and reverbs. There's also a convenient Bluetooth channel for easily streaming from your personal devices. A unique feature to the TrueMix Series, the Bluetooth channel also supports feedback-free phone pairing by utilizing mix-minus technology. There are eight analogue inputs with high-headroom circuitry for minimal noise and clipping in your signal. The four Mic Input Channels offer XLR inputs that are great for connecting dynamic mics or condenser mics with 48v phantom power. These channels also have balanced 14" line inputs for connecting instruments and other line-level signals. There are also two Stereo Input Channels, each with dual balanced 14" TRS inputs. These inputs are perfect for your line level audio sources. All channels feature a two-band EQ with colour coded knobs that make it easy to dial in your perfect sound while operating in low-light situations. There are even extra knob caps included so you can fully customize the look of your TrueMix 800 FX. Connecting the TrueMix 800 FX to your computer is also lightning fast, with plug and play connectivity on Windows and macOS. The TrueMix 800 FX is a feature-packed compact audio mixer that's perfect for using on-the-go.

Flexible Output Routing

Whether you're recording a podcast, livestreaming online, or making music at home, being able to hear yourself and easily route audio is essential. The TrueMix 800 FX features a variety of output and routing options to handle any scenario. There are four headphone outputs, each with their own volume control knob. If you need to send your audio signals to another destination like an external monitor or effects unit, each channel is equipped with a send knob so you can always dial in the perfect mix. For recording, the USB output sends a copy of the main outputs to your computer, or you can connect the 2-Track in/out to an external recorder which can also be sent directly to the headphones. The TrueMix 800 FX delivers everything you need to take full control of your audio routing in any situation.

Product Features:

TrueMix 800 FX Features
USB I/O for audio playback and stereo recording
Dedicated bluetooth channel with mix-minus return for feedback-free phone pairing
Four headphone outputs with independent volume control
16 built-in Alesis multi-fx with dedicated return channel
1/4" Main, Tape, and AUX outputs
Four mic input channels with phantom power and balanced line inputs
Two stereo input channels with balanced 1/4" TRS jacks
Two-band EQ on all channels
2-track inputs w/ assignable routing: main mix or headphone out
Eight-segment LED VU meter for precise level monitoring
Extra knob caps included in the box for added customization

Technical Specifications

Frequency Response All inputs: 20 Hz - 22 kHz (i1 dB)

THD+N (Total Harmonic Distortion)
All inputs: < 0.005% (@ 4 dBu, 1 kHz)

Gain Range Mic inputs (Channels 1-2): 0 - 50 dB Line inputs (Channels 1-2): 15 dBu - 35 dBu Line inputs (Channels 3-6): -20 dBu - +20 dBu

Max Voltage Gain
70 dB (MIC INPUT to MAIN MIX OUTPUT)
80 dB (MIC INPUT to CTRL ROOM / PHONES OUPTUT)
60 dB (MIC INPUT to MON SEND)

SNR (Signal-to-Noise ratio)
All inputs: > 110 dBu

Crossover Frequency
Adjacent inputs: < -80 dB @ 1 kHz
Inputs to outputs: < -75 dB @ 1 kHz (stereo L/R, Channels 1-2, panned hard left or right)

Phantom Power: +45 ~ +49V with switch control

Impedance
Mic inputs: 3.9 kO
All other inputs: > 10 kO
Aux outputs: 1 kO
All outputs: 120 O

Equalization High:
+/-15 dB @ 12 kHz
Low: +/-15 dB @ 80 Hz

Bluetooth
Profile: A2DP
Module: Bluetooth 5.0
Operating Frequency: 2402 MHz - 2480 MHz
Range: 100 ft. / 30.5 m

Connectors
(6) 1/4" (6.35 mm) TRS outputs
(6) 1/4" (6.35 mm) TRS stereo L/R inputs
(4) 1/4" (6.35 mm) TRS headphone outputs
(4) 1/4" (6.35 mm) TRS mono inputs
(1) Standard RCA L/R input
(1) Standard RCA L/R output
(4) XLR inputs
(1) USB type-B input
(1) DC power input

Controls
(1) Power switch
(15) volume control knobs (1 per input, 1 return, 1 EFX return, 1 2-track/USB in, 4 headphone outs, 1 Bluetooth, 1 main)
(6) Stereo pan control knobs (1 per input)

(6) Mon volume control knobs (1 per input)
(6) EQ Low control knobs (1 per input)
(6) EQ Hi control knobs (1 per input)
(6) Gain control knobs (1 per input)
(4) Buttons (1-EFX mute, 1 Bluetooth, 2 Source Select)
(1) Horizontal sliding switch

Indicators
(1) Power LE
(6) Peak LEDs
(1) Phantom LED
(16) Main Out Meter LEDs
(1) Bluetooth LED

Power Connection: DC Voltage: 18V, 1.2A Consumption: 18W

Notes: The BETA-V from SolidGoldFX is a Bass Preamp pedal that kicks! This latest incarnation of SGFX's top selling Beta Series is designed to capture the warmth and grit of favorite vintage tube amps. You know, that distinctive drive and tone that seems to be lacking from much of today's modern bass amplification.

Yes, we all know the convenience of a lightweight "sub 10 lbs" bass head that pumps out 500 watts and a neo cab that doesn't require a roadie crew or chiropractor is great, but there is something extremely satisfying in the way that big, old Ampeg-style tube setups compress, clip and round out your signal. However, with the BETA-V you can finally have the best of both worlds - bone-shaking mojo-packed dirt, all wrapped up in modern and easy to use convenience.

Solid Gold FX's classic Beta bass architecture has been reworked and expanded, delivering a wider range of tones. The low-pass filter now has 2 settings for bumped or scooped-mids as well as a centre bypass setting for a more transparent experience. Plus, the Drive control has been reworked for lower gain applications or hotter basses.

Most importantly, the BETA-V sports an active 2-band post gain EQ allowing you to boost or cut your highs and lows with a flat response in the centre. Dialling in anything from punchy overdriven Lemmy tones to the fattest, deepest soul shaking dub is only a few knob twists away. Complete with top-mounted jacks, soft touch true bypass switching and 9-18 V DC operations, the BETA-V is a true thump machine, ready to rock your world.

Notes: Dual channel analogue overdrive with real tube-like compression featuring 3 clipping options with carefully hand picked germanium diodes, smooth and sensitive to picking strength.

3 different gain levels from clear boost with a touch of dirt to high gain overdrive, full EQ with air control to manipulate the presence of your pickups, a MOSFET boost circuit lets you push your amp into natural breakup.

Order toggle switch to add volume or an extra gain stage.
Side A: BB style circuit with bass, air, treble, drive and volume control
Ge, Si and LED asymm clipping toggle
3 level gain toggle.
Side B: MOSFET boost +20dB with level control
A > B or B > A stack order toggle
Top mounted jacks

Notes: True bypass studio-grade compressor in small form factor offering full control of your overall tone. OTA based parallel compression with variable output current, input voltage controlling a carefully designed envelope circuit. Optimized for low noise operation.

Analogue compressor with OTA topology
Controls: Ratio, Threshold, Release, Attack, Brite (high cut), Level (compressed signal), Blend
Soft switch with relay bypass, momentary & latching operation
Top mounted jacks

Notes: Seeking to unapologetically tear apart the definition of a chorus pedal, Old Blood Noise Endeavors have created the BL-82 Chorus. An ode to delay time, this is a device with a variable clock control to shift between recognizable shimmering chorus and chaotic modulated delays.

Two delay lines, modulated by opposite synchronized LFOs, are combined in parallel and the timing of the delay lines, as well as the speed and depth of the LFOs, are all determined by one tactile slider. This allows you to instantly open up the modulated floodgates on the fly and go from well-known waves, to deeply unknown oceans of sound.

BL-82 is a chorus pedal, technically. It creates a swirling shimmery sound somewhere between chorus and flanger from a mono instrument signal. Its two delay lines are stretchable, and that's where the pedal's genre blurs from chorus into modulated delay into trailing pitch bending uncertainty.

The control set for BL-82 is dead simple. A Clock slider sets the timing of the entire system. The sample rate that determines signal fidelity, the centre delay time and the speed of the delay modulation are all affected as the slider slides. The interface is rounded out with feedback, volume, and mix add to an immediate experience that breaks open the boundaries of what it means to be a chorus and allows you to further craft the undulations of this mesmerizing device.

Notes: Everything sounds better with compression - whether you need a bit of extra pressure for your drum sounds or just that extra touch to make your modular mix more nimble and tight, the Erica Synths Stereo Compressor will make your live performances a joy. The module is optimized for percussion sounds and will be a great addition to any Erica Synths Drum module rig. The Stereo sidechain can be used to animate melodic layers on the beat and to truly bring your Basslines to life.

Features

THAT chip-based stereo compressor
DC coupled sidechain
Gain, Threshold and Compression Amount (Ratio) settings
Stereo Link for level detectors
Bypass switch
8 segment output level VU meter

Specs

Audio input level -5...+5V
Threshold -40dB to +10dB
Makeup gain -12dB to +12dB
Ratio 1:1 to 8
Power consumption +60mA, -22mA
Module width 10HP
Module depth 35mm

INPUT LVL; Adjust the input signal level to your taste
GAIN; This knob adjusts the makeup gain of the compressor
THRESHOLD; Set the compressor threshold
COMP. AMT;This knob adjusts the compression ratio
STEREO LINK; Sending hard-panned or significantly different audio levels on the left and right channels into the audio inputs may result in undesired left-right panning on the output of the compressor, because the level detectors on each channel will ensure a different amount of compression. With the STEREO LINK switch on, the level detectors on both channels are merged and the min/max function is engaged. This ensures equal compression on both channels.
PROCESS; The bypass switch allows for turning off the compressor instantly
8 SEGMENT VU METER; 8 segment VU meter gives a visual reference of the output signal
IN L / IN R; These are the L and R audio inputs
OUT L / OUT R; These are the L and R outputs of the module
SIDE IN L / SIDE IN R; These are L and R sidechain inputs. You can process each channel individually
SIDE OUT L / SIDEOUT R; These are the sidechain signal outputs - they are buffered copies of the sidechain inputs

Notes: This is an exact hardware replica of the Mutable Instruments Ripples module.

Width: 8hp
12V: 35mA
-12V: 35mA

Notes: ADDAC712 is a dual channel discrete gain staging amplifier, based on a famous discrete preamp board from the 70's used in some legendary equipment.

What was eye-catching was the character of its clipping and resulting saturation/distortion.

The module can be used with modular signals to add a distortion/fuzz character or as a preamp for an external source such as a line source, keyboard, guitar...

It's also a great side companion for our ADDAC711 Balanced Inputs.

At the top an On/Off [BYPASS] switch routes the signal into the Effect (Up: Active) or to the bottom output gain stage (Down: Bypassed).

The amount of amplification is set by the [GAIN] control, the maximum amount of amplification can be set by the user using the [MAX GAIN] trimmer.

Up to +/-5.5v the incoming signal will keep it's integrity, beyond this point saturation will start to increase.

At approx. +/-6v a hard clipping will start to occur, this clipping also has a particular quality that at extreme levels it drifts the audio 0v bias reference, moving it upwards which results are similar to a Gate effect.

In the middle, an x2 opamp based output gain stage with a clipping led, which monitors the clipping at the output, and an [OUTPUT] control to set the output volume.

Having the top and middle gain stages provides flexibility allowing the user to completely distort the signal on the top stage and tame it's output level with the second stage.

At the bottom, Input and Output for both channels (Left input is normalled into Right input).

Tech Specs:
6HP
4 cm deep
40mA +12V
40mA -12V

Notes: ADDAC714 is a dual channel soft clipping module.

Diode based passive clipping acts as a "brick wall" limiter with a fixed knee given by the inherent diode physics. A passive RC low pass circuit adds a 3.3KHz -3db low pass filter which sculpts the overall tone while also adding further character to the effect.

At the top an On/Off [BYPASS] switch routes the signal into the Effect (Up: Active) or to the bottom output gain stage (Down: Bypassed).

The amount of clipping is set by the [GAIN] control, it mostly works as a threshold control for how much clipping will be applied.
As more clipping is applied the signal's amplitude will also decrease, to compensate for this we set up a gain compensation stage to keep the output amplitude balanced across the Gain range.

Symmetry chooses between bipolar clipping or positive clipping, this relates to the harmonics generated, bipolar for odd and even harmonics (up position) and unipolar for odd harmonics only (down position).

At the second stage, an opamp based x2 output gain with a clipping led, which monitors the clipping at the output, and an [Output] control to set the output volume.

Having the top and middle gain stages provides flexibility allowing the user to completely distort the signal on the top stage and tame it's output level with the second stage.

At the bottom, Input jacks for both channels (Left input is normalled into Right input) and output jacks

Tech Specs:
6HP
4 cm deep
40mA +12V
40mA -12V40mA +12V
40mA -12V

Notes: Amnis is a shift register with a few tricks up its sleeves. It can be used as a generative sequencer for gates and CV, as a tunable digital noise source, as a random gate and CV generator, as the center of a chaotic system and more.

It needs two input signals to start doing its thing. A Clock and some Data. Data can be pretty much any signals. From these two signals Amnis will generate 8 gate outputs, always on the clock. From these gate outputs, it will generate 3 staircase CVs and a slewed CV. With 8 gates and 4 CV outputs it can be the heart of any patch.

Amnis has an XOR input for linear feedback. A shift register with linear feedback is the core of the Rungler, the chaotic core in Rob Hordijk's Benjolin and Blippoo Box. With Amnis you can recreate these type of behaviors with any oscillators you have on hands.

Amnis is compatible with the Turing Machine expanders thanks to its expansion port at the back.

Due to popular demand for a 3U shift register, Amnis replaces (and expands on) Ruissellement, which was the 1U version of this module.

Notes: Bleeding Hearts Eurorack Modular Device

(Random Sequencer, Rhythm Generator, Destroyer, and Filter)

The Bleeding Hearts is a device that starves, bit crushes, splatters, and filters audio sources like no other. Feeding a gate signal to the Bleeding Hearts enables a whole new world of strange and random analog-generated movement. Each position of the 8-step sequencer can bleed into each other and interact with the destruction effect, creating gated and filtered splatters, glitches, and crunches that move to the beat of your patch.

Designed and assembled in Seattle, Washington. Includes a limited 1-year warranty, if registered within 30 days of purchase.

20hp, 42mm deep.

Notes: TR-S

Power Tube Reactor

The feel and response of a tube amp, in a pedal. Meet a build-it-yourself pedal that delivers the warmth and response of a tube amp. The Nu:Tekt TR-S uses a Nutube to deliver previously unachievable compression thanks to exclusive patent-pending technology - meaning you get the feel of a tube amp even when recording or playing through a transistor amp.


What is a Nutube?
Developed by Korg; a Nutube - similar to a conventional vacuum tube/valve - has an anode grid filament structure, and operates exactly as a triode vacuum tube. It provides the same rich overtones and response that are distinctive of conventional vacuum tubes.

Overview

Meet a build-it-yourself pedal that delivers the warmth and response of a tube amp. The Nu:Tekt TR-S uses a Nutube to deliver previously unachievable compression thanks to exclusive patent-pending technology - meaning you get the feel of a tube amp even when recording or playing through a transistor amp.
Alongside amazing tone, one of the hallmarks of the Nu:Tekt series is that they're assembled by you! The TR-S kit doesn't require soldering, and the necessary tools are included - in fact, it's the easiest and fastest unit to assemble in the entire Nu:Tekt series!
Recreate the tube experience

The TR-S features an exclusive patent-pending circuit design, for compression that mimics the sag of a vacuum tube power amp - only possible with Nutube. Achieve this sought-after sound in any setting, even when playing through a transistor amp or recording into a DAW. The TR-S features four knobs on the panel, as well as three trimmer knobs hidden inside the top cover, allowing for even greater control over your sound. Go beyond the guitar and experience what the TR-S can do when you connect other instruments as well!

Easy assembly

Assemble the Nutube-driven TR-S with ease, just like a model kit - no soldering required. All necessary tools are included, along with a circuit diagram in the owner's manual. Perfect for those who love building their own effect units with top-notch performance and sound.

Specifications

Vacuum tube Nutube.6P1.
Inputs Mono 14" Jack
Outputs Mono 14" Jack
Power 9v battery, or DC9V AC adapter (both sold separately)
Approx. 5 hours battery life
Consumption 85mA
Dimensions 122 x 96 x 55mm
Weight 340g (without battery)

Notes: The Backpack is made from high-quality materials, including a soft, durable Alcantarar handle, ballistic nylon straps and water-resistant exterior, it is rugged and hard-wearing.

It can accommodate a RODECaster Pro II, plus microphones, studio arms and other accessories, as well as laptops up to 16 inches. Ergonomic adjustable shoulder straps with back and chest support ensure absolute comfort, with exterior pockets and compartments providing additional storage.

RODE BACKPACK Features:

Designed to exact specifications of the RODECaster Pro II
Lightweight and highly durable
Accommodates microphones and accessories
Laptop compartment (16")
Water resistant
Interior dimensions: 495 x 304mm
18L internal capacity

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Inspired by the legendary Moog CP3 mixer, the 713 tweaks the old-school discrete circuits into three stereo inputs and one mono channel, summing to stereo with adjustable feedback and clipping to add character.

Supplier's Notes:
ADDAC713 is the stereo version of ADDAC System's 703 Discrete Mixer.

Inspired by Moog's CP3 mixer, this is a fully discrete analogue mixer and it's not, by any means, your standard breakfast mixer, although it can behave like one.

This is a wolf in sheep's clothing. Despite its harmless looks there's a dark snarly soul behind that panel that wants to take your sounds into a realm of gritty gnarly growls.

This new version was initially thought of as a percussion mixer, with mono inputs and panning, to allow placing percussive voices in the stereo field, while keeping channel 4 in mono for low end sources like a kick drum or Bass. In the development process ADDAC System slightly changed this initial idea, adding stereo inputs for the first 3 channels, but still kept the 4th channel in mono.

All four [GAIN] controls go to extreme levels, the first 3channels also feature [PAN] controls. Feedback is used to overdrive the whole mix. As the control is turned clockwise the sound will be clipped harder until it goes completely off, this happens as feedback is increased the audio bias reference also moves up, at extreme levels it offsets the whole signal upwards until it completely goes above the top rail clipping the whole signal hence the resulting gate effect.

The [MASTER OUTPUT] sets the overall output gain of the mixer, the two leds monitor the audio output signal. The Soft clipping switch engages an anti-click circuit which adds a low pass before the output, the switch allows 3 states: Soft low pass / Off / Hard low pass.

Features:

Three channels with stereo inputs, gain and pan knob
One channel with mono input and gainknob
Feedback/gate knob
Master output volume knob
Soft clipping switch
Two Led Monitors for Left and Right channels

Tech Specs:

8HP
4cm deep
80mA +12V
80mA -12V

Notes: The PodMic USB is an ultra-versatile dynamic microphone ideal for podcasting, streaming, gaming, voice overs, and other speech applications for content creation. It delivers rich, full-bodied sound and features both an XLR and USB output for connecting to an audio interface or mixer like a classic broadcast microphone, or directly to a computer for plug-and-play recording. The digital USB output features RODE's ultra-low-noise, high-gain Revolution Preamp™ and powerful APHEXr digital signal processing for capturing studio-quality sound with ease, and a zero-latency headphone output complete with level control, making recording seamless. For even more versatility, the PodMic USB is also fully compatible with iOS and Android mobile devices, offering a high-quality portable podcasting or streaming solution.

Swiss Army Mic

The PodMic USB is a super versatile dynamic microphone for capturing rich, broadcast-quality audio in any scenario you can throw at it. Thanks to its dual XLR and USB connectivity, it is just at home in a recording studio connected to an analog mixer as it is plugged straight into your computer, or you can even hook it up to your smartphone for a grab-and-go recording rig. PodMic USB is perfect if you want one flexible microphone that will make your content sound amazing in any context.

Pro Sound When Creativity Calls

Featuring a high-power neodymium capsule, the PodMic USB delivers warm, highly detailed audio with incredible clarity, making it exceptional in speech applications. It features an internal pop filter for minimizing plosives, an internal shockmount to reduce vibrations, and comes with a studio-quality external pop filter to make sure you can capture crisp, clean audio every time.

All-in-one Recording Solution

The PodMic USB features powerful on-board DSP (Digital Signal Processing) powered by APHEXr that makes it easy to capture professional sounding audio. Use VoxLab™ to quickly dial in the perfect sound, or dive deep into the granular controls for the high-pass filter, noise gate, compressor, and the legendary Aural Exciter™ and Big Bottom™. Monitor your audio with zero latency thanks to the headphone output, complete with on-board level control for controlling the volume of your audio. The perfect all-in-one recording solution.

Take Your Studio On The Road

Not only can you connect the PodMic USB to your favourite audio interface, mixer, laptop or computer, but it also connects seamlessly with iOS and Android smartphones and tablets. This means PodMic USB is the perfect tool for capturing broadcast-grade audio while you're away from the studio, or just want a more compact setup - it's a professional and portable recording rig for the road.

Sleek Looks, Built to Last

With its classic broadcast microphone aesthetic and sleek matte black finish, the PodMic USB exudes class, but it is also incredibly rugged and built to last. The PodMic USB is constructed from high-grade components housed in a super durable body, more than capable of surviving the rigours of everyday recording in the home, in the studio and on the road, and comes with an industry-leading five-year warranty.

PodMic USB User Guide

Discover everything you need to know about using your PodMic USB in this comprehensive user guide, including how to record with both the analog and digital connections, using the advanced DSP and more.

Compatible Rode Accessories: PSA1+, XLR-CABLE, Backpack, SC19
Specifications
Acoustic & Electrical:
Acoustic Principle: Dynamic
Polar Pattern: Cardioid
Address Type: End
Frequency Range: 20Hz - 20kHz
Output Impedance: 460O (XLR)
Maximum SPL: 148dB SPL
Equivalent Noise (A-Weighted): Analogue: 26dBA, Digital: 19dBA
Sensitivity: -57 dB re 1 Volt/Pascal (1.4 mV @ 94 dB SPL) +/- 3dB
Analogue Output Connectors: 3-pin XLR, 3.5mm headphone jack

Digital:

Digital Power Requirements: Via USB: 5V @ 100mA
Output Connection: USB-C
Bit Depth: 24-bit
Sampling Rate (kHz): 48kHz
Processing: APHEX digital signal processing
Minimum OS Requirements: Windows 10 / Mac OS 10.15

Mechanical:
Weight (grams): 900
Dimensions (millimetres): Length: 123, Width: 109: Height: 110

What's in the box:

PodMic USB
Pop Filter
SC29 (3m USB-C to USB-C Cable)

Notes: Designed to be a highly customizable connection matrix, 3DVCA packs a boat load of utility into a small 6HP package. Four VCAs share the three macro controls: X, Y, and Z. As a group, they shape incoming and outgoing signals and emulate the coordinates of a point in 3 dimensional space. This allow the VCAs to work together in a mono, stereo, or quad configuration and accomplish a variety of mixing, crossfading, and panning functions.

3DVCA is designed to be used in the following functions:

Quad monophonic crossfader
Dual stereo crossfader
Stereo balancer
Stereo VCA
Mono to stereo panner
Unity mixer with up to eight inputs
Quadraphonic panner

Each output has a dedicated SUM input which allows an external signal to be automatically mixed into the output signal. This allows 3DVCA to daisy chain both with other mixers and other 3DVCAs. For example, you can create a full mono, stereo, or quadraphonic mix by plugging the output of each 3DVCA into the sum inputs of the next 3DVCA in the chain. Using this method, a set of 3DVCAs can create a fully voltage controlled and decentralized mixer which ties together anything from a small skiff to a monster synth.

When 3DVCA works as a crossfader or panner, the X and Y parameters follow an equal-power curve that keep output signals at the same volume no matter how many inputs are mixed together. This is in contrast to the Z parameter which follows a linear curve to always behave predictably with external modulation sources. All inputs are fully DC coupled in order to work with modulation speed signals as well as static DC voltage sequences; this means that 3DVCA can handle any sort of signal that you throw at it. All op amps in the device employ rail-to-rail inputs and outputs to enable the largest headroom when mixing many different signals together.

Whether you need to maximize your mixing functionality in the smallest possible footprint or have the most control over every aspect of your system, 3DVCA provides a ton of functionality in any system. Enter a higher dimension of sound with the Mystic Circuits 3DVCA.

Dimensions
6 HP
30 mm deep

Current Draw
45 mA +12V
45 mA -12V

Notes: Flexible Eurorack signal paths under gate or trigger control: that is the basic principle behind Route 4. Consisting of a pair of complementary routing sections, it grants access to a new level of signal routing options.

The module's top section is a 4-to-1 router. Any of the four signal inputs may be selected to be mixed into the section's output, as determined by the control inputs.

Control can either be gate or latch driveniin the latter case, the signal inputs are toggled on and off by received trigger pulses. Meanwhile, the solo/multi switch determines whether the inputs are exclusive, or if multiple may be active at the same time.

With each input socket biased by a +1 V precision voltage source when left unused, gate or trigger controlled transposition of pitch sequences becomes a breeze.

On the bottom, the 1-to-4 router provides the same feature set, with a single input being routed to up to four outputs and normalisation between the sections adding some patching convenience.

All signal paths are designed for use with any Eurorack signals, whether they be control voltages, audio or gate streams. Visual feedback is provided by 10 responsive LEDs, continually displaying the status of the routers.

With Route 4, an 8 HP super-flexible analogue mixing and routing powerhouse has arrived to fuel your patching imagination. The ability to redirect signals within a modular system on the fly, with an unparalleled level of control, is sure to excite even the most seasoned patcher.

8 HP | +12: 35 mA, -12: 20 mA

Notes: Arkan

Dual Voltage Polarizer

You may have heard this before: "You can never have enough VCAs". A voltage polarizer (also known as a bipolar VCA or a 4-quadrant multiplier) is often viewed as the VCA better suited for CV. As it can be used as a unipolar VCA and it allows you to invert a signal when it is modulated with a negative voltage. Resulting in interesting movements in your modulations.

What sets Arkan apart from other voltage polarizers is the curvature control, a feature usually only seen in unipolar VCAs. By taking a different approach to the classic voltage polarizer circuitry, Malstrom have devised a unique solution that provides a new way to shape your audio and CV. The non-linearity of the polarizer also makes Arkan really good at reaching silence when presented with a 0V CV signal.

At audio rate, Arkan acts as a ring-modulator with four controls to change timbres.

Boosting adds odd harmonics (symmetrical distortion), while offsetting adds even harmonics (asymmetrical distortion). The modulation curve changes ring modulation sharpness, and modulation strength determines the carrier dominance.

Two identical channels with carefully selected features will make Arkan your go-to modulation control hub. Arkan is especially useful for common utility duties such as mixing, scaling, inverting and offsetting. As well as CV modulation, feedback patching, and waveshaping. All this makes Arkan a very versatile tool that will certainly have a place in your patch!

Features (per channel)

- Input attenuation with inverter switch gives you more precision and range, with voltage inversion and quick silencing.
- Bias input with attenuverter control to offset your input signal or mix/invert another signal.
- CV input with curvature control allows you to shape the polarizer and improve its 0V attenuation.
- CV modulation control to fade in the modulator, allowing you to determine the amount of modulation.
- Voltage gain and polarity led indicators showing you exactly what is happening under the radar.
- Output normalled internally and externally (to other Arkans) to easily mix signals.

Additional features

Optional signal boost (x4 / +12dB) via switch on the PCB to increase voltages when needed.
5V or 10V voltage reference selection for bias voltage and CV input range to adjust Arkan to your system.

Dimensions
- 8HP.
- 28mm, Skiff-friendly.

Power consumption
- 90mA @ +12V.
- 85mA @ -12V.

I/O specs

- All inputs DC coupled.
- All inputs handle audio signals.
- All inputs have 100k input impedance. - All inputs have +-10V Input range.
- CV range +-5V or +-10V.
- Bias Voltage range +-5V or +-10V.
- Boost gain x1 or x4.
- All inputs are overvoltage protected.
- Keyed power header.
- Reverse power protection.

Notes: The Morphor Mixer - 5 Channel Amplifier is a flexible analogue mixer module that can find a home in every type of Eurorack setup.

Each of the five channels feature an attenuator knob and mute switch to allow for instant playability, for example in live settings.

Input signals can be AC or DC-coupled depending on your preferred setting.

The output stage also features an extra attenuation/gain stage that allows you to double the mixed signal. An additional master mute switch, clipping LED are nice-to-haves that complete this intuitive mixer module.

Weight: 102 g
Dimensions: 128.5 × 40.3 × 30 mm
Width: 8 HP

Notes: Simple to look at but deceptively powerful, Dreadbox's Telepathy is a full analogue synth in a small module, featuring VCO, low-pass and high-pass filters, LFO, envelopes and VCA.

Supplier's Notes:
Telepathy is a full voice analogue synthesizer module with deep modulation options due to its multi-destination LFO and Envelope. From Bass to Lead sounds, to drums and drones, Telepathy has broad and versatile sound design capabilities. It has a Full Analogue path (Typhon VCO, 4-pole low pass / 2-pole high pass filters, analogue VCA) that is digitally controlled for more precision over its parameters, resulting in a warm, present and distinct Dreadbox sound.

With lots of useful and musical features integrated into a compact size (10hp), and its skiff friendly design, Telepathy is a great addition to small or large Eurorack systems.

Features:

1x Analogue Oscillator with saw, square, -1 oct square sub and noise, plus PW control for square, level for noise and waveshape
Automatic tuning for the oscillator and fine tune
Analogue 24db Resonant Low pass filter with Oscillator FM and Noise FM and 6db High pass filter
Analogue VCA
1x LFO with Free/Key/Track/BPM/BPM Key modes, Fade in, Triangle/Saw/Ramp/Square/Random waveforms, that is mapped to various parameters
2x Envelopes, one dedicated to the VCA with Velocity control and one loopable for Low pass Filter, Pitch and PW
CV in patch that can be mapped to all the basic parameters in parallel with dedicated amount for each parameter
MIDI in/out+through
CC in/out, Program Change in/out
Multitimbral Chaining functionality via MIDI up to 8 modules 16 presets
10HP

Notes: CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

Notes: Great value from this versatile percussion module, built around a noise generator and four linked envelope generators, each with its own VCA. Generate hi-hats, envelopes, shape drums or create modulation sequences.

Supplier's Notes:
Ricochet is a compact, fully analogue module featuring four interconnected decay envelopes, each with its own VCA and an integrated noise generator.

The module's design is inspired by the way skipping stones bounce on the water, creating a versatile tool for crafting percussive sounds.

The exponential envelopes are specifically designed to generate dynamic percussive tones. The unique linking function connects the end of one envelope's decay to the trigger of the next, enabling the subsequent envelope to activate once the previous one ends. This innovative feature allows you to create ratcheted envelope.

A front-panel trimmer lets you adjust the threshold for triggering subsequent envelopes, while a rear header enables connecting two Ricochet modules together, or linking the last envelope to the first. This feature transform the Ricochet to a weird sequencer where the steps length depend of the decay times.

Since Ricochet is fully analogic, trig inputs are velocity-sensitive, responding to a standard gates but also allowing attenuation to modify the envelope's velocity (you can play with the dynamic of your sound by attenuating the trigg input. Ricochet is also perfect to play with drum pads).

Each VCA features a gain control that can be pushed to achieve subtle saturation.

All envelopes and VCAs have separate outputs, but there are also mixed audio and envelope outputs. When an individual output is connected, it is removed from the mix. The decay modulation inputs are normalized between each other.

Last but not least, an analogue noise generator is normalised to the first input, so you can use ricochet on it's own to create hi hat kind of sounds

Main features:

- Fully analogue design so everything is responsive to the amplitude
- Unique linked envelopes feature
- Compact 4 envelopes 4 VCAs module
- Linkable to a second ricochet or looping back the last envelope to the first one

Some applications:

- Envelope generator
- Drum shaper
- Hi-hat
- Clap envelope shaper( with short ratcheted envelopes)
- Envelope sequencer
- Trigg delay
- Burst generator

Technical details:

- Fully Analogue design
- 14hp
- Skiff friendly
- Reverse power protection

Notes: Psychosis is a high quality true stereo - 6 channel mixer eurorack module, that has the unique ability to pan an input signal, from left to right with a single control.

It is equipped with a set of 4 stereo effects - reverb, delay, chorus and flanger, all trimmed for the modular levels.

This module is an easy gateway into mixing multiple signals as the last part in your signal chain.

10HP.

Notes: Module A-147-4V is a dual voltage controlled LFO (Low Frequency Oscillator). Each LFO has the five waveforms triangle, sine, rising and falling sawtooth, as well as rectangle available. The rectangle output features manually adjustable pulsewidth and pulsewidth modulation by means of an external control voltage. The core waveform is triangle. The other waveforms are derived from triangle by means of waveform converters. The frequency of each LFO can be adjusted manually and modulated by means of an external control voltage with associated attenuator and polarity switch. By means of a jumper the basic frequency range of each LFO can selected: about 0.02 Hz (~ 50 seconds) ... 2.5kHz or about 0.0017 Hz(~ 600 seconds) ... 220Hz. That way each LFO can be used also as a VCO with a max. frequency of about 2.5kHz. Each LFO features a reset input which can be used to reset the triangle signal.

The module has these controls and in/outputs available:

Control F : manual control of the frequency, for each LFO the frequency range can be selected by means of a jumper from two values (see technical notes)
frequency coverage of control F in the high frequency range: about 0.075 Hz (~ 13 seconds) ... 1,4kHz
frequency coverage of control F in the low frequency range: about 0.007 Hz (~ 140 seconds) ... 125Hz
Control CV: attenuator for the signal applied to the CV socket, by means of a jumper a small positive voltage can be applied to the switching contact of the /CV/ socket, as long as no patch cable is connected to /CV/ socket the CV control then works as fine control for the frequency
Switch CV Pol.: polarity switch for the signal applied to the socket /CV/
Control PW/PM: combined control for manual and CV control of the rectangle pulsewidth:
when no patch cable is connected to socket /P/ the control is used to adjust the pulsewidth (PW) manually
when a patch cable is connected to socket /P/ the control works as attenuator for the external CV signal with a basic pulsewidth of 50:50.
Socket /CV/: frequency control voltage input, in the factory the module is adjusted so that the sensitivity of this input is exactly 1V/octave when the CV control is fully CW.
Socket /R/: reset input, according to the associated jumper the reset input is edge triggered or level controlled (see technical notes for details)
Socket /P/: pulsewidth control voltage input
Sockets with waveform symbol: output of the waveform in question (triangle, sine, rising and falling sawtooth, rectangle)
The output voltage ranges are about -5V ... +5V (10Vpp), except the rectangle output
For the rectangle output one can choose by means of a jumper if the range is about -5V ... +5V or 0...+10V.
LED: visual control of the LFO (triangle)
The inputs of the module are labelled with white characters on black background (in the text included into two slashes). The outputs are labelled with black characters.

Technical notes and special features:

The basic frequency range of each LFO can be selected by means of a jumper. The settings correspond to two different capacitor values for the VCO circuit. The relation between the two ranges is about 1:11. When the upper range is selected frequencies from about 0.02 Hz up to 2.5kHz can be generated. For the lower range the values are about 0.0017 Hz ... 220Hz. To obtain these full frequency ranges external control voltages are required. With the frequency control F only the frequencies mentioned above are possible.

Apart from that the range for the manual control F can be reduced to obtain a finer resolution. For this a jumper has to be removed. The range of control F is then reduced to about 1:4.5 only.

In the factory the starting voltage of the triangle output after a reset is adjusted to 0V, i.e. the triangle starts from 0V with the rising slope after a reset. By means of a trimming potentiometer the starting voltage can be adjusted to another value (e.g. to -5V).

Another jumper is used to set the reset behaviour to edge triggered or level controlled. When set to edge triggered the rising edge of reset signal is used for the reset (independent of the duration of the "high" state of the reset signal). When set to level controlled the triangle output remains at the starting voltage as long as the reset signal is "high". Only when the reset signal turns "low" the triangle starts.

Power consumption: 80mA at +12 V and 70mA at -12 V
Depth: 45mm
HP : 8

Notes: Envelope with filter with serious attitude

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

Controls

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

Specifications

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

Notes: 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 Z2040 is TipTop Audio's redesign of the most famous analogue filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colourful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP
Depth: 42mm
Power: +12V 20ma / -12V 20ma

Notes: Simple, powerful and high-quality voice recording solution, ideal for interviews, videography and podcasting. Clip on the lavalier microphone and record directly into the tiny battery-powered unit in high-quality 32-bit float resolution.

Supplier's Notes:
Small Appearance, Big Impact.

Videographers love the Tascam DR-10L Pro portable recorder with clip-on microphone as an easy and unobtrusive solution for capturing audio for video. Combining the clip-on convenience of a lavalier microphone with an ultra-compact portable recorder, this form factor solves many of the problems content creators often face. It's a superior solution for busy events such as weddings and on-location film shoots.

While traditional wireless microphone systems can pose workflow concerns, the rock-solid performance of a Tascam wired lavalier recorder is proven and assured. Simple plug-and-go operation also makes the DR-10L Pro an easy backup system for your typical voice recording setup.

The DR-10L Pro's 32-bit float recording technology lets you capture a whisper, a scream and everything in between with impeccable fidelity, ultra-low noise and no need to fine-tune gain levels. Support for wireless timecode sync with Atomos products, the ability to wirelessly control up to five recorders from the app*, plus long battery life and generous storage capacity make the DR-10L Pro ideal for professional applications.

*optional AK-BT1 required for app control and wireless timecode sync

Ultra-compact and lightweight, the DR-10L Pro is the perfect solution when stealth is a priority. Fitting in the palm of your hand and weighing just 65 grams, this recorder is easy to hide at film shoots, weddings, stage performances, and other projects where invisibility is crucial.

The included belt clip attaches easily and securely to clothing, allowing you to capture great audio without compromising your talent.

Using the DR-10L Pro's standard 32-bit float recording mode, two analogue-to-digital converters (ADCs) capture sound over an enormous dynamic range without distortion or excessive noise. This means that videographers can avoid having to discard recordings due to poor levels. With 32-bit float resolution, there's no need to adjust input gain levels, so you can set up faster and be confident that you're recording excellent audio in every situation.

The included TM-10L microphone captures clear, detailed audio while handling high sound pressure levels without distortion, making it the perfect lav mic for 32-bit float recording with the the DR-10L Pro.

Whether you're recording people at a wedding reception, a busy convention or a lengthy ceremony, the DR-10L Pro is ready for service as long as you are. There's no need to worry about changing batteries during recording: the DR-10L Pro personal recorder runs on just two AAA batteries for up to 24.5 hours*.

In addition, files are saved on the microSD card approximately every 20 seconds during recording to minimise the risk of data loss due to unexpected power cuts.

*Lithium batteries

With the optional AK-BT1 Bluetooth dongle, up to five DR-10L Pro recorders can be controlled wirelessly from iOS, iPadOS and Android devices using the free DR-10L Pro CONNECT app. The app allows videographers to check device status*, view the recorded waveforms in real time and create up to five presets. A preset can be applied to a single recorder or to all controlled units at once. You can also use the app to name devices for easy identification, for example "Bride", "Groom", and so on.

With the optional AK-BT1 Bluetooth dongle, the DR-10L Pro is ready to wirelessly synchronise timecode with supported Atomos products. Timecode allows videographers to perfectly align audio with video, even when there is no audio on the camera.

Timecode is critical for videographers when dealing with multi-camera video shoots, saving valuable time in post-production.

*Audio monitoring via app is not supported

Whether you're in a dark environment or outdoors in the sun, the DR-10L Pro's highly visible OLED display lets you confirm settings at a glance.

You can check your battery level, recording status, and input levels directly from the display, and all advanced functions are just a few button presses away.

The DR-10L Pro lavalier recorder has a headphones output for easy monitoring. You can listen to the input before or during recording, and also check the quality of your recordings immediately without having to first transfer them to a computer.

The DR-10L Pro comes bundled with a free version of RX Elements, a groundbreaking audio repair and noise reduction tool from iZotope. RX Elements gives videographers powerful audio restoration capabilities that need to be heard to be believed, from seamlessly removing coughs and background noise to reducing wind roar and ambient noise. Live video shoots for weddings, on-location interviews, and documentaries can present countless post-production challenges, and RX Elements gives videographers the tools they need to overcome them.

Specifications

Storage media and file formats

Recording media: microSD card (64 MB - 2 GB), microSDHC card (4-32 GB), microSDXC card (64-512 GB)

Recording and playback formats:
WAV: mono/poly (BWF format), 44.1/48 kHz, 16-bit, 24-bit, 32-bit float
MP3: 44.1/48 kHz, 128/192 kbit/s (recording) 32-320 kbit/s (playback)

Analogue audio inputs and outputs
Microphone input: 3.5-mm mini TRS jack (with screw lock)
Maximum input level: -11 dBu
Gain range: 7.5-38 dB
Input impedance: +/-2 kO
Included microphone: TM-10L
Sensitivity: -42 dBV/Pa
Maximum sound pressure level: 115 dB SPL
Supply voltage: 2.3 V
Analogue output (Headphones jack): 3.5-mm mini stereo jack (dual mono audio output)
Maximum output power: 10 mW + 10 mW (THD =0.1 %, 32 O)

Audio performance
Frequency response (input to recorded data): 20 Hz - 20 kHz, +0/-1 dB
Distortion: 0.01 % (1 kHz, input level -21 dBV)
Dynamic range: +/-105 dB

Power supply and other specifications

Power supply
2 AAA batteries (alkaline, NiMH or lithium rechargeable, sold separately)
USB bus power from a computer

Power consumption (batteries): 0.3 W (maximum)
Current consumption (USB bus power): 0.1 A (maximum)
Dimensions (W × H × D): 53 mm × 51 mm × 21 mm (excluding protrusions)
Weight@ 65 g (with batteries), 43 g (without batteries)
Permissible operating temperature range: 0-40 -C

Battery operation time
Conditions: WAV recording at 48 kHz, 32-bit float, mic connected, headphones not connected, limiter off, mono file, continuous operation, in hours:minutes (JEITA CP-2905)
Alkaline battery (Evolta)
16:30: No Bluetooth connection
16:00: Bluetooth connection

NiMH battery (Eneloop)
11:30: No Bluetooth connection
10:30: Bluetooth connection

Lithium battery (Energizer Ultimate Lithium)

24:30: No Bluetooth connection
23:00: Bluetooth connection

Note: Operation times may vary depending on the recording media being used. Reduced battery life when using headphones.

Notes: Introducing a limited edition re-release of this iconic electronic instrument in a modular format.

This limited edition of 75 units is a tribute to the pioneering work of Dutch musician and instrument maker Michel Waiswisz (1949 - 2008), who first invented the Cracklebox with Geert Hamelberg in the late 1960s.

The Cracklebox was a small, handheld device designed as a way to explore new sonic territories. It was one of the first electronic musical instruments to use circuit bending techniques in the creation of electronic music. It allowed musicians to manipulate and control electronic circuits in real-time, creating a wide range of unique and experimental sounds. He used a circuit from a toy piano as the basis for the instrument, and then added a series of touch-sensitive pads that were connected to the circuit. When a player touched one of the pads, the circuit would be completed, producing a crackling sound.

The Cracklebox was probably the first commercially available portable self-powered alternative 'keyboard' analogue electronic instrument with inbuilt loudspeaker.

In the 1970s about 4000 Crackleboxes were built and sold by STEIM in Amsterdam.

Nowadays many people refer to the The Cracklebox as the archetype of 'glitch' or 'circuit bending'.

In the decades since its invention, the Cracklebox has continued to be an important and influential instrument in the world of electronic music. It is still in use today, and is considered a classic example of the potential of electronic music to create unique and innovative sounds.

This Eurorack recreation includes a 9v battery, swappable through the front panel, this allows to isolate the current flowing through the user's fingers from the Eurorack frame PSU, protecting the user from undesired electrical shocks. The internal speaker has been removed, a transformer has been used instead to isolate the output signal.

The output generated can be used as an audio, as a gate or a cv signal, when using it as a cv source, due to the specific qualities of the signal, users may want to send it through other modules as slews, sample and holds, quantizers to tame/control it's peculiar cv output.

Controls:

- The module features an on/off switch to turn off the 9v battery (remember to turn it off when you turn off your Eurorack system).
- A Power Starve knob, reduces the 9v voltage feeding the circuitry changing it's overall timbre/pitch
- An Output Gain knob to control the output volume.
- A Boost switch to add more presence to the signal.

Tech Specs:

12HP
5.5 cm deep
20mA +12V
20mA -12V
9v battery required

Notes: The MMI Maxima is the final word in MMI technology. Beautiful gold patterns form gradients of touch sensitive surface areas, each connected to an input/output. Drag, rub, pinch or tap your fingers across to form connections, and create evocative and unique performances. Utilize the various pattern densities and shapes in your performance, or create installations with whatever conductive material is to hand.

Operation is easy: simply plug any audio, LFO, CV, trigger, gate, offset or clock into any of the inputs on the front panel, and connect one or several outputs to destinations in your system. The symbols near the sockets correspond to the shapes on the panel, and all that remains is for you to form the connection between the desired symbols with your hand, or any other conductive object you may have. Connect multiple at the same time to achieve liquid, gradual mixing, evolving rhythmic patterns, mixed LFOs and more. Furthermore, touch the pressure plates more firmly or in more dense areas to form stronger connections - in practice, this means a signal will pass with more or less intensity, based on the pressure you apply.

There are countless possibilities here: the shapes make it easy to memorize your patch, and the many inputs and outputs allow for enormous creativity. Eight inputs and one output? No problem. Maybe you want eight outputs sharing one input? Also no problem. Why not patch in an offset voltage, and then use the pressure sensitivity to sweep a filter with the offset patched into the filter resonance CV control? Or maybe create volume swells by patching audio into a VCA, or even an effect, for reverb or delay swells. Maybe you want to create chords, crescendos or chaotic and swiftly changing drum patterns?

Although practice helps, there are no rules for playing the MMI Maxima. Use it upside down or downside up, rack it, tape it to your body or drill it into your guitar and use it with the expression input on your pedals (yes, this is actually possible. Seriously.) With no external power needed, it makes an excellent performance companion for any system, big or small, modular, semi-modular or even not-modular-at-all.

Intended as a controller for musicians and non-musicians alike, the purpose of the MMI Maxima is to put emphasis on your performance and expression, rather than your competence at the ivory keys or dexterity at a drum pad. Let your hands, slices of pickled cucumber or other conductive everyday objects do the talking, through a combination of clever patching and expressive play - with the MMI Maxima, you have a performance tool unlike any other at your disposal.

The MMI Maxima comes in a custom case, and does not require external power to operate. Enjoy the Maxima either as a standalone controller, or rack it in your system if you desire.

Dimensions
30 HP
30 mm deep

Current Draw
Module does not draw current

Notes: The Herzlich 4x4 Switched Passive Matrix Mixer is a fresh dose of hot old school synth flavor right into your signal chain - inspired by the Buchla and Synthi matrix mixers of yore, the Herzlich 4x4 Passive Switched Matrix Mixer will give you all the joys of an old school matrix mixer, and none of the pesky conveniences of a modern one!

Looking for a super clean, powered matrix mixer that will treat your signals with velvet gloves and behave with mind-numbingly boring predictability? Then you've taken a wrong turn, and instead of finding the pristine tedium you sought, you have uncovered a sleeping beast, an uncut diamond the size of a bell pepper and an all-red rainbow all in one. No power needed, and a super slim profile for even the shallowest skiff user.

The Switched Passive Matrix Mixer will set your heart ablaze with its glorious commitment to happy accidents and unapologetic jank. With absolutely no electronics to rein in the monster that resides in its circuitry, you will be delighted and shocked as you turn the knobs and click the switches, to find channels that bleed gently into each other, pots that alter channels other than their own, and switches that may take your desire to open and close them as suggestions rather than commands.

You'll think you've fallen asleep in the pale glow of your DAW and awoken to a nightmare at first, but very soon, you will discover it is a creative dream. Step into the shoes of the composers of yesteryear, and discover how your unintended accidents mixing CV or audio turn into beautiful and unexpected compositions. Find beauty in the strange interconnectedness of the switches and pots, as you try to brave and tame them. Reach synth transcendence with the psychedelic potential of passive matrix mixing, and open your heart to the multitudes of possibilities contained with the power of 70s circuit design.

Dimensions
20 HP
22 mm deep

Current Draw
Module does not draw current

Notes: This product is used to produce drum and percussion sounds. You can make 909 type of kick drums- the toggle switch on the left chooses between long and short vca decay. The toggle switch on the left chooses long and short pitch envelope decay. Smack knob control lefts you mix in a noise 'paper' sound for the drum.

You can mix in two trigger sources to create complex percussion patterns. The internal circuit is using logic 'OR' triggering.

This product was refined for optimum sound and response from the controls. Part values were changed from the original 909 design.

-There is onboard distortion to get techno type of kick drums.

-This internal oscillator is triangular core, with internal reset.

-The internal trigger conditioner can take audio rate frequencies.

-There is a manual push button.

Width: 10hp

Current: +30mA,-24mA

Notes: Connect more with the world- The original iRig Stream offered groundbreaking features that made it an overnight must-have for millions of creators. Now iRig Stream Pro takes your podcasting and streaming to an all-new level.

This 24-bit, 96 kHz audio interface for iPhone, iPad, Android and Mac/PC offers an XLR mic preamp, stereo RCA, TRRS and device inputs (loopback) - plus advanced routing, convenient controls and total portability.

It's everything you need for professional quality streaming, right in the palm of your hand.

Mix and stream up to 4 audio sources- iRig Stream Pro makes it easy to connect all your audio sources and route them to a streaming or recording app. Connect your favorite studio microphone or guitar via the XLR / 1/4" combo jack, mix in DJ decks or a keyboard via the stereo RCA inputs, then connect your earbuds to listen back and for a bonus mic/line input. You can even route in the output of your smartphone, tablet or laptop and sing or jam along.

XLR / 1/4" combo input

This input offers a pristine mic preamp with true +48V phantom power to connect studio microphones with stunning sound, switching to Hi-Z for your favorite guitar or bass.

RCA stereo input

Connect a mixer, DJ decks, keyboards and more with this low-noise stereo input.

3.5mm TRRS input/headphone output

A unique headphone/microphone jack is wired just like your smartphone so you can listen and talk over the stereo input simultaneously. It works with most headphones with a built-in mic and also with IK products like iRig Mic Lav, iRig Mic, and iRig Pre 2, giving you a wide range of options for any situation.

Device Loopback

This option routes the audio output of your digital device (iPhone, iPad, Android, Mac or PC) back into iRig Stream Pro to be mixed in with the other audio signals. This is perfect to jam or sing along with backing tracks, or process audio on one app and stream to another, all on a single device.

Each input has its own independent volume control and is then mixed down to your choice of stereo or 4 channels to stream, process or record into all your favourite apps.

Stereo or multichannel? You get both!

iRig Stream Pro offers 2 modes: stereo or multichannel. By default, iRig Stream Pro operates in stereo mode and pre-mixes multiple sources of audio (RCA stereo inputs (+ Loopback), XLR / 1/4" combo input and TRRS microphone) down to a stereo track, which is sent to your choice of streaming apps like Instagram, Facebook, Twitch, etc.

Switching to multichannel mode, the combo and TRRS inputs are routed to channels 3 and 4 respectively giving you 4 channels of audio to send to recording apps such as GarageBand or your favourite DAW.

Specs

Type: 2 in/2out or 4 in/2out
Conversion: 24-bit A/D, 24-bit D/A
Sampling Rate: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
Power: USB bus powered. 48V operations with iOS devices require battery or DC IN. When connected to an external PSU (iRig PSU 3A, not included), iRig Stream Pro charges the connected iOS lightning device.
Metering: 3x LEDs for overall streaming signal. Peak meter for Mic/Inst input.
Device Connection: mini-DIN
Dimensions: 123 mm/4.84" x 67 mm/2.63" x 40 mm/1.57"
Weight: 146g
Line input
Connector: 2x RCA (unbal.) Left/Right
Nominal Input Level: -10 dBV
Head Room: 10 dB - Level @ max
Input Impedance: 16.5k Ohms
Frequency Response: from 20 Hz to 20 kHz (-1.5 dB)

Microphone Input: balanced, XLR. Pin 2: hot / Pin 3: cold / Pin 1: ground
Microphone Input Level: from 3.8 mV RMS to 388 mV RMS
Microphone Input Impedance: approx 2 kOhms
Analog Gain Range: 40 dB
Phantom Power: +48 V i 4 V
Frequency Response:
from 20 Hz to 20 kHz (-1 dB) Gain @ min
from 20 Hz to 20 kHz (-3 dB) Gain @ max

Instrument Input: unbalanced, Hi-Z, TS 1/4" Jack, Tip: signal / Shield: ground
Instrument Input Level: from 70 mV RMS to 1.8 V RMS
Instrument Input Impedance: 1M Ohms
Analog Gain Range: 28 dB
Frequency Response: from 20 Hz to 20 kHz (-1 dB) Gain @ min, from 20 Hz to 20 kHz (-3 dB) Gain @ max

Headset/Phones
Connector: 1/8" TRRS jack (CTIA wiring standard)
Supply voltage: > 2,5 V
Microphone gain: Adjustable with numbered thumbwheel
Frequency Response: 20 Hz - 20 kHz
Headphone Level control: numbered thumbwheel

Battery Life
Phantom power On with iOS device: up to 20 hours (Alkaline batteries), with mic input connected to 3.1 mA phantom powered load
Note: all measurements made with Stream Level knob at 0dB.

Package includes
iRig Stream Pro interface
Lightning to mini-DIN connection cable with charging features (60cm/23.62")
USB C-Type to mini-DIN connection cable (60cm/23.62")
USB A-Type to mini-DIN connection cable (60cm/23.62")
2x 1.5V AA battery
Velcro strip

Notes: Lush analogue EQ switchable between tilt and Baxandall high-shelf configurations.

Perform a variety of mixing and sound design duties ranging from subtle brightness and clarity adjustments to low-end rumble removal, boosted low-pass filtering and sweep EQ.

In the default tilt mode, turning the control knob clockwise simultaneously boosts treble and cuts bass. Turning anti-clockwise boosts bass and cuts treble. These boosts and cuts are pivoted around the mid-range. With the control knob at 12 o'clock the frequency response is neutral.

With Baxandall high-shelf mode enabled, turning the control knob clockwise past 12 o'clock introduces and gentle high-shelf EQ weighted around the upper mid-range. Turning the control knob anti-clockwise results in a wide high-shelf cut with subtle bass and mid-range adjustments.

Patching the channels in series allows for radical sound shaping and band-pass responses. Each channel provides up to +/- 8db of low and high-frequency gain control, summing into a low noise output stage. Hot input signals over 15vpp are saturated by active Zener diode clipping.

Features

Precise voltage control of EQ tilt and shelf
Seamless switching between EQ modes
High-quality components used throughout

Specifications

Intellijel 1U format
Width: 18HP
Depth: 32mm
Power requirements: ~60mA +12V/~58mA -12V
Control voltage range: 0-8V
Impedance Input: 100K / Output 1K

Notes: Lush analogue EQ switchable between tilt and Baxandall high-shelf configurations.

Perform a variety of mixing and sound design duties ranging from subtle brightness and clarity adjustments to low-end rumble removal, boosted low-pass filtering and sweep EQ.

In the default tilt mode, turning the control knob clockwise simultaneously boosts treble and cuts bass. Turning anti-clockwise boosts bass and cuts treble. These boosts and cuts are pivoted around the mid-range. With the control knob at 12 o'clock the frequency response is neutral.

With Baxandall high-shelf mode enabled, turning the control knob clockwise past 12 o'clock introduces and gentle high-shelf EQ weighted around the upper mid-range. Turning the control knob anti-clockwise results in a wide high-shelf cut with subtle bass and mid-range adjustments.

Patching the channels in series allows for radical sound shaping and band-pass responses. Each channel provides up to +/- 8db of low and high-frequency gain control, summing into a low noise output stage. Hot input signals over 15vpp are saturated by active Zener diode clipping.

Features

Precise voltage control of EQ tilt and shelf
Seamless switching between EQ modes
High-quality components used throughout

Specifications

Intellijel 1U format
Width 18HP
Depth 32mm
Power requirements ~60mA +12V/~58mA -12V
Control voltage range 0-8V
Impedance Input 100K / Output 1K

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


The Wave Transformer is a complex single oscillator with 7 audio outputs. Its method of wave shaping differs from other complex oscillators in that it is not based upon classic wave folding such as is common in West Coast synthesis, or filtration such as is common in East Coast synthesis.

This analogue, vintage-voiced, voltage-controlled oscillator features over 8 octaves of accurate pitch tracking. Its 7 simultaneous wave outputs include a unique Complex output. This strange and novel output varies between a simple waveform (triangle, unless you patch a signal into the Shape Insert jack) and a complex transformation of the harmonic structure of the original waveform. It contains a unique mixture of the fundamental frequency, odd order harmonics, even order harmonics and subharmonics. The Sub Octave panel control will determine whether the sub harmonics are derived from one octave down, two octaves down, or are muted altogether. It will vary from a simple waveform to a silhouette of your cat watching you as you react to a "present" that it left for you on the counter. No, seriously.

The module's Transform control morphs from a basic waveform through many strange iterations into a complex, gnarled mass of audio mutations at the Complex output using an asymmetrical multi differential audio transmutation circuit. You can yield countless variations on these permutations by combining this novel circuit with Hard Sync, Soft Sync, Linear FM and Exponential FM.

Additionally, you can mute the source waveform to use the circuit as a harmonic gate/VCA, rendering the Wave Transformer a voice unto itself.

If that is not enough, there is a Shape Insert that allows you to transform external oscillations and modular-level audio sources.

Notes: Esquivel is Bocuma's homage to space-age pop. This is a voltage controlled filter in a 14HP Eurorack, around a diode ladder topology. It is capable of switching between the 3 classic states: low-pass (LPF), high-pass (HPF) and band-pass (Band Pass).

Control cut-off, resonance and two inputs for CV. Likewise, a mixer for 3 signals was added at the input, giving it the possibility of mixing 3 different waveforms to obtain more harmonic-enriched signals and to maximize the sonic possibilities of its resonance.

Specs:

14HP
+12V > 12mA -12V > 12mA

Notes: Designed for handheld interview and presentation applications, the Reporter features an omnidirectional dynamic capsule that is designed to allow the user freedom of use, without the technique related issues typical of directional end-address microphones.

Additionally its frequency response has been specially tailored for voice reproduction, to maximise intelligibility and deliver crisp, clear results in almost any condition.

The microphone features a durable die-cast aluminium alloy body coated in a discrete matte black anti-glare finish. An innovative multi-layer mesh basket protects the microphone from environmental noise without the need for a bulky and distracting foam wind shield.

It is supplied with a removable microphone 'flag' that can accommodate high visibility branding.

The Reporter is covered by Rode's industry leading support guarantee, with a twelve month warranty 'out of the box' that is easily increased to ten years free of charge, following online registration of the microphone.

Notes: Bring hands-on control to your software with Presonus' simple little USB controller. Physical transport controls and a nice long fader to help streamline your creative process in your DAW.

Supplier's notes:
The latest generation of PreSonus classic USB control surface, the FaderPort enables you to record and mix with a smooth, touch-sensitive, motorized, 100 mm fader; transport controls; and many of the new workflows introduced in the FaderPort 8 and 16. Manage markers, punch in and out with a footswitch (not included), arm tracks, and employ the innovative Session Navigator to control your favourite DAW application quickly and easily. The FaderPort connects via USB 2.0 and offers native control of PreSonus Studio One DAW (Studio One Artist is included), including Control Link support and parameter follow, allowing quick hardware access to any control.

Notes: Transpos lets you transpose three CV channel with a single source.

Adder:

The voltage of each CV input can be varied by plus or minus two octaves depending on the switch and the potentiometer of each channel. Transpos uses precision regulators: for example if we increase by a fifth with the switch on "+" we reduce it by a fifth when we pass on "-".

Transposer:

The 1V/o CV input will influence each of the three channels. By turning the CV potentiometer you can globally increase or decrease the transposition of the three channels at the same time.

Dimensions
8 HP
40 mm deep

Current Draw
70 mA +12V
70 mA -12V
0 mA 5V

Notes: Part of the excellent Eris range, the Studio 8 is PreSonus's eight-inch two-way studio monitor, offering solid performance all the way down to 35 Hz and crystal clear reproduction thanks to 1.25-inch silk-dome tweeters and Elliptical Boundary Modeled waveguides.

Supplier's Notes:
With a smooth, accurate frequency response; powerful amplification with tons of headroom; and Acoustic Tuning functions that ensure you get the best sound, it's no wonder that Erisr-series studio monitors have been a runaway hit since their introduction. Building on the reputation of its award-winning predecessors, the Eris Studio 8 is a substantial update that delivers richer low-end and more controlled high-frequency response, reproducing every detail in your recordings with a natural sound unparalleled in its class.

Designed for superior performance in both home studios and professional mix rooms, the Eris Studio 8 features a custom-designed EBM (Elliptical Boundary Modeled) waveguide that provides superior high-frequency response and wide 100-degree horizontal dispersion to create a broader sweet spot. Narrow vertical dispersion reduces reflections from your desk, and a 1.25-inch, silk-dome tweeter ensures snappy, accurate transient reproduction. An elegant new enclosure design improves the waveguide performance so you'll hear the finest details in your mix.

The woven-composite, 8-inch, low-frequency driver offers Eris' signature tight, clear bass with plenty of punch. Its 140W of biamped power make the Eris Studio 5 more efficient than previous designs. The ported enclosure maximizes bass response and allows the Eris Studio 8 to reach down to an astonishing 35 Hz - with no subwoofer!

Flexible input options let you connect almost any line-level source, from mixers to audio interfaces and more. You'll have no problem hooking your Eris speakers up to virtually anything.

Features

8-inch woven composite, low-frequency transducer
1.25-inch (31.75 mm), ultra-low-mass, silk-dome, high-frequency transducer
100-(H) x 60-(V) EBM waveguide for a wide sweet spot
Front-firing acoustic port for superior bass-frequency reproduction and optimized, resonance-suppressing internal bracing
140W, Class AB bi-amplification
35 Hz to 20 kHz frequency response
106 dB SPL (Peak, @ 1 meter)
Acoustic Tuning controls: HF (i6 dB, continuously variable); Midrange (i6 dB, continuously variable), and Acoustic Space (flat, -2, -4 dB), plus highpass filter (Off, 80 Hz, 100 Hz)
RF interference, output-current limiting, over-temperature, transient, subsonic protection, and amplifier "soft start" feature (eliminates popping on power-up)
Internal power supply with IEC connector and power switch with on/off LED
Balanced XLR and 14-inch inputs and unbalanced RCA inputs

Set up your studio monitors for your room.

Erisr Studio 8 active monitors are equipped with Acoustic Tuning controls to ensure the flattest response in your mix environment. You get Low Cut, Mid, and High controls, as well as three-way Acoustic Space tuning that makes it easy to compensate for the boundary bass boost that occurs when a speaker is placed too close to a wall.

Honest. Expressive. Powerful.

Like all PreSonusr studio monitors, the Erisr Studio 8 offers consistent, accurate listening. Their stylish design makes them a welcome addition to any mix space, and their smooth, incredibly even frequency response ensures that your mixes will sound great everywhere.

Specs

Electronics
Voltage: 220-240V UK
Wattage: 80 Watts
Input impedance: 10 kO

Performance
Peak SPL: 6 dB (@ 1 meter)

Speakers
Crossover frequency: 3.5 kHz
Coverage pattern: 100 degree (H) x 60 degree (V)

Hardware
Cabinet material: Vinyl-Laminated, Medium-Density Fiberboard

Audio controls: Volume High Frequency (+/-6 dB, centre 10 kHz, continuously variable) Mid Frequency (+/-6 dB, centre 1 kHz, continuously variable)

Audio switches: Acoustic Space (Flat, -2 dB, -4 dB) Low Cut (Flat, 80 Hz, 100 Hz @ -12 dB / octave)
Monitor inputs: 1- Balanced XLR, 1- Balanced 14" TRS, 1- Unbalanced RCA
Power amplifier type: Class AB

Measurements

Dimensions: 16.50 x 9.80 x 11.70 IN

Depth: 11.73" (29.8 cm)
Height: 16.5" (41.91 cm)
Width: 9.84" (25 cm)

Notes: A compact Voltage Controlled Oscillator designed for generating SINE waves, Variable wave-SHAPEs, SUB-Octaves, Oscillator SYNC and Linear FM in the analog domain.

The Sub-Timbral Oscillator is the more subtle and melodic friend to the DPO's complex harmonic lattice.

Notes: As an Old Blood Noise Endeavors take on reverb, BL-37 Reverb Variable-Clock Effector is a new voice with a streamlined control set: a reverb both more immediate and more degraded than any other.

Thanks to its simple yet intuitive and interactive control set this modulated reverb can be quick and highly reflective or slow and stretchy with noticeable pitched undulations.

The sheer audacity of sound, to fill a room, to fill our heads, to fill our hearts. To act digitally as if tangible, as if these walls could talk, as if this were a real space and not a series of all-pass filters and modulated delays meant to capture the idea of somewhere we'd been before and something we'd done before and something we were before, as if. To give control over the whole thing, to simply stretch by hand the entire clock! It's a heck of a concept really.

BL-37 is a reverb pedal. It is lush but also ringy, and easily stretchable. It modulates, and sometimes that modulation feels certain, an obvious pitch bend, while other times it washes, simply a shimmering softening element. The control set for BL-37 is simple. A Clock slider sets the timing of the entire system - the sample rate that determines signal fidelity, the timing of the reverb, and the speed of the modulation within that reverb are all affected as the slider slides. Additional controls for Feedback, Mix, and Volume allow you to further craft the spatial voice in play here.

Notes: Ledges is a three-mode reverb with the ability to save and recall six presets and user-assignable expression control with loads of customizable options. From classic, standard reverb tones to undiscovered sonic reaches, it's everything you've ever wanted and needed out of a reverb.

The three switchable modes each deliver a unique blend of reverb, but are connected through a spectrum where the Room (R) reverb's longest setting is the Hall (H) reverb's shortest setting, the Hall reverb's longest setting is the Plate's (P) shortest setting, and the Plate's longest setting just keeps on going. The Room setting at its shortest achieves a small, boxy room sound that gradually gets bigger as you turn it up. As you increase the Hall setting, it morphs into a Cathedrals-style reverb that becomes really big, boomy and echoey with distant reflections. Turn up the Plate setting to get bouncy reflections that recycle and reverberate forever.

Ledges can go from an '80s slapback reverb mix to a bigger room spring reverb with the twist of the dials. The Mix knob lets you control how much your signal is affected, while the Length knob controls the size of the reverb. The Damping knob subtly mutes the high-frequency reflections of the reverb, which you'll hear clearly by adjusting your gain.

In addition to all of the features, there are six Presets available. Simply select a number with the switchable knob and then engage the Save on the center button and dial in your perfect sound. A quick Recall on the same button and you have all of your personalized reverb sounds with a single tap. You can assign an expression pedal to each of the three controls and then save it all in the presets.

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 80 mA
Input Impedance: 1M O
Output Impedance: 100 O
TRS expression pedal wiring:
Tip: Wiper
Ring: +3.3V
Sleeve: Ground

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.

Ledges is buffered bypass with tails. Power is required to pass signal.

Power

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. It is always recommend you use 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!

Notes: ***B-STOCK: Without original box, product in perfect working order***


This monitor comes with free Studio One Prime and Studio Magic plug-ins.

Superior transient response:
In order to dampen resonance peaks at higher frequencies, conventional dome tweeters are injected with fluid to raise their mass, sacrificing transient response time. By contrast, the custom-designed AMT tweeter in the R80 uses an incredibly thin, folded Kapton membrane (< 0.01 mm) with an inlayed aluminum circuit functioning as the voice coil, allowing the tweeter to move at the same instant as the electric current. The resulting reactive response time provides marked clarity and superior transient reproduction.

Wide, consistent stereo image:
An unfolded AMT tweeter diaphragm provides 8 to 13 times the projection area of a traditional 1-inch dome tweeter, enabling R80 monitors to provide a much wider stereo soundstage than traditional designs. At the same time, the R80 provides a very limited vertical dispersion, which helps to reduce reflections from the ceiling and desktop that can cause phase coherence issues. Because it's less subject to room-anomaly interference, the R80 reacts predictably and sounds consistent from room to room.

Transparent sound:
The R80 utilizes an 8-inch, custom-coated, woven Kevlar low-frequency driver. This rigid cone maintains a more consistent dispersion pattern across its frequency response range. Biamped and driven by a 150W Class D amplifierimaking the R series some of the most powerful monitors in their categoryithese monitors deliver an open, clear, and less fatiguing listening experience.

Have it your way:
You can customize the R80 in several ways. It's available with black or blue faceplates to fit your studio decor. With balanced XLR, balanced 1/4" TRS, and unbalanced RCA line-level inputs, it's easy to feed audio to your R80 monitors from a mixer, an interface, a media player, or almost any other line-level source. And R series monitors offer user-adjustable contour features for optimizing the monitors for your mixing space. This enables full integration into any studio environment.

Accuracy defined:
The R80's AMT monitor design provides lifelike sonic reproduction that will allow you to hear the room in your recordings. Its transparent sound and responsive transient reproduction makes it an ideal solution for anyone who is mixing high-resolution audio. Hear the R80 at your favorite PreSonus dealer.