Search results: BKS

Notes: A legendary past, a powerful future.

microKORG is one of the world's most successful synths, having helped to shape music production for more than twenty years. Merging the essence of what made the original a global success with an array of powerful new features, the microKORG 2 once again redefines the landscape of music creation. It maintains the essence that has made its predecessor a mainstay in studios and on stages while introducing innovative, contemporary elements that resonate with today's musicians. The microKORG 2 is not just a new instrument; it's a new chapter in synth history.

Seamlessly sculpt your sound with refined controls

Dive into the microKORG 2 and discover how easy and intuitive creating the perfect sound can be. Korg have equipped it with five dynamic knobs, each one a gateway to fine-tuning your sound across any musical genre with speed and precision. Whether you're crafting lush pads or searing leads, the expanded bank selection puts every era of music right at your fingertips.

The centrepiece of the microKORG 2 is its stunning 2.8-inch colour display. It's not just about looks; this display makes tweaking your sound a visually immersive experience. Watch parameters come to life with animated effects, giving you instant visual feedback as you shape your sound. And for those who love to see music as well as hear it, a quick tap switches you to an oscilloscope view, literally showing you how your soundwaves evolve and change.

Korg have packed the microKORG 2 with the latest tech, but don't worry, it's all about enhancing your experience, not complicating it. Whether you're a synth veteran or just starting, you'll find its interface welcoming, straightforward, and comprehensive, letting you dive deep into sound creation without getting lost in the technicalities. It's all about keeping the joy in music making - and the microKORG 2 does just that.

Crafting vocal perfection: the new vocal processor

The original microKORG is renowned for making complex vocal synthesis accessible and fun. Known as the synthesiser with its own mic, it has been the choice for producing unique robotic voices for over two decades - a feat typically reserved for specialized equipment. The true magic of the microKORG has always been in its ability to simplify complex sound engineering. Taking a leap forward, Korg have outfitted the microKORG 2 with a new vocal processor that goes well beyond the beloved classic vocoder effects. Korg are introducing advanced vocal processing technology at your fingertips, including hard-tune pitch correction for creating smooth and polished vocal tracks. Additionally, the new harmonizer feature allows you to layer and pitch-shift your vocals, enriching your music with depth and complexity.
As for effects, the microKORG 2 offers a rich array of options. Layer your vocals with immersive reverb, crisp delay, and a diverse range of sonic textures to fully realise your creative vision. The iconic gooseneck mic, now featuring a stylish metallic neck, is the perfect complement to this powerful vocal processor. Whether you're aiming for rich harmonies or contemporary auto-tuned effects, the microKORG 2's vocal processor is a versatile tool for unleashing your vocal creativity.

Master live performances with loop recording and arpeggiator

Discover a new level of musical creativity with microKORG 2's loop recorder. This feature brings a familiar yet powerful tool for modern musicians into the microKORG world. Ideal for crafting layered backing tracks, the loop recorder allows you to loop segments of music and overlay your own performance, enhancing your creative expression in real-time. While loop recorders are well-known in the music world, their integration into the microKORG 2 opens up new avenues for experimentation and performance, perfectly complementing the synthesiser's robust capabilities.

The loop recorder is designed for simplicity and ease of use, featuring three simple buttons: record, play/stop, and undo/redo. The user interface is streamlined for immediate understanding and use- long-pressing the buttons reveals recording and playback settings, ensuring you're always in control and can focus on your performance.

The microKORG 2 also includes an arpeggiator, perfect for adding rhythmic complexity to your compositions. Activate it with a simple press of one of the eight program number buttons, and watch as it infuses your music with intricate patterns and textures. The combination of the loop recorder and arpeggiator opens up a world of possibilities, allowing you to craft a performance that is truly and uniquely yours.

Explore sounds across the ages

Discover microKORG 2's rich tapestry of sounds, where you get to play with a whole new range of tones. It's all about choice here - the new program selector is your gateway to genres far and wide. Fancy a bit of retro?

Specifications

Keyboard: 37 keys (velocity sensitive mini keys)

Synthesiser
Sound Engine: Analogue modelling synthesis system
Number of Timbers: Max. 2 (when Dual)
Maximum number of voices: Single 8 voices, Dual 4 voices

Vocal Processor
Maximum Polyphony: Vocoder 8 voices, Hard Tune 4 voices, Harmonizer 4 voices, Hard Tune & Harmonizer 2 voices

Effect types: Modulation, Delay, Reverb, Equalizer
Arpeggiator: 10 types, step arpeggiator function
Programs 256 programs (4 Banks x 8 Categories x 8 Programs)
Display: 2.8-inch IPS LCD display
Inputs/Outputs: OUTPUT - L/MONO, R terminals: 6.3mm TS phone jack, unbalanced
HEADPHONES jack: 6.3mm stereo phone jack, unbalanced
MIC IN - CONDENSER: +5V 3.5mm TRS mini phone jack, unbalanced
MIC IN - DYNAMIC: 6.3mm TS phone jack, unbalanced
AUX IN: 3.5mm mini stereo phone jack, unbalanced
DAMPER/SWITCH: 6.3 mm phone jack
MIDI IN,OUT
USB Type C

Power supply: 9V DC (AC adapter), six AA batteries (alkaline or NiMH)
Battery life: Approximately. 4 hours or more (when using alkaline batteries)
Dimensions (W x D x H) 542 x 238 x 65 mm
Weight: 2.1 kg (without batteries and microphone)
Included items Condenser microphone, AC adapter (DC 9V)

Review: Legendary US hip hop outfit De La Soul will always be most well known for their Three Feet High and Rising album but they penned plenty of others that are just as good. De La Soul Is Dead was the follow-up LP to that one and it saw them again work with Prince Paul on production duties. The daisy age themes of their debut remain but with more skilled rhyming flows. The record has plenty of standouts such as 'A Roller Skating Jam Named Saturday Night', 'Keepin the Faith' and 'Ring Ring Ring' which set a new standard for the next generation.

Review: 'When Will The Day Come' and 'Within The Sound' both captivate with their ethereal nu-soul essence. The first track envelops listeners in a dreamy atmosphere, where each note feels weightless and every lyric resonates deeply. With a gentle sway, it explores the intricacies of life and the yearnings of the heart, inviting introspection and reflection. The title track offers soothing melodies that cascade effortlessly, creating a sense of calm and serenity. RASA's vocals effortlessly weave through the music, delivering poignant lyrics with a tender sincerity that touches the soul. 'Within The Sound' serves as a comforting embrace, guiding listeners through the complexities of existence with grace and poise. From its airy instrumentation to its heartfelt lyrics, this track is a testament to RASA's artistry and ability to craft music that speaks directly to the soul. It's a captivating journey through sound and emotion, leaving a lasting impression long after the music fades.

Review: For anyone who heard it, Rasa's gorgeous 'When Will The Day Come' was one of the standouts of Kerri Chandler's timeless and masterfully eclectic entry into the DJ kicks mix a couple of years ago. It's a warm, slow, soul gem with Balearic guitar riffs, swooning strings and an impossibly smooth vocal. It is one of those expensive and sought-after treasures but gets reissued here on 45 rpm courtesy of Backatcha. On the flip is an equally lovely and seductive soul cut for warm afternoons and loved-up dance floors. 'Questions In My Mind' has pristine vocals and happy piano chords next to plenty of sunny melodies.

Review: When it comes to guitar, indeed, Calvin Keys has the keys to the car, and to our hearts. Of course, the strings of a guitar are a kind of key; like the piano, the guitar belongs to the chordophone family. With 'Blue Keys' made in the style of cool jazz, blues-jazz greats, this new LP charts the talents of one particularly wistful guitarist in collaboration with a deservedly hefty backing band. Largely centring on guitar and horns, the solos on Calvin's 'Blue Keys' are far from noodly, instead offering the right amount of lonesomeness and vitality to unlock just a slice of happiness in an otherwise grim day.

Review: De La Soul will always be best known for their one superb and standout album 3 Feet High and Rising but the iconic band, who made such a fast rise to fame, continued to keep quality levels high in that classic album's wake. They remained one of the most original, authentic and creative groups and not just famed for their positive, happy, uplifting messages at a time when much hip ho was focussed on darker aspects of life. De La Soul is Dead came in May 1991 with visionary producer Prince Paul behind the beats which went on to top plenty of global charts and secured Gold status by the RIAA. 'A Roller Skating Jam Named Saturdays', 'Ring, Ring, Ring (Ha Ha Hey)' and 'Keepin' the Faith' are just some of the highlights.

Review: Backatcha is on a superb run of releases right now with top tunes from Leonie and Learoy Green dropping around the same time as this stepping street soul gem from En to End. This is primo boogie from the late 80s now landing on 45rpm for the very first time. It's been taken from the tape archives of London singer-producer Tony Shand and kicks off with the vocal version of 'Nothing's Happening'. His rather deadpan vocal has an aloof kind of allure next to the squelchy bass and glowing keys. The instrumental strips it away to allow the retro production to shine.

Review: Popsicles by Little Rocker, originally released in 1983 and now reissued in 2024, offers a delightful glimpse into the funk and disco sounds of its era. The A-side, 'Little Rocker' ,captivates with its spacey, sexy vibe, drawing listeners into its groove with infectious rhythms and irresistible melodies. The track exudes a sense of coolness and confidence, making it a standout piece for funk and disco enthusiasts. On the B-side, 'These Are The Good Times' continues the infectious energy with its upbeat tempo and funky instrumentation. It's a feelgood anthem that celebrates life and joy, inviting listeners to let loose and dance along to its infectious rhythm.

Review: First released way back in 1982 but exceedingly hard to find ever since, Intrigue's 'I Like It' is a classic slab of Brit-funk era UK boogie whose lyrics playfully muse on craving cash when you have very little ("I really want your love but I'd rather have the money and I like it"). This Backactcha Records reissue features both versions from the original 12" - the EP-leading full vocal mix and the longer, more club-focused flip-side instrumental - as well as what appears to be a previously unreleased remix. This builds up brilliantly via drums and short rap sections before introducing the killer basslibe, pianos, synths and lead vocals. It's a fantastic and arguably more club-ready take on a much-loved but previously impossible-to-find Brit-boogie classic.

Review: Dutchman Armin van Buuren has been a trance overlord for 20-odd years. While many of his peers have veered away from the genre as it dipped in popularity, he has remained ever true to the genre that first made him a global star. His A State of Trance radio shows have helped him take his sound worldwide and now sit at well over 1000 episodes, while the compilation series of the same name remains just as influential. This 2023 edition looks back on the trance season out in Ibiza with three CDs chocked full of contemporary gems from all the biggest names in the scene.

Review: The Backatcha label has been busy turning out the jams recently and this 82nd EP is another one that will get you up on your feet in no time. Style X was at the helm of the original tune here but now two edit and remix masters get their hands on it and head into all new realms. First up is Sean P with The Second Line Jazz Funk Excursion remix which is all overdubbed horns and hurried disco rhythms, cosmic synths and loose percussion that make you move. Then it is the Ge-ology Truth To The Light remix that brings driving, deep and dubbed out disco goodness with majestic horns.

Review: Brit-funk group Cloud made a big impact back in the 80s. They were part of an exciting and emerging scene that fused funk, soul, jazz and more and their catalogue continues to get plenty of attention even now, decades on. Backatcha last served up their Visions EP back in February and now they look to their This Is Your Woman 12" which opens with the title track complete with its brilliant female vocals and low-key funky disco beats. There is also the high-speed and super cool grooves of 'I'll Never Give You Up' which fans of Freez will love, then a couple of dubs and instrumentals on the flip.

Review: One for the ages. UK label Backatcha does an impressive curatorial job on this reissue of Popsicle's timeless disco-funk instrumental mini-classic, 'Little Rocker', which was first released in 1983 and has gone down in time as an 'extremely scarce' one. Of course, most economists will tell you that scarcity is what lends this kind of thing its credo; indeed, while the original issue of this record barely surfaces on online marketplaces, Backatcha's efforts do just as well to propagate the furtive enjoyment of this gem, putting out a similarly limited quantity on 12" and yet injecting just enough wax into circulation to keep its snappy, impactful intromissions going strong.

Review: Backatcha continues to delve into the back catalogue of British 80s soul outfit Intrigue, a combo born in the Britfunk and boogie era whose independently released records have long been sought-after by disco diggers and record collectors alike. Having already reissued the band's best-known tune, 1982's 'I Like It', they've now turned their attention to a more overlooked gem: 1986 single 'One Touch'. Glossy, colourful and effortlessly soulful, it's a fine chunk of polished, club-ready 80s street soul with nods to electrofunk. Flipside 'Touch Down', a more extended affair, is an alternative, largely instrumental dub mix that adds layers of effects to key elements while stretching out the synth-heavy groove.

Review: Armin Van Buuren has been a trance titan and scene overlord since day one. The Dutchman has never turned this back on the genre, either, like some of his peers - instead keeping focussed on evolving and innovating within his own specific sonic sphere. His now legendary State of Trance mixes are always a great overview of what he has been about during the last year and 2023's edition is no different. It arrives on double CD and is jam packed with uplifting delights that mix up some old school sounds with plenty of new and forward thinking ideas.

Notes: Get to the Bottom of the Groove!

The Black Magic Cleaning Pad digs deep for clean sound. An optional first step for grimy grooves.

This pre-cleaning soft brush has tracking fibers to deep clean your grooves. Finish by swapping to our microfiber cleaning pad to absorb the residue and polish your vinyl!

Order yours today and give it a try. Return for a full refund if you are not 100% satisfied.

Designed and handcrafted by the GrooveWasher Team in North Kansas City, MO, USA.

Review: When it comes to guitar, indeed, Calvin Keys has the keys to the car, and to our hearts. Of course, the strings of a guitar are a kind of key; like the piano, the guitar belongs to the chordophone family. With 'Blue Keys' made in the style of cool jazz, blues-jazz greats, this new LP charts the talents of one particularly wistful guitarist in collaboration with a deservedly hefty backing band. Largely centring on guitar and horns, the solos on Calvin's 'Blue Keys' are far from noodly, instead offering the right amount of lonesomeness and vitality to unlock just a slice of happiness in an otherwise grim day.

Review: This was where it all started, not only for arguably the most important feminist rock band of all time, but for an entire musical movement. Originally released on cassette in 1991, Revolution Girl Style Now was an incendiary squall of furious ire, set aflame by DIY spirit, rulebook-shredding rage and Kathleen Hanna's fearsomely magnetic charisma alike. To this end, this collection of mighty calls to arms has stubbornly refused to date, standing proud as more than an essential Riot Grrrl document, rather a thrilling and timeless testimony to the power of punk rock at its most righteous.

Review: This is a reissue of Bikini Kill's second EP, "Yeah Yeah Yeah Yeah". Recorded in 1992 with Tim Green (Nation Of Ulysses) at The Embassyia group-house in Washington, DC, it was the first Bikini Kill release to feature the band's song, "Rebel Girl." Originally a split EP with the Brighton, UK-based band, Huggy Bear, the B-side now features seven previously unreleased Bikini Kill songs drawn from era-appropriate live shows and practice tapes. The artwork has also been updated to include archival photos and liner notes from the Bratmobile's Erin Smith, Comet Gain's David Feck, and the members of Bikini Kill.

Bikini Kill was a feminist punk band based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (aka Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early '90s via their political lyrics, zines, and confrontational live performances. This EP is the second release in a larger campaign to reissue the complete Bikini Kill catalog on vinyl and CD.

Review: Here's something to get the pulse racing: a killer collection of obscure, hard-to-find and sought-after soul tracks from the 1970s and early '80s, all from the catalogues of independent, often little-known record labels. Sometimes rarity can be misleading - scarcity is no guarantee of quality - but everything here is genuinely extremely good. For proof, check out the spaced-out, otherworldly instrumental bliss of Nassauvians' 'Slacking Off', the chunky, country-style soul brilliance of Norfolk Sound by Ray T Jones, the Terry Callier style folk-soul of No ID/Bilal Sabir's 'Changes', and the alternate mix of Nature Soul's sunshine soul gem 'Never Get a Chance' - one of two previously unreleased versions on the compilation. In a word: essential.

Review: David "Move D" Moufang and Jonah Sharp (Spacetime Continuum etc) first joined forces as Reagenz 20 years ago. They've proved a popular attraction on the underground festival circuit since reforming back in 2009, delivering extended live shows that blend the boundaries between Sharp's stargazing ambience and hypnotic, Detroit-influenced techno and Moufang's deliciously immersive deep house. The Periodic Table is their third full-length, and was edited down to a six-track triple-LP from a 180-minute live performance at The Bunker in New York last year. With the duo utilizing the same equipment as they used back in 1994, it's a woozy, intergalactic and thoroughly ethereal blast from the past.

Notes: Compact Tuner-metronome combo

The Korg TM-70T is a compact tuner-metronome combo. Offers precise tuning, clear metronome sound, and a user-friendly display. Features a transpose function, long battery life, and is ideal for a range of instruments. Made in Japan for quality assurance.

The TM-70T combo metronome and tuner is the latest evolution in our TM series, expertly blending a tuner and metronome in one practical unit. Designed for the modern musician, it delivers a suite of features in a surprisingly compact design, ensuring you stay in tune and on beat, whatever your instrument.

The TM-70T is designed to be portable and user-friendly. It's small enough to fit in your pocket, yet features an improved display for easy visibility, making it an ideal companion for musicians of all levels.

Korg have fine-tuned the TM-70T for precision and clarity. The tuning is quicker and more accurate, essential for every performance, and the metronome sound is loud and clear, cutting through even in noisy environments.

Notes: MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analog summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analog mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.

Each input is labeled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Dimensions:
3 HP
43 mm deep

Current draw:
25 mA +12V
20 mA -12V

Notes: MIXZ is a multi-channel mixing module for mixing audio, CV, and gate signals with excellent linear response and low noise. Balancing a clear visual layout and multiple mixers in a small footprint makes the MIXZ easy to use in a variety of configurations within a modular synth. Its high-quality analog mixing circuitry makes for a great sounding mixer with plenty of headroom, providing a smooth, organic merge of dynamics and excellent separation of mixing sections and channels. MIXZ has three sections:

Mixer A: a low-noise, 4-channel mixer with independent gain control for each channel.
Mixer B: a low- noise, 4-channel mixer with master gain control.
MixBus: a multi-channel mixer that mixes signals from modules utilizing the Tiptop MixBus.

Mixer A and B can be configured as either two independent, 4-channel mixers or as a single 8-channel mixer. If the output of Mixer A is not in use, then Mixer A will be routed internally to Mixer B forming the 8-channel mixer.

Tiptop MixBus is a new method we have developed to mix audio signals through the Eurorack power bus board without patch cables. A little bit of magic, eh? Although this technique is not ideal for a low-noise mix, we found it to be useful for some applications, including mixing our drum modules, which all have a MixBus-enabled output. The result is that your drum modules are always available and mixed on the master out of the MIXZ with a flip of a switch. This will save you time and frees up cables for repatching sound again and again, while keeping the channels of MIXZ free to bring other signals into the mix.

Combining the MixBus with Mixer A and B, the MIXZ sums dozens of channels in only 10HP.

Dimensions:
10 HP
36 mm deep

Current draw:
14 mA +12V
14 mA -12V

Notes: Constructed with 100% aluminium die casting, this sleek and robust keyboard stand weighs a mere 3.06kg, making it an incredibly lightweight and portable option. Designed to support keyboards with up to 76 keys and weighing up to 60kg, it offers reliability and strength for musicians on the go. Easy to set up and dismantle, this stand is a perfect choice for those looking to blend functionality with simplicity.

Features:

Maximum height: 1.30m
Capacity: 69.8kg
Weight: 3.49kg

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

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

Notes: Next-generation monophonic analog synthesizer in a vivid five-colour line-up:
Fully programmable, analog synthesis for all players; monologue is the next-generation monophonic synthesizer that shares the spirit of the acclaimed minilogue, with a completely new voice and powerful new features.

The monologue is a 25-key, fully programmable monophonic analog synthesizer with a voice all its own. While sharing its sleek layout, knob-per-function workflow and high-quality construction with the best-selling minilogue, monologue is a truly unique new synth for all types of musicians; featuring new voicing and sound sculpting abilities - at an amazing price. The monologue's completely new filter, modulation, drive, and LFO can generate powerful basses and sharp leads, creating awesome mono sounds that showcase its single-voice design. The step sequencer has also been dramatically expanded, allowing more intuitive and more complex editing. With a line-up that gives you a choice of five eye-catching colours, this compact instrument has a strong personality to match your own.

Redesigned monophonic analog circuitry:
The monologue contains monophonic analog synthesizer circuitry that builds on the circuitry of the minilogue. But that doesn't mean that the monologue is simply a one-voice model of the minilogue. It's a monophonic beast with stunning power that comes from a redesigned envelope section, modulation routing, and a filter with powerful low-end punch.

The structure is 2VCO, 1VCF, 1EG, 1VCA, and 1LFO. In addition to the same distinctive circuits as on the minilogue (such as the wave shaping that shapes the overtones of the oscillator, and a sync/ring switch), the filter section uses a two-pole filter to deliver aggressive sound. Newly featured is a drive circuit that adds overtones and distortion to the sound, letting you generate fat basses and sharp lead sounds to your heart's content. The LFO rate can be adjusted into an unprecedentedly ultra-high-speed range to generate crazy space-shattering sounds, or switched to one-shot mode to act, in a sense, as an additional envelope.

Fully programmable:
The monologue goes beyond analog synths in its price range by adding 100 preset locations. Select a program for instant access to great sounds - - ranging from thick basses to deep subs to brilliant cutting leads and even percussive sequences. No need to have deep synthesis knowledge; just choose a sound and tweak - a workflow that is very familiar with musicians today. Built-in programs provide 80 preset sounds and sequences made by creative artists around the world including legendary electronic artist Aphex Twin, plus 20 user locations for saving custom sounds.

16-step sequencer for highly-evolved motion sequences:
The step sequencer of the monologue has been significantly enhanced to deliver musical, complex rhythms that are easy to capture, see, and edit. It supports both real-time recording with overdubbing capability as well as step recording that lets you record simply by pressing keys in the desired order, and you can also use the 16 physical buttons for quick editing or for improvisatory performance. The motion sequence function lets you record up to four knob movements to apply time-varying change to the sound, and allows you to record not only continuously changing values as on previous models, but also values with step-wise variation. Since it's designed to let you create different sounds at each step, you can make unprecedented sequences, such as a sequence that generates a drum pattern from a single program.

There's also a key trigger function that lets you play back a sequence while you hold down a key, and even transpose it. Another new function is slide, which can be used to produce smooth bass lines by specifying portamento for each step.

Battery-powered analog:
From smooth curves to muscular straight lines. The stylish visuals featuring aluminium and wood are inherited directly from the minilogue, but have been modified to a straight, direct design that bespeaks the power of a monophonic instrument. In spite of its stout construction, the compact and light-weight body is only 1.7 kg / 3.78 lbs., providing an unprecedented combination of toughness and portability.

In addition, unlike most analog synthesizers in its class, the monologue can operate on batteries. Even if you're a hardware performer who uses numerous units, you won't need to worry about providing additional power supplies and installation space.

Sync with Audio Sync:
In addition to 5-pin In/Out and USB MIDI, monologue includes Audio Sync connectivity, which allows it to play in time and integrate seamlessly with KORG volcas, electribes, minilogue and SQ-1. Use the monologue with your DAW as a USB MIDI controller or a versatile analog voice. Send clock over USB and use Audio Sync to chain monologue's clock to other Audio Sync-equipped products.

Notes: Mantis have taken years of experience with Eurorack to create a low-cost case that makes the Eurorack modular synthesizer look, work, and feel like a professional instrument. Mantis is an instrument that is at home on stage, touring, or in the center of the studio.

Mantis has two rows of 104HP for you to rack your modules. It comes fully powered and assembled, just drop in your modules and play.

Using its sophisticated leg mechanism, you can set it to three different positions: 0, 45, and 90 degrees.

Power Power and more Power! With Mantis, say bye-bye to the tedious, never-ending calculation of current consumption for the i12V power. Mantis comes with a juicy Zeus power supply that delivers plenty of power both now and for the future.

Mantis deep black coloru gives you another option to customize your Eurorack look and matches perfectly with black Tiptop Audio modules.

Mantis comes with real Z-Rails made according to Eurorack enclosure standards. No sliding nuts or wrong spacing! It also has keyed power connectors to help protect your modules from damage from plugging the power in in reverse.

Weighing only 3kg/6.5lb, Mantis is so light, traveling has never been so relaxed.

Dual Mantis Studio Brackets

Using the optional bracket accessory Mantis can be doubled up to 416HP! Multiply your Mantis and watch your studio setup grow.