Search dance music

Notes: Ornament & Crime for 1U Intellijel format

This is functionally identical to the 3U version, just re-oriented to fit in 1U racks. Ornament & Crime is designed by mxmxmx.

The apps currently available in Ornament & Crime:

CopierMaschine is an enhanced version of the original quantising digital emulation of a four stage analogue shift register (ASR).

Harrington 1200 provides basic neo-Riemannian Tonnetz transformations of triadic chords, triggered by the digital (gate/trigger) inputs.

Automatonnetz combines Tonnetz transforms with a "vector" sequencer - it can be both a chord sequencer and a melody sequencer, but not of the usual kind.

Quantermain is a quad pitch quantiser for external voltages, with editable scales; it can do clocked (trigger-driven) quantising, or continuous quantising, with a latency of under 100 microseconds; it also features quad Turing Machines, May-Verhulst logistic maps or byte beats as optional, semi-random, internally generated CV sources.

Meta-Q is a dual-channel quantiser, similar to Quantermain, but also offering scale and note mask sequencing.

Quadraturia is a wavetable quadrature LFO, based on the "Easter egg" in the Mutable Instruments Frames module.

Low-rents is a dual Lorenz and Rossler (strange attractor) modulation generator, partially based on the "Easter egg" in the Mutable Instruments Streams module.

Piqued is a quad voltage-controlled envelope generator, based on envelope generator code from the Mutable Instruments Peaks module, but extending it with voltage control, additional envelope types, including re-triggering (looping) envelopes, additional segment shapes, adjustable trigger delays, and a unique Euclidean "trigger filter" which turns the app into a Euclidean rhythm generator which can output envelopes, not just gate or trigger pulses.

Sequins is a dual-channel step sequencer offering 4 "tracks" of up to 16 steps each; tracks can themselves be sequenced.

Dialectic Ping Pong is a quad bouncing ball envelope generator, based on a hidden mode of the Mutable Instruments Peaks module.

Viznutcracker, sweet! is a quad "byte beat" equation generator, which can be used as an audio source to generate curious but often interesting 8-bit noises and tunes, or which can be clocked by an external source to produce "byte beat" control voltage sequences. "Byte beats" were first described in 2011 by viznut (aka Ville-Matias Heikkila).

Acid Curds is both a chord quantiser (sometimes called a "harmonic quantiser" for external pitch voltages), and a chord progression sequencer.

References is an utility app that outputs specific reference voltages on each channel to help tune or calibrate VCOs and other modules. It also includes a high-precision frequency meter and note tuner, a high-precision BPM (beats per minute) tempo meter, and a closed-loop calibration mode.

Width: 30hp
12V: 85mA
-12V: 10mA

Notes: The AT-LP3XBT is a fully automatic turntable designed to deliver outstanding analogue sound with enhanced Bluetooth wireless technology.

Bringing the clarity and warmth of analogue audio to the digital generation, this Bluetooth turntable offers all the benefits of vinyl with the convenience of enhanced connectivity. Enjoy the freedom to connect to the latest speakers or headphones with Bluetooth wireless technology at just the touch of a button - your analogue listening journey starts here.

Audio-Technica's LP3XBT turntable combines 60 years of high-fidelity design with the latest Bluetooth technology, giving you cutting-edge features while drawing on decades of audio experience. Enjoy a turntable that's built on heritage, but built with the modern listener in mind.

Featuring fully automatic operation, a built-in phono preamp, removeable universal headshell and replaceable stylus, this Audio-Technica turntable is easy to set up and use, making it an ideal choice for beginners or those looking to level up their listening experience. Play 33/ & 45 RPM records your way, experimenting with different styli as you begin to discover your personal audio preferences.

Integrated Bluetooth technology gives you the flexibility to connect your turntable quickly and easily, no matter where you are or how you choose to enjoy your vinyl experience. Whether you pair your LP3XBT with speakers to provide the perfect soundtrack for a gathering with friends, or listen through a pair of Audio-Technica headphones for a deep listening session, you can expect impeccable high-fidelity audio.

Specifications

Turntable

Type: Belt-drive, fully automatic operation
Motor: DC motor
Drive Method: Belt drive
Speeds: 33-1/3 RPM, 45 RPM
Turntable Platter: Die-cast aluminium
Wow and Flutter: < 0.2 % WRMS (33 RPM) at 3 kHz
Signal-to-Noise Ratio: > 60 dB
Output Level: PHONO: 4.0 mV nominal at 1 kHz, 5 cm/sec
LINE: 252 mV nominal at 1 kHz, 5 cm/sec
Phono Pre-Amp Gain: 36 dB nominal, RIAA equalized
Communication System: Bluetooth version 5.2
Frequency Band: 2.402 GHz to 2.480 GHz
Maximum RF Output: 2.5 mW EIRP
Maximum Communication Range: Line of sight - approx. 10 m (33')
Modulation Method: GFSK, Pi/4DQPSK, 8DPSK
Compatible Bluetooth Profile: A2DP
Support Codec: Qualcommr aptX Adaptive audio, Qualcommr aptX

Notes: Stereo and 5.1 Audio Loudness Meter with 7" High Resolution Display and USB Connection for Plug-In Metering.

The CLARITY M provides a comprehensive set of precision tools essential to the success of any audio producer. Ideally suited to stereo and 5.1 mixing, mastering and post-production, CLARITY M's 7" high-resolution LCD display provides a wealth of monitoring information at-a-glance via a single screen. Metering options include; the legendary LM6 Loudness Radar Meter; a state-of-the-art true peak meter; downmix compliance; stereo/surround correlation meters; and a RTA (Real Time Analyzer).

Source inputs come in a vast array of options including: USB for hassle-free VST*, Audio Units* and AAX* plug-in metering; 6 channels of unbalanced AES3 digital audio on 75 Ohm BNC connectors for broadcast-grade 5.1 metering; and stereo optical for maximum flexibility. CLARITY M is fully compliant with all major broadcast standards including ITU BS.1770-4, ATSC A/85, EBU R128, TR-B32 and OP-59, and is recommended for all studio environments.

CLARITY M provides a veritable toolbox of meter types to help you make the right mix and mastering decisions for truly professional recordings.

RTA
The high accuracy RTA with 1/3 octave resolution and individual band zoom provides a great overview of the spectral distribution of your mix.

True-Peak
Based on TC Electronic's highly acclaimed True-Peak Technology, the CLARITY M is your guard against otherwise unpredictable clipping.

Loudness Radar
The Loudness Radar is essential when it comes to monitoring the loudness of your mix. With the loudness history overview on the scope, the radar helps get the levels just right, while the momentary loudness in the outer ring keeps an eye on your instant loudness level.

Loudness Measures
Loudness statistics not only keep you compliant with loudness standards, they also provide crucial information on other important aspects of your mix, such as micro dynamics and macro dynamics.

Downmix Deviation
The Deviation meter is a fundamental tool to ensure your mix sounds great whether played back in 5.1, stereo or mono. This downmix compatibility meter is based on TC Electronic's Loudness Technology, and provides the best means for determining the status of your mix fold down.

Correlation
Whether you mix in 5.1 surround or stereo, the correlation meter helps identify phasing issues and other anomalies that are easy to miss when relying solely on your ears.

While CLARITY M is an exceptional hardware stand-alone desktop meter, it also interacts seamlessly with your DAW workfl ow via plug-in metering - which is available for Pro Tools, Apple Logic Pro, Nuendo, and all other major VST*, AU* or AAX* compatible DAWs. CLARITY M is quite simply the ideal integration of two worlds.

CLARITY M provides a wealth of digital connectivity. Unbalanced AES3 (coaxial) and S/P DIF are available right out of the box, and optional adapters enable you to connect standard AES/EBU with ease. Additionally, you can use the TOSLink* port for optical input and the USB connection to work seamlessly with your favorite DAW.

CLARITY M includes an integrated stand, making it perfect for any desktop. A pair of mounting holes provides compatibility with RAM-Mounts, allowing convenient attachment to a wall or ceiling. Other options include a suction cup for mounting on hard surfaces and a tough-claw mount for mic stand applications, all of which are available separately.

With its high-resolution 7" display, wealth of metering tools, flexible connectivity and seamless DAW integration, CLARITY M sets the benchmark for computer integrated metering.

Notes: The SLA-1 Studio Linear Amplifier is a robust yet compact power amplifier designed for studio or even select live applications. It has been designed and engineered to provide clean, quiet power and excellent sound with ultra-low noise and distortion.

Rated at 100 watts rms/channel @ 8 ohms (130 watts rms/channel @ 4ohms), with a frequency response from 10 Hz to 40 kHz the SLA-1 is perfect for professional, project and home studios. Capable of delivering 260 Watts when bridged mono into an 8 ohm load, the SLA-1 can easily move out of the studio and into any live rig or installation as an ideal monitor amplifier or zone amp solution.

The SLA-1 has been designed to deliver in the most demanding audio applications. Housed in an aluminum and steel single space 19-inch rackmount chassis, the SLA-1 uses a proven toroidal transformer design for unmatched long-term reliability.

The SLA-1 features SmartFan, an advanced, thermal dependent fan assisted convection cooled system. The SmartFan system is dependent upon the internal ambient temperature of the unit, and runs at high or low levels depending on the amplifier's cooling needs.

XLR and 1/4-inch TRS balanced inputs as well as multi-way output binding posts are ensure the SLA-1 can be quickly and easily tied in to any system without modification. A simple to install tamper proof cover is included.

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


Moonwalker is a versatile signal generator that performs as an envelope, lfo, and audio oscillator, with attack and decay time controls

Phase offset is continuously variable from 0 to 360° and inverts the waveform without changing it’s amplitude, and with or without changing it's polarity.

Unipolar mode preserves the output range by offsetting the starting voltage, so it always stays between 0 and +10v

Bipolar mode preserves the starting voltage by offsetting the output range, so it always starts at 0v. The output range will shift from +unipolar, through +bipolar, to -unipolar, through -bipolar back to +unipolar.

The reference waveform does not change phase, but the timing of the rate change between Attack and Decay shift with the phase offset, to ensure synchronous movement.

The phase offset output is half-normalled to the phase offset cv input and skews the waveform from triangle to saw or ramp without changing frequency (when attack = decay).

Dimensions
10 HP
39 mm deep

Current Draw
110 mA +12V
80 mA -12V
0 mA 5V

Notes: The SRM150 combines Mackie's proven mixer and SRM Active loudspeaker technologies to create a powerful, great-sounding 3-channel PA system that is ultra-compact, versatile and expandable. The Mackie SRM150 Compact Active PA System is ideal for a wide variety of applications ranging from boardroom A/V to live musical performance in coffee houses, piano bars, or rehearsals, just to name a few.

Don't be fooled by the small size. The SRM150 is big on features and sound quality. The built-in three-channel mixer features two combo XLR/line inputs (with true 48V phantom power), a stereo channel for CD/MP3 players, and Mackie's powerful 3-band Active EQ. The SRM150 can even be mounted on a mic stand, making it the ideal personal monitor.

Put simply, with its tremendous feature set and 150-watts of world-class sound, the Mackie SRM150 is the perfect solution for any application requiring superior sound quality.

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


Simple but effective entry-level business from analogue mixer dons Allen & Heath. Innovative 2+2 channel design with three-band EQ and flexible filter section. Sound quality on a par with much more expensive options. Seriously hard to beat for the money.

Supplier notes:
Xone:23 is a 2+2 channel DJ mixer packed with pro features that would normally be found in the booth of a top-rated club, including an enhanced version of the legendary Xone filter with resonance control, VCA faders, 3 band total kill EQ, illuminated switches, crossfader curve selector and styling inspired by the flagship Xone:DB4.

At the heart of the mixer is the renowned analogue Voltage Control Filter (VCF) system offering Low-Pass and High-Pass filters, frequency sweep and 'mild to wild' resonance control. There is also an FX loop to connect to third party FX units, which route back in through the filter system.

The 2 stereo channels feature independent level controls for each input enabling up to four stereo sources to be simultaneously routed to the mix, as well as the dedicated send and return system for external FX.

The main mix output and mic input are on professional standard balanced XLR's, and there is a dedicated record output. The Xone:23 is equipped with comprehensive monitoring facilities, including a booth output with its own volume control, a cue mix control, and signal levels clearly displayed on the 9 segment peak hold meters.

Styled on the Xone:DB4, the Xone:23 includes soft touch, backlit controls, light-piped meters and a distinctive new shaped steel faceplate. The mixer can also be upgraded with the latest Innofader for enhanced scratch performance, available as an accessory.

Notes: Bridging the gap between guitars and synths, the Lysis adds DSP-powered polyphonic octaves, filtering, fuzz, LFOs and more to your guitar signal, unlocking bold new sonic territory.

Supplier's Notes:
If you've ever awoken in a cold sweat dreaming of synthesizers, here's the ticket: Lysis. There's always been something about synth players for which guitarists and bassists alike have yearned. Though they're essentially the same instrument, the onboard accoutrements are what makes all the differenceioscillators, filters, LFOs; these are the makings of true electronic synthesis, and these are all things we stuffed into the Lysis.

All of the bells and whistles of synths are featured in full within the walls of the Lysis. For starters, the Lysis serves up a specially-designed wave-shaping fuzz circuit. This helps the Lysis sound more like a square wave or sawtooth wave.

The DSP-controlled polyphonic octave circuit takes all the clang you've cooked up and sends it south, to a rich two-voice octave-down synthesizer that tracks one note or 88, all at once. Serve Lysis your longest signal chain on a platter, and it will eat it for breakfast.

The Filter section is where things get really interesting. For starters, the Lysis gives you the option to blend the octave/fuzz section with the filtering, so you can enjoy punishing octave-down fuzz, rich, goopy filter sweeps or anything in between. The Lysis also gives you a switchable high-pass and low-pass filter, along with the option to manually manipulate the filter's cutoff or have it automatically modulate.

If you choose the manual path, an expression pedal jack gives you hands-free control of the Freq knob, for a sound-bending filter-wah effect that can absorb the impact of the most well-equipped dirt section. Should you choose modulation, the Freq knob controls the rate of the effect. An expression pedal gives you foot control over the speed for some psychedelic guitar freakouts or smooth undulation.

An onboard vibrato circuit finishes off the signal path of the Lysis. When in fixed mode, Lysis kicks in the vibrato, but in modulated mode, a filter LFO is engaged and Mod controls the rate of that. The two-position Warp switch works in tandem with the corresponding footswitch, either maxing or killing the Mod knob depending on the position.
Much more than a mere effect Lysis is its own future forward entity, a cellular organism of the sonic variety bursting with possibilities.

POWER:

The Lysis requires a center-negative 9VDC power adapter with at least 60mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand. There is no option for a battery.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)

Notes: Do you want to start creating your own music, bring your production up to a professional level, or streamline your workflow for short deadlines? Whatever you need, Cubase helps you to reach your full creative potential. From Hollywood blockbuster composers and Billboard Hot 100 producers right through to keen beginners, the world of music production trusts the comprehensive feature set, straightforward tools and unrivaled sound of this acclaimed music production software.

Notes: Do you want to start creating your own music, bring your production up to a professional level, or streamline your workflow for short deadlines? Whatever you need, Cubase helps you to reach your full creative potential. From Hollywood blockbuster composers and Billboard Hot 100 producers right through to keen beginners, the world of music production trusts the comprehensive feature set, straightforward tools and unrivaled sound of this acclaimed music production software.

Notes: Beads is a reinvention of Mutable Instruments' Clouds.

The concept is the same, live granular processing of an incoming audio signal, and the labels on the panel remain familiar.

The similarities stop here. The hardware and software have been redesigned from the ground up, with several goals in mind: a crisper and broader sound palette, more control, better playability, and direct access to exciting new features.

Beads' vastly improved specifications allow a higher audio quality, a longer buffer, the use of better interpolation and anti-aliasing algorithms, and key DSP blocks to run at a faster rate. Granular processing can now go to new territories, such as formants, wavetables, hard-sync-like sounds, or crispy noise.

The range of parameters, their response to the turn of a knob or a CV modulation have all been refined, for new possibilities such as reverse playback or percussive envelopes.

Control. To trigger or schedule grains, Beads provides new features to divide or randomize an external clock or trigger stream, spray bursts of grains in response to a gate, or get the grain rate to track a V/O CV or the frequency of an external oscillator.

Chaos. Each key parameter of a grain comes with its own attenurandomizer, which allows direct CV control, CV control of the randomization (spread) of this parameter, or internal randomization using some of Marbles' algorithms.

Character. Beads provides four audio quality settings, which go well beyond buffer sample rate and bit-depth: they affect the clock of the converters, the amplitude limiting and saturation of the signal path, the tone of the reverb, and additional media-emulation effects. From a pristine digital device to a dirty cassette, through a mode reproducing some of Clouds' characteristics.

Beads can operate as a delay without the need to switch to a different mode: just ask it to play a never-ending grain. Its DENSITY, TIME and SEED controls are repurposed to allow various features such as tap-tempo, beat slicing, time-stretching, or comb-filtering at rates tracking V/O.

Without any audio input, Beads will granularize 8 internal banks of wavetables.

All parameters have a dedicated knob.

14HP
25mm
+12V:100mA
-12V:10mA

Audio acquisition
Stereo I/O with automatic level detection.
Manual override of the level detection.
Automatic mono/stereo switching through patch cable detection.
Recording time: 4s (48kHz 16-bit, stereo) to 32s (24kHz u-law, mono).
Four quality modes, with different tone and reverb characters:
48kHz 16-bit
32kHz 12-bit with Clouds emulation
24kHz 12-bit with a hi-fi dry signal path
24kHz u-law with cassette emulation
The FREEZE button and the gate input freezes the content of the recording buffer, allowing you to dive into its sonic details.
Auto-saving of the FREEZE buffer.

Granular synthesis
Three grain generation modes:
Latched (continuous), with a periodic or randomized rate, tracking V/O.
Gated, with bursts of grains triggered by the press of the SEED button or an external gate.
Clocked, with randomization or division of an external clock or trigger signal.

Four grain parameters:
TIME. Temporal position within the buffer.
SIZE. Grain duration from 0.03 to 4 seconds, forward or backward playback.
SHAPE. Morphing between four key shapes of the grain envelope: solid rectangular, snappy decay, smooth bell, or reversed.
PITCH. With V/O tracking.

Attenurandomizers
Available for each of the four parameters of a grain, sampled each time a grain is started:
Direct CV control.
CV control of the amount of gaussian randomization.
Internal randomization with an independent, uniform or peaky, random source.

Delay
Control of both the base delay clock rate (DENSITY), and its multiplication (TIME), with optional random taps.
Tap tempo with the SEED button or an external signal.
Enveloping of delay repeats, with the SHAPE setting.
Pitch shifting of the delayed signal, controlled by PITCH.

Signal flow
Feedback path delay: 1 sample.
Independent knobs for feedback, dry/wet amount, and reverb amount.
CV input assignable to each of these three parameters, or to variable combinations of them.
When unpatched, the R output is summed to the L output.
Optional generation of a gate signal on the R output.

Specifications
All inputs: 100k impedance.
Audio codec: 24kHz, 32kHz or 48kHz, 24-bit.
16-bit CV capture.
Processing rate: audio-rate for the SEED and FREEZE inputs, 4kHz for the CV inputs.
Latency: 0.25ms.
CV input range: +/- 8V for grain parameters, +/- 5V for density (with V/O tracking) and assignable CV.
Internal processing: 32-bit floating point.

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


A unique analogue take on granular synthesis, inspired by Yannis Xenakis, the Grainity pairs a granular filter with a multimode filter to create new textures and harmonics.

Supplier's Notes:
The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analog domain and goes through analog circuits from in to out.
The digital processor does not convert or generate audio signals; it is there to control the analog circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.
Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.
The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V

Notes: The Borderland is an advanced digital reverb with a versatile tap tempo LFO/modulation section. At its core, is a reverb algorithm designed specifically with an ambient player in mind. It has an adjustable low-pass filter to alter the character of the reverb, ranging from small room reverb to a cavernous, dark hall reverb.

There are 8 LFO waveforms to choose from and 4 unique modulation modes (tremolo, chorus, triple octave tremolo, and octave slide). Set the LFO rate manually by using the "Velocity" knob or using the tap tempo option (right footswitch).

The left footswitch sends the pedal into near infinite sustain with the trails teetering on the edge of self-oscillation. The "Effect" and "Clean" knobs allow you to independently dial in the perfect ratio of wet and dry signals. Adjusting the "Ambiance" and "Brilliance" knobs sets the length of decay and the cutoff frequency of the onboard low pass filter.

The Borderland is the perfect pedal for creating lush, modulating, ambient textures.

Modulation Modes

The four modulation modes can be accessed through different toggle switch combinations.

Tremolo
Left Toggle - dB / Right Toggle - OFF

LFO affects the volume of the reverb signal, creating a tremolo effect

Chorus

Left Toggle - HZ / Right Toggle - OFF

LFO affects the pitch of the reverb signal, creating a chorus effect

Triple Octave Tremolo

Left Toggle - dB / Right Toggle ON

Three Octaves of Reverb, LFO affects volume of reverb, creating a vintage organ effect

Octave Slide

Left Toggle - HZ / Right Toggle ON

LFO crossfades between original pitch and octave up, creating an octave slide effect

Knobs

"Clean" - Sets the volume of the original dry signal
"Ambiance"-Sets the overall decay of the reverb trails

"Brilliance" - Sets the cutoff frequency of the low pass filter

"Effect" - Sets the volume of the wet reverb signal

"Velocity" - Manually sets the LFO rate

"Modulation" - Sets the depth of the modulation

"Waveform" - Sets the waveform type. The 8 waveforms are listed on the back of the pedal.

Footswitches

Left - Sends the pedal into near infinite sustain

Middle - Master On/Off

Right - Tap Tempo


Other
"Secret Mode" - There is a secret mode that can be selected internally by way of a dipswitch. This mode replaces the reverb code with delay code. The LFO section applies the same 4 modulation types to the delay section. The "Ambiance" knob is now delay feedback and the "Brilliance" knob is now delay time.

"Clock Input" - The clock input can received traditional tap tempo or 5V modular clock signals (gates/triggers).

Switching: True-Bypass

Dimensions: 4.7" x 3.7" x 1.96"

Powering: 9V DC - Negative Center - 2.1mm Barrel

Notes: Really clever noise-based oscillator from AJH. Drones, sweeps and bleeps aplenty, ranging from tamed to out-of-control filth. Also doubles up as a more conventional ring mod and distortion module.

Supplier's notes:
This 14HP wide module is a voltage controlled noise based oscillator, or noisillator for short. It generates 1/f noise and this is then sent through a feedback loop which allows the noise to be "tuned" to varying degrees depending on the settings of the frequency and resonance controls, or incoming frequency or resonance CV's. The tuned circuit can be FM modulated too, for some thunderous sweeping sounds. We have bright and dark outputs, which are pre and post filter respectively. The Bright output will always have a degree of noise present in the signal, whereas the Dark output can be tuned noise only when 4 pole resonance is selected. We also have an external Sync input, which will reset the resonant waveform, and we also have an Audio input, so that an external signal can be mixed into the resonant loop. Combinations of external waveforms to these two inputs can create some massive drone sounds, or sweeping sync sounds.

There is also an XOR ring modulator, which can be used as a module in its own right too. Lastly, we have an XOR amplifier, which is another independant circuit that can be used to add noise and distortion to any audio signal.

Notes: TouellSkouarn Strakal Brulu is a handmade distortion and fuzz module. The great sound is due to the new-old-stock east-German germanium transistors.

Very characteristic for the module's sound if the feedback that is coupled to the feedback. The more fuzz, the more feedback - the Strakal Brulu 2 can get pretty nasty and it screams a lot at high fuzz settings and low input level. The fuzz amount can be voltage controlled, with an inverse attenuator. Input and output levels can also be set separately.

Review: J Dilla - The King of Beats: The Ma Dukes Yancey Collector's Edition SP 1200 Box Set

Jay Dee a.k.a. J Dilla is widely regarded as one of the greatest producers in hip hop history.

After careful study and curation this one of a kind collection compiles the well-deserved documentation of Jay Dee's early musical masterpieces. Ma Dukes assembled a team of industry family who spent nine months working daily to bring this project to J Dilla fans everywhere.

'The King of Beats' Ma Dukes Yancey Collector's Edition is manufactured in the image and likeness of the exact SP-1200 in which Jay Dee produced his signature sound.

The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others.

Available for the first time, 'The King of Beats' Ma Dukes Yancey Collector's Edition Box Set features 40 TRACKS from Jay Dee's groundbreaking 'Batches' on vinyl, and a lengthy list of extras.

Included inside The King of Beats The Ma Dukes Yancey Collector's Edition SP 1200 Box Set you'll find :

Four 10 inch Vinyl Records featuring music from Jay Dee's "Batches", 40 Beats in all.
Special Edition Cassette containing 6 unreleased tracks from J Dilla's Lost Scrolls.
The King of Beats commemorative booklet contains interviews with his peers, scholars, etc. along with rare and never before seen photos with provocative insight and perspective of the early years of Jay Dee's career.
A Limited Edition 3.5 inch floppy disk containing unreleased J Dilla production, multi-tracked and formatted specifically to upload within the actual E-Mu SP-1200 machine.
The SP-1200 shaped box casing is hand crafted from custom wood with chrome hinges.

Notes: What is a Comb Filter? It is a digital filter where the input signal is mixed with a slightly delayed version of the input signal. You won't hear it as some kind of an echo, as this delay is very short (40ms at max). But the mixing process creates a number of equally spaced peaks and holes in the frequency spectrum, that make it look like the teeth of a comb. That's where the name 'Comb Filter' comes from.

Comb filters are typically used to make chorus and flanger style effects. These effects are created by modulating the delay time. With longer and relatively fast modulated delays you receive a chorus effect. With short to very short slowly modulated delays, combined with some feedback you'll get the typical sound of a flanger unit.

So, the most interesting parameter in this is the delay time. That determines the frequency spacing of the comb teeth. So that's why there's a CV control for it. The typical chorus and flanger effects are made by modulating the delay time with a triangle LFO. So there's a triangle LFO onboard the module, with speed control. If you don't enter any CV in the CV1 connector, it is normalled to this internal LFO to make typical effects. CV2 is normalled to the reverse signal of CV1, to make Modor's typical wide stereo effects, just as on the NF-1 synthesizer. But of course, you can enter your own CV signals in there: LFO's, Envelopes or some rhythmically undulating spacy voltage signals...

The centre big DELAY control sets the delay time, the DEPTH control sets the amount of CV modulation of the delay time. DEPTH can go positive and negative.

The MIX control sets the dry/wet mix. The FEEDBACK controls the amount of feedback. It can be set both positive and negative. The SPEED control sets the pace of the internal triangle LFO.

Notes: The RODELink TX-M2 Microphone is a versatile, detailed, and perfectly balanced wireless condenser microphone for singers, presenters, and reporters. Transmitting a 128-bit encrypted signal on the license-free 2.4GHz spectrum, the TX-M2 pairs easily with the RX-DESK and RX-CAM receivers, delivering crystal clear audio and incredibly low handling noise. Designed and made in Australia, the TX-M2 uses next generation digital wireless technology to constantly monitor frequencies and automatically switch to the strongest possible signal level, so users are always given the best quality of sound. With over 100m of range, the stylish and durable TX-M2 is the perfect addition to any Filmmakers' Kit.

The TX-M2 is powered by the LB-1 Lithium-Ion Rechargeable Battery that provides over 10 hours of use in a single charge, or 2x AA batteries for over 6 hours of use. The sleek and portable handheld microphone houses a super cardioid condenser capsule and a mute switch, making it an incredible wireless alternative to the popular M2 microphone while continually delivering the sensitivity and versatility offered by condenser microphones.

The TX-M2 is a great addition to the RODELink Filmmaker Kit, providing a simple wireless microphone solution to all filmmakers.

Notes: So, what IS the story on Wave Cannon version 2.0, or as Caroline have decided to call it, the Wave Cannon MKII Superdistorter?

The long story short is that this thing is an unrepentant, unapologetic distortion pedal that is totally nasty and fun. This Cannon comes pre-loaded with balls (pun alert!) and is capable of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken a/c window units.

It's different than the original, which was based on the classic '70s fuzzstortions we grew up playing. It's different from Caroline's Haymaker, which is a wide range drive pedal based around the rotation of a clipping network into different locations in the circuit, and which is intended to respond and feel like an extension of your amp. This pedal is really about rocking your socks off.

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

Extra wide black finished aluminium profile & massive UDG logo embossed ball corners are incorporated to ensures longevity & maintaining a permanently attractive, professional design. The UDG Ultimate Flight Case Rane Four Black Plus (Wheels) also features roller wheels with high quality in-line skate bearings for convenient transport and heavy-duty, spring-loaded handles for a secured lift & load.

UDG Ultimate Flight Case Rane Four Black Plus (Wheels) not only transports your complete set up easily & securely, but also facilitates devices to be set up within minutes. With these premium features incorporated, the UDG Ultimate Flight cases provide premium professional quality in a very stylish modern black coloured combination.

Specifications:

Colour: Black
Weight: 14,50 kg / 31.9 lbs
Outer Dimensions (W x H x D): 85.4 x 53.1 x 21.3 cm | 33.6 x 20.9 x 8.4 inch
Inner Dimensions (W x H x D): 78.4 x 39.3 x 8.4 cm | 30.8 x 15.4 x 3.3 inch
Material: Heavy duty construction of 9 mm thick plywood
Protection: Improved powder coated and anodized hardware
High density diamond embossed EVA foam & carpeted protective padding
Dual anchor rivets with included washer
Extra-wide silver solid aluminium profiles
Secure stacking due to stackable ball corner

Extras

Convenient 80 mm space at rear for connections & PSU storage
Cable access hole with removable UDG emblem cover
Removable front access panel
Roller wheels with high quality in-line skate bearings for convenient transport
Fits: Rane Four ControllerRoller wheels with high quality in-line skate bearings for convenient transport
Fits: 1 x Rane Four + 1 x Laptop + Accessories

Review: Who's Next is the Who's most popular album, and is widely hailed as one of the greatest commercial rock albums of all time. Coasting on the enduring international success it has received for just about five decades, the album's 50th Anniversary now sees to this humungous CD and Blu-Ray box set reissue, putting together an ultra high quality Blu-Ray audio version of the original album, as well as over 50 demo tracks and oddballs from around the time. There's also a deluge of recorded live shows on there.

Notes: Javelin is a module that is basically an ADSR envelope with integrated VCA. However, it has several features that make the module an expressive sound shaping tool.

Three level ranges determine the total amplitude of the envelope, additionally three different time ranges are integrated, which can be switched between.

The accent behaviour is also unique. If several gates are applied to the Accent input at the same time, the envelope rises slightly with each gate.

Features:

Attack-decay-sustain-release envelope
Integrated VCA
Unique accent behaviour for expressive sequences
Reset input
CV control over attack and release
Looping mode for LFO-like modulations
Mode switch for gate and trigger behaviour
Linear, moderate or steep exponential shape
Short hold in the peak of the attack for more punch
Power consumption: 93mA at +12V and 65mA at -12V

Depth: 38mm

HP : 6

Notes: HI POWER is Crazy Tube Circuits' next endeavour in pedal + amp-in-a-box overdrives recreating legendary sounds, following the success of Crossfire and Unobtanium.

It was inspired by the sonic combination of two British tone machines. The almighty Colorsound Power Boost meets the blistering high-headroom Hiwatt amp.

While the combination of these two units directly hints at the gear setup of David Gilmour and especially the gear used on Pink Floyd's album: Wish You Were Here (think the guitar solo sounds of "Shine on you Crazy Diamond", "Have A Cigar") the sonic options are endless.

The orange enclosure silicon transistor circuit (Colorsound Power Boost) can deliver from a transparent clean boost to an all-out fuzz driving a tube amp to sonic bliss. Crazy Tube Circuits set out to clone the original unit featuring the true-to-the-original spec BC184 transistors running on 18V DC (via an internal voltage booster circuit).

The ultra-flexible 2-band Baxandall EQ circuit can add bite and low-end rumble to any setup. Crazy Tube Circuits used a reverse log gain pot (labelled as volume), compared to the linear taper pot found in the original units and acted as an on/off switch, to be able to set the amount of boost/overdrive more precisely. While the earlier units didn't feature a master volume control (only as an aftermarket mod - Pete Cornish made an external unit master volume for David Gilmour's Power Boost) Crazy Tube Circuits chose to include one that is setup in a way so that when it is all the way clockwise it is bypassed. Later versions of the Power Boost had 9V power supply and were renamed as the "Overdriver" due to the lower headroom and their ability to drive the signal earlier. They were offered in a grey enclosure and can be seen in the gear setups of Jeff Beck, Marc Bolan, etc. Crazy Tube Circuits chose to incorporate this version as well with a flip of a toggle switch (PWR-ODR toggle switch).

On the left side of the HI POWER you will find an all-analogue circuit set out to emulate the sound and feel of a Hiwatt amp. Following the path of the famed British tube amplifier, this circuit offers authentic amp tone and feel resembling guitar tones from guitar greats like David Gilmour, Pete Townsend, Jimmy Page, Noel Gallagher to name a few. From the big bold high-headroom clean sounds to the face-melting crunchy tones.

True to the last detail, Crazy Tube Circuits have included the full EQ section along with a presence control located at the negative feedback of the power amp simulation circuit. A headroom toggle switch selects between the high headroom 100w power section provided by a quartet of EL34s (think Hiwat DR103), or the lower headroom and compression provided by a 50W power section with a pair of EL34s when hit hard (think DR504). Similar in operation to the original amps the master volume was designed to produce more gain at higher settings.

Crazy Tube Circuits taken the design a step further by adding a switch to select between input channels of the amplifier. You can select between the full response of the normal channel of the amplifier, the increased presence and tight low end of the bright channel input or the "Gilmour-ish" enhanced frequency response and added gain of those inputs linked together. This follows the modifications that Pete Cornish did to all David Gilmour's Hiwatt amps.

Like their other dual overdrive/amp-in-a-box designs, Crazy Tube Circuits also included a passive effects loop to give you the option to connect your beloved pedals between your booster/overdrive and amp in a box or use the two sections as separate and independent effects when using an external bypass switcher/looper. Gilmour enthusiasts will love to insert their Big Muff, Tube Driver and Phase 90 in there. Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of HI POWER are in bypass.

HI POWER features a power-up bypass/engage pre-set function for the footswitches. That way you can select which state your pedal will go to when you plug the power supply. This function comes in especially handy to people that use remote pedal switchers / loopers as they only set the state of the pedal once and then operate from the controller.

All-analog dual booster/overdrive - amp in a box.
Recreates the tones of the legendary setup used by David Gilmour in the recordings of Pink Floyd's Wish You Were Here album.
Right side: Faithful reproduction of the Colorsound Power Boost/Overdriver circuits with true-to-the-original-spec BC184 transistors.
Controls: gain, bass, treble, master, voicing toggle.
Wide gain range control: from transparent boost to gnarly and fuzzy overdrive.
Two-band (treble & bass) Baxandall EQ.
Master knob sets overall output. Huge amount of dB boost available.
Toggle switch to select between the 18V Power Boost style circuit or the 9V Overdriver style circuit.
Left side: Hiwatt AMP in a box overdrive.
All analog simulation of the preamp and power amp sound and response.
Controls: gain, bass, middle, treble, master, input channel toggle switch, headroom toggle switch.
Gain control: from clean to big bold British crunch/overdrive.
3-band Hiwatt style EQ (bass, middle, treble).
Presence control follows the original design/is located at the negative feedback of the power amp simulation circuit to control the amount of upper mid and high frequencies.
Master knob sets overall output volume. Designed to respond like the original control producing more gain at higher settings.
Input channel toggle switch selects between normal, bright, or linked input channels of the AMP for different voicing and gain levels.
Headroom toggle switch selects between the high headroom and dynamic response of a 100W amp or the lower headroom and compression of a 50W power amp.
Independent operation of the BOOST/OVERDRIVE and AMP sections
Click-less true bypass design via high-quality relays for each section.
2 Footswitches / 2 Status LEDs - one for each effect section.
Power-up bypass/engage preset function for the footswitches.
Top-mounted jacks
Passive series effects loop to connect pedals between the two sections or use them separately as independent effects.
Power Supply: Use only 9V DC, 2.1 mm x 5.5 mm, center negative (not included).
Runs internally at 18V DC (via voltage doubler circuit) for higher headroom and tube-like performance.
Current consumption: 84mA.
British Racing Green die-cast enclosure with color-coded lettering for the control section (orange for BOOST/OVERDRIVE section, white for AMP section).
Dimensions: (W x L x H): 119 x 97 x 53 mm.
Weight: 444 g.
Made in Greece.

Notes: More you, front & center:
Why settle for someone else's idea of a monitor mix when you can easily create your own? Just place VoiceSolo FX150 where it counts most for you: on a mic stand, as a wedge monitor, high on a PA stand or even on a desktop. Then, experience its full range speaker, editable effects and professional vocal tone. Now you have more you.

All TC-Helicon integration:
VoiceSolo FX150 integrates effortlessly with all of our other vocal processors and pedals. That means you can enhance your performance with the entire suite of TC-Helicon's state-of-the-art voice effects - such as Doubling, Harmony, Echo, HardTune, Flanger, Choir, and more.

Loud & Clear:
When things get loud on stage, you'll hear yourself - and your music - perfectly. Legendary loudspeaker company Tannoy is behind the remarkable 6.5? 2-way coaxial driver. Its expert voicing means that more volume and power is drawn from its 150 Watts than any other system in the same class.

Dial in your mix - Easy:
Get a superb personal mix on the fly with the ultra-low noise 3-channel digital mixer. There is an independent 3-band EQ on each channel with fast editing control of all features. It's as easy as pressing the button for the level or parameter you want to change and then using the universal "Edit" knob to fine-tune the mix to your ear's delight.

No assembly required:
The VoiceSolo FX150's special design allows for accurate wedge angling, stand-alone or desktop placement. We think you'll just love how easy it is to mount it on a mic stand. Our Easy Grip Mounting System lets you set up in seconds - no special parts or time-wasting assembly needed.

Outstanding vocals, tone & reverb:
The Vocal Tone button is like having your own professional vocal sound tech automatically dialling in flattering EQ, compression and de-essing - matched to your voice. There's 9 studio-grade Reverb styles to add that extra sheen to your vocal performance or your instrument sound.

Yes: It works with instruments:
For a PA system to be truly personal, it must cater to all aspects of your performance - not just vocals. If you play an instrument you'll find that the FX150 is a Full Range Flat Response (FRFR) system for your guitar. And it faithfully delivers a deep bass Oomph like you wouldn't believe.

Power + Control = Impact:
1. Powerful, full range 6.5" Tannoy Speaker and 150W Amplifier.
2. Easy Control of Levels, Tone, EQ and Reverb in the Ultra-Low-Noise 3-channel mixer.
3. Built In Adaptive ToneTM for Intelligent EQ, Compression, De-essing and Gating.
4. XLR Mic & 1/4" Instrument Connections plus 1/8" AUX-in for MP3.

More mic, more control:
Now you can control your effects from a mic engineered for the sonic realities of modern vocal performance. Add the TC-Helicon MP-75, the Sennheiser e835 FX or use the main control button on the TC-Helicon MP-76.

The ins & outs:
Multi-purpose functionality requires multi-purpose connectivity, and FX150 does not disappoint. High-quality mic preamps, phantom power for condenser microphones and XLR/TRS combo inputs let you connect any microphone or instrument. There's even an 1/8" AUX input for you to plug in your MP3 player.

Inboard / outboard mix:
Send a dry signal to an external mixer using the THRU output, while enjoying your very own "More Me" mix and effects on stage. This is perfect for when you're playing larger venues and want to let the house engineer control the outboard mix separately.

Rehearse with vocal cancel:
When you want to rehearse with tracks, connect an MP3 player to the AUX input and sing along. Just engage the Vocal Cancel feature to reduce recorded vocals so that you become the lead singer.

Voicesupport:
The FX150 will evolve with you: VoiceSupport gives you new FX presets, new firmware updates, and maintains your personal database of presets. All you need is a Mac or Windows computer with a USB input.

Notes: The DISTURBANCE is an extreme filter, flanger, and phaser with modulation like you've never heard before.

DISTURBANCE's controls allow for a wide range of sounds to be sculpted perfectly to your needs. The 'Tensity' knob changes the feedback amount and structure of all effects, with two totally different intensity options to choose from for each disturbing modulation. The Filter allows for deep swells and piercing resonance with highpass and lowpass options.

The Flanger creates a classic modulation sound with options for watery, multi-tap delay matrixes or a screaming flange with distorted feedback. Last but certainly not least, the Phazer mode is a psychedelic 8-stage phaser sound with options for mellow filtered scoops on one side and combination phaser/flanger on the other.

But that's not all - the pedal introduces a brand-new way to control an effect: The custom designed modulation core lets you pause the LFO where it stands and listen to the strange world of frozen modulation. Not only does this new system control its own sounds, the DISTURBANCE includes a CV OUT jack which lets the modulation control signal be sent to whatever device dares let it in.

Go forth and DISTURB and bend, break, and twist your sound!

Notes: The classic Pantheon pedal gets even better with this Deluxe version. Two independent overdrive circuits give you classic Blues Breaker-style tone plus modern boutique sounds.

Supplier's Notes:
The now legendary Wampler Pantheon provided a unique interpretation of the classic "Blues Breaker" style stomp box, by capturing all the tonal nuance of the original, but with added flexibility and style. In doing so, it found its way onto thousands of pedalboards across the world. Enter the new Pantheon Deluxe - a dual overdrive pedal that takes this evolution several steps further by offering a flexible design with two completely independent Pantheon circuits, one voiced as a classic blues breaker and one with a more modern boutique sound. This palace of tone delivers a staggering 200 combinations of gain settings, featuring dual Inputs and Outputs, and for the first time ever, Wampler have added MIDI channel switching to one of their gain pedals.

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel. Independent side mounted Voicing and Gain Level switches allow you to further shape your tone to perfection.

DOUBLE UP

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel.

ALWAYS THE RIGHT FIT

Each Channel of the Pantheon Deluxe Dual Overdrive feature independent Gain, Level, Treble, and Bass controls to enhance the shaping of your tone. The Baxandall-style active Bass control is neutral at noon but boasts an extremely powerful sweep as you move through the range. A single global Presence control simultaneously alters each channel to add just the right amount of top-end chime to suit different guitars and amplifiers - perfect for when playing live or when in the studio.

MAXIMUM CONNECTIVITY

With the addition of MIDI In and Out, you can now also switch the analog channels of each circuit on and off with a MIDI switcher - saving you valuable hardware loops on your loop switcher. With dual analog inputs and outputs, you can split both channels in a loop switcher, insert pedals between each side, or run in stereo.

BUILT FOR FOREVER

Brian Wampler's attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Pantheon Overdrive. We're all tone-freaks, and we're always trying new things, but we hope this pedal finds its forever home on your pedalboard, so we built it to last that long.

TECHNICAL DETAILS

Built in the U.S.A
Dual Independent drive channels using Brian Wampler's classic Pantheon circuits; Channel 1 Classic Blues Breaker voicing, Channel 2 Modern Boutique voicing.
Independent Volume, Gain, Treble and Bass controls for both channels, global Presence control, front mounted Channel Order Switch, side mounted independent Gain Level and Voicing switches, MIDI In and Out (3.5mm TRS) and 2 sets of input and output jacks.
Top-mounted jacks make pedalboard placement effortless
Power draw: 55mA
9-18V power jack: DC supply only, do not exceed 18V DC, battery Included.
Includes Wampler's limited 5-year warranty
5" x 4.5" x 1.5" (88.9mm x 114.3mm x 38.1mm) - height excludes knobs and switches

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


Arturia's excellent drum machine gets a classy dark makeover for this Noir edition. Nine dedicated analogue drum circuits plus one FM synth voice give you the versatility you need to create and perform.

Supplier's Notes:
The DrumBrute Impact Noir Edition is a 10-voice analogue drum machine, channeling raw voltage in the name of rhythmic exploration and polyrhythmic carnage. With performance-ready sequencing, a gnarly FM voice, built-in distortion, and a sleek all-black exterior, this drum machine hits hard.

Aggressive analogue sounds

Putting the focus on 'Brute', DrumBrute Impact Noir features 10 high-energy, refined, punchy analog sounds. It uses 'Color sound-shapers to introduce unique, per-instrument effects for some tonal variation. Boost the harmonic content, add some drive, snap, or crack at the touch of a button, or create automated changes by creating a 'Color' sequence. If you want your drums to push even harder, there's a built-in distortion with drum-optimized crunch. DrumBrute Impact is a drum machine for musicians and producers who crave raw power and awesome tone.

Instinctive sequencing

Sharing the same prize-winning, prize-fighting sequencing architecture of the original DrumBrute, you'll love the simple, fun, and intuitive sequencer in DrumBrute Impact. Create complex phasing polyrhythms and straight, pounding rhythms; record a finger-drumming performance; punch in a step-sequenced masterpiece; everything is a joy. Use the touch strip to create some real-time glitchy, beat-repeat breakdowns, spice up a single instrument or your whole pattern with a dedicated 'Random' knob, and add some syncopation and groove with the 'Swing' feature.

Addictive hands-on fun

Get away from computer screens, say goodbye to sub-menus, and jump into the world of tactile satisfaction. Connect to your other gear, sync up, and make some music the old-school way. Featuring a huge array of sync and connectivity options, you'll be able to hook up and jam with practically any other synth, sequencer, or MIDI-enabled instrument. Save your patterns, chain them together, and create full songs and live sets. DrumBrute Impact is a massive sounding, creativity fueling beast, with effortless workflow and amazing performance controls.

The Brute Noir Editions

Unique analog instruments, where vintage synthesis and cutting-edge technology collides in the name of creative freedom and controlled sonic chaos, decorated with stealthy black exteriors. These are the Brute Noir Editions, the darker side of analog.

Included Software:
Arturia MIDI Control Center

Notes: All you need to get started recording instruments and vocals: two mics, an interface, headphones, software and all necessary cables. Just add a computer and start making music. Also great for recording podcasts or voiceovers.

Supplier's notes:
The Mackie Producer Bundle provides everything you need to get your home studio up and running with professional-quality sound. The Producer Bundle includes Mackie EleMent Series condenser and dynamic microphones; Mackie MC-100 Professional Headphones; and Mackie's popular Onyx Producer 2o2 USB interface, including a full software suite.

With two different types of cardioid microphones in the Producer Bundle, you're ready to record virtually anything. Mackie's EM-91C large-diaphragm condenser microphone is great when you want warmth and brilliance for vocals, to capture the nuances of stringed instruments, and much more. It's also an excellent choice for live streaming, voiceovers, and many other types of content creation. Mackie's EM-89D dynamic vocal microphone is extremely versatile. Primarily designed for stage use, it also makes a fine addition to a studio microphone collection. It's an excellent handheld vocal microphone and also excels as an instrument and amplifier microphone, thanks to its ability to capture loud sources.

The hub of your Producer Bundle setup is the Onyx Producer 2o2, a 2-in, 2-out, bus-powered USB interface that records up to 24-bit/192 kHz audio. The Onyx Producer 2o2 furnishes two XLR/TRS combo mic/line/instrument inputs with Mackie's renowned Onyx preamps for class-leading fidelity and dynamic range. Compatible with all major DAWs for macOSr and Windowsr, the interface comes with Waveform OEM recording and production software. You also get the DAW Essentials Bundle for Waveform OEM, which provides 16 powerful plug-ins, including Equaliser, Compressor, Reverber8, and Limiter. With Onyx Producer 2o2 and this powerful software suite, you'll be ready to produce a wide variety of music and other audio projects.

To monitor everything, the Mackie Producer Bundle provides Mackie's MC-100 Professional Headphones, which deliver clear rich lows and highs and very good noise isolation. They're excellent for tracking and referencing your mix.

Notes: The 1980s and '90s spawned a new "wave" of synth performers including Devo, The Chemical Brothers, The Prodigy, The Crystal Method and a host of others, all empowered by the sound of a simple strap-on instrument that let keyboardists steal the spotlight away from their guitar-wielding bandmates. An ultra-affordable homage to that iconic synthesizer with all the features of the original and then some, such as a 32-step sequencer, arpeggiator and live performance kit, the MS-101-BU lets you conjure up virtually any sound with incredible finesse and ease. With its 32 semi-weighted full-size keys, pure analogue signal path, authentic 3340 VCO with 4 simultaneously-mixable waveforms, plus extremely flexible VCF and VCA filters, the MS-101-BU is sure to become your favourite keyboard.

True to the Original:

Great care has been taken in engineering the MS-101-BU, including the true to the original analog circuitry, legendary VCO, VCF and VCA designs, all of which combine to make it easy to recreate the classic sound performance. This highly-focused attention to detail is what gives the MS-101-BU its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones to stunning effects - and all the way out to the otherworldly sounds of your imagination.

Big, Fat Tones:

The inspired synthesizer tracks laid down in the 1980s and '90s are etched in the annals of progressive rock, wave, EDM and synth-pop music forever, making them truly classic in every sense of the word. The MS-101-BU lets you recreate all of that magic - or design incredibly fat and original sounds that will make you a legend in your own right!

Versatile Oscillator:

MS-101-BU's authentic 3340 Voltage Controlled Oscillator (VCO) provides an incredible range of 4 simultaneously-mixable waveforms for sculpting the perfect sound. Options include: saw, triangle, square/pwm and octave-divided square sub-oscillator. Additionally, the VCO can be adjusted across a wide, 4-octave range (16', 8', 4', and 2'). This amazing flexibility gives you the tools needed to be your creative best.

Versatile VCF:

The very heart of MS-101-BU's sound is its highly-flexible Voltage Control Filter (VCF), which includes faders for: cutoff Frequency (10 Hz to 20 kHz); Resonance (0 to self-oscillation); Envelope and Modulation depth, and Keyboard follow (0 to 100%) to dial in the perfect sound. MS-101-BU's VCF can be modulated via the ADSR, keyboard tracking and Bender controller. The Frequency Modulation (FM) Amount knob sets the depth, while the FM Source selector lets you further modify the signal by choosing from: pulse; sawtooth; sub oscillator 1 octave down; 2 octaves down; narrow 2 octaves down, and Noise.

The Envelope, Please:

MS-101-BU's Envelope generator features 4 ADSR (Attack, Decay, Sustain and Release) faders that help you craft incredible sounds, and utilizes a 3-position switch for Gate, Gate + Trigger and LFO. When applied to the Voltage Control Amplifier (VCA), the ADSR envelope is used to control the level of the note being played over time. When applied to the VCF, the ADSR envelope is used to control the cut-off frequency of the filter for each note played over time. In addition, the ADSR envelope can also be used to affect the VCO pulse width modulation.

Onboard Sequencer & Arpeggiator:

MS-101-BU's sequencer allows you to program up to 32 steps of notes and rests and save them as a pattern. You can record, save and recall up to 64 patterns, all of which can be stored in the 8 banks, each holding up to 8 patterns. Your sequences can be played either in Keyboard mode, where you create and store the pattern, or Step mode, which allows you to interact while composing a pattern. The onboard Arpeggiator features 8 patterns (you can use just by playing a chord, which the arpeggiator then sequences through your selected pattern. Both the sequencer and arpeggiator in the MS-101-BU are fun, mesmerizing and totally addictive...

Own the Stage:

When you're ready to strut your stuff and get a little centre stage time, the MS-101-BU has that covered too! Just attach the included guitar strap and handgrip (with pitch bend wheel and a pitch modulation trigger), and take your performance to the next level. Why should singers and guitar players get all the limelight - carve out a little of your own!

Modulate Me to the Max!

In addition to the great sound-sculpting features already mentioned, the MS-101-BU has still more to offer. The noise generator can also be used as modulation source to create distortion-like effects, which will send your solo soaring into the stratosphere. Glide (portamento) lets you sweep seamlessly over time from one note to the next, creating smooth-as-silk transitions that few other instruments can emulate. MS-101-BU's Bender is also assignable to the VCO, VCF and pitch mod wheel on attachable handgrip.

Notes: Deluxe take on the legendary Mutable Instruments Clouds, featuring one-knob-per-function controls for all parameters, built-in VCAs and additional storage. Versatile.

Supplier's Notes:
16HP Deluxe Clouds Clone with individual controls for each Parameter, VCAs for the left and right channel, additional storage so ALL extra functions are available at once.

Anodized natural aluminium or black aluminum panel.

16HP

25mm Deep

140/35 mA +12/-12V

Notes: Motomouth is an analogue 3-Band, Sedra + Espinoza Bandpass Filter (DABP) with resonant frequencies that are tuned to the same resonant frequencies found in the human mouth and nose cavities, and these can be varied, independently, to form different 'mouth shapes,' to emulate vowels such as A, E, I, O and U. Motomouth can emulate 16 vowels and 'morph' or 'glide' between each vowel using a single Control Voltage input (1V/Oct), and a Gate to 'snap' to each vowel when required.

Two of the bands (F1 and F2) are used to form the mouth cavity, and the third band (F3) is used to form the nasal cavity, which is reasonably static. Varying F3 makes little significant difference 'in the mix,' but having it is important.

The single Control Voltage is decoded to control F1 and F2 independently, because the frequency bands for each vowel are not proportional to each other over the vowel range. So Motomouth has learned how to 'speak,' so to speak, but it still needs to learn more, and that's where you come in.

Specifications:
Module width: 12HP
Module depth: 42mm
Power draw:
+12V: 80mA
-12V: 4mA

Notes: The MUTO Record Bag, designed to be as flexible in transit as it is in the DJ booth,this record bag has both traditional access from the top as well as split-compartment capabilities to make on-the-go organization a breeze.With room for 60 records, secure attachments for a trolley system, multiple-carrying strap arrangements, quick-access side pockets, and a padded laptop sleeve, the MUTO Record Bag is ready to hit the road and built to take a beating. Originally designed with input from Eli of Soul Clap Records version 2.0 of the MUTO features improvements to the bags structure making it more versatile than ever.

Notes: The new MS Series studio reference monitor stands from Ultimate Support offer unparalleled innovation and strength for professional, project, and home studios alike. The MS-80 is a desktop monitor stand that features non-slip, high-density acoustic foam and an angle-adjustable base that allows the end user to fine tune the sweet spot. The MS-90 is a column monitor stand that offers internal cable management channels and 6000 Series aluminum construction while the MS-100 is essentially a combination of the two!

From top to bottom, all three MS Series stands feature sonic isolation and decoupling components. The MS-90 delivers four non-marring sound decoupling pads that stabilize monitors of varying sizes. The MS-100 and MS-90 feature two rubber couplers between the column and the top/bottom plates and spike decoupling designs under the top and bottom base plates. Add the MS-90 to your studio and discover what you've been missing in your mix!

The MS-100 and MS-90 offer three internal channels that run the length of the column. So your studio remains clear of untidy cables, two channels are designed for audio and power respectively. For additional stability, the larger third channel can be filled with shot or sand.

The MS Series studio monitor stands are made from the highest quality materials, such as Series 6000 aluminum, and backed by award-winning design that marries both form and fashion. The modern studio owner will love the contemporary look while the veteran engineer will appreciate the solid build and versatility.

Depending on the needs of your studio, the MS-90 is available in two studio standard heights: 45" and 36". Both are identical in construction and features except for height. Choose the height that's best for your studio design!

Notes: MultiCab MK4 Cabinet Simulator / Pre-amp The MultiCab MK4 offers 8 custom-made virtual guitar cabinet presets and natural room ambience combined with pre-amp type, power-amp voicing, cabinet back type and microphone type voicing controls, all carefully blended to deliver the cab sim every player has been looking for. No frustrating menus, simply plug in and enjoy one of the handiest tone-tools out there.

Maintaining the simplicity and the functionality of the highly praised MK3.5 version, Tskakalis redefined their cab-simulation process delivering even better performance, clarity and dynamics to your tone. All this with the added ability to store your favourite cabs to the 8 presets via USB and the dedicated "T.A.W. Editor" app.

Go direct to the PA and the audio interface from your pedalboard with MultiCab MK4 and create a lightweight rig. Use it as an amp DI between your amp and the cabinet to send your true tube tone to the PA. Pair it with a dummy load to practice your tube amp silently at home with headphones and jam with backing tracks by using the AUX input.

The MultiCab MK4 lets you do all the above and more without having to deal with any complex menus and sub-menus. An easy plug'n'play set-up lets you dial in the perfect settings in a matter of minutes. A mixture of elements from both analogue and digital worlds were used to achieve the most realistic response.
While developing the MultiCab MK4 a conscious decision was made not to use IR technology. This way, and in conjunction with parallel analogue audio path, Tsakalis managed to create a unit that minimizes latency up to 1.2 ms, providing the most genuine and direct experience possible. It features 8 presets each pre-loaded with a different virtual guitar cabinet heavily inspired by some legendary and iconic guitar amps and cabinets.

Each virtual cab in the MultiCab MK4 has been created by recording the actual real cabinet itself in the T.A.W. HQ, using a selection of different microphones. Through trial and error, Tsakalis managed to recreate each cab's tone and feel as accurately as possible.

Product Height (cm): 6.300
Product Width (cm): 13.000
Product Depth (cm): 9.700
Product Weight (kg): 0.409

Box Height (cm): 7.800
Box Width (cm): 10.300
Box Depth (cm): 14.800
Boxed Weight (kg): 0.518

Notes: Part of Sonicware's excellent Liven series, the Bass & Beats packs a powerful wavetable synth engine designed for dance music. Presets are classified by genre, making it quick to nail sounds.

Supplier's Notes:
Unleash this wavetable engine to create thick basslines that fit into all genres.

Combine wavetable modulation and our rich resonant filter to create satisfying growls and wobbles.

The bass synth engine includes:
- Two independent Wavetable oscillators with the 64 available wavetables.
- One sub-oscillator
- One noise generator which can create 16 different noise types.

Add even more flavor to your basslines with the built-in LFO, envelope generator, unison control, multi-mode filter, and distortion effects.
A Library of Rhythm Sounds Specialized for Electronic Dance Music

The Liven Bass & Beats is loaded with 350 high-quality rhythm sounds carefully selected for modern and timeless compositions.
The library of drum sounds also include risers and tension releases SFX which are useful tools when transitioning to new sections of your compositions.

Hit the Ground Running With 64 Bass Patches That Cover All Genres

The LIVEN Bass & Beats includes 64 bass presets including battle tested favorites such as the Reese Bass, Future Bounce Bass, Wobble Bass, Growl Bass, Neuro Bass, Deep House Bass, Acid Bass, 808 Sub Bass, and more.
Use these presets to quickly dial in the vibe of a specific genre.

Ready-To-Go Preset Drum Kits

The drum sounds are organized into well balanced kits for specific genres such as: DUBSTEP, HOUSE, HIPHOP, TRAP, TECHNO, EDM, R&B, DOWNTEMPO, CHILL TRANCE, DRUM'N'BASS, JUNGLE, FUTURE BASS, ELECTRO, ELECTRONICA, IDM, DISCO, BREAK BEATS, etc.

You can also mix and match sounds from the drum library to create your own custom kits. Side-Chain Compressor

The LIVEN Bass and Beats has built-in sidechain compression function that ducks the volume of the bass and the line-in audio. The amount of this effect is variable so you can dial it in to taste or turn it off when it is not needed.

Two Performance Knobs Can Be Mapped to Many Parameters at Once

Two ASSIGN knobs are provided for complex multi-parameter control.

Similar to the Turnado1 VST plugin, our "ASSIGN" knobs allow you to map many parameters to a single knob to create powerful effects which transform or mangle your sound with a single twist.

All preset patches include these "ASSIGN" knobs pre-programmed and ready for sonic exploration.

The "ASSIGN" knobs can also be parameter locked to create automated changes to multiple parameters over time.

Quick Muting and Un-Muting for Each Drum Sound

Each rhythm track consists of 16 individual drum sounds. Each sound can be individually muted and unmuted with a single button press. This allows users to introduce drum elements on-the-fly to build energy and create unique breakdowns.

Dedicated Mixer Controls

Dedicated controls for balancing the levels of you drums, bass, and line input. These knobs can be used to create an overall volume balance, or they can be used to create drops and breakdowns during live performances.

Advanced Bass Shaping Tools

The DIMENSION knob increases the stereo width of the bass synth without losing clarity or richness.

The M.Gun effect uses a rapid tremolo to add glitchy grit.

Explore Beyond the Preset Sounds With the Bass Engine Edit Mode Overlay

Build your own bass sounds from scratch or modify the presets.

Every parameter of the bass engine is accessible when the edit mode active.

Slip on the overlay and enter a whole new world of bass sound design.

Synth Engine Basic Configuration

2x Wavetable OSC: Each of the wavetable oscillators can assigned one of the 64 wavetables.

SUB OSC: The sub-oscillator provides solid, foundational bass support.

It can generate sine, triangle, sawtooth, square, LOG, and random waveforms.

NOISE Generator: The noise generator can generate 16 different types of noise, including both white and pink noise. It is a powerful tool for aggressive and industrial tones.

Deep Modulation

Almost all of the internal parameters of this device can be targets for modulation. The LFO, Envelope Generator, and ASSIGN knobs provide a wide range of ways to modulate every aspect of your sound.

For example, the LFO could modulate the settings of the Envelope Generator which is simultaneously modulating the Bass engine's wavetable position.

Notes: The Can (3U 52hp)

The Can is Sinusoda's 3U 52 hp case that comes with Juice Powerboard, Straw power inlet and 60W power brick. Comes assembled & ready to play. Additional vertical and horizontal connectors of the casing system included. It's a starting point for a truly modular case for modular synths.

You can connect any amount of Sinusoda's Empty Cans or Slim Cans to add more HP to this case.

Juice Powerboard is Sinusoda's Ultra Low Noise power supply solution offering up to +12v: 3A / -12v: 1.5A / +5v: 2A of clean power for your synths. Several Juices can be connected together in series for more power.

Straw power inlet has a USB charging port for your mobile devices, midi devices or lamps.

Side blinds can be cut into blank panels revealing more space - additional 4 hp from the top on both sides, and up to 14 hp from the sideway mount.

For more information on the Sinusoda modular casing system visit https://sinusoda.com

Box dimensions:
368x148x105mm

Box weight:
1,8 kg

Case dimensions:
325x130x85mm

Case depth:
70mm without Powerboard, and 56mm with Powerboard

Case weight:
1,65 kg (power brick included)

Notes: The Can (3U 52hp)

The Can is Sinusoda's 3U 52 hp case that comes with Juice Powerboard, Straw power inlet and 60W power brick. Comes assembled & ready to play. Additional vertical and horizontal connectors of the casing system included. It's a starting point for a truly modular case for modular synths.

You can connect any amount of Sinusoda's Empty Cans or Slim Cans to add more HP to this case.

Juice Powerboard is Sinusoda's Ultra Low Noise power supply solution offering up to +12v: 3A / -12v: 1.5A / +5v: 2A of clean power for your synths. Several Juices can be connected together in series for more power.

Straw power inlet has a USB charging port for your mobile devices, midi devices or lamps.

Side blinds can be cut into blank panels revealing more space - additional 4 hp from the top on both sides, and up to 14 hp from the sideway mount.

For more information on the Sinusoda modular casing system visit https://sinusoda.com

Box dimensions:
368x148x105mm

Box weight:
1,8 kg

Case dimensions:
325x130x85mm

Case depth:
70mm without Powerboard, and 56mm with Powerboard

Case weight:
1,65 kg (power brick included)

Notes: Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:
QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Notes: Blocks description

Drone VCO : Generates sound based on equations converted to analog signals , there are sixteen equations selected by Up and Down switches. Four leds indicate equation number in binary mode. Three Pots modify numbers used by the equation, A0 , A1 and A2 , fourth pot Sample Rate controls pitch and speed of the oscillation. There's an Output Level pot for the oscillator and a dedicated jack for patching the Oscillator sound to external modules.

Eurorack module
Drone voice oscillator
Ms20 vcf
2 Multi waveform LFOs
Noise generator
Dual delay block with modulations

NOISE GENERATOR : White noise with noise level pot and noise output jack.

VCF : MS20 resonant low pass filter , with CUT frequency pot control, RESONANCE, MODULATION 1 amount pot , input and output jacks and second cv input for cut off, labeled MOD2

LFO1 : Low frequency oscillator routed to MOD1 from VCF , RATE and WAVEFORM shape Pots.

Also routed to delay block 1 Waveforms are : ramp up, ramp down, square, triangle, sine , sweep, random levels, random slopes

LFO2 : Low frequency oscillator routed to delay block 2, RATE and WAVEFORM shape Pots.

Waveforms are : ramp up, ramp down, square, triangle, sine , sweep, random levels, random Slopes

DELAYS BLOCK:

2 delay lines in parallel sharing feedback and blend controls.

Time 1 and mod 1 control delay block 1 , time 2 and mod 2 control delay block 2

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


NDX500 is a USB/CD media player and software controller that lets you DJ with your entire media library - anywhere. Combining comprehensive standalone functionality with deep hardware and software integration, NDX500 is capable of playing and mixing music from virtually any digital audio source. DJ with USB flash drives, CDs, and MP3 CDs without turning on your computer, or use NDX500's built-in audio interface and USB-MIDI Mode to DJ with software.

The touch-sensitive jog wheel gets the job done with uncanny accuracy. Scratch, search and backspin with precision and reliability in any environmentiadaptive platter technology automatically calibrates itself for optimum performance regardless of humidity or environmental changes. An adjustable start/stop time lets you create vinyl-style braking and power-up/down effects.

All of NDX500's controls come mapped to Serato DJ* (sold separately), so you can plug in to your Mac and PC and start performing. NDX500 also features USB Audio, allowing you to play back audio from your computer. No matter the source, all critical information is displayed on the backlit display so you can manage your library of tracks at a glance.

An extensive set of track manipulation controls lets you maneuver a set with practicality or raw creativity. Thre hot cues provide immediate access to key points in the track. Both a looping section and stutter start provide seamless creation of mix foundations, transitions, and more. Auto BPM counters with tap-tempo override gets to the point so you can mix with pecision.

*The NDX500 is an Official Serato Accessory and requires a supported Serato DJ interface, controller or mixer to control Serato DJ.

Box includes:
NDX500 Player
USB Cable
RCA Audio Cable
User Guide
Safety & Warranty Manual

Minimum system requirements:

Mac:

Mac OS X 10.6 - macOS 10.13 High Sierra
1.6GHz Intel Core Duo
All Intel i3, i5 and i7 Processors are supported
Screen Resolution: 1024 x 768
RAM 1GB (minimum)
Available USB 2.0 port

Windows:
Windows Vista with Service Pack 1, Windows 7 with SP1, Windows 8, Windows 8.1, Windows 10
2GHz Intel Core 2 Duo
Available USB 2.0 port

Notes: The NT1 is a revolutionary new 1" diaphragm condenser microphone from RODE.

Although the body of the new NT1 closely resembles the NT1-A, the microphone has been completely redesigned from the ground up, with the only shared component being the mesh grille.

RODE's design engineers approached the NT1 as a marriage of innovation and tradition, starting with the capsule which is a completely new design. Codenamed the HF6, it is the perfect example of RODE's fusion of artistic design approaches and cutting-edge manufacturing techniques, and features a sound signature reminiscent of the famous microphones of old while at the same time exhibiting extremely low noise. It has been developed with a focus on detailed midrange response, coupled with silky smooth high frequencies, and warm, round, bass reproduction to make the NT1 an absolute standout in its class.

In another world-first for RODE, the transducer itself is suspended inside the microphone using Rycote's industry-leading Lyre system, minimizing external vibrations at the capsule level. The capsule is then married to high-grade electronics that have been designed to provide the lowest noise level of any studio microphone available. The NT1 is an incredibly quiet microphone, measuring only 4.5dBA of self-noise.

Its body is machined from 6061 aluminium and then nickel plated for resistance against corrosion. Finally it is coated in a durable, military-grade ceramic layer, using advanced electrostatic application techniques developed by RODE to ensure an extremely hard wearing finish that is resistant to scratches or marks.

The NT1 kit is supplied with the revolutionary new RODE SM6 shock mount. Featuring a unique double-Lyre suspension system, the SM6 enhances the existing superior vibration cancellation of Rycote's Lyre system by using a smaller inner Lyre to act as a tensioning element. This maintains each Lyre in the neutral position where it is most efficient at cancelling vibration. The SMR's removable all-metal pop filter is as effective as it is visually striking, providing an integrated solution for plosive protection that is easily washable and designed to last as long as the shock mount and microphone.

Notes: Listen In & Cue Up

Monitr is a comprehensive audio output monitoring utility for eurorack systems. The module is equipped with a stereo VCA-controlled input mixer with master volume control and VU meters, plus a powerful headphone section for both live performance and detailed monitoring.

Master Output Control

Monitr is a comprehensive audio output monitoring utility for eurorack systems. The module is equipped with a stereo VCA-controlled input mixer with master volume control and VU meters, plus a powerful headphone section for both live performance and detailed monitoring.

Stereo VCA Mixer

Monitr's two stereo inputs, IN 1 and IN 2, are AC-coupled specifically for audio signals, with the R inputs normalled to the L inputs. These input signals are amplified and mixed via stereo VCA circuits to reduce noise and allow for external voltage control. The CHAN 1 and CHAN 2 parameters are for manual adjustments of audio levels, while the VCA1 and VCA2 jacks accept control voltages. The full range of each stereo VCA is 10 Vpp. The mixed stereo signal is buffered and passed on to the master volume circuit.

Master Control

The VOLUME parameter is a variable attenuator which controls the master stereo output level. It can also amplify the signal up to +6dB above unity gain.

The output volume is visually indicated by two 5-segment VU METERS, scaled appropriately for +4 dBu professional line-level output. Best practice is to keep the master signal volumes at or below +3 dBu (GREEN, YELLOW), with transient peaks occasionally reaching +6 dBu (RED). This will optimize the signal's dynamic range when feeding into audio interfaces or amplifiers.

Monitr also features a MUTE OUTPUT switch that completely silences the main outputs. This is convenient once sound check levels are adjusted before a live performance begins, as the mute switch does not affect the VU meters or headphone cueing section.

Headphone Cue

The module's headphone circuit is designed to drive a wide-range of headphones with enough detail and power for both studio monitoring and live performance. The LEVEL parameter adjusts the volume of stereo headphone plugged into the PHONES jack. Acceptable headphone impedance ranges from 32 O up to 600 O.

The headphone source is selected with a 3-way switch, which is useful for cueing during a live performance. The center position, MSTR (Master), monitors the primary master output signal post Volume, so the master VOLUME also affects the headphone volume. The other two positions, CH1 and CH2, exclusively monitor the two input signals respectively, and are not affected by their VCA levels (CHAN 1, CHAN 2, VCA1, or VCA2).

Balanced Output

OUT L and OUT R provide balanced line-level stereo output of the master audio signal via 1/4-inch TRS jacks, typically to an audio interface, mixer or amplifier. These balanced connections allow for low-noise signal transmission over longer cable runs, provided the destination input is also balanced. However, unbalanced TS cables can also be used and will simply carry the signal unbalanced.

Technical specs

Width: 10 HP
Depth: 1.57 in (40 mm)
Weight: 5.1 oz (145 g)
HP Output Impedance: 10 O
Power: +12 V 85 mA, -12 V 65 mA

Notes: Eurorack version of the 16n Faderbank, offering 16 CV inputs and 16 outputs, each corresponding to a fader. MIDI in and out allows you to configure the module in myriad ways.

Supplier's Notes:
This module is a eurorack version of the 16n Faderbank, implemented with 16 CV inputs and some other smart add ons. Almost everything is in the front panel.

This new version is oriented for firmware tweaks and future expansions, still being fully compatible with the 16n and the previous Sweet Sixteen.

Changes from previous versions:

Function push button
Function led
Expansion header in the back
i2C pull-up switchable with jumpers (aux pcb not required)
Mate black & gold panel with brass nuts

There are 16 channels, which can be used as:
Midi controller
Manual CV generator (0 to 8v range)
Attenuator
CV to Midi CC
i2C controller
CV to i2C data

The Midi CC number and channels can be different for the TRS jack and the USB port. The firmware has been tweaked to allow also Pitch Bend, which is pretty handy because you can get much better resolution through Midi (from min to max values Midi CCs have 128 steps and Pitch Bend has a resolution of 16.384 steps).

The voltage generated by every fader is up to 8v, which is good enough to control eurorack modules (like wide open/close the cutoff frequency of a filter etc).

In the midi CC messages, 0 volts will correspond to a value of 0, and 8 volts to a value of 127. But the CV to Midi can handle also negative voltages, for such task there are 4 slide switches (1 for every 4 faders) that swaps the internal voltage reference in a way that, when activated, 0 volts will be the middle position of the midi controller, -4 volts the minimum value and +4 volts the maximum. Those switches only affect the Midi/i2C outs, CV outs won't be affected by them in any way.

If you plug in a bigger voltage source (like a -5v+5v LFO or a 10v envelope) the fader will work as attenuator, so you'll be able to adapt how that signal affects the Midi CC out, covering the whole Midi CC range, saturating the waveform or just affecting it briefly.

Panel USB port is type B, which seems to be stronger than mini or micro ones.

i2C could connect directly to an ER-301, monome Ansible or a monome Teletype.

The Teensy can be powered via the internal regulator or the +5v eurorack rail (selectable via a switch on the back).

The partial kit comes with all SMD populated, so only through hole components requires soldering work.

size: 24 HP

92 mA +12V

86 mA -12V

Notes: Consider this your clean slate. The Canvas Stereo is a Direct Box/LIne Isolator designed to remove any resistance between you and your audience by giving a pristine, sonic foundation to build your stereo masterpiece upon. From houses of worship to the dive bar downtown, Canvas Stereo is built to be the performance tool that goes wherever you are making your music.

Canvas Stereo is a Passive Line Isolator (LI) and Direct Injection (DI) device that converts your unbalanced signals into balanced signals for interfacing properly with your recording interface or mixer at front-of-house. If you're using an amp-in-a-box (DSP Guitar Rig), like our ACS1, keyboards, or any other instrument utilizing both left and right outputs, then the Canvas Stereo is your new bridge to the front-of-house. The Canvas Series DIs pack everything you need from a DI/LI into a standard pedal-sized enclosure designed to look great right on top of your board.

Direct Injection:
Use DI mode when connecting an unbalanced, high impedance source (Electric Guitar, Bass Guitar, etc). The signal will be reduced by -20dB (-35dB with pad engaged) and converted to a balanced signal via the transformer connected to the XLR output. Use the gain on your mixer or preamp to bring up to line level.

Line Isolator:
Use the LI when needing to connect your unbalanced, low impedance source (Amp + Cab Sim like the ACS1, keys, etc.). The signals will remain full volume and be converted to balanced signals via the transformer connected to the XLR output. Less preamp gain will be required in LI.

DI or LI?
When deciding between DI or LI, check with the manufacturer of your gear to find the output impedance of the device you are wanting to interface. For a general guide:High Impedance = anything above 1k = Use DILow Impedance = less than 1k = Use LI .

Troubleshooting:
This is a passive device, so you will not damage anything if connected improperly, but it could affect the signal level and frequency response if not connected properly. This is an easy thing to test since the LI/DI switch is built into Canvas. If you lose high-frequency information when using LI mode, then you should probably be in DI mode.

Notes: ADDAC711 is a dual channel Isolated DI box and is all about keeping the sound coming into your Modular free from any undesired noisy interferences, making sure that what you're getting from your inputs is what your external hardware is actually producing. It provides galvanic electrical isolation between the Modular system and external sources preventing impedance mismatch and ground loop induced hum. ADDAC's 711 circuit is designed around a unity 1:1 type Low-cost Audio Transformer operating in the 20 Hz to 20 KHz range, this impedance matching transformer provides two fully balanced outputs (via XLR connectors).

There are two independent channels on the module with:
Audio Output
Signal overload warning led
LIFT/FLOAT/GND toggle switch
Gain control
XLR Input

The LIFT/FLOAT/GND 3-way switch lets you choose between lift, ground or floating ground. In the LIFT position (left) the module circuit will be "lifted" to ground through a 100R resistor and a 10nF capacitor. In the FLOAT position (middle) Ground will not be shared leaving ins and outs grounds completely apart from each other fully isolating both signals.
In the GND position Ground will be shared between inputs and outputs, here no isolation is used. Any of these three positions may be the best form of avoiding ground loops or any other undesired interference occurring between your modular and the external hardware. Try out which one of these options will work best in any given situation.

The importance of using Audio Transformers

Applying a transformer balanced input isolation has lots of advantages over other less expensive ways for dealing with ground loop issues. This method provides the chance to set a very simple and cleancircuit in which the signal transfer process develops smoothly and humming free. The transformer is a device that performs both signal balancing and high-to-low (or vice-versa) impedance conversion, while rejecting straggled DC voltage and Radio Frequency Interference from signal passing through a magnetic bridge. In a transformer, two (or more) coils (called windings) of insulated wire wound around a magnetic metal core allow for its input(s) and output(s) not to be physically connected together. When an AC signal passes through the input winding (the primary), a perfectly related AC signal appears on the output winding (the secondary). This way, by the fact that signal flows via inductive coupling between the two windings of the transformer, this module presents a most accurate electrical isolation between its input and output. A same number of windings on each coil guarantees that there's no gain loss when audio signal passes from the primary to the secondary windings. Furthermore, since these two windings are insulated from each other, the transformer will electrically isolate ADDAC711 from any other device, preventing hum problems coming from an outsider ground. Being a low-cost transformer the frequency response curve is not completely linear, still the -0.2dB
attenuation at 50Hz feels negligible.