Search dance music

Notes: Zadar is a powerful, four-channel envelope, modulation, and transient generator, in a compact yet very complete, feature-rich package. It is capable of synthesising a vast palette of envelope shapes starting from hundreds of shapes stored in the memory. These starting shapes are not mere wavetables, but flexible vectors that can be stretched (from a fraction of a millisecond to half an hour), flipped, warped, distorted, delayed, shuffled, repeated, and amplitude modulated in real time. A set of freely assignable CV inputs allows for external control of most parameters. Each channel can work independently or combined with other channels within one of the chaining and looping algorithms.

Operating Zadar is quick and immediate, thanks to its accessible interface and crisp OLED display. The main screen displays all parameters together with the currently selected shape. Entering the simple 3-page menu is needed only for advanced settings.

Notes: Finally the VSR 3.2 is here! It is the enhanced successor of the Vermona VSR-3 - Vintage Spring Reverb.

Most of the features, like the AccuBell spring tank (type 9), the TONE control as well as in and output stages are equal.

What has been improved is the way EFFECT STOP is working. Compared to its predecessor VSR 3.2 offers the possibility to determine where EFFECT STOP cuts the signal path: PRE or POST the spring tank. In the new PRE mode the input of the spring tank is cut from the signal path, so the reverb's decay isn't abruptly stopped when pressing EFFECT STOP and still can fade out.

The VSR 3.2 is suitable for all kinds of input signals like synthesizer, organs, guitars, vocals etc. It's available as of now from stock. It is already listed in our latest price list from 2015-05-01.

*UK 3-pin power adapter included.

Notes: All analogue sonic recreations of 5 legendary fuzz circuits plus a future classic combination.

For this limited run of our Constellation Fuzz we carefully hand-select NOS germanium CV7003 transistors (military spec OC44) made in the UK by Texas Instruments in 1968.

Each pedal is built by hand, one at a time in our workshop in Athens, Greece and comes in a beautiful laser-etched aluminum enclosure and natural stained wooden box.

Voicings:

FF: a tribute to the most copied fuzz circuit.
VTB: inspired by the Italian made fuzz circuit
3/2: voiced after the mythical circuit knows as mk1.5
2: the soaring gain 3-transistor fuzz circuit
RM: a treble booster as close as it gets to the real thing
RMFF: a tailor made RM into a FF

Note: Constellation CV7003 requires a centre negative power supply for proper operation ( - centre, + ring ). It is a positive ground circuit. Do not use a daisy chain power supply with negative ground effects. Please make sure to use an isolated power supply output!


Note: Constellation CV7003 requires a center negative power supply for proper operation ( - center, + ring ). It is a positive ground circuit. Do not use a daisy chain power supply with negative ground effects. Please make sure to use an isolated power supply output !

Notes: Updated version of the DT-RDX controller features a built-in MIDI merger. The approach is the same, with hands-on control of all Yamaha Reface DX parameters, making it easier than ever to unleash the power of FM synthesis.

Supplier's Notes:
Dtronics DT-RDX-V2 for Yamaha Reface DX

The Dtronics DT-RDX-V2 is a hardware controller for the Yamaha Reface DX and the successor to its older brother the DT-RDX. The difference between the two is that the RDX-V2 has a hardware MIDI merger on board for even better performance.

With all its parameters the FM synthesis is a challenge control.

The DT-RDX has all parameters directly accessible with its 41 knobs and 9 switches.

All you have to do is select the desired operator. You can also edit multiple operators with the same parameters at the same time.

The controller is mounted on a stylish holder.(included)

Specifications

Holder: steel
Casing : high grade plastic
Power splitter cable to power-up the RDX and the Yamaha Reface DX is included
MIDI cable to connect the DT-RDX to the Yamaha Reface DX synthesizer is included.
The pictured Yamaha Reface DX synthesizer is not included

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


Reverb. Well...kind of.

Welcome to Aurora, a spectral reverb capable of a wide palette of sounds: from lush caverns and whale songs, to alien textures you've never created before. And likely, will invoke a hunger for exploration you felt when you first touched a modular synth.

Aurora uses a phase vocoder audio engine which separates the input signal's time and pitch domains. By blurring these signals you can achieve beautiful time-stretched tails, or cybernetic metallic effects.

Since Aurora's sonic response is entirely dependent on the input signal, no two patches will sound alike, lending itself to an infinite world of surprise and discovery.

Discovery. It's why we are all here.

A portion of all Aurora proceeds will help the fight against shrinking ice caps and dwindling polar bear populations.

Tech Specs

Width: 12HP
Depth: 22mm
Power Consumption: +12V=215mA, -12V=5mA, +5V=0mA

Notes: Killer physical modelling module collab from two of the biggest names in their respective fields of hardware and software. Generates a huge range of percussion instruments plus synths and bass tones.

Supplier's notes:
Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds - both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.

Plonk does this by breaking sound creation into two distinct elements - the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it's percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.

Plonk provides numerous parameters that let you shape, mould and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object - real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.

Best of all, the sounds created by Plonk are not static - any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!

Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk's built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.

Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems - physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.

Notes: The Pingable Envelope Generator (PEG) from 4ms is a dual envelope generator whose envelope lengths are set by incoming clocks or "pings".

The PEG has full CV control of envelope shape, skew, and ping (clock) division/multiplication, as well as a plethora of triggering and cycling options (AD, AR, quantization, cycle), and a tap tempo button for each channel.

Scaling/shifting:
- Scale knob is an attenuating inverter for main envelope output (Maximum 0V to +10V non-inverted, and Minimum -10V to 0V inverted).
- Bi-polar button centers main envelope output around 0V (-5V to +5V output)
- "+5V ENV" jack is a non-scaling output that always produces a 0V to +5V envelope, regardless of Scale and Bi-polar settings
- "OR" jack outputs an analog OR of the two scaled envelope curves. This outputs the highest value from either envelope at any given moment, taking into account the Scale and Bi-polar controls.

Gate outputs:
- End-of-Rise (EOR) gate output goes high when envelope finishes a rise portion, and goes low when envelope begins a rise portion
- End-of-Fall (EOF) gate output goes high when envelope finishes a fall portion, and goes low when envelope begins a fall portion
- Jumper for each channel changes EOR output to a Half-Rise gate output. The Half-Rise jack goes high when 50% of the time of the rise portion has elapsed, and goes low after 50% of the time of the fall portion. Using the Skew parameter, this jack provides a variable phase gate output useful for quadrature effects and clock phase shifting and trigger delay effects. Factory setting is EOR for red channel, Half-Rise for blue channel.

Triggering/cycling:
- Cycle button for each channel forces envelope to self-cycle in sync with the ping clock (LFO mode). Button lights up when in cycle mode.
- "T" jack toggles the state of both channels' Cycle button when a gate is applied
- "QNT" jack for each channel triggers an envelope to start at the next quantized beat, with respect to the divided/multiplied ping clock. Holding a gate high on this jack causes the envelope to repeat.
- "Async" jack for each channel causes an envelope to output immediately (asynchronously). Holding a gate high results in an AR envelope (rise-sustain-fall). If cycle mode is enabled, the envelope will continue to cycle at this new phase with respect to the ping clock. Phase can be reset to being in sync with the ping clock by pressing the cycle button or applying a pulse to the QNT jack.

CV input jacks:
- CV control of Ping Div/Mult, Skew, and Curve using the CV jacks. Respective knobs set the center offset for the applied CV
- CV of 0-10V will modulate the parameter's full range However, a 0-5V CV will modulate the parameter within a very useful range.

Notes: Live performances are more than just a job, they are an experience for the performers, the audience and for the sound engineer. The EMPIRE TMX series was engineered to precise specifications to deliver the kind of performance you demand, while giving you everything you need to create an unforgettable experience. The EMPIRE TMX80DFX is part of the TMX line, which also includes the TMX200DFX, TMX160DFX and TMX120DFX.

The TMX80DFX may be small but it's loaded with just what you need including 14 x total inputs comprised of 4 x XLR jacks with phantom power, 8 x line jacks and stereo RCA. These low-noise channels are your best friend when connecting instruments, mics, or even your iPod for playing between sets. Even better, each mono and stereo channel has its own 3-shelf EQ, so you can dial in every nuance you need in seconds. in addition, there is a full 9-band stereo EQ. A/D and D/A conversion is performed with 24-bit precision. Easy-to-view knobs with incredibly smooth movement help to make mixing feel like playing a fine instrument.

The TMX80DFX's on-board Alesis digital effects processor provides pristine 24-bit, ultra-clean digital effects you, and the audience, won't soon forget. Effects include Echo, Echo+Verb, Tremolo, Plate, Chorus, Vocal, Rotary, Small Room, Flange Verb, Large Hall. 100 Presets are included, leaving you plenty of options for coloring the mix.

The TMX80DFX comes standard with the ability to deliver ultra-clean power at 2 x 350W (4 Ohms) or 2 x 180W (8 Ohms). These aren't peak rating either, this is pure continuous power. In short, it's a workhorse. Fortunately, all that power isn't as heavy as you might expect. Weighing in at just under 11 pounds, the TMX80DFX is a clear winner in the power-to-weight class.

Whether you need just 8 channels, a full 20 or anything in-between, the Alto Professional EMPIRE TMX series has something to help you create an unforgettable experience every time.

Notes: What It Is

Based upon the successful Really Nice Compressor, this variation not only fits the increasingly popular API500 series rack, but delivers an improved dynamic fidelity befitting the format! This dynamic-range compressor provides positive signal control while leveraging its pedigree for simultaneously reducing collateral sonic damage. Additionally, some thoughtful features have been added that most folks won't overtly notice, but will be glad that they're there: overcurrent protection prevents a rare failure from bringing down your whole 500-series rack, an early-warning power supply detection that causes the RNC500 to enter bypass-irrespective of the front panel switch position-to avoid power-down "pops", a robust 18 guage electro-galvanized enclosure that keeps the delicate electronics safe from harm and helps protect against Electromagnetic Interference (EMI) from affecting things inside or outside of the enclosure.

How It Sounds

As with the original RNC, the RNC500 can exhibit a sonic neutrality while giving the recordist a level-of-control difficult to obtain without adding unwanted artifacts. Unlike the original RNC, however, the RNC500 possesses a sonic "beefiness"-a growl, if you will-that adds a slight, but very compliant, bottom-end to the source material. Years ago, FMR Audio designed a multi-channel RNC for London's famed Air Studios. It was with that device that an RNC with extra "heft" was first encountered. It turns out that much of this "un-RNC like" growl is a result of the higher operating I/O levels like those present on the RNC500. It seems that the harder the RNC500 is hit, the heftier the sound. The RNC500 could be broadly characterised as "clean", but with a hint of attitude...that's under your control!

How It's Done

Like all FMR Audio dynamic audio processing products, sidechain electronics have been replaced with chunks of software to accomplish both a bill-of-materials cost reduction while simultaneously improving dynamic performance accuracy and consistency. The beauty of this approach is that the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analog domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution (24-bit) arithmetic, sealed switches & relays, multi-layer printed circuit board (PCB) the RNC500 will deliver smooth, controllable and reliable compression for years to come.

Notes: What It Is

It's tempting, if not a little lazy, to view these new 500-series offerings as mere repackages of the tried-and-true products like the RNLA. There is really nothing mere about them. It's not that there aren't obvious connections...the RNLA500's lineage is definitely visible and audible: red knobs-albeit slightly more refined-provide a visual clue as to its origins while it's thick & gooey sound tell you the RNLA's algorithm is still beating in its silicon heart! Okay, it's still an RNLA that you can use to add some compression-induced character (and control) to your vocal/bass/drum/mix/guitar/piano/orchestral/banjo tracks. It's also comfortably responsive to its controls, just like the 1/3 rack version. So what about this isn't merely a repackaging?

First, there's the 500-series thing: small, rugged and convenient analogue audio processing modules that fit into just about any recording situation-from pro studios to bedroom venues. Having what you need, when and where you need it is, as "they" say, half the battle. The 500-series format is, well, everywhere. Secondly, although convenience and size are important (this is audio after all), if it doesn't deliver the sonic results, what's the point? Even dyed-in-the-wool RNLA users notice that there's something more here: thick & gooey, meet creamy & smooth! From fully, electronically balanced I/O to higher-resolution arithmetic, the net result is a professional audio compressor that's both responsive, small, rugged and has tone for days! RNLA progeny? Yes. But not merely...

How It Sounds

Okay, thick, gooey, creamy & smooth. Got it. For most of us, this means that it sounds good, but what does that mean? The RNLA500 is, admittedly, much "gentler" and not as apt to grab'n'run with the signal as other, more "modern-sounding" compressors. Like an old-timey photocell, the RNLA500 is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. That slight hesitancy to respond is one of the key performance parameters that causes opto (and opto-like) compressors to be so coveted. Although the RNLA500 is a VCA-based compressor, the algorithm controls it in a manner that puts the essence of opto-compressors in a more modern and controllable compressor.

How It's Done

Like all FMR Audio dynamic audio processing products, the sidechain electronics replaced with chunks of software to accomplish both a bill-of-materials cost reduction while simultaneously improving dynamic performance accuracy and consistency. The beauty of this approach is that the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analogue domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution VCA control, sealed switches & relays, multi-layer printed circuit board (PCB) the RNLA500 will deliver smooth and controllable compression for years to come.

Notes: The PLUS Pedal is more than just a stomp-box - it is a vast extension of your instrument that bridges the gap between rhythm and lead parts, and lets all musicians explore completely new territories.

Besides being a powerful arrangement and compositional tool, The PLUS Pedal can also be used for creating interesting and unique sound effects that would otherwise be impossible to achieve in real-time.

Whether you are a composer, solo performer, sound designer or part of a band - the ability to instantly turn any melodic sound produced by your instrument into a layer of continuous sound will completely change the way you approach music.

Real-time audio sampling is a unique audio algorithm developed by GAMECHANGER AUDIO that lets you capture and sample tiny bits of your instrument's signal in real time and loop them into a seamless, warm and responsive sustained tone.

Unlike existing granular synthesizers and synth-pad triggers, PLUS Pedal actually runs a constant Hi-Res recording of your instrument, and once engaged, the RealTime sampling algorithm instantly creates a circular micro-loop out of the most recent audio signal produced by you.

Think of it as a smart looper that only catches the last segment of your chosen note or chord, and uses it to create a continuous sound.

The resulting layers of sustain can be practically indistinguishable from the original tone of your instrument, and you can further adjust and fine-tune the PLUS Pedal to achieve the exact type of sustain you have imagined.

Notes: Your Palette case is the ideal solution for your space conscious and portable needs. At about the same size as a small laptop, your Palette fits comfortably on your desktop; in your backpack; at your favourite coffee shop; in your jam space; or pretty much anywhere else you might desire to play. Your imagination is the only limit. With 62hp of rack space, you can piece together powerful but focused mini systems and control surfaces. Intellijel's 1U row and built-in i/o ports add a ton of extra utility to bring the most out of your Eurorack modules. Truly a palette for the sonic artist.

Utilities panel:

- Dual 1:4 buffered multiple
- Two 1/4" balanced audio jacks that can be connected to the Stereo Line Out 1U, Pedal I/O 1U or Mixup
- 1/8" (6.35mm) MIDI Input that can be connected to uMIDI 1U
- USB port that connects to the uMIDI 1U and other future modules
- Rocker switch and barrel plug for power entry

Construction:

- Anodized aluminium
- Aluminium extruded rails with steel threaded inserts
- Rubber feet to protect your desktop
- Rear mounted power supply for maximum module depth

Includes:

- 40W Meanwell AC/DC adapter with right angled connector
- 3FT North American IEC power cable
- 1/8" (6.35mm) TRS to 5-Pin Din MIDI adapter

Notes: Your Palette case is the ideal solution for your space conscious and portable needs. At about the same size as a small laptop, your Palette fits comfortably on your desktop; in your backpack; at your favourite coffee shop; in your jam space; or pretty much anywhere else you might desire to play. Your imagination is the only limit. With 62hp of rack space, you can piece together powerful but focused mini systems and control surfaces. Intellijel's 1U row and built-in i/o ports add a ton of extra utility to bring the most out of your Eurorack modules. Truly a palette for the sonic artist.

Utilities panel:

- Dual 1:4 buffered multiple
- Two 1/4" balanced audio jacks that can be connected to the Stereo Line Out 1U, Pedal I/O 1U or Mixup
- 1/8" (6.35mm) MIDI Input that can be connected to uMIDI 1U
- USB port that connects to the uMIDI 1U and other future modules
- Rocker switch and barrel plug for power entry

Construction:

- Anodized aluminium
- Aluminium extruded rails with steel threaded inserts
- Rubber feet to protect your desktop
- Rear mounted power supply for maximum module depth

Includes:

- 40W Meanwell AC/DC adapter with right angled connector
- 3FT North American IEC power cable
- 1/8" (6.35mm) TRS to 5-Pin Din MIDI adapter

Notes: Erica Synths Bassline is fully analogue synth voice module for ultimate basslines and leads.

It features AS3340 VCO with three waveforms, a filter inspired by Erica Synths Acidbox and unique features - transistor based suboscillator and two BBD lines that emulate VCO detune creating a sound of massive polysynth from one oscillator.

Accent provides more expression to the bassline, by adding volume and opening the VCF slightly.

Notes: Black version of AJH's random voltage generator, based on the ultra-rare 1970s EMS RVG. Complex, triggerable modulation source with multiple outputs and full CV control.

Supplier's Notes:
The Random Voltage Event Generator (RVG) is a faithful replica of the vintage EMS Random Voltage Generator. It produces random voltages which vary smoothly or in a step-wise manner. Random timing pulses are also available. The rate of change of all outputs is voltage controllable over a wide range.

Just like the original RVG it uses four unijunction transistors - three of them are configured as ramp and hold generators and the fourth is an LFO. It produces two separate random voltages but also the clock time between pulses can be randomised.

The module offers some extra features: it is possible to add a bias voltage to either of the random voltage outputs, and also add slew to Voltage 1. There is a CV control of the LFO frequency and clock speed as well as CV control of the Time variance.

The internal LFO can be tapped thanks to dedicated outputs for both sawtooth and triangle waveforms, and the waveform shape follows the time variance. The internal clock can be started using an external gate or with the help of the manual trigger button that works when the clock is stopped.

The TR-IN input allows an external clock to be used instead of the internal LFO. There is also a gate output, the gate length changes in proportion with the time variance, and the duty cycle of the gate can be varied from 1% to 99%.

*limited edition!

Module Width: 14hp

Module Depth: 26mm (Including power lead)

Current Usage: 95mA Positive, 70mA Negative

Notes: The Joue Play combines an expressive multi-instrument, an intuitive application and interactive content to practice. It's also a MIDI controller compatible with all MIDI music softwares (DAWs).

Experiment Music Creation Freely

Get started now with Joue Play, an all-in-one system combining:
An expressive, compact & durable multi-instrument
A dedicated, ultra intuitive application
A library of built-in video tutorials

Open New Musical Worlds in a Snap

Switch pads on the fly to instantly transform your Joue Play into a guitar, piano, drums or keyboard and explore their assigned sound banks.

Transform the Sound

Play and experiment with a multitude of effects by varying the pressure of your fingers to adjust their intensity.

Creative effects

The effect zones on each of the Play Pads allow you to modify the sound to add the little touch that will make the difference in your creation. Add distortion, reverb and more.

Expressive effects

Joue Play's unique technology offers a sensational expressiveness. Express yourself in the moment with natural gestures and enjoy all the spontaneity and expressiveness of acoustic instruments.

Don't Program, Just Play!
Enter a creative mode with no barriers thanks to a turnkey app. No need to spend hours on overly complex music software, enjoy the simplified version of essential music creation tools in the Joue Play App.

Available for macOS, Windows and iPadOS.

Looper: Choose the number of bars and easily record your musical loops.
Mixer: Adjust the volume of your song or of individual tracks.
Visual feedback: View the notes that are played in real time.
Tuning: Change the tune of your instruments and choose your scale.
Metronome: Choose the BPM of your track and activate the metronome to play along.
Live quantize: Always play in rhythm by setting your notes on the tempo.
MIDI & audio export: Export your song as MIDI clips and audio STEMS.
Section edit: Cut your track into parts, duplicate and move them.
Free tempo: Your first loop sets the tempo of your track.

Audio is Coming in the Joue Play App
Discover soon 2 brand new features to add audio tracks to your creations.
Leave your email so you don't miss the release.

Build up your Skills

Practice by learning the basics or by replaying a selection of famous songs step by step through a series of video tutorials, also available as projects in the Joue Play App.

Practice tutorials

Get familiar with the fundamental principles of musical practice.

How to play covers

Turn the songs you love into the ones you'll love to replay.

Get Inspired by Artists' Sound Worlds

Available as direct download in the Joue Play App, Artist Packs invite you to explore the musical worlds of renowned artists with 8 new Signature instruments to add to your library to enrich your creations.

Explore Other Forms of Creation

Use the Joue Play with its dedicated app or compose with hundreds of sound banks via Garageband, learn to play in a fun and playful way with Melodics or remix the creations of millions of users from BandLabsocial platform.

Go Further with Pro Option

Your Joue Play evolves with you and leads you through your transition to professional music production softwares to let your creativity express itself fully.

An Eco-Designed Instrument

So that digital music can rhyme with sustainability, the Joue Play was designed to last, just as acoustic instruments. Production is carried out with suppliers at 80% located in France, using sustainable materials.

With You Everywhere You Go

Connect your Joue Play to the app and create anywhere, when inspiration comes! Compact and lightweight, it slips easily into a backpack and follows you on the go so you don't let any musical idea slip away.

In the box

Play Board (wood, metal, pressure sensitive captor)
Play Pads: Piano, Guitar, Drums, Xylophone (silicone, RFID chip)
USB-C to USB cable- C + adapters (Apple Lightning & USB-A)
Storage case
Free Joue Play app available on macOS, Windows and iPadOS
Free video tutorials

Compatibility

The Joue Play application is available on macOS, Windows and iPadOS.
The Joue Play is a MIDI controller that can be used with all MIDI-compatible applications and music softwares.

Notes: The Badwater is a bass tone magnification device sonically highlighting what makes bass so crucial to music. The all-in-one bass pre-amp and DI features optical compression, overdrive, and a four-band EQ section. Enhance your bass rig's capabilities and dial in everything from warm cleans, gritty chords, punchy drive, or bright and crisp slap sounds.

Sustain

The Badwaterfeatures an internal optical compressor. It's first in the signal path and is always on, though its strength is adjustable. Use the Sustain knob to add compression for long sustained notes and chords while smoothing out your transients. At a minimum, you will have a minimal effect, but as you increase the knob, you will hear more extended notes and squashed transients.

Drive Control

Give your sound some teeth by adding a subtle breakup or a tastefully driven distortion. Use the Voice toggle to select one of three options for how much low and high-frequency content is allowed into the drive section, then use the Blend knob to blend between your fully clean and fully distorted signal. Blend your clean and driven signal to taste for increased note clarity as the clean and dirty channels run parallel. The drive control also features a separate Level knob to boost or cut the drive signal.

Shaping and EQ

Cover just about any musical genre needs with the extensive EQ options from the Badwater. Dial in your base tone with boost/cut low, mid, and high frequencies, then zero in on your perfect tone by sweeping between 500 Hz to 2.4k Hz with the Low Mid Frequency knob (LMF) or 3.5k Hz to 7.5k Hz on the High Mid Frequency knobs (HMF).

XLR Out

Badwater features both 1/4 inch and XLR out options, so you're always ready with a usable bass rig. Use the XLR to connect directly to the front-of-house or use the 1/4 inch out to run to and amp. Both outputs can be run simultaneously for direct and live amp stagemonitoring. The Badwater Does not accept power from phantom power. Phantom power will be blocked out and not damage the Badwater, but it is best to avoid turning on phantom power when the unit is connected.

Specs

The Badwater comes coated in a matte black enclosure with dark green and light blue ink with art inspired by the Badwater Basin in Death Valley National Park. Illustrated by Josh Yosurack
The die-cast enclosure's exact size is 3.62"x 4.79" x 2.25" including knobs.
Power requirements are 9VDC, center negative (300mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended.
Power supply not included.

Packaging dimensions: 14.6 x 10.7 x 6.4 cm
Weight: 0.46 kg

Notes: The emphasis with the Soundcraft EPM is very firmly on quality build and audio performance, with an easy to understand control surface uncluttered by unnecessary facilities, and Soundcraft have brought new technologies and ideas to this very cost-effective range. Surface mount technology is used throughout, using close-tolerance components for high accuracy and repeatable settings for EQ and gain controls. The highly-transparent GB30 Mic amp (designed by Graham Blyth for the company's 30th anniversary, and also used on the larger LX7ii and GB Series consoles) features high-resolution adjustment over a wide gain range of 55dB, and provides a stunning +22dB headroom through the console. True professional 48-volt phantom power caters for condenser microphones of all types.

A unique feature of the signal monitoring is the PEAK led. This uses multipoint signal take-offs to watch for overload in several parts of the channel strip, and the led lights more brightly as the signal approaches the peak point. For smooth and accurate channel control, the EPM has 60mm high quality faders as used on other Soundcraft desks. The monitor output and headphone output work in parallel so that performers can still listen on phones while an engineer is listening on studio monitors.

Features
2 configurable auxiliary buses
XLR-type and 14" metal jack connector sockets
RCA phono stereo playback inputs and record outputs
3-band EQ with a swept mid on mono inputs
2-band EQ on stereo inputs
TRS insert sockets and inserts on all mono inputs and mix output
Ten-segment LED output metering
Intuitive and comprehensive solo system
Headphone output
Easily rack mountable
The Soundcraft EPM will find itself in many applications including live music, recording, houses of worship and multi-speaker installations.

Notes: Pro-Ject's first ever fully automatic turntable makes it easier than ever to enjoy hi-fi sound. Auto start and stop mean you just need to press play and the stylus is applied to the vinyl for you.

Supplier's Notes:
The Beginning Of A New Pro-Ject Story

The A1 introduces the completely new Automat Line. Pro-Ject have always had one purpose since establishment in 1991: bring HiFi Stereo music enjoyment to as many people as possible. The Pro-Ject product catalogue has been expanded with a fully automatic entry-level turntable and create new opportunities for future vinyl beginners and enthusiasts. The A1 is handmade in Germany by a traditional manufacture with a wealth of experience in making automatic turntables. Even the individual components are 98% made and produced in Germany. Paired with Pro-Ject technology and ideas, new standards in automatic turntable design. The new A1 is your best companion to comfortably enjoy your favourite vinyls.

The A1 has a fully automatic start/stop with the automatics being completely disengaged and decoupled during the entire runtime of the record. The fully mechanical automatics are engaged when you press start and the tonearm is automatically moved to the lead in groove of the record. Once playing, the automatics are completely taken out of the equation and do not affect the playback quality.

ULM Aluminium Tonearm
The A1 features an 8.3" ultra-light-mass aluminium tonearm. Together with the Ortofon OM10, which fits this design principle perfectly, we get extraordinary fast response and detail in terms of transients and microdynamics. Tracking force and anti-skating are factory pre-adjusted which make the A1 plug & play ready within a few seconds. This makes it perfect for vinyl beginners and experienced listeners alike as the sound quality is carried by all the audiophile features the A1 has on offer.

Audiophile Features
Ortofon OM10
Detailed Response & Microdynamics
A little-known fact is that the OM series of cartridges have their developmental roots and legacy in ultra-light-mass tonearm designs. Pre-fitted and adjusted in the Pro-Ject factory, it is the perfect partner for your A1.

New Headshell
Carbon fibre reinforced
The headshell is made of carbon fibre reinforced polymer which is super stable and rigid, while keeping the weight super low. The composite material results in excellent internal damping of resonances.

Wood Chassis
Heavy and avoids hollow spaces
The chassis avoids hollow spaces wherever possible, with just enough space to precision fit all the inner workings of the A1. As a result, the chassis' heavy mass reduces unwanted resonances to a minimum.

Damped Platter
Precision balanced aluminium
The damping ring on the inside adds weight and reduces resonances. In the last step the platter is turned and precision balanced to receive its fine edges and lowest wow and flutter deviations.

Connect it E
Semi-balanced RCA cable
To guarantee a perfect connection to your amp, this turntable uses a high-quality phono RCA cable. The Connect it E is a semi-balanced, low-capacitance cable, with superior shielding.

Phono Preamp
Built-in switchable preamp
If you don't have a phono preamplifier in your current HiFi setup you will benefit of the A1s built-in one. If you want to use another phono preamp, you can easily switch it off.

33/45 RPM
Ready for singles & LPs
No need to change the belt position. Easily change speed with the push of only a single button & listen to your favourite LPs as well as singles.

Automat Line
Handmade in Germany
The A1 is fully handmade in Germany and looks back on decades of experience. Paired with Pro-Ject technology, it sets new standards in automatic turntable design.

Technical Specifications

Speed: 33, 45 (electronic speed change)
Drive principle: belt drive, fully automatic
Platter: damped aluminium platter
Wow & flutter: 33: +/-0,27%; 45: +/-0,25%
Speed drift 33: +/-0,75%; 45: +/-0,65%
Signal to noise: 65dB
Tonearm: ultra-light-mass 8,3" aluminium tonearm
Effective arm length: 211mm
Overhang: 19,5mm
Included accessories: 15V DC / 0,8A power supply, dust cover, 7'' single adapter, feltmat, phono cable
Power consumption: 1,5W
Dimensions: 430 x 130 x 365 mm (WxHxD)
Weight:: 5,6 kg net

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


Bags of character courtesy of 'tone wizard' Andy Timmons (Danger Danger). Dual delay lines work in tandem, creating stereo effects from vintage tape delay to infinite hold.

Supplier's Notes:
Andy Timmons' mysterious sounding "Halo" effect is a modulated dual echo sound that has long been kept a secret by the tone wizard himself. Andy spent decades combining and crafting the sounds you can now get from the HALO. Notes from the HALO dance rhythmically, almost creating a reverb diffusion. Those notes are held together with tape-style effects like modulation, saturation and compression. The results are stunning!

The pedal comes loaded with his signature delay tone and you can program your own sounds and save them as presets. Easily bounce between Side A and B on the fly, essentially giving you two delay pedals in one. In addition to Andy's signature "Halo" sound, there are numerous other rhythmic delays including: quarter note, dotted 8th, stereo rack mount analogue delay, and a vintage multi-head tape echo. Stunning stereo and pristine sound quality are further enhanced with controls for saturation, tone, and shelving filters that give you the ultimate delay pedal.

Think of HALO as two delay pedals that work in tandem, letting you switch between your main delay (side A) and an alternative (side B). With up to 1500 ms of available delay, set sides A and B for different delay times, then simply foot switch between the two. Keeley's Smart Stomp System allows you to press and hold either stomp switch to engage tap tempo mode. Press and hold the alternate stomp switch for infinite repeat/hold.

Each Preset bank gives you 2 delays settings for a total of 8 user-storable effects. Use the Rhythm control to select between different echoes like HALO, Analog, Tape, Quarter and Dotted Eighth. HALO's Saturate control adds tape compression texture to your tone. The Tone and High Pass Filter controls your overall delay shape and mix. The Rhythm Mode selector delivers 5 delay types, including Andy's unique "Halo" sound. Set the Time and Feedback controls low, and you can open up a world of ambient chorus and flanger effects.

Run the HALO in stereo for incredible true-stereo imaging or save your favourite combination of settings as a preset and the HALO becomes an incredibly compact multi-effect workstation!

Notes: The revolutionary XR16 is a powerhouse 16 input portable/rack-mountable mixer for iPad and Android tablets, and is ideally suited for both live and studio applications, thanks to its 8 award-winning MIDAS-designed mic preamps, convenient integrated Wifi module for wireless control, plus USB connectivity for file storage, system updates and uncompressed stereo recordings via the USB Stereo Recorder.

Also included are rack ears and protective bumpers for added flexibility in your studio and stage applications. Priced and sold individuall

Notes: Analogue HiFi Turntable for Audio Purists

The TURN 2 HiFi turntable is for vinyl purists wanting to immerse themselves in the world of analogue listening pleasure. Vinyl enthusiasts can start using the turntable straight away thanks to the pre-installed, elliptical cartridge from Ortofon.

Smooth belt drive & low-noise DC motor

The precise belt drive on the TURN 2 ensures a consistent platter speed with minimal wow and flutter. The built-in, low-vibration DC motor is extremely quiet meaning the TURN 2 can be ideally set up in listening environments or living rooms. The integrated motor control can be conveniently switched between 33 1/3 and 45 RPM using the speed selector switch, which is located underneath the chassis in keeping with the player's minimal styling.

Static balanced, straight tone arm with optimal tracking performance

The TURN 2 is fitted with a static balanced, straight tone arm, with an angled headshell and Ortofon cartridge that sits perfectly in the groove of the record. The manual tone arm lift allows the needle to be precisely lowered onto the record. The anti-skating mechanism ensures the best possible tracking performance.

Flexible Headshell Connection

The headshell connection makes TURN 3 a really flexible performer. The GM/SME locking mechanism allows for easy switching between pick-up cartridges mounted on different headshells.

Classy, matt slimline housing with high-quality terminal

Alongside the connection for the external DC power supply, the rear of the TURN 2 features two gold-plated, corrosion-resistant RCA connections and a separate earth connection to prevent the possibility of ground loops. All cable connections are removable, allowing for easy replacement or later upgrade. The heavy MDF plinth has an extremely slimline design and is available in a matt black, red or white finish. A high-inertia die cast aluminium platter with chrome edging harmoniously rounds off the elegant design of the TURN 2.

Technical Data

Turntable Section:
Type: Belt-Driven Analogue Turntable System
Drive: Belt drive
Motor: DC Motor
Turntable Speeds: 2 speeds (33 1/3, 45)
Wow and flutter: 0.2% WRMS
S/N Ratio: >65 dB (a-weight)
Record weight: recommended 500g

Turntable Platter:
Material: aluminium die-cast
Diameter: 300 mm
Weight: 550 g

Tonearm Section:
Type: Static Balanced Straight Tonearm
Effective Length: 224 mm
Overhang: 19 mm
Tracking Error Angle: 25-
Tracking Force: 1.5 g
Applicable Cartridge Weight: 4~6 g (incl. headshell 14~16 g)
Anti-Skating Range: 0 - 3 g

Terminals:
1x PHONO Out (gold-plated), 1x GND Earth Terminal

General:
Power supply: DC 12 V, 500 mA
Power Consumption: 6 W
Dimensions: 420 (W) x 340 (D) x 121 (H) mm (incl. Dust cover)
Weight: Approx. 4.6 kg

Notes: ADVA is a fat-sounding 24dB ANALOGUE MULTIMODE FILTER packed with features including a VCA, white noise generator, pre and post-distortions and a smart interface that makes it a versatile beast in a surprisingly small package.

With 7 filter modes, ADVA provides high richness and a wide variety of tones; it can filter gently like an LPG or it can be pushed up to the edges of hot acid tones.

Unlike many other multimode filters, a phase keeper ensures that ADVA never inverts the input's phase in any of its filter modes.

Self-Oscillation is available for all modes, producing a range of waves from clean sine waves up to soft square waves when activating the post-distortion circuit. Together with V/OCT tracking, ADVA works brilliantly as an oscillator or as a percussive sound generator.

A resonance loudness compensation circuit ensures that ADVA does not compromise on volume when the resonance is increased.

An Internal analogue white noise generator is the little bit of spice that can make the world of difference. Blend it together with the input signal by rotating the dedicated knob to add more richness to your sound and further emphasize cutoff movements, or use it as an FM source to achieve the different flavors of dirty tones.

ADVA is packed with two separate distortion circuits. First, the soft-clipping overdrive is located in the sound path after the white noise blend knob and the input gain knob, a circuit which can push the incoming signal to thicken any waveform. If you blend the input with the noise generator it can compress the noise and exaggerate it to achieve more aggressive levels.

The second (post) distortion is located after the VCA, just before the output. This is a more aggressive distortion and can be used for acid and other dirty hot tones.

Although the sound path is completely analogue, ADVA has a digital support circuit that enables a smart routing system with the option to modulate filter modes via CV, and a very intuitive interface that includes 3 CLICKKNOBS and an RGB LED ring that provides visual feedback for whatever state the filter is in.

Dimensions
6 HP
35 mm deep

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

Notes: ADVA is a fat-sounding 24dB ANALOGUE MULTIMODE FILTER packed with features including a VCA, white noise generator, pre and post-distortions and a smart interface that makes it a versatile beast in a surprisingly small package.

With 7 filter modes, ADVA provides high richness and a wide variety of tones; it can filter gently like an LPG or it can be pushed up to the edges of hot acid tones.

Unlike many other multimode filters, a phase keeper ensures that ADVA never inverts the input's phase in any of its filter modes.

Self-Oscillation is available for all modes, producing a range of waves from clean sine waves up to soft square waves when activating the post-distortion circuit. Together with V/OCT tracking, ADVA works brilliantly as an oscillator or as a percussive sound generator.

A resonance loudness compensation circuit ensures that ADVA does not compromise on volume when the resonance is increased.

An Internal analogue white noise generator is the little bit of spice that can make the world of difference. Blend it together with the input signal by rotating the dedicated knob to add more richness to your sound and further emphasize cutoff movements, or use it as an FM source to achieve the different flavors of dirty tones.

ADVA is packed with two separate distortion circuits. First, the soft-clipping overdrive is located in the sound path after the white noise blend knob and the input gain knob, a circuit which can push the incoming signal to thicken any waveform. If you blend the input with the noise generator it can compress the noise and exaggerate it to achieve more aggressive levels.

The second (post) distortion is located after the VCA, just before the output. This is a more aggressive distortion and can be used for acid and other dirty hot tones.

Although the sound path is completely analogue, ADVA has a digital support circuit that enables a smart routing system with the option to modulate filter modes via CV, and a very intuitive interface that includes 3 CLICKKNOBS and an RGB LED ring that provides visual feedback for whatever state the filter is in.

Dimensions
6 HP
35 mm deep

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

Notes: ADVA is a fat-sounding 24dB ANALOGUE MULTIMODE FILTER packed with features including a VCA, white noise generator, pre and post-distortions and a smart interface that makes it a versatile beast in a surprisingly small package.

With 7 filter modes, ADVA provides high richness and a wide variety of tones; it can filter gently like an LPG or it can be pushed up to the edges of hot acid tones.

Unlike many other multimode filters, a phase keeper ensures that ADVA never inverts the input's phase in any of its filter modes.

Self-Oscillation is available for all modes, producing a range of waves from clean sine waves up to soft square waves when activating the post-distortion circuit. Together with V/OCT tracking, ADVA works brilliantly as an oscillator or as a percussive sound generator.

A resonance loudness compensation circuit ensures that ADVA does not compromise on volume when the resonance is increased.

An Internal analogue white noise generator is the little bit of spice that can make the world of difference. Blend it together with the input signal by rotating the dedicated knob to add more richness to your sound and further emphasize cutoff movements, or use it as an FM source to achieve the different flavors of dirty tones.

ADVA is packed with two separate distortion circuits. First, the soft-clipping overdrive is located in the sound path after the white noise blend knob and the input gain knob, a circuit which can push the incoming signal to thicken any waveform. If you blend the input with the noise generator it can compress the noise and exaggerate it to achieve more aggressive levels.

The second (post) distortion is located after the VCA, just before the output. This is a more aggressive distortion and can be used for acid and other dirty hot tones.

Although the sound path is completely analogue, ADVA has a digital support circuit that enables a smart routing system with the option to modulate filter modes via CV, and a very intuitive interface that includes 3 CLICKKNOBS and an RGB LED ring that provides visual feedback for whatever state the filter is in.

Dimensions
22 HP
35 mm deep
Module is a 1U tile in Intellijel format

Current Draw
110 mA +12V
50 mA -12V

Notes: ADVA is a fat-sounding 24dB ANALOGUE MULTIMODE FILTER packed with features including a VCA, white noise generator, pre and post-distortions and a smart interface that makes it a versatile beast in a surprisingly small package.

With 7 filter modes, ADVA provides high richness and a wide variety of tones; it can filter gently like an LPG or it can be pushed up to the edges of hot acid tones.

Unlike many other multimode filters, a phase keeper ensures that ADVA never inverts the input's phase in any of its filter modes.

Self-Oscillation is available for all modes, producing a range of waves from clean sine waves up to soft square waves when activating the post-distortion circuit. Together with V/OCT tracking, ADVA works brilliantly as an oscillator or as a percussive sound generator.

A resonance loudness compensation circuit ensures that ADVA does not compromise on volume when the resonance is increased.

An Internal analogue white noise generator is the little bit of spice that can make the world of difference. Blend it together with the input signal by rotating the dedicated knob to add more richness to your sound and further emphasize cutoff movements, or use it as an FM source to achieve the different flavors of dirty tones.

ADVA is packed with two separate distortion circuits. First, the soft-clipping overdrive is located in the sound path after the white noise blend knob and the input gain knob, a circuit which can push the incoming signal to thicken any waveform. If you blend the input with the noise generator it can compress the noise and exaggerate it to achieve more aggressive levels.

The second (post) distortion is located after the VCA, just before the output. This is a more aggressive distortion and can be used for acid and other dirty hot tones.

Although the sound path is completely analogue, ADVA has a digital support circuit that enables a smart routing system with the option to modulate filter modes via CV, and a very intuitive interface that includes 3 CLICKKNOBS and an RGB LED ring that provides visual feedback for whatever state the filter is in.

Dimensions
22 HP
35 mm deep
Module is a 1U tile in Intellijel format

Current Draw
110 mA +12V
50 mA -12V

Notes: The Chance is a random voltage generator and noise source. Its digital architecture allows for a fresh take on what random voltage can be. Four unique algorithms provide classic signals like smooth and discrete, while the wavetable and blend outputs take full advantage of its microcontroller core, utilizing lookup tables, and digital interpolation to create a one-of-a-kind modulation source.

Upon each successive clock pulse, coin toss seeds all outputs with new randomly chosen values. Freeze stops everything in its tracks and holds each output at its current state. After countless hours, the Chance will continue to surprise with new, unbelievable improvisations.

Notes: Expand the lid from your case to be another powered rack. This set includes:

Rails
Handle and handle supports
Powered bus board
Case wiring
AC/DC power adapter
All hardware and thermal tape to complete the conversion

Notes: The new MULTI-FORMAT CASE PLAYER/MIXER (V10/A9) SET is specifically designed for transporting two CDJ/Multimedia Players and a 6 or 4-channel club mixer, such as the Pioneer DJM-V10, DJM-A9, or Ecler Warm 4. The case is universally compatible with all current models from Pioneer DJ, Denon, Allen & Heath, Ecler, Rane and Reloop, and can be adjusted to different device sizes using the included foam strips. Crafted from 9 mm vinyl laminated plywood, sturdy aluminum profiles, heavy duty butterfly latches and smooth rolling wheels, this case provides ultimate protection for mobile use on the road.

Fits

Pioneer DJM-V10
Pioneer DJM-A9
Pioneer DJM-900 NXS2
Pioneer DJM-900 NXS / SRT
Pioneer DJM-800 / 700 / 600
Pioneer CDJ-3000
Pioneer CDJ-2000 NXS2
Pioneer CDJ-2000 NXS
Pioneer CDJ-900 / 850 / 800
Pioneer XDJ-1000
Allen & Heath PX5
Allen & Heath DB4
Allen & Heath DB2
Allen & Heath Xone 92 / 62 / 43C
Denon LC 6000 Prime
Denon SC-6000 / SC-6000M
Denon SC-5000 / SC-5000M
Denon X1850 / X1800
Denon X1600
Denon SC3900
Denon SC2900
Reloop RMX-90 DVS
Reloop RMX-80 Digital
Ecler Warm 4
Ecler NUO4
Rane MP2015
Rane Sixty-Eight / Sixty-Four

Specs

Outer measures: 125,4 x 59 x 25 cm
Inner measures: 33,1 x 42,5 x 8,4 cm / (CDJ compartment) 43,7 x 45,4 x 8,4 cm (Mixer compartment)
Weight: 21,5 kg

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


Inspired by the legendary Pearl Syncussion drum machine from the 70s, Blue Lantern's take is a single channel of powerful and experimental percussion synthesis. Pure analogue creativity.

Supplier's Notes:
Based around the highly sought-after Pearl drum synthesizer comes Blue Lantern's Syncussion Plus, a highly performable and designable percussion voice. While in some ways it deviates from its predecessor, the Syncussion Plus incorporates classic tones and shaping tools while adding flexibility and accessibility over their parameters. Syncussion Plus incorporates fantastically into your Eurorack system with a multitude of I/O for CV control as well as a Piezo input for triggering the unit via a drum pad, contact mic, or anything you'd like for dynamic percussion playback.

Where the original Syncussion had oscillator modes to select from, the Syncussion Plus offers tuning and mixing controls over two VCOs and a noise generator for sculpting the perfect timbre. The oscillators can follow a 1V/Oct pitch input for creating melodies and basslines, while the second VCO is tied to the first VCO's pitch with an offset via the Spread knob. Additionally, you have a Pop control to introduce an initial transient as well as a S&H function to dictate the pitch every trigger Syncussion Plus receives.

Blue Lantern's very gritty and clangy CMOS FX Processor Voice & FX Processor makes an appearance in the Syncussion Plus via the Shimmer section, sporting the same XOR RM oscillator setup with a few additions. On top of the fantastic Linear CMOS FM input, the Shimmer voice's pitch and amplitude can be sculpted with the pitch envelope as well as the S&H unit within the module. The Shimmer section is perfect for introducing clap, hat, and metallic-sounding timbres to your percussion.

For modulation purposes, we have the traditional LFO and pitch envelope setup, both of which can be customized depending on the routing. The LFO can go well into audio rate, and is mapped to influence VCO FM, square or triangle LFO, as well as the Shimmer's linear CMOS input, square LFO. Additionally, you have an amplitude/ring modulation dial that incorporates the triangle LFO with the VCA, and depending on where you have your VCA gain set to determine if it applies AM or RM. The pitch envelope acts like the original Syncussion in that you have control over which direction it sweeps, how much modulation is applied, and how long the sweep decays.

With a solid amount of sonic possibilities and highly modulatable features, internally and externally, the Syncussion Plus from Blue Lantern is a fantastic voice to add to your modular rack for an intense range of synthesized drum sounds.

Dimensions
27 HP

Current Draw
96 mA +12V
86 mA -12V

Notes: ***B-STOCK: Item re-boxed, product has slight dent but is in perfect working order***


Pro-Ject Audio Systems, the world-renowned manufacturers of premium hi-fi turntables, are expanding their portfolio their first dedicated vinyl record cleaner. The brand new VC-S uses a specially developed cleaning solution and high-powered vacuum technology to breathe new life into record collections at a price you would not believe.

Everyone with a collection of vinyl records knows how important it is to keep them clean. Every use exposes them to environmental impurities that accumulate over time, resulting in a build-up of dirt inside the record grooves that can negatively impact the playing cartridge's lifespan and the overall sound performance of a vinyl hi-fi system. This dirt often consists of both organic and man-made residues that combine to "grate" at the record wall when a stylus is in the groove. The VC-S removes these impurities in a quick, efficient and cost-effective way to extend the life of your records, and bring greater musical enjoyment to your hi-fi experience.

The VC-S uses a specially-developed "wet" chemical solution to clean the record grooves, and then follows this manual process with a high-power vacuum stage. Check out our 'how-to' video below to see just how simple it is...

The VC-S boasts many characteristics that help it stand apart as a superlative vinyl cleaner. The vacuum technology has been specially selected due to its high power, meaning a record side can be dried in as little two rotations. The motor is also much faster than alternative products, achieving a full rotation in around two seconds. It's also capable of dual-directional rotation, for deeper cleaning of the record groove with the supplied record brush.

The purpose-engineered record clamp is machined from aluminium, and lined with a rubber seal that keeps cleaning fluid away from the record label during use. The clamp also replaces the need for a platter, which could potentially bring dirt into contact with a clean record surface. The vacuum arm is equally robust and easy to use in its mechanically stable fixing (which uses no springs).

The VC-S is supplied with Pro-Ject's newly developed vinyl cleaning solution. Wash-IT offers impressive cleaning results, and also reduces the build-up of static charges on a record. Pro-Ject have also developed a special alcohol-free solution developed for use with older 78rpm shellac records (Wash-IT 78). The VC-S is supplied with all the accessories you need to get started, including 100ml of Wash-IT. Separate accessories, including an optional dust cover and various sizes of Wash-IT cleaning solution, are also available.

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


'Vintage' black panel version of Doepfer's updated frequency shifter module, offering weird and wonderful effects by shifting all frequencies by a fixed amount. Unique sound, not to be confused with pitch shifting.

Supplier's Notes:
Module A-126-2 is a fully analog frequency shifter for audio signals. A frequency shifter is an audio processing unit that shifts each frequency of the incoming audio signal by the same frequency. If the shifting frequency is e.g. 200Hz an incoming audio frequency of 1000 Hz becomes 1200 Hz, 2000Hz becomes 2200 Hz, 3000 Hz becomes 3200 Hz and so on. Pay attention that this is different from pitch shifting where all frequencies are shifted proportional (e.g. 1000>1200Hz, 2000>2400Hz, 3000>3600Hz) !
The frequency range of the internal quadrature VCO is about 8 octaves (about 20Hz ... 5kHz). If required an external quadrature VCO can be used.

The module is equipped with these controls, inputs and outputs:

Frequ. 1: first manual control of the shifting frequency (factory setting: coarse, range about 20Hz - 5 kHz)

Frequ. 2: second manual control of the shifting frequency (factory setting: fine)

by means of internal jumpers the sensitivity of Frequ.1 and 2 can be swapped (i.e. Frequ.1 = fine and Frequ.2 = coarse)

the relation between coarse and fine control is about 25:1 (corresponding to about 8 octaves to 1/3 octave)

FCV In (socket) and FCV (small control without knob): control voltage input with attenuator for the external voltage control of the shifting frequency

Mix: manual control of the up/down shift panning unit, fully CCW = down shift, fully CW = up shift, in between a mixture of down and up

Mix CV In (socket) and Mix CV (small control without knob): control voltage input with attenuator for the mixing unit for external voltage control of the up/down mixing

Audio In (socket), Level (small control without knob) and Overload (LED): audio input with attenuator, typ. audio in level = 1Vpp, the level control has to be adjusted so that the overload LED just begins to light up a bit, when the LED is fully on clipping/distortion occurs, when the LED is permanently off the input level is too low and the signal-to-noise ratio increases

Audio Out (socket): audio output of the frequency shifter

Squelch (small control without knob): controls the squelch function: fully CCW (Env.) the output VCA is controlled by the envelope signal, which is derived from the audio input signal, fully CW (open) the output VCA is permanently open (no squelch function), in between the squelch intensity can be adjusted

Quadrature VCO Outputs (sockets Sin and Cos): outputs of the internal quadrature oscillator, about 12Vpp level (+6V/-6V)

Ext. Inputs Sin and Cos (sockets): required when an external quadrature VCO (e.g. A-143-9 with a wider frequency range or A-110-4 with thru zero feature or A-110-6 with different waveforms) is used instead of the internal quadrature VCO, the levels of the external VCO should be about 10Vpp (8...10Vpp are OK) and the signals have to be symmetrical around zero Volts, the sockets are normalled to the internal quadrature VCO (i.e. the sockets are equipped with switching contacts that interrupt the internal connection as soon as a plug inserted)

VCA ext. CV (socket): used when an external control voltage (e.g. from an envelope generator) should be used to control the output VCA instead of the internal squelch unit, the socket is normalled to the output of the squelch control (i.e. the socket is equipped with a switching contact that interrupts the internal squelch connection as soon as a plug inserted). From about +8V external control voltage the VCA is fully open.

Internal terminals (pin headers, e.g. for a DIY breakout module):

envelope follower output

dome filter output 1

dome filter output 2

ring modulator 1 output

ring modulator 2 output

Up shift output

Down shift output

Notes: Serious USB MIDI interface, 16 channels in and 16 out. Solid timing and SysEx communication thanks to Ploytec GM5 technology. Class compliant, plug and play for Mac and Windows.

Supplier's Notes:
19" USB MIDI Interface with 16 x MIDI IN and 16 x MIDI OUT ports, works Class Compliant without driver with MAC OSX, Windows XP SP2, Windows Vista, Windows 7, 8 and 10.

The Midiface 16×16 is based on Ploytec's GM5 technology, which means extremely good timing and perfect Sys-Ex stability. When USB3.0 is used for the connection, MIDI flow is further prioritized. This ensures stable and reliable real-time performance for your DAW.

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


Stellar edition of the fantastic MicroFreak adds new features as well as a limited-edition paint job. Digital voices feed into the analogue filter to create a versatile hybrid sound engine.

Supplier's Notes:
MicroFreak Stellar is a hybrid synthesizer that combines digital oscillators, analogue filters, quirky modulation, a uniquely flat PCB keybed, and expressive sequencing with a subtly out-of-this-world aesthetic design.

Interplanetary synth explorer

Discover the same loveable hybrid beast that sent the synth world into a spin, but primed for launch and ready for an interplanetary sonic voyage. MicroFreak Stellar features the same inspiring, bonkers sound but embellished with a unique space-age design.

Digital, wavetable, sampling, granular...

Treat yourself to only the weirdest & most wonderful paraphonic synth sounds with MicroFreak's multimode sound engine. Choose from numerous algorithms, including Wavetable, Chord, 4 new Sample & Granular engines and many more, and immediately customize your patches with 4 intuitive con-trols and real-time visual feedback.

Multi-mode analogue filter

Unlock truly unique hybrid tones by combining MicroFreak's digital sound engines with a crunchy resonant analogue filter, inspired by the classic Oberheim SEM. With low-pass, band-pass, and high-pass modes, you can make this 'Freak whisper, scream, or launch into self-oscillating orbit.

Modulation matrix

Quickly rewire MicroFreak's architecture and delve deep into complex sound design with its modulation matrix, offering up to 7 simultaneous destinations and 5 sources, including an ADSR envelope, cycling envelope, and 6-shape LFO.

Sequencing & randomization

Blur the lines between sequencing & arpeggiation and create spontaneous melodies, motifs, and rhythmic patterns on the fly. MicroFreak encourages musical exploration, expression, and evolution with its unique Spice & Dice randomization feature, ribbon controller, and 4 lanes of automation.

A unique keybed

Change the way you play and unlock fresh musical expression with MicroFreak's distinct PCB keyboard. It's flat, it's fast, and it's fit for everything from lightning-fast solos to instant arp creation; not only is it pressure sensitive, but it offers poly-aftertouch too!

What's in the box

Box content

MicroFreak Unit
Universal PSU
Registration card
2x MIDI port adapters

Instrument dimensions

Size : 12.2 x 9.2 x 2.2 inches (311 x 233 x 55mm)
Weight : 2.3 lbs. (1.02 Kg)

Notes: Special edition of one of our favourite 303 clones. Fully analogue tribute to the Roland original with incredible sound. Authentic acid at a very nice price.

Supplier's notes:
A full analog synth clone of the famous TB303, coming with a lot of new features and improvements, from the sound point of view as well as the ergonomics of the machine and the sequencer.

A new design, new pots very smooth, new features for Live jam, 2 new sequencer modes for even more creativity, added CV / Gate (and even more) outputs to play your favorite synths !

The design of the analogue circuit (composed of 1 VCO) and the audio engine has been improved compared to the previous version, giving it a warm and groovy sound thanks to the addition of the Shuffle (not present on the original) .

The very intuitive sequencer takes on the original spirit while bringing new and unique features such as Mute and Hammer, which gives it a great flexibility for live jam and more sound variations, as well as 2 new sequencer modes to create New patterns.

Notes: Bass Bot is an intelligent sequencer featuring 21st century transistor technology. An analogue, monophonic synthesizer with classic step entry programming by the user or Bot computer-generated patterns. Seven unique preset personality programs, capable to generate up to 224 read only computer generated presets by the Bass Bot. An additional 224 Write Editable Patterns can compose up to 7 songs of up to 127 bars. All information is saved to on-board flash (permanent) memory and transferable directly to other Bass Bots via 8 DIN cable, (unit cloning) or to PC/MAC (backup) computers for storage with a downloadable transfer application available.

Supplied with Euro two pin to UK three pin adapter

Notes: Whether you want to sequence MIDI or analog synthesisers, Crazy8 is your trusty companion to handle all your sequencing needs! Twisted Electrons have multiplied the power of the Acid8 step sequencer by 8, allowing for easy to set up crazy sequences and songs . With just a dash of randomness into the mix, it will help you create truly innovative melodies and lead lines. Play with polyrhythms. Improvise and be inspired.

Crazy8 features 1 Rotary Encoder, 22 Buttons and 86 subtle white LEDs with 2 levels of brightness to visualise 4 patterns at once!

8 Crazy Tracks:

4 Polyphonic MIDI tracks with chords: send on MIDI port 1 (MIDI Type A)
4 Analog CV/Gate tracks: also send MIDI on MIDI port 2
Polyphonic CV! (4 voice chords)
Sync in and out
MIDI Clock input and output, MIDI Slave and Master supported (MIDI Type A)
MIDI pattern "Feeding" and transposing
Heads up mode to display all active steps and chords at a push of the button
Custom CV calibration per note
Independent length per pattern: up to 16 steps per pattern. Chain up to 8 patterns for 128 step patterns
Independent playback per track: Forward, backwards, pendulum and random
Independent rates per track: /4, /3, /2, x1, x2, x3, x4, x8
8 Levels of Swing & 2 swing modes
Variable duty per pattern
Crazy effect per pattern: values 1-8 reduce probability of step, values 10 to 16 add musical improvisation based on the pattern's content
Offset step playback per track
Transpose all tracks to any key with ease
SYSEX memory storing/recalling
MIDI real time pattern feeding
Sequence transpositions (key tracks)
No menus, no BS

Notes: Red version of Cyclone's excellent bass synth, replicating the sound of the iconic Roland TB-303. Fully analogue synth with modernised sequencer and classic acid sound.

Supplier's Notes:
A full analogue synth clone of the famous TB303, coming with a lot of new features and improvements, from the sound point of view as well as the ergonomics of the machine and the sequencer.

A new design, new pots very smooth, new features for Live jam, 2 new sequencer modes for even more creativity, added CV / Gate (and even more) outputs to play your favourite synths!

The design of the analogue circuit (composed of 1 VCO) and the audio engine has been improved compared to the previous version, giving it a warm and groovy sound thanks to the addition of the Shuffle (not present on the original).

The very intuitive sequencer takes on the original spirit while bringing new and unique features such as Mute and Hammer, which gives it a great flexibility for live jam and more sound variations, as well as 2 new sequencer modes to create New patterns.

Specifications

Bass Bot TT-303

VCO

Monophonic
Waveforms: Sawtooth or Square
Frequency Range: 20Hz-850Hz

Main Controls

Tempo Knob
Volume Knob
Track/Pattern Bank Selector Knob
Mode Selector Knob
Power On/Off Switch

Audio Controls

Tuning Knob
Filter Cutoff Frequency Knob
Filter Resonance Knob
Filter Envelope Modulation Amount Knob
Filter Envelope Decay Knob
Accent Amount Knob
Waveform Selector Switch

Data Storage

User Patterns: 432 (9 banks of 48 patterns)
Pattern Lab Patterns: 108 (9 banks of 12 patterns)
Preset Patterns: 108 (9 banks of 12 patterns)
User Tracks: 9

Operating Modes

Pattern Write | Loop Edit |Pattern Lab | Arpeggiator
Pattern Play | Preset | Track Play | Track Write | MIDI

Per-step Modifiers

Down Octave | Up Octave | Accent | Slide
Mute | Hammer | Rest / Tie

Pattern Features

Pattern Length: 1-64 steps
Per-step modifier assignment
Time scales: 16th note, 32nd note, 8th note triplet,
16th note triplet
Assignable pattern LED color
Pattern Copy / Paste functions
Intelligent procedural pattern generator
Pattern-based Arpeggiator
Pattern Mutate function

Track Features

Visual track programming system
Maximum Length: 144 bars | Per-bar transpose option

Global Features

Shuffle Amount | Slide Time | Gate Length |
Illuminated buttons: 26
Tap Tempo Input | Automated VCO calibration |
System LED colour |
MIDI In / Out channels

Outputs

Main Mix (1/4" mono, +15dBu)
Headphone (1/4" stereo, +10dBu)
VCO Waveform (1/8", Sawtooth: 5Vp-p, Square: 3.7Vp-p)
Control Voltage (1/8", 1V/octave, range 1V 5V)
Gate (1/8", 0V 12V)
Accent On (1/8", 0V 5.5V)
Clock (1/8", DIN Sync compatible, 0V 5V)
Start/Stop (1/8", DIN Sync compatible, 0V 5V)
MIDI Out / Thru

Inputs

Filter In (+4dBu nominal, 100kO input impedance)
Power (9VDC, 300mA) | MIDI In

PC Functions

Cyclone Studio application for PC & Mac enables Bass Bot software update and user data backup & restore using MIDI/SysEx transfer.

Physical

Dimensions: L310mm x W130mm x H35mm
Weight: Unit 783g (Boxed with accessories) 1.332kg

Included Accessories: 100-240v Universal Power Adapter | Near Invisible Force Field | Case Transporter | Printed User Manual

Available Accessories: 7 Lines 1/8 to 1/4 output cable snake | Triple 100-240v Universal Power Adapter

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


A creative new approach to sampling, the first release from Teenage Engineering's EP Series is an evolution of the PO-33 K.O! Pocket Operator. Sample, program, sequence and produce in one comapact, retro box.

Supplier's Notes:
Get ready for Round 2

Meet the next evolution of the world's most sold sampler. Based on the legendary PO-33 K.O!, the new EP-133 K.O. II adds more power, more sampling capabilities, a fully reworked sequencer and brand new punch-in 2.0™ effects. Introducing a workflow that lets you go from idea to track faster than ever. It's pocket operators gone pro.

The champ is here

A versatile machine with an impressive set of features, K.O. II is the new champion in and outside the studio. Unrivaled by anything in its class, this is the sampler you've always wanted.

Record sounds around you, sample your voice, favorite synths, vinyl records or whatever audio that you've got on your phone.

Sequence your samples and loops. Make use of the curated selection of drums, bass and keys that come pre-loaded on your K.O. II.

Tweak and automate things like filter, pitch and more... add stereo effects, compressor and next generation punch-in effects.

Knock out features

9 projects each with 80,000 notes
Projects contain 4 groups, each with 99 patterns
Patterns have 12 tracks for samples and midi
Variable pattern length per group (1 to 99 bars)
12 mono / 6 stereo voice polyphony
Use groups to mix and match patterns on the fly
Record and automate all 12 fader assignments
Sequence in free time or quantized with swing
Assign any pad to one of 16 midi channels
Loop mode from OB-4 with length and slide
12 pressure and velocity sensitive pads
Instantaneous time correction and erase
Slice samples live or automatically
Stereo / mono sampling at 46.875 kHz / 16-bit
Punch-in 2.0: effects (pressure sensitive)
Arrange quickly using the instant commit feature
32-bit float signal chain, 24-bit ADC/DAC
Sync io for ext. Gear. 8th, 16th note or sync24
6 built-in send FX and a master compressor
Drag and drop samples using the sample tool

The sequencer engine of the K.O. IIO provides an intuitive, fast way of building up beats and variations using 4 groups x 12 patterns. Like most DAWs, you can instantly swap patterns per group, experiment with different combos to find what beat and bass lines work together. The commit button helps you freeze a point in time and move on, adding a verse or a break. It all happens in real time while playing.

Built-in mic and speaker
USB-C
Midi output
Midi input
Sync output
Sync input
Audio input
Audio output
4x AAA batteries

One-two punch

Vintage style keys with a modern touch, combining tactility with pressure sensitivity.

10" EP format

Comes in a limited edition 10" collector's box

Tech specs:

K.O.II highlights

Sampling frequency: 46 kHz / 16-bit
Internal signal chain: 32-bit
999 sample slots
64 mb memory
Preset samples
High resolution sequencer
Built-in FX
Fader and pressure sensitive pads
Six stereo voices, twelve mono
Runs on 4x AAA batteries with the option to be powered via USB-C

Dimensions and weight

240 mm x 176 mm x 16 mm
9.45" x 6.93" x 0.63" inches
620 g / 22 oz

Stereo input

24 bit
SNR: 96 dba
Analogue gain: 0 - 12 dB
Max level: 8 DBU, 2.0 VRMS

Stereo headphone/line output

24 bit
SNR: 98 dba
Max level: 5 DBU, 1.4 VRMS

MIDI input and output
TRS type A, MMA compliant

Sync input and output
Sync 8 ppm, 16 ppm, 24 PPQN
Start / stop

Notes: Bags of character courtesy of 'tone wizard' Andy Timmons (Danger Danger). Dual delay lines work in tandem, creating stereo effects from vintage tape delay to infinite hold.

Supplier's Notes:
Andy Timmons' mysterious sounding "Halo" effect is a modulated dual echo sound that has long been kept a secret by the tone wizard himself. Andy spent decades combining and crafting the sounds you can now get from the HALO. Notes from the HALO dance rhythmically, almost creating a reverb diffusion. Those notes are held together with tape-style effects like modulation, saturation and compression. The results are stunning!

The pedal comes loaded with his signature delay tone and you can program your own sounds and save them as presets. Easily bounce between Side A and B on the fly, essentially giving you two delay pedals in one. In addition to Andy's signature "Halo" sound, there are numerous other rhythmic delays including: quarter note, dotted 8th, stereo rack mount analogue delay, and a vintage multi-head tape echo. Stunning stereo and pristine sound quality are further enhanced with controls for saturation, tone, and shelving filters that give you the ultimate delay pedal.

Think of HALO as two delay pedals that work in tandem, letting you switch between your main delay (side A) and an alternative (side B). With up to 1500 ms of available delay, set sides A and B for different delay times, then simply foot switch between the two. Keeley's Smart Stomp System allows you to press and hold either stomp switch to engage tap tempo mode. Press and hold the alternate stomp switch for infinite repeat/hold.

Each Preset bank gives you 2 delays settings for a total of 8 user-storable effects. Use the Rhythm control to select between different echoes like HALO, Analog, Tape, Quarter and Dotted Eighth. HALO's Saturate control adds tape compression texture to your tone. The Tone and High Pass Filter controls your overall delay shape and mix. The Rhythm Mode selector delivers 5 delay types, including Andy's unique "Halo" sound. Set the Time and Feedback controls low, and you can open up a world of ambient chorus and flanger effects.

Run the HALO in stereo for incredible true-stereo imaging or save your favourite combination of settings as a preset and the HALO becomes an incredibly compact multi-effect workstation!

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


The Arpopone from LepLoop is a little synth-voice for generating a melody or bass line and a chord section at the same time. It is based on analog ramp dividers of which each one generates a voltage ramp starting from a master clock that can be internal or external.

Trig1 and Trig2 potentiometers set the number of clock pulses.

With the Trig Mix switch it is possible to select between a single trigger (1 or 2) or both (1+2) to advance the scales.

The Scale Step potentiometer sets the number of steps for the two scale generators.
In the mixer section, the two scales are summed together to obtain a more complex pattern. The amount of each scale can be set by two controls and can be positive (ascending scale) or negative (descending scale).

With the VCO Pitch knob, the melody can be transposed while maintaining the same interval between notes.

The note generated by the VCO is fed to a chain of dividers to obtain four sub harmonics of the original note. One of these is the bass section with its own filter and envelope, the other three form the chord section with their envelope.

The two envelope sections are identical, both have a selector for different trigger sources:

Trig1 & Trig2: the envelope starts at the flash of the green LED (bass) or yellow LED (chord)
SB1 & SB2: the envelope starts at the first step of Scale1 (bass) or Scale2 (chord)
White & Blue: the envelope follows the intensity of the white LED (bass) or the blue LED (chord). Except for this setting the envelope length is set by the two controls Bass ENV and Chord ENV. Additionally, an EXT CV input allows to provide an external envelope.
The bass channel is passed through a resonant low-pass filter with Cutoff and Resonance control.

Finally the Bass and Chord channels are mixed together. The output level is set by the Bass LEV and Chord LEV controls.

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


Stellar edition of the fantastic MicroFreak adds new features as well as a limited-edition paint job. Digital voices feed into the analogue filter to create a versatile hybrid sound engine.

Supplier's Notes:
MicroFreak Stellar is a hybrid synthesizer that combines digital oscillators, analogue filters, quirky modulation, a uniquely flat PCB keybed, and expressive sequencing with a subtly out-of-this-world aesthetic design.

Interplanetary synth explorer

Discover the same loveable hybrid beast that sent the synth world into a spin, but primed for launch and ready for an interplanetary sonic voyage. MicroFreak Stellar features the same inspiring, bonkers sound but embellished with a unique space-age design.

Digital, wavetable, sampling, granular...

Treat yourself to only the weirdest & most wonderful paraphonic synth sounds with MicroFreak's multimode sound engine. Choose from numerous algorithms, including Wavetable, Chord, 4 new Sample & Granular engines and many more, and immediately customize your patches with 4 intuitive con-trols and real-time visual feedback.

Multi-mode analogue filter

Unlock truly unique hybrid tones by combining MicroFreak's digital sound engines with a crunchy resonant analogue filter, inspired by the classic Oberheim SEM. With low-pass, band-pass, and high-pass modes, you can make this 'Freak whisper, scream, or launch into self-oscillating orbit.

Modulation matrix

Quickly rewire MicroFreak's architecture and delve deep into complex sound design with its modulation matrix, offering up to 7 simultaneous destinations and 5 sources, including an ADSR envelope, cycling envelope, and 6-shape LFO.

Sequencing & randomization

Blur the lines between sequencing & arpeggiation and create spontaneous melodies, motifs, and rhythmic patterns on the fly. MicroFreak encourages musical exploration, expression, and evolution with its unique Spice & Dice randomization feature, ribbon controller, and 4 lanes of automation.

A unique keybed

Change the way you play and unlock fresh musical expression with MicroFreak's distinct PCB keyboard. It's flat, it's fast, and it's fit for everything from lightning-fast solos to instant arp creation; not only is it pressure sensitive, but it offers poly-aftertouch too!

What's in the box

Box content

MicroFreak Unit
Universal PSU
Registration card
2x MIDI port adapters

Instrument dimensions

Size : 12.2 x 9.2 x 2.2 inches (311 x 233 x 55mm)
Weight : 2.3 lbs. (1.02 Kg)

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


Stellar edition of the fantastic MicroFreak adds new features as well as a limited-edition paint job. Digital voices feed into the analogue filter to create a versatile hybrid sound engine.

Supplier's Notes:
MicroFreak Stellar is a hybrid synthesizer that combines digital oscillators, analogue filters, quirky modulation, a uniquely flat PCB keybed, and expressive sequencing with a subtly out-of-this-world aesthetic design.

Interplanetary synth explorer

Discover the same loveable hybrid beast that sent the synth world into a spin, but primed for launch and ready for an interplanetary sonic voyage. MicroFreak Stellar features the same inspiring, bonkers sound but embellished with a unique space-age design.

Digital, wavetable, sampling, granular...

Treat yourself to only the weirdest & most wonderful paraphonic synth sounds with MicroFreak's multimode sound engine. Choose from numerous algorithms, including Wavetable, Chord, 4 new Sample & Granular engines and many more, and immediately customize your patches with 4 intuitive con-trols and real-time visual feedback.

Multi-mode analogue filter

Unlock truly unique hybrid tones by combining MicroFreak's digital sound engines with a crunchy resonant analogue filter, inspired by the classic Oberheim SEM. With low-pass, band-pass, and high-pass modes, you can make this 'Freak whisper, scream, or launch into self-oscillating orbit.

Modulation matrix

Quickly rewire MicroFreak's architecture and delve deep into complex sound design with its modulation matrix, offering up to 7 simultaneous destinations and 5 sources, including an ADSR envelope, cycling envelope, and 6-shape LFO.

Sequencing & randomization

Blur the lines between sequencing & arpeggiation and create spontaneous melodies, motifs, and rhythmic patterns on the fly. MicroFreak encourages musical exploration, expression, and evolution with its unique Spice & Dice randomization feature, ribbon controller, and 4 lanes of automation.

A unique keybed

Change the way you play and unlock fresh musical expression with MicroFreak's distinct PCB keyboard. It's flat, it's fast, and it's fit for everything from lightning-fast solos to instant arp creation; not only is it pressure sensitive, but it offers poly-aftertouch too!

What's in the box

Box content

MicroFreak Unit
Universal PSU
Registration card
2x MIDI port adapters

Instrument dimensions

Size : 12.2 x 9.2 x 2.2 inches (311 x 233 x 55mm)
Weight : 2.3 lbs. (1.02 Kg)

Notes: Good quality entry-level wireless mic system, based around the reliable XS 1 microphone and compact, discreet transmitters. Charges via USB with up to five hours battery life.

Supplier notes:
One-touch ease-of-use wireless audio set that utilizes a digital transmission to seamlessly link audio sources. Equipped with an XS 1 microphone, this elegant solution makes wireless vocals easier than ever before while maintaining a reliable connection.

Specs:

Dimensions:
XSW-D XLR FEMALE TX: approx. 102 x 24 x 28 mm
XSW-D MINI JACK TX: approx. 86 x 24 x 28 mm
XSW-D INSTRUMENT TX: approx. 122 x 24 x 28 mm
XSW-D XLR MALE RX: approx. 109 x 24 x 28 mm
XSW-D MINI JACK RX: approx. 86 x 24 x 28 mm
XSW-D INSTRUMENT RX: approx. 122 x 24 x 28 mm
XSW-D PEDALBOARD RX: approx. 130 x 82 x 51 mm

THD, total harmonic distortion: < 0.1 %
Charging time: typ. 3 h
Audio output: max. 12 dBu
Operating temperature: -10 -C to +55 -C (14 -F to 131 -F)
Signal-to-noise ratio: = 106 dB
Operating time: up to 5 h
Modulation: GFSK with TDMA
Battery Specification: Li-Ion
Capacity: 850 mAh
Codecs: aptXr Live
Frequency range@ 2,400 - 2,483.5MHz
Max. Input voltage typ.: 5.0 V
Transmission power max.: 10 mW
Voltage: 3.7 V
Operating relative humidity : 95 % (non-condensing)
Latency: < 4 ms
Temperature Range: 0 -C - 60 -C (32 -F - 140 -F)
Audio frequency response: 3.5 mm Jack/XLR: 80 - 18,000 Hz - 6.3 mm Jack: 10 - 18,000 Hz

Notes: Massive control, Modular components, Minimum footprint:

Seize control of your productions with the Icon Platform M+ DAW Controller, adding true tactile control via USB 2.0 to your Digital Audio Workstation (DAW) and production system. The all-new Platform M+ is a MIDI control surface designed for producers, engineers and musicians who want the hands on control of a mixing console and the flexibility of modern "in the box" digital music production within a smaller physical workspace.

With nine (9) full sized motorized faders, eight (8) rotary dual-function encoder knobs, backlit buttons for Mute, Solo, Automation and Transport control, a jog wheel, and access to your entire mix by banking across tracks in groups of 8 or 1 channel at a time, all the primary functions of your DAW are now at your fingertips.

Control any Digital Audio Workstation:

The Platform M+ integrates with most popular Digital Audio Workstations. Mapping presets for Cubase, Nuendo, Ableton Live, ProTools, Logic, Reason, Studio One, Bitwig, Samplitude and Reaper are loaded at our factory. Mackie Control or HUI protocols provide seamless interfacing with your DAW's functions. But even if your preferred DAW is not on this list, you can still map its functions with our intuitive MIDI learn mode.

Customise your setup:

The compact size (40cm x 20cm x 4.5cm) of this DAW controller means it should fit comfortably into any studio setup. But, the Platform M+ is also designed to be the nerve centre of your very own scalable, customizable, modular audio production system. Add the Icon Platform D2 Backlit LCD Display Module to keep track of every parameter, channel and control value in your mix.

A variety of additional expansion modules are also planned for future release, adding more faders, knobs and pads; providing even greater power, versatility and creativity. With the Icon Platform M, you can build the control surface that suits your needs.

In the Box:

- Icon Pro Audio Platform M+ Audio and MIDI Control Surface for DAWs and Plug-Ins
- Software CD
- USB 2.0 Cable
- AC Adapter
- Limited 1-Year Warranty

Notes: Our Voltage Controlled Panning Amplifier is unlike many of our modules in that it actually sounds more complex than it is, as opposed to the other way around. But that doesn't mean it's not powerful!

It is designed, quite simply, to dynamically position audio signals in the stereo field. It can operate on either stereo or dual mono signals (in effect, turning the module into two standalone VCAs), and can accept two simultaneous independent CV controls in either configuration.

At first glance, there may seem to be an awful lot of inputs, outputs, and knobs for such a simple purpose as panning, but they allow a number of creative possibilities. And you probably won't be surprised to hear that we backed it all up with a secret weapon (more on that in a minute).

Feature-wise, the module has two exponential response VCAs, each with a manual or CV gain control and input level attenuators. You can pan these two signals manually or using CV (with a dedicated knob to control the amount of CV panning control). In addition, the CV1 and IN 1 signals are normalised* to CV2 and IN 2 (allowing, for example, simple mono-to-stereo panning effects without additional signal splitting/doubling). Finally, once you have achieved the stereo perfect balance, both channels' gain can be simultaneously adjusted with a single pot (or CV), preserving the relative levels of both.

Naturally, there are many potential uses for this module, including even some not confined to stereo processing (simultaneous gain processing of two different audio signals using one CV control, for example). Panning is what it's really about, though, and so a more conventional use example might involve applying fast panning modulation. With this in mind, our secret weapon ensures that neither manual nor CV panning causes a level drop in the centre of the stereo image.

Correcting for this 'pan-power-law' is far from standard in such modules, but ensures the perceived volume of a panned signal will not change, even if panned hard left or right. This has an especially noticeable effect when the panorama is modulated. It goes without saying, as with all of our modules, the VC Panning Amplifier is designed for low distortion, low CV feedthrough, and low noise, and features overload indicators, ensuring that any extremely intense signals running through the modules are entirely intentional!

*Automatically patched on the circuit board, unless alternative sources are manually patched in.

Current Draw:

85 mA +12V
40 mA -12V
0 mA 5V

Installation depth:

22 mm deep