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Notes: Studio-grade control for your mixing process, the Console 1 Channel is arguably the best way to get hands-on with all major DAWs. Includes Softube's new Core Mixing Suite software, billed as 'the perfect channel strip'.

Supplier's Notes:
Mixing. The way it should be.

Console 1 Channel lets you use your hands to mix and your ears to sculpt your sound. Each knob corresponds to a specific parameter and no mapping is necessary. Gain is always gain. Ratio is always ratio. The dual high-resolution smart screens keep you focused on the sound of your mix. Intuitive and efficient, Channel lets you go deeper into your creative process. And enjoy it!

World-class console sound

Console 1 Channel gives you world-renowned console sounds because that's what Softube do: give you exacting models of professional-grade, standard-setting gear - from Solid State Logic and Tube-Tech to Chandler Limited. You can load Summit Audio Grand Channel, Weiss Gambit Series, or extremely punchy Empirical Labs strip. Channel comes with Softube's take on the perfect channel strip: the new Core Mixing Suite software.

World-class console feel

Console 1 Channel will be the sexiest gear your desk has seen in a while. The premium materials, stunning Nordic Night Sky finish, and robust build mean that it outshines all others in its class. But Channel is more than just studio bling. Every rotation of Channel's touch-sensitive Analog Feel™ potentiometers - and an increase of more than ten times the resolution over the previous generation - gives you the sensation of the priciest outboard gear. They feel analogue because they are.

Core Mixing Suite: the perfect channel strip

Console 1 Channel comes with the new Core Mixing Suite software. It gives you the award-winning sounds of Tape, FET Compressor Mk II, and Bus Processor in the versatile preamp, shape, equalization, and compression sections. Also included is an innovative drive section befitting Softube's reputation for saturation. Core Mixing Suite combines Softube's deep DSP knowledge with processors that will take you through your entire process, from the broad strokes to the surgical corrections.

A perfect fit for your DAW

Just plug it in and Console 1 Channel works with all major DAWs. Without mapping. Click below to learn more about Console 1 compatibility with Logic, Pro Tools, Ableton Live, Cubase, Studio One, LUNA, Reaper, FL Studio, Nuendo, and Cakewalk.

A perfect fit for your studio

A studio is as individual as the music makers who call it home. Console 1 Channel is built to fit your studio - no matter the setup.

Technical specs & setups

Included Software

Console 1 Core Mixing Suite, including:
Tape/Preamp: tape drive model
Filters: 6, 12, 18, 24, 48 dB included (default is 18 in bass and 12 on top
Shape: Dynamic Shaper, Panner, Dual Dynamics
2 EQs: Modern precise and vintage passive parallel
3 Compressors: FET Mk II, Opto and Bus Compressor

Connectivity: Dual USB-C ports
Daisy Chain Units: Yes
Power: Console 1 bus powered (USB-C), or powered by included power supply
Sections: Tape/Preamp, Filters, Shape (Dual), EQ (Dual), Compressor (Dual), Drive/Character
DAW Control: Volume, Pan, Solo/Mute, 6 Sends, Track Select
High Resolution Screens: 2 high resolution screens showing EQ and compressor curves, VU meter, and track information
LED colour: 51 RGB LEDs for track selection. White LEDs for knob read-out
Knobs: 27 touch sensitive high-resolution Analog Feel potentiometers
Mounting options: 100 mm M4 VESA on the bottom. M4 threads on the sides
Construction: Anodized aluminium top, injection moulded smooth sides and back with integrated connectivity points
Dimensions (W x H x D): 435 mm x 45 mm x 219 mm / 17.1" x 1.77" x 8.66"
Weight: 1,80 kg / 3.96 lbs

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


Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.

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


Akai's mid-range MPC features full-size pads plus a built-in rechargeable battery and speakers. Integrated phono stage makes it easy to sample from vinyl. A hugely capable studio centrepiece.

Supplier's Notes:
Meet MPC Live II, the full MPC experience in its most portable configuration yet. Everything you need to make music, anywhere, right at your fingertips.

There's no need to compromise for portability. MPC Live II is the complete MPC experience without missing a step. A rechargeable lithium-ion battery means you can work anywhere for hours. Full-size MPC pads give you the ultimate in drum performance and the expanded function buttons allow for quick editing on-the-fly so you never miss a beat.

For the first time ever, you now have studio-grade monitors built-in directly to your MPC. No need to waste precious time looking for your headphones, untangling cables or powering up external monitors. These full range stereo monitors deliver low end thump along with tight top end to make portable beat-making the sonic experience you need to feel your music.

MPC Live II integrates into your creative space with all the ports, jacks and connectivity you need. USB 3.0, 2x2 MIDI, CV/Gate, 3 stereo outs and more. WiFi and Bluetooth connectivity make for a completely wireless workflow. No matter the device, MPC Live II is ready to get connected!

MPC Live II will super charge your production. With MIDI performance to tap in to as many devices as you need, an intuitive and streamlined layout not to mention the MPC workflow features you need; 16 Levels, Note Repeat, Auto Sample, Chords & Notes More and so much more. Get ready to level up to the MPC Live II.

KEY SPECS:

Pads:
(16) velocity and pressure-sensitive pads, RGB-backlit
(8) banks accessible via Pad Bank buttons

Knobs:
(4) 360- touch-sensitive Q-Link Knobs
(4) Q-Link Knob columns accessible via Q-Link button
(1) 360- encoder for display navigation and selection via push

Buttons:
(27) dedicated function buttons; red, amber, or green backlit

Display:
6.9" / 176 mm (diagonal)
5.9" x 3.7" / 150 x 93 mm (width x height)
Full-color LED-backlit display with touch interface

CPU: Quad-core ARMr processor
RAM: 2 GB
Storage: 16 GB, expandable via SATA connections

Connections
(2) 1/4" (6.35 mm) TRS inputs (1 stereo pair)
(6) 1/4" (6.35 mm) TRS outputs (3 stereo pairs)
(1) 1/4" (6.35 mm) stereo headphone output
(2) RCA inputs (1 stereo pair)
(2) 5-pin MIDI inputs
(2) 5-pin MIDI outputs
(4) TRS CV/Gate jacks, 8 outputs total
(1) Ethernet link port
(2) USB Type-A ports
(1) USB Type-B port
(1) SD Card slot
(1) Power Adapter input

Power:
Via power adapter: 19 V, 3.42 A, center-positive, included
Via battery: Up to 5 hours of battery life

Dimensions (width x depth x height):
16.2" x 9.6" x 1.8"
411.5 x 243.8 x 45.7 mm

Weight:7.45 lbs/3.38 kg

Notes: All-analogue, digitally-controlled mixer with 10 stereo inputs, three stereo outputs, clickless mutes, save and recall, MIDI, and CV via expanders.

Xer Mixa is a mixer with 10 stereo-paired inputs, three stereo-paired output busses, tactile controls, and a 100% analogue signal path with low noise and crosstalk, pristine sound quality, and ultra-high headroom. A digital control interface harnesses the true power of hybrid design, allowing for state save and recall, per-channel pan law and pre/post send settings, multichannel editing, and MIDI I/O.

Xer Mixa features 8 interactive fader-controlled channels and two aux inputs, all with clickless mutes. Configuration options abound for per-channel pan-law settings, pre- or post-fader sends, and channel settings are made simple with the screen. Settings can be saved into preset slots for easy recall for performances or sessions.

Xer Mixa is a compact 32HP, with a streamlined and easy-to-use interface. CV control over almost any parameter is available through the rear-panel connecting Expando Expandi, which adds CV 8 inputs to Xer Mixa. Connect up to two Expando Expandis for easy CV control over channel levels, pan, aux sends, and more. Xer Mixa and Expando Expandi are available together as a discounted bundle, or individually.

Whether you have a massive studio rig or a compact performance system, Xer Mixa is the perfect choice for an expressive mixer.

Notes: Latest update to a modern classic drum machine. Pure analogue sound and rock solid build. Externally untouched but now with revamped internal circuits, USB MIDI and dynamic trigger inputs.

Supplier's Notes:
Introducing the brand new update to the classic drum and percussion synthesizer VERMONA DRM1. The DRM1 is a key part in Vermona's history. Its first generation, released in the 90s as Syncussion DRM1, caught wide attention. The MKII-version then continued and broadened the success and breathed new life into the VERMONA brand at the turn of the millennium. With the DRM1 MKIII, that Vermona have been building since 2006, it has now been a total of 25 years of DRM1! This makes it one of the longest-lived electronic musical instruments. And launching the next quarter-century is this analog drum synthesizer from VERMONA.

DRM1 MKIV: Familiar, yet evolved

At first glance, you may not notice any difference from its predecessor. Indeed, from the outside, there isn't any! The overall concept and user interface have remained the same: There are eight instrument channels, each with nine knobs for sound shaping, pan and volume control. The DRM1 is a musical instrument, a creative tool that wants to be touched and played.

Instead of trying to reinvent or change an already well-proven external design, with this update to version MKIV Vermon decided to focus on the inside. Time was taken to thoroughly listen into the circuits and put energy and care into its details: Thoughtfully tweaking frequency ranges, revamping control curves, adjusting levels and redesigning sub-circuits. The goal was to make the DRM1 MKIV the best drum synthesizer Vermona have ever built!

DRM1 MKIV: Sociable and dynamic

To make integration into your studio more comfortable, the DRM1 MKIV was equipped with USB-MIDI in addition to the standard MIDI connections.

The trigger inputs have been significantly upgraded. Beyond gate pulses, they now also accept different voltage levels for triggering the instrument channels dynamically. The DRM1 MKIV with trigger inputs can also convert the analog signals into MIDI notes via USB or the newly added MIDI OUT connector making it an incredibly versatile MIDI interface.

Whether you're controlling the DRM1 MKIV via a DAW, a hardware sequencer, or a modular system, you'll have the proper connection and further the ability to send the MIDI notes to additional devices.

DRM1 MKIV: More power under the hood

The power supply of the DRM1 MKIV is completely new. It now works anywhere in the world, without having to manually change the mains voltage. This is a huge relief for all of you who use the instrument at live shows. No less important: it works more energy-efficient than the old one!

Notes: Big version of A&H's entry-level Zed series mixer. Originally intended for live applications but works very well as a studio mixer for hardware setups. A lot of mixer for your money.

Supplier's notes:
The Allen & Heath ZED-22FX mixer is ideal for groups who need to travel light. Featuring configurable USB audio input/output makes it easy to capture stereo recordings.

The ZED-22FX easily accommodates vocals, drums, guitar, bass and keys whilst also providing a dedicated FX bus and 16 internal time-delay effects, giving the whole mix extra ambience.

The ZED-22FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Our DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point, this quality and integration is only available from the ZED-FX. ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing - in fact, it's just as easy as using effects pedals. To alter effects parameters, the TAP button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on PLATE, or the depth on CHORUS.

Based on the proven pre-amps from the hugely successful PA series, ZED-22FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Explore malleable sound. Mold, carve, bend.

The S-4 is a sculpting sampler designed to capture and transform sounds. Merging tape-era workflows with cutting-edge technology, the S-4 redefines sound mangling by providing a futuristic platform for crafting unique soundscapes and compositions, using samples and real-time audio processing.

S-4 is a tool made for sonic explorers. It has four parallel stereo tracks, each with an audio engine featuring a chain of audio devices including samplers, live granular processing, morphing resonators, and a range of audio effects. A novel modulation system allows anything and everything to be modulated with four modulators per track. Capture sounds on the fly with the onboard microphone and stereo line input, or load samples from the 4GB internal flash storage.

Use cases

The S-4 is a versatile powerhouse, capable of serving as an effects processor, transformative sound designer, tape machine, live looper, classic sample player, or textural synthesizer.

Tape machine

Capture your surroundings. Use S-4 as a transformative four-track tape machine.

Effect processor

Manipulate live audio, and add colour and textures to your beats, melodies, and sounds

Midi controlled sampler

Hook up a MIDI keyboard or sequencer and use S-4 as a powerful textural synthesizer and sample player.

Audio engine

Push the creative boundaries and transform audio into uncharted depths. S-4 has four parallel stereo tracks, each of which contains a chain of five audio devices tailored to cover specific sonic areas and applications. Create everything from glittering textures to broken soundscapes or evolving synth sounds.

Together, the devices form a playful toolbox for sculpting sample material and live audio.

Material

Stereo tape and sample players with live audio and looping capabilities.

Granular

Live granular processing with time-warping and pitch-shifting algorithms.

Filter

Morphing resonator: 48-band tuned filter bank with animation, tonal control, and classic filter functions.

Colour

Collection of destructive effects including bit crushing, drive, and compression.

Space

Combined reverb and delay with pitch-shifting and shimmer.

Modulation system

Animate and bring life to any parameter using the rich and unique modulation system. Each track has four configurable modulators that can be mapped to any parameter with unlimited mapping destinations. It is even possible to do cross-modulation between modulators. Choose between a range of different modulators from complex LFOs, and generative sequencers to envelopes.

Capture your surroundings

Utilize the built-in microphone to record sounds, sample and loop your external gear with the stereo line input, resample the internal tracks, or effortlessly load samples from the S-4's flash memory or an external drive.

Versatile powerhouse

The S-4 is designed with durable RGB buttons offering tactile feedback and a high-quality 3.5-inch LCD display ensuring all the visual feedback you need. It features USB connectivity for seamless connection to class-compliant devices and effortless file transfers to and from your laptop. Moreover, it can function as an audio interface when you require a simplified setup. You can also expand the number of inputs and outputs by connecting a class-compliant external USB interface.

Technical specifications

Audio engine features

4 parallel stereo audio tracks
Tape player with live looping capabilities
Polyphonic sample player
Live granular processing with time-warping and pitch-shifting algorithms
Morphing resonator (48-band filter bank)
Bit crushing, drive, and compression
Combined reverb and delay with pitch-shifting and shimmer

Modulation features

4 modulators per track
Modulate any parameter of the audio engine
Modulator types:
- Complex LFOs
- Generative sequencing tools
- Envelopes

Hardware

Quad-core 1.5 GHz processor
4 GB flash memory (sample pool)
24-bit / 48 kHz stereo audio in and out

I/O

2 line-inputs
2 line-outputs
Built-in microphone
Stereo headphone output
MIDI in/out
Analog sync in/out
USB-C

Miscellaneous

WiFi - Ableton Link
Class-compliant USB audio interface
Expandable number of inputs/outputs with class-compliant USB interfaces

User Interface

High-resolution LCD colour display, 3.5 inch
21 tactile RGB buttons
9 high-quality endless encoders

Physical

Matte black aluminium casing
Dimensions: 242 x 156 x 39 mm (9.5" x 6.1" x 1.5")
Weight: 820g (1.8 lbs)

Notes: A full-on digital modular system in a single module. Eight-voice polyphony, audio processing and CV/MIDI functionality, all customisable via the PC/Mac editor. Serious DSP power in 22 hp.

Supplier's Notes:
Integrate the power of EaganMatrix Sound Technology into your Eurorack! The EaganMatrix Module is a full-featured EaganMatrix Sound Engine for Eurorack, and can be controlled by control voltages and/or Midi. This versatile module can act as a sound source, a sound processor, a CV source (via connection to an external Control Voltage Converter), a Midi source, or a customizable combination of all these capabilities.

The EaganMatrix Module provides a truly versatile framework for both studio and live performance. Flexibility is key, due to its audio inputs and outputs, integrated CV inputs, external CV outputs (via Control Voltage Converter), and robust implementation of MPE and MPE+ Midi.

A single EaganMatrix Preset can give completely different sonic results, depending on how it is patched into a particular Eurorack ecosystem. Hundreds of System Presets are included with the EaganMatrix Module. In addition, an external cross-platform (Mac and PC) Haken Editor may be connected to modify and customize the supplied EaganMatrix System Presets, or create completely new presets from scratch.

The EaganMatrix Sound Technology, originally created for the gesturally highly sensitive Continuum, is now available to you in a Eurorack module. The EaganMatrix Module will quickly become a 'goto' component in your modular sound design and sonic composition.

Haken Audio's EaganMatrix Module offers:
Polyphony: Nominal 1, Maximum 8
Direct CV note control is limited to 1 voice at a time, but higher polyphony avoids voice stealing when EaganMatrix presets have long decays, and higher polyphony is often useful for Midi input.
4 Per-note CV Inputs: W, X, Y, Z
Gate (W) - Triggers at 1V, with max range -10V to +10V
Pitch (X) - 1V per octave, with programmable offset for Middle C; useful input voltages are a subpart of -10V to +10V (depends on the programmable offset selected)
Timbre (Y) - Function depends on EaganMatrix preset; voltage range is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
Loudness (Z) - normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
4 Global CV Inputs: i, ii, iii, iv

Functionality depends on EaganMatrix preset; these CV affect all voices (notes from WXYZ and Midi); each global CV is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
2 Analog Audio Inputs: Left and Right, or Mono
2 Analog Audio Outputs: Left and Right, or Mono Sum
-12dB switch selects between Eurorack Level and Line Level
Midi over USB
Allows bidirectional MPE and MPE+ connection to other devices; allows connection to the Haken Editor for editing and archiving EaganMatrix presets (USB-A cable included with purchase)
Universal 3.5mm Midi In (Type A, Type B, and TS)
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi In included with purchase)
Type B 3.5mm Midi Out
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi Out included with purchase)
i2c Port for Communication to the Control Voltage Converter
(a switch selects between 3.5mm Midi Out and i2c functionality)
12 Switches, 1 Rotary, and LED Matrix

A menu system allows stand-alone operation without need of computer, and provides monitoring for notes being played and CV input levels
The EaganMatrix is a modular digital synthesizer invented by Edmund Eagan, utilizing a DSP engine designed by Lippold Haken. This is the same EaganMatrix Sound Technology internal to the Continuum Fingerboard, the ContinuuMini, and Expressive E's Osmose keyboard. The EaganMatrix allows the user to finely craft their musical sound by digitally connecting audio and control modules via a patching matrix. The EaganMatrix Module contains a sophisticated digital modular patching world of its own, ready to interact with your other Eurorack modules to make musical results never before possible.

Power and size

The EaganMatrix Module requires +12V, +5V, ground, and -12V from your Eurorack enclosure.

A 16-pin standard Eurorack power cable is included with purchase.

Current requirements: 25mA at +12V and -12V. 300 mA max (190 mA avg) at +5V.

The processing power of the EaganMatrix Module is 2x, same as the ContinuuMini.

The EaganMatrix Module dimensions are 22 HP and 3cm depth.

Notes: The Allen & Heath ZED-24 has an incredibly advanced feature. It has 23 independent sources to the mix, 10 independent outputs and 4 aux sends. Configurable USB audio input/output makes it easy to capture stereo recordings, playback and effects, a unique dual stereo input capability and some very advanced monitoring facilities. In fact, the ZED-24 mixer is so packed full of great features that you'd think it would cost much, much more.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED-24 is super-flexible and super-easy. No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED-24, select the USB routing on the mixer and the device on your computer and that's it.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

Send options:
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

Return options:
1) To Stereo 3 channel

ZED-24 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-24 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: Released in 1981, the Omnichord is an electronic musical instrument with an automatic accompaniment function (auto bass/chord) and equipped with a harp sensor. By pressing a chord button and sliding your finger on the harp sensor (strumplate), an arpeggio corresponding to the chord is heard, allowing anyone to easily accompany a song. Omnichord does not require any previous musical experience with an instrument, or even knowledge of staff notation. All that is needed are the chord names required to play a song which is a method commonly known as 'tab'. Combined with its portability, Omnichord became extremely popular, especially in Europe and America as a new musical instrument that anyone can enjoy - anywhere. In addition, due to the unique electronic sounds that are reminiscent of the 80's, and the tactile way musical expressions are achieved, Omnichord has developed cult status around the world. It not only appears in recorded music, but also publicity photos, and has featured in the titles of songs and albums. The Omnichord name was discontinued after the OM-300 (released in 1996), but its popularity as a unique musical instrument has endured the test of time, and now, over 40 years later the Omnichord returns with the OM-108.

Simply press a chord button and slide your finger on the strumplate. In this way, you can play accompaniment to almost any song on the very same day you first try the Omnichord!

Suzuki put a great deal of effort into the design of the Omnichord so that it accurately reproduces the sound of the OM-84, a model that is hailed as a masterpiece for its tone and versatility. To achieve this in the OM-108, Suzuki decided to apply the same method for sound creation as the OM84, incorporating real analogue circuitry into the new model. In total, the OM-108 is equipped with 10 types of strumplate tones, whilst "omni1" and "omni2" reproduce the classic sound of the OM-84, revived for future generations to enjoy.

The OM-108 includes a selection of timeless instrument tones that are both retro and current. The "celeste", "harp", and "piano" featured in previous models. The "FM piano" tone is new, this is an electric piano sound that helped define 1980s music. The OM-108 is equipped with. "omni1" and "omni2" which use real analogue circuitry. Other tones are reproduced using PCM sound generation.

There are 10 tones...omni1/omni2/harp/celeste/A.piano/guitar/FMpiano/organ /vibes/banjo(omni1 and omni2 have the same Main Voice but different Sub Voices).

The model OM-84 was equipped with two electronic harp tones, allowing the tones to be layered and played. OM-108 reproduces this function. A tone that sounds beautiful when layered with the Main Voice has been assigned as a Sub Voice. To control each layer, simply turn the appropriate Volume knob. This enables real time control changes adding expression to your sound.

Even though many rhythms included in the OM-108 share the same names as previous models, they have been updated to incorporate rhythm patterns that are current. Also, for the first time on Omnichord, a trap beat (Hip Hop) has been included. Suzuki have selected "usable" rhythms that will allow you to play a wider variety of songs.

There are 10 kinds of rhythm...rock1/rock2/slow rock/country/swing/disco/hip hop/funk/bossanova/waltz

The "sus4"' and "add9" chords, often used in popular music, have been added. It is now possible to play a total of 108 chord types, hence the model number 'OM-108'. The Omnichord has developed into an instrument that can be played more intuitively without having to substitute other chords.

Equipped with a wide type strumplate similar to models OM-100 onwards. Every corner of the plate responds sensitively to light touch, so you can concentrate on playing without stress.

In addition to the melody keyboard, the OM-108 is equipped with drum pad mode for the first time as a function (when the "KEYBOARD" button is pressed). Owners of the OM-108 will be pleased to note the drum pad is assigned not only to the chord button, but also to the strumplate. This allows for the creation of interesting beats using the OM-108 retro drum kits.

The OM-108 not only sends chords and strumplate data, but also drum performance information from MIDI OUT. Strumplate information can be sent on two MIDI channels, allowing you to layer tones with external MIDI sound sources, or to layer the OM-108 internal sounds with external sound sources. The OM-108 has evolved into an instrument that invites you to explore more creative sounds using MIDI.

The OM-108 includes rhythm voicing from the OM-84, which is extremely popular for its early 1980s retro sound. You can switch the rhythm tones between OM-108 and OM-84 by using a special 'power-on' operation.

Although it has a built-in speaker, the Omnichord is small, lightweight, and battery-powered*, making it easy to carry and play. Connect an external amplifier and headphones, and you can perform anywhere, such as in the studio, performing at a live venue, or just playing in your bedroom! *Powered by 8, AA batteries or dedicated AC adapter (both sold separately).

Using "REAL TIME CONTROL", the OM-108 integrates multiple functions for switching the way chords and rhythms are played. Whether you want to play at free tempo (without rhythm), add bass accompaniment, or start with a drum prelude, you can easily switch in real time even during a performance.

When connecting to an external speaker etc., you can turn on/off the sound produced by the speaker of the instrument. This is useful when you want to monitor your own sound during live performances. This is a new feature included on the OM-108 in direct response to user's requests.

Specifications

Chord buttons: 38
Chords: major, minor, 7th, major7th, minor7th, augmented, diminished, suspended4th, add9th
Voices: 10 tones (main, sub tones) / 4 octaves
Rhythm Pattern: 10 patterns
Control: Master Volume, Chord Volume, Main Voice Volume, Sub Voice Volume, Sustain, Rhythm Volume, Tempo
Button Controls: Power, Chord, KEYBOARD ON/OFF, Voice Select, Rhythm Select, Chord-Manual/Auto, Chord Hold, Rhythm-Start / Sync Start
Other Functions: Instant OFF, Transpose, Octave Shift, ON/OFF SPEAKER, Master Tuning
Speaker: 10cm
Amplifier output: 4.3W
Jack: DC inlet, LINE OUT (monaural standard), headphone output (Stereo mini), MIDI OUT
Power Supply: AC adapter, 8 AA alkaline or Ni-MH batteries (all sold separately)
Power consumption: 3.7W
Continuous battery operation time: Approximately 8 hours
Measurement: W45.7 x D25.0 x H5.18cm(17.99 x 9.84 x 2.04 in.)
Weight: 1.2kg(2.65lb)
Accessories: Melody keyboard overlayer

Accessories

AC adapter 100-240V
AD1-1210A(100-120V)
AD3-1210A(220-240V)
Strap pin OSB-108
Gig Bag OGB-108

Notes: Have it all

Get total creative freedom with almost everything native Instruments ever released - a huge collection of synths, sampled instruments, effects, and orchestral libraries. Komplete 14 Collector's Edition is Native Instruments' definitive production bundle, with specialized scoring tools for pro-level composers and producers including Choir: Omnia, Lores, Knif Audio Knifonium, and bx_console Focusrite SC, plus Kontakt 7, Ozone 10 Standard, and many more.

What's new?
Check out some of the top new additions to Komplete 14 Collector's Edition.

Kontakt 7

The latest version of the world's favourite sampler, with a brand-new updated Factory Library, enhanced browsing, and improved instrument-building technology.

Choir: Omnia

The passionate sound of a 40-piece vocal ensemble at their most expressive. Take control of soprano, alto, tenor, and bass sections, and build phrases and melodies with 16 syllables in multiple articulations.

Lores

An eclectic collection of organic instruments expressed through hand-played articulations, for evolving tones and textures that tell a story.

Session

The pure, warm tone of a nylon-stringed guitar, with over 200 inspiring patterns plus an additional melody instrument.

Piano Colors

An inspiring instrument, exploring the limits of a grand piano's sonic capabilities with state-of-the-art modulation features.

Action Strings 2

The dramatic sound of a full string orchestra, blending realism with creative control, with over 31 GB of dynamic phrases.

Spotlight Collection - East Asia

The authentic sound of traditional Chinese, Japanese, and Korean instruments, captured in an intuitive production tool.

Knif Audio Knifonium

A rare boutique synthesizer with powerful sound design capabilities. Harness the power of 26 tubes across 8 independent voices, meticulously modelled for authentic analogue variations.

bx_console Focusrite SC

A true emulation of the legendary ISA110 Equalizer Module and ISA130 Dynamic Module, including Comp/Limiter, De-Esser and Expander/Gate from the original Focusrite Studio Console designed by Rupert Neve.

Ozone 10 Standard

Mastering made easy. The latest version of the industry's most comprehensive professional audio mastering software delivers AI-powered assistive technology that helps bring balance to your music.

Play Series Additions

40s Very Own Drums & Keys, Deft Lines, Ignition Keys, Empire Breaks, Soul Sessions, Glaze, and Melted Vibes.

Added Expansions

30 new Expansions, including Lunar Echoes, System Clash, Trill Rays, Sacred Futures, and Concrete Sun, plus latest Massive X Expansions Fade, Kino, Wake, Haze, Quest, Bounce, and more.

Take a closer look

Komplete 14 Collector's Edition includes 148 instruments and effects, plus 103 Expansions. Explore the highlights below.

27 orchestral and cinematic instruments

Komplete 14 Collector's Edition brings a vast orchestral palette with Choir: Omnia, an expressive 40-piece choir, and Lores, an eclectic collection of transformable organic instruments. Also included are the iconic sounds of the full Cremona Quartet, Symphony Series, and Action Strings 2. The collection also includes specialized cinematic instruments, including the arcane choral textures of Mysteria, expressive layering of Arkhis, chilling sounds of Thrill, granular soundscapes of Straylight, Ashlight, and Pharlight, plus many more.

Platforms for sampling and synthesis

Create just about any instrument you can imagine, with two included builder platforms. KONTAKT 7 powers advanced sampling and instruments from NI, as well as hundreds of leading manufacturers, while REAKTOR 6 handles the synthesis side of things, with a flexible modular environment for building synths, effects, and more.

Don't fancy diving in deep? Both platforms include comprehensive libraries packed with sampled instruments, synthesizers, plus a range of presets, so you can start making music right out of the box.

19 synthesisers

Collector's Edition packs a powerful collection of synths capable of crafting any sound from the ground up. From cutting-edge digital designs to legendary analogue emulations, get your hands on every NI synth, along with some fresh Soundwide additions: the legendary tube-driven Knifonium from Knif Audio, and Brainworx's bx_oberhausen - a recreation of a polyphonic 70's icon. Dip into the vintage warmth of Super 8, explore the modular world of Reaktor Blocks, dabble in the sharp additive synthesis of Razor, or push boundaries with the flagship wavetable synth Massive X.

48 sampled instruments

Bigger and better than ever, the Collector's Edition library is bursting with multi-sampled instruments, from workflow gamechangers like Playbox, to the full collections of songwriting tools from Session Guitarist, and rich flavours from the Spotlight Collection. Sample the signature underwater sounds of Drake's producer Noah "40" Shebib in 40'S Very Own Keys, craft evolving acoustic patterns with Sequis, and let your creativity loose with the latest Play Series instruments.

System requirements:
macOS 10.15, 11 or 12 (latest update)
Windows 10 (64-bit, latest Service Pack) or Windows 11 (latest Service Pack)
Intel Core i5 or equivalent CPU, or Apple Silicon (using Rosetta 2), 4 GB RAM (6 GB recommended)
30 GB free disk space (1.125 TB for complete installation)
Graphics hardware support for OpenGL 2.1 or higher, and Direct 3D 11.1 or higher

An internet connection is required to install and activate the products in this collection. Once installed, all products can be used offline. Certain products may require additional free downloads.

Massive X requires an AVX compatible CPU.

Supported interfaces:
Supports ASIO, Core Audio, WASAPI
Runs in 64-bit VST, AU, AAX hosts

Product includes:
Installation files, e-voucher for the Native Instruments web shop, and three "Buy any Plugin for $29.99" e-vouchers for the Plugin Alliance web shop.

Additional info

Total download size is 1 TB. You don't have to download all products at once: Native Access allows you to download and install individual KOMPLETE products any time you want.

Required hard disk space depends on how many products/libraries you want to install. To install all products and libraries, 1.125 TB free disk space is required.

Please note: The installation process may temporarily require up to 200 GB of additional free disk space on your system-drive - even if you're installing KOMPLETE on an external hard drive. This number significantly decreases for smaller products, or if products are being installed one by one.

All products included within a single edition of a KOMPLETE 14 bundle are part of one user license and can only be used as a single entity. A maximum of three installations on three machines are allowed as long as only one installation is used at any given time. The individual products cannot be resold separately.

Notes: Boxed version of NI's flagship software collection, including 21 orchestral and cinematic instruments, the Kontakt sampler, 18 soft synths and a wealth of other sounds.

Supplier's Notes:
Create without limits

Komplete 14 Ultimate packs a punch, with even more synths, sampled instruments, and studio-grade effects, as well as fresh additions from iZotope, Plugin Alliance, and Brainworx. Boasting new releases like East Asia, Sequis, and Picked Nylon, plus a range of premium orchestral and cinematic tools including Ashlight and Piano Colors, it's all you need to bring your ideas to life and polish them for release.

What's new?

Check out some of the top new additions to Komplete 14 Ultimate.

Kontakt 7

The latest version of the world's favourite sampler, with a brand-new updated Factory Library, enhanced browsing, and improved instrument-building technology.

Ashlight

A granular instrument specializing in immersive atmospheres, rhythmic textures, and evocative keys for cinematic sound design.

Sequis

An inspiring instrument that unites organic samples with intuitive sequencing to make a playground of acoustic patterns.

Piano Colors

Explore the limits of a grand piano's sonic capabilities with state-of-the-art modulation features.

Action Strings 2

The dramatic sound of a full string orchestra blending realism with creative control, with over 31 GB of dynamic phrases.

Session Guitarist - Picked Nylon

The pure, warm tone of a handcrafted nylon-stringed guitar, with over 200 inspiring patterns plus an additional melody instrument.

Session Guitarist - Electric Vintage

The unmistakable sound of a vintage 50s solid-body electric guitar. Over 230 patterns, and an additional melody instrument.

Spotlight Collection - East Asia

The authentic sound of traditional Chinese, Japanese, and Korean instruments, captured in an intuitive production tool.

Plugin Alliance Effects

Plugin Alliance comes to Komplete 14, bringing all-new effects including Unfiltered Audio's LO-FI-AF, and Brainworx's bx_console N, bx_limiter true peak, and bx_crispytuner.

Ozone 10 Standard

Mastering made easy. The latest version of the industry's most comprehensive professional audio mastering software delivers AI-powered assistive technology that helps bring balance to your music.

Play Series additions

40's Very Own Drums & Keys, Deft Lines, Ignition Keys, Empire Breaks, Soul Sessions, Glaze, and Melted Vibes.

Added Expansions

20 new Expansions, including Rhythm Source, Liquid Energy, Faded Reels, and Backyward Dreams, plus latest Massive X Expansions Fade, Kino, Wake, and more.

System requirements:

macOS 10.15, 11 or 12 (latest update)
Windows 10 (64-bit, latest Service Pack) or Windows 11 (latest Service Pack)
Intel Core i5 or equivalent CPU, or Apple Silicon (using Rosetta 2), 4 GB RAM (6 GB recommended)
20 GB free disk space (770 GB for complete installation)
Graphics hardware support for OpenGL 2.1 or higher, and Direct 3D 11.1 or higher
An internet connection is required to install and activate the products in this collection. Once installed, all products can be used offline. Certain products may require additional free downloads.
Massive X requires an AVX compatible CPU.

Supported interfaces:

Supports ASIO, Core Audio, WASAPI
Runs in 64-bit VST, AU, AAX hosts

Product includes:

Installation files, e-voucher for the Native Instruments web shop, and two "Buy any Plugin for $29.99" e-vouchers for the Plugin Alliance web shop.

Additional info

Total download size is 680 GB. You don't have to download all products at once: Native Access allows you to download and install individual Komplete products any time you want.

Required hard disk space depends on how many products/libraries you want to install. To install all products and libraries, 770 GB free disk space is required.

Please note: The installation process may temporarily require up to 120 GB of additional free disk space on your system-drive - even if you're installing Komplete on an external hard drive. This number significantly decreases for smaller products, or if products are being installed one by one.

All products included within a single edition of a Komplete 14 bundle are part of one user license and can only be used as a single entity. A maximum of three installations on three machines are allowed as long as only one installation is used at any given time. The individual products cannot be resold separately.

Notes: Long-awaited update of Jomox's unique take on filtering, step sequencing and effects. Touchpad programming, CV control and deep MIDI integration make the MoonWind a powerful all-rounder.

Supplier's Notes:
Almost 12 years ago, Jomox brought out the first Moonwind. Now it's about time for an improved successor with OLED display, touch pad and more buttons for instant access.

Moonwind MkII is a true analogue stereo filter with built-in step sequencer, a fantastic sounding digital FX chip, two LFOs, VCA, two ADSR envelopes and envelope follower modulation.
Fixed CV in- and outputs and 6 assignable CVs make the Moonwind Mk II a versatile choice even in eurorack environment.

Everything is storable and controllable via Midi.

You can play the Moonwind Mk II like a synth by Midi notes and play melodies on the filters if they whistle in self-resonant mode.

The sequencer is able to control cutoff, Q and resonance per step and filter and thus turns the stereo filter with analogue fed back effects into a creative instrument of its own.

The editing of sequences can also be made via touchpad:

This makes the Moonwind Mk II an easy-to-use and awesome analogue sounding engine that is playable like a synth and can be seamlessly integrated into a DAW recording system

Specifications

Two real analogue low noise multimode filters
OTA technology *
Per filter Q (narrowness) and Resonance are separately adjustable **
Per filter the shapes lowpass, highpass, bandpass and notch are assignable
The filters are connectable among each other***
Per filter there is one LFO with 64 waveforms which controls the cutoff
Per filter there is envelope amount, the envelope is created from the audio with an analogue envelope follower
2 ADSR envelopes for filter and VCA that are triggered via Midi
Inputs are Hi-Z and can amplify guitar or bass signals directly
Touchpad for intuitive editing

2 CV outputs
3 fixed CV inputs
6 programmable CV inputs with amounts
Digital effects chip with 15 algorithms
Analog FX Feedback in order to create tape delays and wave guides
Three parameters per FX algorithm
The effects programs include chorus, flanger, tremolo, reverb, delay and some more exiting programs
Eight effects programs can be reloaded by OS update later on
Built-in noise generator with metallic noise and volume control
Sequencer can record Cutoff, Q and Res separately per step and filter
Maximum 64 steps per pattern
Maximum 32 steps per bar (then max. 2 bars), bars can be dynamically set according to the number of steps per bar
Clock divider can resolve max. 32th per bar
Record/undo function to record filter trails by the rotary knobs or touchpad
Direct Touchmode can record sequences with your fingertip
Sequencer and LFOs are midi clock synchronizeable
Midi notes control the cutoff of the filters, CCs the rest of parameters
Cutoff, Q and Resonance are made as classical potentiometers
Stable metal axis potentiometers and encoders with axle bearings
256x64 px LCD display
OS is updateable via Midi

Dimensions:

Width: 318mm
Depth: 180mm
Height front: 44mm
Height back: 72mm

Weight: 1.8kg

Notes: Metron is a 16-channel trigger and gate sequencer for Eurorack with extensive functions, expansion possibilities and the tools you need to create long sequences with many variations in a very short time.

The sequencer allows pattern lengths of up to 256 steps, and the number of steps per channel can be varied to create interesting and varied rhythmic structures. These patterns can be quickly stored and exchanged between units via the SD card slot. Metron also offers a random function per step and a ratcheting function.

With the optional WMD Voltera, Metron can be expanded with four additional bipolar voltage outputs.

Features:

16 Channels of trigger and gate signals
intuitive drum sequencer
View 4 channels at a time and easily switch views
Single track view lets you zoom in on a single track and see 64 steps at a time
Up to 256 step pattern length
Different pattern lengths per channel
Five instantly recallable, editable variations
View and edit variations that are not playing for easy cue and non stop performance play
Save patterns to SD memory for easy recall on power cycle
No-stop loading from memory
Easy view memory previews lets you see a pattern before loading from memory.
SD allows for easy update as well as easy back up / file transfer from unit to unit
FX / Fills for instant / momentary variation
2 assignable inputs for external CV control
Tap in patterns with quantized recording with the buttons or external source
Quick copy / paste / clear functions
Internal clock with Swing
dedicated reset output
MIDI Preset mode lets you send MIDI messages to other modules on the Doepfer CV bus. (for use with WMD SSM, Malekko Voltage Block, and more)
Random Pattern Generation
Probability per step and group probability functions
Burst per step for ratchet / roll sounds
Custom Fill Patterns for instant fills
Trigger Mutes
Step looping
Manual gates
Power consumption: 180mA at +12V and 0mA at -12V

Depth: 31mm

HP : 36

Notes: ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: One of our favourite small live/studio mixers, shown here in 16-channel form with built-in digital effects. Clean sound, decent three-band semi-parametric EQ and built-in audio interface. Very impressive.

Supplier notes:
The ZED-16FX is ideal for groups who need to travel light. It gives musicians, venues and hire companies access to 10 full mono channels, 3 stereo channels and a high quality effects unit in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on the ZED is super-flexible and super-easy: No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your Zed, select the USB routing on the mixer and the device on your computer and that's it. CD quality audio to and from your PC or Mac.

The ZED-16FX features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ, with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, the ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge, 69dB of range to be exact, and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

The ZED-16FX has an essential selection of 16 time-delay effects, designed for small groups who don't want to carry around an effects unit with their gear but who still want great quality FX at their gigs and on their recordings. Allen & Heath's DSP engineers worked hard, crafting and refining beautiful reverb algorithms to enhance every performance. These effects are available nowhere else at this price point, this quality and integration is only available from the ZED-FX. The ZED effects are easily controlled using 3 buttons with 9 display LEDs. For example, the ideal delay time can be quickly tapped-in, or the perfect amount of reverb on the lead vocal can be dialled-in. There is one-stop navigation and editing, in fact, it's just as easy as using effects pedals. To alter effects parameters, the Tap button is held down and the up/down buttons pressed to adjust the specific parameter for that effect, for example, the decay length on Plate Reverb, or the depth on Chorus.

Based on the proven pre-amps from the hugely successful PA series, ZED-16FX has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

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


High-end interface specialists RME deliver another winner. Amazing sound quality in a compact package, with TotalMix control, ADAT expansion and built-in MIDI interface.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's notes:
Four years ago the Babyface Pro again demonstrated RME's absolute commitment to superior craftsmanship, not only in audio circuits and driver development, but also in mechanics. Created with the highest precision from a block of aluminium, this high-end portable interface incorporated newly designed analogue and digital circuits. Its innovative energy saving technologies provided supreme fidelity with no compromises in level, noise or distortion.
The two headphone outputs, offering TRS and mini-jack sockets in parallel, have completely separate driver stages to perfectly match low and high impedance headphones, guaranteeing pristine sonic results no matter what type of headphone is used.
For the main I/O RME have designed an XLR socket, which integrates seamlessly into the housing and saves space.
Two digitally controlled preamps provide individually switchable 48V phantom power. These circuits feature a gain range of 76 dB, adjustable in steps of 1 dB, including a relay-driven PAD, resulting in exceptional EIN (Equivalent Input Noise) performance as well as line overload protection, and enough gain for even the lowest level microphones.
Babyface Pro's incredibly efficient design almost never requires an external power supply - it's perfectly stable on USB 3 bus power, and also most USB 2 ports, with no degradation in any technical specification. This makes it perfect for mobile recording, even with a pair of your favourite condenser microphones.
The comprehensive feature set continues with an optical TOSLINK I/O; use as either an ADAT port with SMUX support or SPDIF for sessions up to 192 kHz. In combination with an external ADAT converter, the Babyface Pro fully supports 12 analogue inputs as well as 12 outputs, making it ideal for both live and studio multi-track applications. You can plug any instrument, line or high impedance, into Babyface Pro's jack inputs 3 & 4. Record your guitar on the go, with no additional hardware required. MIDI I/O via an included breakout cable completes the package.
In digital audio, the clock frequency is an essential factor, as it creates the correlation between the audio bits and the time reference. Unfortunately, the clock frequency is not always as stable as desired. The Babyface Pro FS offers the full SteadyClock FS circuit as in the ADI-2 Pro FS for lowest jitter and highest jitter immunity. Excellent performance in all clock modes and High Quality Analog Conversion to hear your mix as it is. Digital format conversion in RME products are done without any loss or degradation, and SteadyClock FS ensures your sonic image will never experience degradation. This helps to optimize recordings and mixes because the soundstage has more depth and clarity.
Like all the latest RME interfaces, the Babyface Pro FS also includes the powerful digital real-time mixer TotalMix FX. It allows fully independent routing and mixing of input and playback channels to all physical outputs. Independent stereo submixes plus a comprehensive Control Room section offer unrivalled monitoring capabilities and unsurpassed routing flexibility.
Babyface Pro FS ships with RME's TotalMix FX, available for Windows and Mac OS X. An iOS version is available as well. This amazingly versatile software allows you to use Babyface Pro in any situation. For example, mixing your guitar and vocals to headphones has never been easier. The FPGA-based DSP mixer adds a flexible, 3-band parametric equalizer to all inputs and outputs. Reverb and delay FX are also available.
The FPGA-based DSP mixer adds a flexible, 3-band parametric equalizer to all inputs and outputs. Reverb and delay FX are also available. Latest generation low latency AD/DA converters, combined with RME's unique SteadyClock FS technology, result in exceptional specifications that will satisfy the most demanding of professionals. Combining a huge feature set with sonic excellence and intuitive control, whether for the studio or on the move, the RME Babyface Pro is the most comprehensive and versatile compact audio interface ever built.
Straight to the core without interference: the reference design of the Babyface Pro leaves nothing to be desired. RME devices are designed to conserve music as it is. Audio signals are passed in their entirety, nothing added, nothing taken. For the new Babyface, the audio circuits have been improved to meet even highest gain levels with best dynamic range. The clever user interface is informative and clearly laid out. It makes access to every feature and configuration mode of the Babyface Pro intuitive and easy to use.

Notes: All the features of the Modwave MkII in a compact 4U 19" desktop/rackmount package. Modwave builds on the legacy of Korg's DW-8000 and transforms it into a modern monster synth, featuring incredibly deep wavetable oscillators, gorgeous filters, wildly flexible modulation, unmatched polyphony, comprehensive pattern sequencing, and immediately satisfying hands-on control to deliver unique, powerful, and easily customizable sounds and phrases.

Like Modwave MkII, the Modwave Module provides an astonishing 60 stereo voices of polyphony - almost double the original Modwave's 32, and an unprecedented number for a wavetable synth at any price. The new 4U rack-mount enclosure has the same controls as the keyboard models, yet is easily transportable and fits neatly into any studio or desktop production system.

Responding to user requests, Korg have updated all LFOs with options for free running, delayed start, and retriggering. Korg have also added a pre/post switch for reverb sends, new modulation sources, and more.

The Modwave Module is fully compatible with the sounds and samples of the original Modwave, Modwave Mk II, and Modwave Native software, as well as many third-party libraries. MIDI 2.0 Property Exchange and Polyphonic Aftertouch Support

With the latest software updates, all models of Modwave, hardware and software, now support MIDI 2.0 Property Exchange and easy access to Polyphonic Aftertouch - making them excellent companions to the Korg Keystage controller.

Rack-Mount and Desktop

The Modwave Module is cleverly designed for both desktop and rack-mount use. The panel is redesigned to fit into a standard 19" width, and the rear jack panel is recessed to allow easy access to cables even with gear mounted directly above. With desktop setups, brackets offer a choice of panel angles: flatter for performing standing up, or more upright for working while seated in your studio.

Specifications

Maximum Polyphony: 60 stereo voices
Dimensions (W x D x H): 483 x 172 x 107 mm / 19.02 x 6.77 x 4.21 inch
Weight: 1.7 kg / 3.75 lbs.
Accessories: AC adapter
Sound generating system: modwave synthesis engine

Modulation

Controllers: Mod Wheel, Pitch Wheel, Kaoss Physics, 4x Mod Knobs

Other Sources

4x Envelopes, 5x LFOs, 2x Mod Processors, 2x Key Track, Seq Lanes A-D, Step Pulse, Tempo, Program/Performance Note Count, Program/Performance Voice Count, Poly Legato, Velocity, Exponential Velocity, Release Velocity, Gate, Gate+Damper, Note-On Trigger, Note-On Trigger+Damper, Note Number, Aftertouch and Poly Aftertouch (external MIDI only), MIDI CCs +/-, MIDI CCs +

Destinations: Most parameters can be modulated, including parameters of individual Motion Sequence Steps: Depending on Motion Sequence length, there can be more than 1,000 potential modulation targets per Program.

Effects

Pre FX: Decimator, Graphic EQ, Guitar Amp, Modern Compressor, Parametric EQ, Red Compressor, Ring Modulator, Tremolo, Wave Shaper

Mod FX: Black Chorus/Flanger, Black Phase, CX-3 Vibrato Chorus, EP Chorus, Harmonic Chorus, Modern Chorus, Modern Phaser, Orange Phase, Polysix Ensemble, Small Phase, Talking Modulator, Vintage Chorus, Vintage Flanger, Vintage/Custom Wah, Vox Wah

Delay: L/C/R Delay, Multiband Mod Delay, Reverse Delay, Stereo/Cross Delay, Tape Echo

Master Reverb: Early Reflections, Overb

Master EQ: 4-band parametric EQ

General

Inputs/outputs: Headphone (6.3 mm stereo phone jack), OUTPUT L/MONO and R (impedance-balanced 6.3mm TRS phone jacks), DAMPER (6.3 mm phone jack, half-damper not supported), MIDI IN and OUT connectors, USB B port
Power supply: AC adapter (DC12V, 2500mA)
Power consumption: 5 W

Notes: Updated version of Rode's outstanding podcast/video/streaming mixer. Fully integrated audio production setup with microphone and instrument inputs, audio interface and built-in effects.

Supplier's Notes:
The RODECaster Pro II is the ultimate audio production solution for streamers, podcasters, musicians and content creators. Combining revolutionary features with superior sound quality, unmatched ease of use and endless customisability, it is all any creator will ever need to record incredible audio.

Combining all of the elements typically found in a professional podcasting, streaming or studio setup into one powerful, easy-to-use console, the RODECaster Pro II simplifies the audio production process, allowing any creator to get set up to record high-quality content in seconds.

The large (5.5-inch) high-definition, full-colour touchscreen with haptic feedback, tactile rotary encoder, bright RGB colour-coding and hands-on controls makes navigating the RODECaster Pro II super simple.

Pre-loaded presets and the intuitive VoxLab processing editor make capturing professional-quality sound effortless. Every feature, from setting up a microphone channel to programming the SMART pads, has been designed to maximise creativity, and every function can be controlled on-board via the user-friendly interface or with a computer via RODE Central for maximum convenience. Incredible audio, incredibly easy.

The RODECaster Pro II offers an unparalleled feature set designed to make anyone sound exceptional every time they hit record. Four studio-grade Neutrik combo inputs with our ultra-low-noise, high-gain Revolution Preamps deliver astonishing clarity and transparency with any microphone or instrument. Users can craft their own unique sound with a full suite of studio-quality APHEX processors, including the legendary Aural Exciter, Big Bottom and Compellor, and powerful on-board effects, including reverb, delay, pitch shifting, robot effects and more. A high-performance quad-core audio engine delivers significantly more processing power than any other content creation console on the market and unlocks huge potential for future updates.

The RODECaster Pro II features four high-end studio preamps that have been designed from the ground up to deliver pristine audio quality with any microphone or instrument. With an ultra-low noise level of just -131.5dBV and a whopping 76dB of gain on tap, they eliminate the need for microphone boosters, lifters or external processing, even with the most demanding dynamic mics. They are highly transparent, allowing every detail of what's plugged in to shine and providing a clean platform to shape and enhance the signal using the on-board processing and effects.

Every great recording starts with a great microphone and a great preamp. The RODECaster Pro II features four phenomenal preamps that rival boutique designs that cost thousands of dollars per channel, complete with broadcast-quality faders for precise gain adjustment, accurate digital level metering, and high-power headphone and speaker outputs for monitoring in stunning definition . Just add a RODE mic and you're golden.

To compliment these high-end preamps, the RODECaster Pro II offers studio-quality signal processing powered by one of the most revered names in pro audio: APHEX.

On-board is a suite of legendary APHEX processors each painstakingly remodelled for the RODECaster Pro II to deliver authentic emulations of classic hardware units. This includes the Aural Exciter for adding sheen and sparkle, Big Bottom for adding richness and depth, and the legendary Compellor master compressor/leveller for adding that all-important final touch. There is also a de-esser, noise gate, high-pass filter and equaliser, also powered by APHEX.

These can be tweaked to taste using the RODECaster Pro II's innovative VoxLab processing editor, which utilises three intuitive controls to change multiple parameters on multiple processors for achieving pro results in seconds, or via the advanced editor for granular editing (either on-board or with a computer). All settings can be saved as presets and re-loaded at any time on any channel.

Every podcast, every stream, every studio is different. The RODECaster Pro II is designed to adapt to any creative vision, with endless customisability allowing users to design their perfect setup no matter what kind of content they are creating.

Specifications

Acoustic & electrical

Processor: 1.5Ghz quad-core audio engine
Bit Depth: 24-bit
Sample Rate/s: 48kHz
Equivalent Noise: -131.5 dBV EIN
Gain Range: 76dB
USB Connectivity: 2 x USB-C connectors (dual audio interfaces)
Bluetooth Connectivity: Wide-band speech Bluetooth
MicroSD Card Transfer Rate: USB 3.0 130 MB/s
Screen: HDR with haptic feedback and auto brightness

Mechanical

Dimensions (mm): 305 x 270 x 60
Weight: 1950g
Included:1 x RODECaster Pro II
1 x SC27 USB-C to C cable
1 x USB-C Power Adaptor
1 x AC Power Cable

Notes: Typically experimental stuff from Soma, the Enner is a five-voice synth with an array of filters, electro-acoustic noise options, analogue effects and huge creative potential.

Supplier's Notes:
ENNER is a very expressive sound tool that can generate bits, pads, FX, noises, clicks, glitches, but also function as a cool vocal mic with built-in analogue FX and much more! A musician with a rich imagination and who's experienced in playing ENNER can perform an entire exciting gig using just this synth.

As an instrument, ENNER is a unique analogue synthesizer with the key principle being that all signals that make sound pass through and are managed by your body. Your hands become the central part of the circuitry. Touching different contact pads with different parts of your fingers and palms with different amounts of pressure, letting signals pass through your body defines the mixing, volume, timbre, feedback and other parameters of synthesis. Human skin has much more complex electric properties than we think. The skin provides not just resistance but also some capacitive properties and even nonlinear dependence of conductivity from current, its direction and time during which the current was applied. All of this affects the sound, making you the key part of the synthesis process.

All pots of ENNER are metallic and also function as inputs or outputs. Touching a pot can change not only the parameters but also patch the audio signals.

ENNER consists of:

The array of filters with fixed frequency properties (the triangle in the centre): the stereo high pass filter (HPF), the stereo bandpass filter (high mid - BPFH), the stereo bandpass filter (low mid - BPFL), the stereo lowpass filter (LPF). Stereo means that the filters have separate inputs for left and right channels as well as separate outputs. Sliding on the filters' pads with your fingers you can create a rich stereo image where each channel may have not only individual volume properties but also timbral ones. The outputs of the filters are mixed together and connected to the main output. Also in the triangle, you have a stereo direct input (DIR) that lets you bypass the filters.

The modulated stereo delay. The input of the delay is the two pads on the top of the triangle (DLY blue). The output of the delay is mixed with filter output and connected to the main output. Also, you have delay output connected to the pads placed on the left and right sides from the top of the triangle (DLY orange) that lets you create feedback and other interesting effects. The delay has two separate lines (left and right) with individual TIME controls (BPEMR pots), common FEEDBACK and the common pot that defines the amount of self-modulation (BIZZARE). The BPEMR pots are also touch inputs for delay time modulation.

On the right side of ENNER, there is a five-voice synthesizer with individual adjustment of frequency for each voice (TUNE knobs) with the possibility to change the pitch of all voices simultaneously (PITCH knob). TUNE knobs are also the outputs of the voices, so by touching them you can patch the voices to the filter's inputs. The synthesizer has separate output pads for each voice (pads OUT 1-5), individual modulation inputs (MOD 1-5) and ring modulation outputs (the RING 12, 23, 34 numbers indicate which voices are sources for the ring modulation). Connecting MOD and OUT pads of one voice with your fingers will pitch it up. The fifth voice has an additional modulation pad MOD 5- which can shift the pitch of the fifth voice down (connect it to +12 pad or any pad that has some positive signal including the output of the fifth voice).

On the left side of ENNER, there is the second synth that has one master generator, the output of which is divided six times by two with individual outputs for each stage of division (PULSE 1-6). This synth is aimed at creating rhythmical clicks, basses and octave tones. The frequency of the master generator is defined by the TEMPO knob. The output pads &1,2,3 are logical multiplications of different PULSE outputs giving additional and more complex rhythm combinations.

ENNER is also an electro-acoustic noise instrument. It has a piezo pickup attached to the front panel that captures sound from the casing itself. There is metallic spring and you can attach rubber bands to the panel to create various acoustic sounds. The piezo mic can capture clicks and scratches you make with your fingers, and it also allows you to create filtered feedback. Not only that, it can even capture your voice singing over the panel! To get sound from the piezo you have to connect the PIEZO OUT pad with some filters or delay inputs. Applying filters and delay on the piezo out while the panel works as a mic, catching the audio signal from the speakers connected to the ENNER output lets you create very cool acoustic feedback-based effects. PIEZO GAIN adjusts the piezo sensitivity.

The bottom of the triangle (NOISE pad) is the output of static pink noise.

External in (EXT socket and EXT pad) lets you send an external audio signal to ENNER and process it through the array of filters, delay and other ENNER stuff.

All of these features make ENNER a simple yet powerful kit of sound sources and FX that give you a rich and diverse sound palette with many possible playing techniques that you can change very fast as there is no other control over the sound other than your touches.

Specs

Array of filters

Pads DIR - direct input (no filters)
Pads HPF - highpass filter in
Pads BPFH - bandpass filter high mid in
Pads BPFL - bandpass filter low mid in
Pads LPF - lowpass filter in
(L - left channel, R - right channel)

Pink noise generator

NOISE - noise output

Delay

Pads DLY(blue) - delay in
Pads DLY(orange) - delay out
(L - left channel, R - right channel)
Pots BPEMR - delay time (L and R) also time modulation inputs
The UROBOROS pot - feedback (both channels)
Pot BIZZARE - delay self-modulation

Piezo

Pad PIEZO OUT - the output
Pot PIEZO GAIN - piezo amplification (also piezo output)

The five-voice synth

Pads OUT 1-5 - outputs of the voices
Pads MOD 1-5 - modulation inputs of the voices (try to connect them with OUT)
Pads RING 12, 23, 34 - outputs of ring modulators that multiply outputs of different voices
Pad MOD 5- - an additional modulation input for the fifth voice (try to connect it with +12)
Pots TUNE 1-5 - frequency of the voices (also voices outputs)
Pot PITCH - transposing all voices at once.

Rhythm\Bass synth

Pads PULSE 1-6 - output of binary dividers
Pads &1, 2, 3 - additional outputs that are logical AND of different PULSE outputs.
Pot TEMPO - the frequency of the source generator

External

Socket EXT - external in
Pad EXT - connected to EXT socket tip

Power

+12V center + 0.2A. ENNER requires a good stabilized and filtered PSU. We recommend contemporary switching mode PSUs with a wide input range. The PSU is included.

Grounding

In order that when playing on ENNER there would be no hum from the electricity grid interferences, the device must be properly grounded! A normal grounding connection at the electric socket, which is carried through the power cord to your audio equipment to which the ENNER is connected, is sufficient.

What's in the kit:

ENNER
12V center plus PSU
Several rubber bands

Notes: Second-gen version of the excellent Opsix features major updates including 64-voice polyphony and an improved interface. Same powerful six-operator FM synth engine.

Supplier's Notes:
A Full-Spectrum Sound Experience

Opsix mk II is a digital synth like no other. Based on the sound engine of the original Opsix, the number of simultaneous voices and voicings has been expanded to an astounding 64 voices. The result is superior performance and precise control.

The Opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

And, it is fully compatible with the sounds and samples from both the original opsix and the opsix Native software, including numerous high-quality libraries.

Evolved to an astounding 64 voices

The Opsix mk II has 64 voices, twice as many as the original 32 voices, allowing users to enjoy tone editing without having to worry about the number of simultaneous voices. In addition, the operator-mixer section, the most distinctive feature of this product, has been accented with a new image colour, green.

Get Illuminated with the Operator Mixer

At the heart of every sound is Opsix mk II's Operator Mixer - a simple set of six faders and knobs that invite exploration. Each part lights up red to indicate carriers or blue for modulators. Manipulating them opens up new sound-shaping possibilities to breathe fresh life into your musical ideas. This straightforward, hands-on workflow is part of what makes Opsix mk II so unique, just like the sounds it offers.

Direct Hands-On Control

Whether you're tweaking a preset or building a patch from the ground up, the six data entry knobs on the right give you quick access to the parameters you need and seamlessly sync with the large OLED display, giving you a clear, focused direction to your workflow. Coupled with the mixer, it makes creating fresh sounds super easy and, most importantly, fun!

Select from a full range of analogue-style filters, from the radical Korg MS-20 low-pass/high-pass filter to the powerful yet smooth KORG Polysix low-pass filter that gives your sound a vintage feel. There are also two or four-pole low-pass, high-pass, band-pass, and band-reject filters with resonance.

There's even a built-in spectrum analyser and oscilloscope that gives you visual feedback via the screen on the music you're making.

Six in One Synthesis

The core of Opsix mk II is nothing short of exponential. Since waveforms can be arranged and modulated in nearly infinite ways, Opsix mk II can easily do the sonic work that is similar to numerous types of synthesis:

Subtractive

Removing parts of the sound to get the sound you want; the most widely-used synthesis. Opsix mk II uses up to six envelopes and multi-modelled filters to achieve many cutting-edge and classical analogue synthesis tones.

Semi-Modular

Rerouting signal paths to change the sound. A spin through the Algorithm section will dramatically reshape the sound by changing how the signal routing between the operators work together, and no patch cables are needed. Analog-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.

Analogue (Modeling)

Analogue-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.

Waveshaping

Adding intentional distortion to the waveforms to achieve aggressive overtones that are either harmonic or inharmonic. This will help you achieve gritty, bitey tones dripping with character.

Additive

Stacking waveforms and blending their harmonics is key to an expansive range of harmonious, dissonant, and tension-driven sounds. With six operators available, the complete FM experience is possible, including the ability to go back in time for classic sounds you have heard throughout recording history.

Classic FM

Last but certainly not least, Opsix's highly flexible and powerful architecture starts with true six-Operator FM. As a result, it easily delivers signature sounds you have surely heard on thousands of hits from the '80s on through today, and with far more polyphony than other standalone FM synths available today.

With all of these ways to realize and explore sounds, Opsix mk II is uniquely suited as a "future-modern-classic" synth!

Altered Reality

What started as a legacy synthesis has evolved into something completely different. Opsix mk II is FM-based, but the similarities to the classic synthesis end there. The Altered FM architecture delivers sounds across a vast spectrum, far wider than any single synthesis has been able to cover before, thanks to new sound components; new waveforms, filters, shaping, effects, LFOs, envelopes, modulations, and more, all translating to its broad assortment of sounds.

Powerful Effects Processing

Opsix mk II provides three blocks of 30 types of high-definition effects that you can use together to enhance your sounds even further. There's everything from a great mix of usable standard effects like chorus, phaser, delay, and compressor to some world-class shimmering reverbs that will elevate your sound to the next level.

Specifications

Keyboard: 37 keys (velocity and release-velocity sensitive)
Sound generating system: Altered FM sound generator
Maximum Polyphony: 64 voices (varies depending on the setting)
Structure: 6 operators, 1 filter, 3 EGs, 3 LFOs, 3 effects, step sequencer, arpeggiator
Algorithm: 40 presets + user algorithm (unique to each program)
Operator: 6 modes (FM, Ring Mod., Filter, Filter FM, Wave Folder, Effect)
Oscillator waveform: 23 waveforms (Sine, Sine 12bit, Sine 8bit, Triangle, Saw, Saw HD, Square, Square HD, Additive Saw3, Additive Sqr3, Additive Tri3, Additive 12345, Additive 1+2, Additive 1+3, Additive 1+4, Additive 1+5, Additive 1+6, Additive 1+7, Additive 1+8, Noise S/H, Noise White, Noise Pink, Noise Blue)
Filter: 11 types (LPF 12, LPF 24, LPF MS-20, LPF POLY6, HPF 12, HPF 24, HPF MS-20, BPF 6, BPF 12, BRF 6, BRF 12)
EG: ADSR
LFO: 23 waveforms (Triangle, Saw Down, Saw Up, Square, Sine, Sample&Hold, Guitar, Exp. Triangle, Exp. Saw Down, Exp. Saw Up, Step4 Triangle, Step6 Triangle, Step4 Saw Down, Step6 Saw Down, StepRnd:Time, StepRnd:Lvl&Time, StepRnd:Level, Random:Time, Random:Lvl&Time, Triangle + , Saw Down + , Saw Up + , Square +)
V.Patch: 12 routings
Effect: 30 types (Chorus, Unison Ensemble, Phaser, Phaser (BPM) , Auto Pan, Auto Pan (BPM), Flanger, Flanger (BPM) , Rotary Speaker, Auto Wah, Exciter, Enhancer, LFO Filter, 3-Band EQ, Distortion, Guitar Amp, Decimator, Grain Shifter, Master Limiter, Compressor, Delay, Delay (BPM) , Autopan Dly, Autopan Dly (BPM), Tape Echo, Tape Echo (BPM) , Early Reflection, Reverb, Shimmer Reverb, Spring Reverb)
Sequencer: Step Sequencer (up to 16 steps, up to 6 notes per step), Motion Sequencer (up to 6 lanes)
Arpeggiator: 7 patterns (MANUAL, UP, DOWN, ALT1, ALT2, RANDOM, TRIGGER)
Number of programs: 500 (350 preset programs and 150 user programs as the factory-set default)
Favourite: 64 (16 Slots × 4 Banks)
Controllers: MODULATION wheel, PITCH wheel, RATIO OP 1-6 knobs, LEVEL OP 1-6 sliders, DATA ENTRY A-F knobs
Inputs/outputs: Headphone (6.3 mm stereo phone jack), OUTPUT L/MONO and R (impedance-balanced 6.3 mm TRS phone jacks), DAMPER (6.3 mm phone jack, half-damper not supported), MIDI IN and OUT connectors, USB B port
Power supply: AC adapter (DC12V)
Power consumption: 5 W
Dimensions (W × D × H): 565 × 338 × 90 mm / 22.24" × 13.31" × 3.54"
Weight: 2.9 kg / 6.93 lbs.
Included items: AC adapter
Accessories (sold separately): DS-1H damper pedal, PS-1 pedal switch, PS-3 pedal switch

Notes: Deckard's Voice is an entry level semi-modular synth from Black Corporation for eurorack systems. Sharing the same paradigm and circuit as it's bigger brother Deckard's Dream, trimmed down for eurorack and supplemented with the flexibility available only in a modular format.

Features:

VCO with pulse, glitch saw and sine outputs
Dedicated LFO for PWM
Noise source
External audio input to a filter
Discrete hipass and lowpass filters with resonance and IL-AL-ADR envelope
LFO with sine, saw, ramp, square, smooth and stepped random output
Output VCA with ADSR envelope and velocity control over volume
ADSR (0-10V) and LFO (-5V/+5V) outputs
Master and line level outputs
32HP size
+12/-12V standard eurorack power
38mm deep

Notes: Latest update to a modern classic drum machine. Pure analogue sound and rock solid build. Externally untouched but now with revamped internal circuits and USB MIDI. Also available with new, improved trigger inputs.

Supplier's Notes:
Introducing the brand new update to the classic drum and percussion synthesizer VERMONA DRM1. The DRM1 is a key part in Vermona's history. Its first generation, released in the 90s as Syncussion DRM1, caught wide attention. The MKII-version then continued and broadened the success and breathed new life into the VERMONA brand at the turn of the millennium. With the DRM1 MKIII, that Vermona have been building since 2006, it has now been a total of 25 years of DRM1! This makes it one of the longest-lived electronic musical instruments. And launching the next quarter-century is this analog drum synthesizer from VERMONA.

DRM1 MKIV: Familiar, yet evolved

At first glance, you may not notice any difference from its predecessor. Indeed, from the outside, there isn't any! The overall concept and user interface have remained the same: There are eight instrument channels, each with nine knobs for sound shaping, pan and volume control. The DRM1 is a musical instrument, a creative tool that wants to be touched and played.

Instead of trying to reinvent or change an already well-proven external design, with this update to version MKIV Vermon decided to focus on the inside. Time was taken to thoroughly listen into the circuits and put energy and care into its details: Thoughtfully tweaking frequency ranges, revamping control curves, adjusting levels and redesigning sub-circuits. The goal was to make the DRM1 MKIV the best drum synthesizer Vermona have ever built!

DRM1 MKIV: Sociable and dynamic

To make integration into your studio more comfortable, the DRM1 MKIV was equipped with USB-MIDI in addition to the standard MIDI connections.

The optional trigger inputs have been significantly upgraded. Beyond gate pulses, they now also accept different voltage levels for triggering the instrument channels dynamically. The DRM1 MKIV with trigger inputs can also convert the analog signals into MIDI notes via USB or the newly added MIDI OUT connector making it an incredibly versatile MIDI interface.

Whether you're controlling the DRM1 MKIV via a DAW, a hardware sequencer, or a modular system, you'll have the proper connection and further the ability to send the MIDI notes to additional devices.

DRM1 MKIV: More power under the hood

The power supply of the DRM1 MKIV is completely new. It now works anywhere in the world, without having to manually change the mains voltage. This is a huge relief for all of you who use the instrument at live shows. No less important: it works more energy-efficient than the old one!

Notes: WoFI is a portable Sampler keyboard that connects to the internet via WiFi, and features an innovative effect module called Texturer that combines elements of shimmer and granular synthesis to create unique and fascinating sounds. Its compact size and intuitive interface make it an ideal tool for musicians and producers who are always on the move. In addition, WoFI comes with a rechargeable battery, allowing you to create music anywhere you go without worrying about power. You can also share your patches and access sound banks from other sound designers through the mywo.fi community platform. Whether you're a beginner or a seasoned professional, WoFI offers endless possibilities for exploring new sonic territories and creating unique sounds.

Features

Player

The Player let you colour your sound with our emulations of classic samplers and their different sample player modes. Make it clean, dirty or anywhere in between.

Enveloppe

Sculpt your sound with the Enveloppe that can be assigned to WoFi's amp, filter or even both.

Manager

With the Manager and its display, get a visual feedback on all your tweakings, manage your sample library, access to mywo.fi content through WiFi and play with the touch strip. Oh, and there is no subscription needed for mywo.fi. Having WoFi gives you free access to community.

Filter

The Filter let you play the WoFi like classic subtractive synthesizers. It's a digital low-pass filter with two different slopes (12dB and 24dB) and a tasty resonance.

Texturer

The Texturer is here to bring you to unexplored sonic territories. Elevate your sound with this effect halfway between a shimmer FX and granular synthesis.

LFO

The LFO let you modulate your creation. With three different wave shapes, assign it to any parameter of the front panel and give motion to the sound.

Sequencer

The Sequencer let you build melodic patterns with the 16 polyphonic steps. It can be used as an arpeggiator. You can have your two hands free to play along the sequence and tweak your sound while it is looping. Oh, and you can also step sequence parameters, which makes it another modulation source in addition of the LFO and the Enveloppe.

Recorder

The Recorder let you either capture a sample from the line in or directly from the built-in microphone. It's easy as pie, pick your audio source with the switch, click on record and voila. Just like with the iconic first keyboard samplers.

Master

The Wofi is made to be played in many contexts, from your couch to the studio, so it has a full connectivity and two stereo audio outputs: one for your headphones and one for a master line-out and the WoFi internal speaker. Set your volumes easily.

Technical details

Player
- 48kHz 16 bits
- Direct streaming from flash, no preloading
- Polyphony 10 voices

Recorder
- 48kHz 16 bits mono
- Line / dynamic microphone / integrated microphone
- Gain adjust -6dB + 22dB
- Eurorack level compliant

Memory
- Flash embedded memory : 100 Mbytes, Flash cartridge memory : 100 Mbytes, Up to 200 User Patches + 50 Presets

100 MB allows storing 18 minutes of audio

Sequencer
- 16 steps track for notes
- 16 keys track for parameters sequencing


DSP
- Real time processing (No Preprocessing)
- Interpolation modes: sample & hold, linear, whittaker-shannon
- Pitch shift
- Time stretch
- Bit crusher
- Texturer
- Machine rendering emulation
- Resonant state variable filter (12dB/o-24dB/o)
- Parameter modulation from different sources : enveloppe, LFO, sequencer automations, external modulation (CV/MIDI), after touch, touch strip
- Texturer: self mixing renderer based on granular sampling - 8 grains - multi tap harmonizer

File servicing
- Direct file system management through USB
- Embedded sample editor

Network
- WIFI connectivity, up to 16 key pass
- Cloud access: Patch / Sample upload and download, sharing or backup.

Connectivity
- Sync clock + start/stop
- CV input, Gate input
- CV output, modulation output, gate output
- MIDI in, out, through DIN+USB
- Line In, Line out, Headphones


Miscellaneous
- USB powered
- Embedded battery - roughly 4h autonomy
- Integrated Microphone
- Integrated Speaker
- Full backup to Cartridge or mywo.fi
- User friendly workflow


- Aluminium / wood body
- Dimensions: 52cm x 23cm x 7cm

Notes: USTA is a 4×4 tracks sequencer for voltages and gates with variable stage duration, designed to quickly see and edit multiple voltage relationships in real time.

Variable stage duration means that every single stage duration can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one stage per every clock impulse).

4×4 tracks means that every stage can store and generate up to four separate voltages (two CVs and two gates), and that up to four independent stage sequences can be arranged into as many different tracks.

Its architecture is based on an array of 16 'Stages' which form a 'Pattern'; 16 patterns form a 'Track', and four tracks form a 'Project'. Within each track, each stage can provide two gates and two CVs, and a wide set of options is available to define and modify the value of each output ('Layers') and the way it is played ('Colours').

Every Stage is related to a dedicated stepped encoder for quick and intuitive editing, and all the 16 encoders are arranged in an oval layout with a circular playhead. Every encoder is surrounded by a ring of 16 LEDs and a RGB led, to provide a visual feedback of the current setting of that step basing on the layer you are working on (like raw CV, quantized CV, length, gate...) and the way it should play depending on the RGB colour.

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


Eurorack modular synthesizer case designed to meet the demanding requirements of project and professional studio environments. The Structure EP-270 provides massive amounts of clean, quiet power housed in beautiful, angled hardwood enclosures, full of classic synthesizer styling.

Uncompromising power and craftsmanship combine to create this stunning studio case. The Structure EP-270 offers 270HP of module space with a combined 9 amps of robust power.

Notes: Inspirational west coast sounds from one of the masters. Additive oscillator with eight harmonics, direct outputs and powerful CV control to scan, tilt and mix the waveforms.

Supplier's Notes:
For the first time in Eurorack, this oscillator module provides outputs for the first 8 harmonics as sine waves. Also included are triangle, saw, square waves.

A voltage controlled mixer with various methods of address allows the user to scan, tilt and mix the harmonics from both panel and external voltage control. It is built on a discrete, all analog triangle core with an old school discrete transistor exponential converter. It has inputs for linear and exponential FM, the exponential with a reversing attenuator. Of course there's a 1 volt/octave trimmed CV input as well.

Power consumption: 120mA at +12 V and 90mA at -12 V

HP : 32

Notes: ZED-18 has an incredibly advanced feature-set for a mixer at this level - it gives musicians, venues and hire companies access to 10 full mono channels and 4 stereo channels in a compact, rack mountable format. Configurable USB audio in/out makes it easy to capture stereo recordings.

Getting audio to and from a computer easily is now a common requirement for live sound and music production. The way this has been implemented on ZED is super-flexible and super-easy! No longer do you need to fiddle around the back of your PC to get to the soundcard inputs, only to find that the levels are all wrong and noisy. Just plug in a USB lead to your ZED, select the USB routing on the mixer and the device on your computer and that's it! CD quality audio to and from your PC or Mac. Switches and connection through jack socket terminals provide different send/return configurations:-

SEND OPTIONS
1) Main Mix Left + Right (Post-fade)
2) Main Mix Left + Right (Pre-Fade)
3) Auxes 1-2
4) Auxes 3-4

RETURN OPTIONS
1) To Stereo 3 channel

ZED-18 features a responsive 3-band, swept mid frequency EQ design which utilises MusiQ - with optimised slope (or Q factor) for equalising individual instruments.

Based on the proven pre-amps from the hugely successful PA series, ZED-18 has DuoPre pre-amps, which use a two stage design, with carefully controlled amounts of gain in each stage. When amplifying the signal from the XLR input, the gain range is huge - 69dB of range to be exact - and is very evenly distributed around the gain control, meaning better control of signal level. Most of the gain comes from the first stage, so unwanted noise is kept to a minimum. Line level signals are simply plugged into the second stage of the pre-amp by using the line input jack socket, which has the great advantage of less noise when using the line input and also matching to a higher input impedance.

Notes: A revolutionary keyboard controller that puts the world's best sound library at your fingertips. Get direct, hands-on control of virtual instruments from NI and thousands more from developers like Arturia, Heavyocity, Korg, Output, Spitfire Audio, and u-he.

Browse and tweak everything from synths and drums to orchestral libraries and scoring tools - all seamlessly integrated with Kontrol's tactile controls and large, high-res screen. Then play with a new level of expression and freedom thanks to a best-in-class keybed, polyphonic aftertouch, Light Guide, and Play Assist features. And with a comprehensive package of included software, featuring the industry-leading sampling platform Kontakt 7, you'll be ready to go from day one.

Polyphonic aftertouch

Take expression one step further with the slightest pressure on individual keys. Bring new layers of nuance to your playing with cutoff, pitch, vibrato, and much more, without reaching for an extra encoder or dial. All three models come complete with polyphonic aftertouch on an industry-leading keybed developed in collaboration with Fatar.

Thousands of instruments made real

Kontrol brings the world's best virtual instruments to life in a genuinely immersive experience. Whatever you're playing, get in-depth control thanks to an unparalleled direct connection to Kontakt. Find sounds quickly with intuitive on-screen navigation, then adjust and play them with intelligent auto-mapping that understands the parameters.

Included software

Kontrol comes with a host of creative music production tools - all fully integrated with the hardware, to give you everything you need to start making music straight out of the box.

Included software
Kontakt 7
A free Kontakt instrument of your choice
Komplete 14 Select
Komplete Kontrol Software
Stradivari Cello

An internet connection and a graphics card that supports Direct 3D 11.1 (feature level 11_0) or higher are required to download and activate this product. Once installed and activated, the product can be used offline.

NKS 2 NKS (Native Kontrol Standard) is NI's technical standard for virtual instruments and effects. It's used across the industry and ensures that all compatible plugins are precisely mapped to controls. Kontrol marks the launch of NKS 2, which powers the unmatched software integration experience.

S61 MK3 Dimensions: 967.4 × 323 × 86 mm
Weight: 6kg

Hardware specifications:
1 high-resolution colour screen with glass surface (1280 × 480)
CNC machined, bead blasted and anodized aluminum, 8 × encoder caps, 1 × 4D encoder cap, 2 × wheels (pitch and mod)
RGB illuminated pitch and mod wheels
New button-islands that form a continuous dustproof control surface and are grouped by function

System requirements

MIDI 2.0 compatible
Intel Core i5, Apple M1 (and equivalent or higher)
macOS 13 (Ventura) or higher (compatible with macOS 12 in MIDI 1.0 mode)
Windows 10 (latest service pack) or higher
8 GB RAM

Notes: Brilliantly unusual synth based on eight analogue tone generators, functioning more like an electric organ or FM synth than a conventional subtractive architecture. Unique sound.

Supplier notes:
Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of VCOs. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Notes: A new modular model that revolutionizes the music production environment.

Opsix Module is a digital synth like no other. The Opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

Now, Korg has created a new form of Opsix, the module. This model supports MIDI 2.0 property exchange and poly aftertouch, and is an excellent companion to Keystage. It's also fully compatible with the sounds of the original Opsix, Opsix mk II, Opsix SE, and Opsix native software, as well as numerous excellent third-party libraries, keeping the updated sounds and software fresh. The new 19" rack-mountable enclosure has the same controls as the keyed models, yet is easily transportable and fits neatly into any studio or desktop production system.

MIDI 2.0 Property Exchange and Polyphonic Aftertouch support

With the latest software updates, all models of Opsix, hardware and software, now support MIDI 2.0 Property Exchange. Hundreds of the original factory sounds have been updated to include Polyphonic Aftertouch modulation (Channel Aftertouch is supported as well). All of this makes the Opsix module an excellent companion to KORG's Keystage controller.

Rack-Mount and Desktop

The Opsix module is cleverly designed for both desktop and rack-mount use. The panel is redesigned to fit into a standard 19" width, and the rear jack panel is recessed to allow easy access to cables even with gear mounted directly above. With desktop setups, brackets offer a choice of panel angles: flatter for performing standing up, or more upright for working while seated in your studio.

Many musicians have requested a module version of the Opsix. Now that components are once again available after a long period of supply-chain disruption, KORG is pleased to make that request a reality.

Main Specifications
Maximum Polyphony: 80 voices
Dimensions (W x D x H): 482 x 172 x 104 mm / 19.02 x 6.77 x 4.09 inch
Weight: 1.7 kg / 3.75 lbs.
Accessories: AC adapter

Sound generating system: Altered FM sound generator
Structure: 6 operators, 1 filter, 3 EGs, 3 LFOs, 3 effects, step sequencer, arpeggiator
Algorithm: 40 presets + user algorithm (unique to each program)
Operator: 6 modes (FM, Ring Mod., Filter, Filter FM, Wave Folder, Effect)
Oscillator waveform: 23 waveforms (Sine, Sine 12bit, Sine 8bit, Triangle, Saw, Saw HD, Square, Square HD, Additive Saw3, Additive Sqr3, Additive Tri3, Additive 12345, Additive 1+2, Additive 1+3, Additive 1+4, Additive 1+5, Additive 1+6, Additive 1+7, Additive 1+8, Noise S/H, Noise White, Noise Pink, Noise Blue)
Filter: 11 types (LPF 12, LPF 24, LPF MS-20, LPF POLY6, HPF 12, HPF 24, HPF MS-20, BPF 6, BPF 12, BRF 6, BRF 12)
EG: ADSR
LFO: 23 waveforms (Triangle, Saw Down, Saw Up, Square, Sine, Sample&Hold, Guitar, Exp. Triangle, Exp. Saw Down, Exp. Saw Up, Step4 Triangle, Step6 Triangle, Step4 Saw Down, Step6 Saw Down, StepRnd:Time, StepRnd:Lvl&Time, StepRnd:Level, Random:Time, Random:Lvl&Time, Triangle + , Saw Down + , Saw Up + , Square +)
V.Patch: 12 routings
Effect: 30 types (Chorus, Unison Ensemble, Phaser, Phaser (BPM) , Auto Pan, Auto Pan (BPM), Flanger, Flanger (BPM) , Rotary Speaker, Auto Wah, Exciter, Enhancer, LFO Filter, 3-Band EQ, Distortion, Guitar Amp, Decimator, Grain Shifter, Master Limiter, Compressor, Delay, Delay (BPM) , Autopan Dly, Autopan Dly (BPM), Tape Echo, Tape Echo (BPM) , Early Reflection, Reverb, Shimmer Reverb, Spring Reverb)
Sequencer: Step Sequencer (up to 16 steps, up to 6 notes per step)
Motion Sequencer (up to 6 lanes)
Arpeggiator: 7 patterns (MANUAL, UP, DOWN, ALT1, ALT2, RANDOM, TRIGGER)
Number of programs: 500 (350 preset programs and 150 user programs as the factory-set default)
Favourite: 64 (16 Slots × 4 Banks)
Controllers: MODULATION wheel, PITCH wheel, RATIO OP 1-6 knobs, LEVEL OP 1-6 sliders, DATA ENTRY A-F knobs

Inputs/outputs:
Headphone (6.3 mm stereo phone jack)
OUTPUT L/MONO and R (impedance-balanced 6.3 mm TRS phone jacks)
DAMPER (6.3 mm phone jack, half-damper not supported)
MIDI IN and OUT connectors
USB B port

Notes: A new modular model that makes a big difference in the music production environment.

Introducing the Wavestate module - all of the features of the Wavestate mkII in a compact 19" desktop/rackmount package.

In 2020, the acclaimed Wavestate brought KORG's Wave Sequencing to the next level. Featuring the radically re-imagined Wave Sequencing 2.0, the Wavestate delivers astonishing, ever-changing sounds with extensive hands-on control. Far from a nostalgic reissue, the Wavestate was designed from the ground up for a new generation of musicians, producers, and composers, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition.

120 voices of polyphony, updated LFOs, and more

Taking full advantage of both a new enclosure design and new processing hardware, the Wavestate module provides an impressive 120 stereo voices of polyphony. The new 4U rack-mount enclosure has the same controls as the keyboard models, yet is easily transportable and fits neatly into any studio or desktop production system.

Responding to user requests, we've also updated all LFOs with options for free running, delayed start, and retriggering, added new modulation sources, and more. A software update will also be available for the original Wavestate.

The Wavestate module is fully compatible with the sounds and samples of the original Wavestate, Wavestate mk II, Wavestate SE, and Wavestate native software, as well as many excellent third-party libraries.

MIDI 2.0 Property Exchange and Polyphonic Aftertouch support

With the latest software updates, all models of Wavestate, hardware and software, now support MIDI 2.0 Property Exchange. Hundreds of the original factory sounds have been updated to include Polyphonic Aftertouch modulation (Channel Aftertouch is supported as well). All of this makes the Wavestate module an excellent companion to KORG's Keystage controller.

Rack-Mount and Desktop

The Wavestate module is cleverly designed for both desktop and rack-mount use. The panel is redesigned to fit into a standard 19" width, and the rear jack panel is recessed to allow easy access to cables even with gear mounted directly above. With desktop setups, brackets offer a choice of panel angles: flatter for performing standing up, or more upright for working while seated in your studio.

Many musicians have requested a module version of the wavestate. Now that components are once again available after a long period of supply-chain disruption, KORG is pleased to make that request a reality.

Main Specifications

Maximum Polyphony: 120 stereo voices
Dimensions (W x D x H): 483 x 172 x 113 mm / 19.02 x 6.77 x 4.45 inch
Weight: 1.7 kg / 3.75 lbs.
Accessories: AC adapter
Sound generating system: Wave Sequencing 2.0
Maximum Polyphony: 96 stereo voices
Sounds: Ships with 261 Performances, 799 Programs, and 1,042 Wave Sequences
Storage for tens of thousands of user Performances Structure

Performance

4 Layers, Reverb, EQ; all edits are stored in the Performance, DAW-style (saving as separate Programs, Wave Sequences etc. is supported but not required)
Layer: Program, Arpeggiator, Key and Velocity Zones
Program: Wave Sequence, Filter, Amp, Pre FX, Mod FX, Delay
Filters: 2-pole LPF, 2-pole HPF, 2-pole BPF, 2-pole Band Reject, 4-pole LPF, 4-pole HPF, 4-pole BPF, 4-pole Band Reject, Multi Filter, MS-20 LPF, MS-20 HPF, Polysix
Modulation: Controllers
Mod Wheel, Pitch Wheel, Vector Joystick X/Y, 8x Program/Performance Mod Knobs
Other Sources: 3x Envelopes, Vector Envelope, 3x LFOs, 2x Mod Processors, 2x Key Track, Step Sequencer Lane, Step Pulse, Tempo, Program/Performance Note Count, Program/Performance Voice Count, Poly Legato, Velocity, Exponential Velocity, Release Velocity, Gate/Gate+Damper, Note-On Trigger/Note-On Trigger+Damper, Note Number, Aftertouch/Poly Aftertouch (external MIDI only), MIDI CCs +/-, MIDI CCs +
Destinations: Most parameters can be modulated, including parameters of individual Wave Sequence Steps. Depending on Wave Sequence length, there can be more than 1,000 potential modulation targets per Program.

Effects

Pre FX: Decimator, Graphic EQ, Guitar Amp, Modern Compressor, Parametric EQ, Red Compressor, Ring Modulator, Tremolo, Wave Shaper
Mod FX: Black Chorus/Flanger, Black Phase, CX-3 Vibrato Chorus, EP Chorus, Harmonic Chorus, Modern Chorus, Modern Phaser, Orange Phase, Polysix Ensemble, Small Phase, Talking Modulator, Vintage Chorus, Vintage Flanger, Vintage/Custom Wah, Vox Wah
Delay: L/C/R Delay, Multiband Mod Delay, Reverse Delay, Stereo/Cross Delay, Tape Echo
Reverb: Early Reflections, Overb
Performance EQ: 4-band parametric EQ

Inputs/outputs: Headphone (6.3 mm stereo phone jack), OUTPUT L/MONO and R (impedance-balanced 6.3 mm TRS phone jacks), DAMPER (6.3 mm phone jack), MIDI IN and OUT connectors, USB B port
Power supply: AC adapter (DC12V, 2500mA)
Power consumption: 5 W
Dimensions (W x D x H): 565 x 338 x 92 mm/22.24" x 13.31" x 3.62"
Weight: 2.9 kg/6.93 lb.

Included items

AC adapter
Accessories (sold separately)
DS-1H damper pedal, PS-1 pedal switch, PS-3 pedal switch

Notes: Eurorack version of 1010's superb Bluebox. Vast power in 30 HP, with the ability to mix, record and play back in mono and stereo, hook up to a computer over USB for stereo I/O and run effects, all with CV control.

Supplier's Notes:
The bluebox Eurorack edition is the new Eurorack mixer with effects and multichannel recording/playback based on the award-winning bluebox desktop mixer. With the Eurorack edition's USB-C EXT port, you can send 2 channels of audio to and from your computer. Plus, you can control up to 6 mix settings with the 6 CV inputs. Whether recording your Eurorack jams, using it to play stems as backing tracks, or a combination of both - bluebox Eurorack edition will rock your rack!

Connect your eurorack, sampler, drum machine, and synthesizer outputs to 12 mono, 3.5 mm inputs and map them to 12 mono tracks or 6 stereo tracks - all with independent control for recording and playback. Connect your computer to the USB C port to send and receive two channels of audio.

The bluebox Eurorack edition is the ultimate in compact mixing, effects, recording, and playback for Eurorack. Smack it in your rack and hit the road with a self-contained, electronic music powerhouse!

When you purchase a bluebox Eurorack edition, you will receive:

a bluebox Eurorack edition 30 HP Eurorack module
A microSD card with bluebox firmware and pre-loaded project files
two Eurorack power cables
a bluebox Eurorack edition Quick Start guide
two MIDI Adapters

Technical Specs

Dimensions & Power
30 HP
Module dimensions including knobs: 6" x 5"x 1.6"
Depth behind front panel with ribbon cable: 1.0"
Requires the +5V rail which may not be present
on some older racks.
Uses 500-850mA at +5V (depending
on screen brightness), 320 mA at +12V, and 82mA at -12V
Requires two power connections
Capabilities
12 mono tracks, 6 stereo tracks or something in between
Connect to TRS or USB C MIDI for beat syncing effects
Lots of headroom with support for Eurorack levels up to +/-5V inputs and outputs
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
Durable aluminum faceplate
Stream 2 channels of audio in and out over USB C

Inputs and Outputs
12 mono 3.5 mm TS inputs
2 independently controlled 3.5 mm TS output pairs that can be used as 4 mono outputs
1 stereo 3.5 mm headphone output
6 CV Inputs
1 USB C MIDI Device port
1 TRS MIDI Input
1 TRS MIDI Output
1 USB C Ext jack for streaming audio
3.5" touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons

Notes: NOON is a passive analogue drum/synthesizer. Each of the eight channels uses a unique analogue circuit with its own characteristics. No power supply is needed. Each circuit is triggered and powered individually from incoming gates or control voltages provided by voltage sequencers or modular systems. By using this unique method, we can increase instability and magnify organic aspects of traditional analogue electronic instruments. The sound of analogue, at its core, is the sound of sculpted electricity. By removing the stabilizing elements of a constant power source, we can listen to the sound of electronic circuits loading and unloading, powering up and powering down, and we can increase the natural chaotic movement of electricity. The loading of circuits creates natural ways to access swing and groove or ways to deconstruct a programmed rhythm sequence to make surprisingly new ideas.
Each channel is represented by a tuning fork. Incoming voltage can be thought of as a way to "strike" each fork with momentary voltage. Between every channel there are Link buttons which allow voltage sharing between channels. Linking them provides a wide mix of results depending on incoming voltage, active or inactive channels, slider settings, gate lengths and multichannel linking. The results can be described as cross modulation, growth (creating a larger and more complex circuit), or processing (filtering, distortion). Due to the cycles of voltage and this inherent instability, a definition of what is actually occurring between channels can be hard to pin down. The eight Mod buttons, which are located at the bottom of each tuning fork, change the behaviour and sound of each circuit. The eight latching CV buttons along the top allow the "?" Even and "?" Odd CV modulation inputs to route to even and odd channels. When incoming CV is unmuted, a channel's behaviour can change drastically and this behaviour can change further when channels are linked. These CV inputs are a way to add microtonal pitch changes and/or large textural movement to voices. The Even and Odd CV inputs are summed to their respective channels to provide a rhythmic modulation reference between multiple channels.

Limitations & Recommendations

A voltage sequencer, modular system or some form of external control voltage is required for use. This is a powerless instrument which relies upon receiving voltage and control from external sources.
Using sequencers which have the ability to vary gate length is highly encouraged due to the increase in sound possibilities and rhythmic movement.
Each model of voltage sequencer can have slightly different effects on the tonality of the instrument due to variations between manufacturers and feature sets.
Given the passive design of the device the reaction of the touch plates will vary greatly based upon what voltages are being received in which channel, if channels in are being touched in tandem, skin moisture and gate lengths. Using only trig signals can significantly lessen the touch plate response.
Channels 7 & 8 (Larynx & Bacid) will give best results being fed gate and cv voltage simultaneously. Sending trigs instead of gates to these channels may have less interesting results than found in other channels.

Specifications

Dimensions: 32cm x 18cm x 2.5cm / 12.5" x 7" x 1"
Materials: Gold plated PCB (2mm fiberglass) / routed Birch plywood case with clear coat / metal shaft sliders with rubber caps / concave and dual LED latching push buttons
Weight: 0.9 kg. / 2 lbs.
CV Inputs: 10 x 3.5mm jacks
Audio Input: 1 x 3.5mm jack
Audio Outputs: 10 x 3.5mm jacks

Notes: Brilliantly unusual synth based on eight analogue tone generators, functioning more like an electric organ or FM synth than a conventional subtractive architecture. Unique sound.

Supplier notes:
Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of VCOs. Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Specifications:

Max output voltage: 2 v 0-to-peak
Output connector: mono 6.3 mm TS or TRS (balanced) jack
Output resistance: 100 Ohm
EXT IN: 1 v 0-to-peak
EXT IN connector: 6.3 mm TS jack
HOLD GATE: full HOLD volume +5 V
HOLD GATE connector: 6.3 mm TS jack
CV DELAY : unipolar, range of 0 to +5 volt
CV DELAY connector: 6.3 mm TS jack
CV VOICES: unipolar, range of 0 to +5 volt
CV VOICES connector: 6.3 mm TS jack
Power supply: stabilised, +12 V, 0.2 A, centre positive
Power Consumption: 2 watt
Dimensions: 266 x 266 x 62 mm
Weight (without power supply and packaging): 2.5 kg

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


Second-gen version of the excellent Opsix features major updates including 64-voice polyphony and an improved interface. Same powerful six-operator FM synth engine.

Supplier's Notes:
A Full-Spectrum Sound Experience

Opsix mk II is a digital synth like no other. Based on the sound engine of the original Opsix, the number of simultaneous voices and voicings has been expanded to an astounding 64 voices. The result is superior performance and precise control.

The Opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

And, it is fully compatible with the sounds and samples from both the original opsix and the opsix Native software, including numerous high-quality libraries.

Evolved to an astounding 64 voices

The Opsix mk II has 64 voices, twice as many as the original 32 voices, allowing users to enjoy tone editing without having to worry about the number of simultaneous voices. In addition, the operator-mixer section, the most distinctive feature of this product, has been accented with a new image colour, green.

Get Illuminated with the Operator Mixer

At the heart of every sound is Opsix mk II's Operator Mixer - a simple set of six faders and knobs that invite exploration. Each part lights up red to indicate carriers or blue for modulators. Manipulating them opens up new sound-shaping possibilities to breathe fresh life into your musical ideas. This straightforward, hands-on workflow is part of what makes Opsix mk II so unique, just like the sounds it offers.

Direct Hands-On Control

Whether you're tweaking a preset or building a patch from the ground up, the six data entry knobs on the right give you quick access to the parameters you need and seamlessly sync with the large OLED display, giving you a clear, focused direction to your workflow. Coupled with the mixer, it makes creating fresh sounds super easy and, most importantly, fun!

Select from a full range of analogue-style filters, from the radical Korg MS-20 low-pass/high-pass filter to the powerful yet smooth KORG Polysix low-pass filter that gives your sound a vintage feel. There are also two or four-pole low-pass, high-pass, band-pass, and band-reject filters with resonance.

There's even a built-in spectrum analyser and oscilloscope that gives you visual feedback via the screen on the music you're making.

Six in One Synthesis

The core of Opsix mk II is nothing short of exponential. Since waveforms can be arranged and modulated in nearly infinite ways, Opsix mk II can easily do the sonic work that is similar to numerous types of synthesis:

Subtractive

Removing parts of the sound to get the sound you want; the most widely-used synthesis. Opsix mk II uses up to six envelopes and multi-modelled filters to achieve many cutting-edge and classical analogue synthesis tones.

Semi-Modular

Rerouting signal paths to change the sound. A spin through the Algorithm section will dramatically reshape the sound by changing how the signal routing between the operators work together, and no patch cables are needed. Analog-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.

Analogue (Modeling)

Analogue-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.

Waveshaping

Adding intentional distortion to the waveforms to achieve aggressive overtones that are either harmonic or inharmonic. This will help you achieve gritty, bitey tones dripping with character.

Additive

Stacking waveforms and blending their harmonics is key to an expansive range of harmonious, dissonant, and tension-driven sounds. With six operators available, the complete FM experience is possible, including the ability to go back in time for classic sounds you have heard throughout recording history.

Classic FM

Last but certainly not least, Opsix's highly flexible and powerful architecture starts with true six-Operator FM. As a result, it easily delivers signature sounds you have surely heard on thousands of hits from the '80s on through today, and with far more polyphony than other standalone FM synths available today.

With all of these ways to realize and explore sounds, Opsix mk II is uniquely suited as a "future-modern-classic" synth!

Altered Reality

What started as a legacy synthesis has evolved into something completely different. Opsix mk II is FM-based, but the similarities to the classic synthesis end there. The Altered FM architecture delivers sounds across a vast spectrum, far wider than any single synthesis has been able to cover before, thanks to new sound components; new waveforms, filters, shaping, effects, LFOs, envelopes, modulations, and more, all translating to its broad assortment of sounds.

Powerful Effects Processing

Opsix mk II provides three blocks of 30 types of high-definition effects that you can use together to enhance your sounds even further. There's everything from a great mix of usable standard effects like chorus, phaser, delay, and compressor to some world-class shimmering reverbs that will elevate your sound to the next level.

Specifications

Keyboard: 37 keys (velocity and release-velocity sensitive)
Sound generating system: Altered FM sound generator
Maximum Polyphony: 64 voices (varies depending on the setting)
Structure: 6 operators, 1 filter, 3 EGs, 3 LFOs, 3 effects, step sequencer, arpeggiator
Algorithm: 40 presets + user algorithm (unique to each program)
Operator: 6 modes (FM, Ring Mod., Filter, Filter FM, Wave Folder, Effect)
Oscillator waveform: 23 waveforms (Sine, Sine 12bit, Sine 8bit, Triangle, Saw, Saw HD, Square, Square HD, Additive Saw3, Additive Sqr3, Additive Tri3, Additive 12345, Additive 1+2, Additive 1+3, Additive 1+4, Additive 1+5, Additive 1+6, Additive 1+7, Additive 1+8, Noise S/H, Noise White, Noise Pink, Noise Blue)
Filter: 11 types (LPF 12, LPF 24, LPF MS-20, LPF POLY6, HPF 12, HPF 24, HPF MS-20, BPF 6, BPF 12, BRF 6, BRF 12)
EG: ADSR
LFO: 23 waveforms (Triangle, Saw Down, Saw Up, Square, Sine, Sample&Hold, Guitar, Exp. Triangle, Exp. Saw Down, Exp. Saw Up, Step4 Triangle, Step6 Triangle, Step4 Saw Down, Step6 Saw Down, StepRnd:Time, StepRnd:Lvl&Time, StepRnd:Level, Random:Time, Random:Lvl&Time, Triangle + , Saw Down + , Saw Up + , Square +)
V.Patch: 12 routings
Effect: 30 types (Chorus, Unison Ensemble, Phaser, Phaser (BPM) , Auto Pan, Auto Pan (BPM), Flanger, Flanger (BPM) , Rotary Speaker, Auto Wah, Exciter, Enhancer, LFO Filter, 3-Band EQ, Distortion, Guitar Amp, Decimator, Grain Shifter, Master Limiter, Compressor, Delay, Delay (BPM) , Autopan Dly, Autopan Dly (BPM), Tape Echo, Tape Echo (BPM) , Early Reflection, Reverb, Shimmer Reverb, Spring Reverb)
Sequencer: Step Sequencer (up to 16 steps, up to 6 notes per step), Motion Sequencer (up to 6 lanes)
Arpeggiator: 7 patterns (MANUAL, UP, DOWN, ALT1, ALT2, RANDOM, TRIGGER)
Number of programs: 500 (350 preset programs and 150 user programs as the factory-set default)
Favourite: 64 (16 Slots × 4 Banks)
Controllers: MODULATION wheel, PITCH wheel, RATIO OP 1-6 knobs, LEVEL OP 1-6 sliders, DATA ENTRY A-F knobs
Inputs/outputs: Headphone (6.3 mm stereo phone jack), OUTPUT L/MONO and R (impedance-balanced 6.3 mm TRS phone jacks), DAMPER (6.3 mm phone jack, half-damper not supported), MIDI IN and OUT connectors, USB B port
Power supply: AC adapter (DC12V)
Power consumption: 5 W
Dimensions (W × D × H): 565 × 338 × 90 mm / 22.24" × 13.31" × 3.54"
Weight: 2.9 kg / 6.93 lbs.
Included items: AC adapter
Accessories (sold separately): DS-1H damper pedal, PS-1 pedal switch, PS-3 pedal switch

Notes: Welcome to the world of sound of LYRA-8, the unique organismic analogue synthesizer designed by Vlad Kreimer. "Organismic" means that LYRA uses some principles that lie in the base of living organisms. The way how LYRA's modules interacting between each other and the behaviour of the instrument resembles a live conversation.

LYRA-8 is based on eight generators, which will be referred to as voices. Their design is not like a traditional subtractive synthesis VCO. Instead of having a linear or logarithmic dependency on control voltage, they resemble the tone generators in old electric organs. Hence the use of the term "voices" instead of "VCOs". Lyra uses non-linearity a lot, and the voices are constructed in such a way that allows for non-linearity to express itself.

The voices are divided into four pairs (12, 34, 56, 78). All the pairs are divided in two groups, with two pairs in each (1234, 5678), creating tree-like structure.

The voices can function either in an electric organ mode or in an FM synthesis mode with each of the voices and its envelope acting as a separate FM operator. The voice's impact on FM synthesis will decrease along with the decay of its envelope.

LYRA-8 also has the next blocks:

The HYPER LFO is a complex low-frequency generator, whose waveform is synthesized from two simple LFOs by summation or multiplication of their frequencies. It also has a sync mode. The LFO can modulate the selected pairs of voices and the MOD DELAY.

The MOD DELAY consists of two lines of delay with cross-feedback and a special architecture that enables resonance between the two lines. Each line's delay time can be individually modulated from various sources, including external ones. The delay has a unique possibility of self-modulation where the output signal modulates the delay sample rate, creating cool effects.

The DISTORTION is last in the chain, after the delay. It enables the delay to also influence the distortion.

For all its experimental character, LYRA is a professional instrument. Its output dynamics and frequency response are balanced and ready for a live performance or studio recording without any additional processing.

Notes: Compact version of a modern classic, based around a pair of complex analogue filter circuits with amazing sound and huge hands-on tweaking potential. One of our absolute favourites for studio, live use and even DJ setups.

Supplier's notes:
A classic, but smaller - The Sherman Filterbank is a powerful analog filtering and distortion unit with a huge frequency range and a killing overdrive behaviour. It's easy and FUN to use, live and in the studio processing every sound source, effect mixing, expanding modular systems, etc.

- Independent low pass, band pass and high pass filters with resonance, frequency and ADSR (positive - negative) controls
- These are switchable between parallel or serial
- The second filter has a 6 octave switch, and is synchronizable with the first filter
- 1 ADSR generator for these filters with an external output for use with more filterbanks or modular systems, triggered by the incoming signal, by a second sounds source, or by a gate
- 1 FM input for the filters, internal or external audio, LFO or CV
- 1 VCA overdrive with AR generator also

Connectors:

- MIDI In/Out, 3x Thru
- Main out, out1 (Filter1)
- Trigger AR, AM In, ADSR Out and Trigger In, Link In/Out, FM In, Sig. In, Pedal In

Notes: 104hp wide with two 3U rows and a 1U row.
Powder coated aluminum construction
VESA mount compatible (100mm x 100mm)
Plastic handle for easy mobility
Metal feet can be installed to support multiple angles of jamming.
Secure latching lid with enough depth to keep your patches patched

Expandable

Lid - when you're ready to add more space, the lid can be expanded to be another 104hp x 7U. You can add another set of rails, power supply and power jack and double your available space. (Kit available)
Metal feet - The metal feet can have a pair of rails and rack mounted power added to support another 3U row of 104hp. (Kit available in future)

Connectivity

Audio jacks - set of four jacks for stereo in and stereo out.
MIDI jacks - DIN jacks to support IN, OUT, and THRU MIDI.
USB power - can be used for a lamp to light your case or to charge your phone while recording your set.

Dimensions
557mm x 334mm x 169mm
74mm depth for 1U and bottom 3U row
52mm depth for middle 3U row

Power
+12V - 3A (with plenty of allowance for in-rush current)
-12V - 3A
+5V - 3A (shared with USB power)
36 shrouded power headers

In The Box
Main case
Lid
Metal feet
Power adapter 20V at 6A

Notes: A typically unique take on multi-effects from Soma, designed to induce meditative states. Hybrid analogue-digital delay/reverb/granular processing gives a range of creative approaches.

Supplier's Notes:
COSMOS is a drifting memory station designed to work with meditative states through music. The design of the controls, functions and generated soundscapes are intended to evoke, in both performer and listener, states and experiences inherent in meditation, such as limitless space, fluidity, spontaneous development, presence, the ability to hear, tranquility, the experience of subtle harmony and happiness enveloping the whole world.

From a functional point of view, COSMOS is a large array of sound memory, in which recorded sounds undergo constant recombinations, spontaneously generating an ever-changing soundscape. This is achieved in three ways - by a mathematical shift based on the relationships between large prime numbers (the size of all delay lines are different primes), an asynchronous operation of the LFO, and modulation with a slowly changing chaotic signal. As a result, it allows the endless layering and processing of various sounds, as in a looper, but without an intrusive, repetitive loop.

COSMOS generates rich, fluid and evolving soundscapes perfect for ambient music. Using COSMOS, you can play an entire meditative solo concert while being in a spontaneous flow and without using studio-prepared sequences, backing tracks and other things that can't be a reflection of the "here and now".

Specifications

Minimum input voltage: 0.35 V peak-to-peak
Maximum output voltage at line outputs: 11.3 V peak-to-peak
The maximum output voltage at the headphones output: 10.4 V peak-to-peak
Frequency response: 10-22000 Hz
Sound memory: 44.7 sec
Supply voltage: 12 V *
Power connector polarity: centre plus
Current consumption: 0.25 A
Dimensions: 342 x 153 x 68 mm
Weight: 2.2 kg

* Use only the power supply supplied with the device! In case of failure, it can be replaced with a high-quality modern switched-mode power supply with an output voltage of DC 12 volts, the center is plus and an output current of at least 0.5 amperes (more is fine). The power supply must have a wide AC input voltage range of 100-240 volts. Such power supplies have excellent output voltage stabilization required for the device. It is forbidden to use COSMOS with nonstabilized voltage from transformer power supplies. It can lead to damage to the device, which is not covered by the warranty repair!

Notes: Create without limits

Komplete 14 Ultimate packs a punch, with even more synths, sampled instruments, and studio-grade effects, as well as fresh additions from iZotope, Plugin Alliance, and Brainworx. Boasting new releases like East Asia, Sequis, and Picked Nylon, plus a range of premium orchestral and cinematic tools including Ashlight and Piano Colors, it's all you need to bring your ideas to life and polish them for release.

What's new?

Check out some of the top new additions to Komplete 14 Ultimate.

Kontakt 7

The latest version of the world's favourite sampler, with a brand-new updated Factory Library, enhanced browsing, and improved instrument-building technology.

Ashlight

A granular instrument specializing in immersive atmospheres, rhythmic textures, and evocative keys for cinematic sound design.

Sequis

An inspiring instrument that unites organic samples with intuitive sequencing to make a playground of acoustic patterns.

Piano Colors

Explore the limits of a grand piano's sonic capabilities with state-of-the-art modulation features.

Action Strings 2

The dramatic sound of a full string orchestra blending realism with creative control, with over 31 GB of dynamic phrases.

Session Guitarist - Picked Nylon

The pure, warm tone of a handcrafted nylon-stringed guitar, with over 200 inspiring patterns plus an additional melody instrument.

Session Guitarist - Electric Vintage

The unmistakable sound of a vintage 50s solid-body electric guitar. Over 230 patterns, and an additional melody instrument.

Spotlight Collection - East Asia

The authentic sound of traditional Chinese, Japanese, and Korean instruments, captured in an intuitive production tool.

Plugin Alliance Effects

Plugin Alliance comes to Komplete 14, bringing all-new effects including Unfiltered Audio's LO-FI-AF, and Brainworx's bx_console N, bx_limiter true peak, and bx_crispytuner.

Ozone 10 Standard

Mastering made easy. The latest version of the industry's most comprehensive professional audio mastering software delivers AI-powered assistive technology that helps bring balance to your music.

Play Series additions

40's Very Own Drums & Keys, Deft Lines, Ignition Keys, Empire Breaks, Soul Sessions, Glaze, and Melted Vibes.

Added Expansions

20 new Expansions, including Rhythm Source, Liquid Energy, Faded Reels, and Backyward Dreams, plus latest Massive X Expansions Fade, Kino, Wake, and more.

System requirements:

macOS 10.15, 11 or 12 (latest update)
Windows 10 (64-bit, latest Service Pack) or Windows 11 (latest Service Pack)
Intel Core i5 or equivalent CPU, or Apple Silicon (using Rosetta 2), 4 GB RAM (6 GB recommended)
20 GB free disk space (770 GB for complete installation)
Graphics hardware support for OpenGL 2.1 or higher, and Direct 3D 11.1 or higher
An internet connection is required to install and activate the products in this collection. Once installed, all products can be used offline. Certain products may require additional free downloads.
Massive X requires an AVX compatible CPU.

Supported interfaces:

Supports ASIO, Core Audio, WASAPI
Runs in 64-bit VST, AU, AAX hosts

Product includes:

Installation files, e-voucher for the Native Instruments web shop, and two "Buy any Plugin for $29.99" e-vouchers for the Plugin Alliance web shop.

Additional info

Total download size is 680 GB. You don't have to download all products at once: Native Access allows you to download and install individual Komplete products any time you want.

Required hard disk space depends on how many products/libraries you want to install. To install all products and libraries, 770 GB free disk space is required.

Please note: The installation process may temporarily require up to 120 GB of additional free disk space on your system-drive - even if you're installing Komplete on an external hard drive. This number significantly decreases for smaller products, or if products are being installed one by one.

All products included within a single edition of a Komplete 14 bundle are part of one user license and can only be used as a single entity. A maximum of three installations on three machines are allowed as long as only one installation is used at any given time. The individual products cannot be resold separately.

Notes: The Michigan Synth Works SY-1 Drum synth is a full size, exact replica of the Pearl SY-1 Syncussion. Every detail has been replicated from the original board layouts to the mechanical construction. The assembled version has been modernized to use current manufacturing processes while still using the original board layouts and all parts have been carefully chosen to match the behaviour of the original. Case, boards, and I/O Boards are all interchangeable with the original Pearl device

The Syncussion:

The Syncussion is a 2 voice drum synthesizer with two oscillators per voice and six different modes. Five modes mix and modulate the oscillators plus a noise channel. Each voice has controls for TUNE, DECAY, SWEEP amount, SWEEP Speed, Sweep up/off/down, LFO amount, and LFO speed, LFO Shape (Tri or Square), and sample and hold

OSC Modes:

A: One oscillator sound, at this position the regular drum synthesizer sweep can be effected.

B. Sound of one oscillator adjusting the other osciIIator frequency; produces a metallic sound.

C. Sound of a mix of two oscillator outputs; sound is similar to that of a vibraphone.

D. Sound of mix of two oscillator outputs; produces a low to high sweep and is done by hitting pad softly or hard; there is no connection to SWEEP SPEED and SWEEP RANGE

E. Sound of one oscillator adjusting the other oscillator frequency with a mix of noise; produces a sound similar to hitting thin metal.

F. Sound of only noise

Triggering:

The SY-1 is designed to be triggered via drum triggers which output a very low pulse signal. Modern 5V trigger signals (v-trig) can be used, how it i recommended experimenting with simple audio samples or more dynamic triggers. One of the more interesting features of the Syncussion is the dynamic response to the drum triggers and just sending a straight pulse which maxes out the trigger inputs does not do the device justice.

Tuning:

The original SY-1 uses a tune pedal to adjust the pitch of both oscillators while playing. This functionality has been retained in the original configuration but is of limited use without the pedal. The expanded version DOES have per voice CV control (1v/Oct) as well as the MIDI.
The Michigan Synth Works SY-1 is available in 3 different versions:

Expanded I/O Configuration: The inputs and outputs use 1/4" Stereo to 1/4" (3 included) to greatly expand the capabilities of the device. The Mod input is open for user modification, factory mods will be available. Please contact for details.

Trig 1,2 In - Mod 1,2 In - Mute - Tune 1,2 CV in - Output 1, 2

The SY-1 ships with a metal base panel but the DIY wood case can be used instead. It is provided UNFINISHED and sold separately.

What's included:
SY-1 Synthesizer
Universal Power adapter (100-240V, 12V DC out, Tip Positive)
Expanded I/O: 3x 1.5m TRS 1/4" Phone to 2x TS 1/4" Phone

Notes: A unique take on delay and looping, the Meris LVX is designed for ultimate flexibility when processing guitar, synth or line level sources. Stereo in/out, fully customisable signal path and supreme sound quality.

Supplier's Notes:
Meris LVX Modular Delay System

LVX is a Modular Delay System which breaks the paradigm of pre-set delay types in favor of freedom and flexibility.

A completely new UI and user experience has been designed from the ground up to make LVX immediately intuitive to navigate. The architecture of LVX allows ultimate creative freedom to design a custom delay.

The pedal features discrete processing elements and control signal modifiers that can be connected as desired for nearly infinite flexibility in crafting custom sounds. Make room for new memories.

Specs

Conversion: 24 bit A/D and D/A
DSP: 32 bit floating point
Sample Rate: 48000 Hz
Input Impedance: 1 Meg Ohm
SNR: 115 dB Typical
Frequency Response: 20Hz-20kHz
Max Input Level: +9 dBu (instrument level setting), +12.5 dBu: (line/synth level setting)
Power: 9V DC center-negative, 300mA, 2.1mm jack
Bypass: Selectable True Bypass (Relay) or Analog Buffered Bypass
Dimensions 7.25" wide, 4.5"" long, 2" tall. (Same depth and height as all other pedals.)
Weight: 24 ounces

Notes: More knobs than you can shake a stick at. Add hands-on control to pretty much any MIDI-equipped hardware or software. Upgraded version of the classic PC44, featuring a whopping 72 rotary pots and 12 buttons.

Supplier's notes:
PC12 as successor of the PC44 is a universal controller for all kinds of MIDI controllable hardware and software.

You can combine two or more NEW MODULE devices to create a large system. The connections are on the right side to allow a back to back placing of two or more devices. Connect two NEW MODULES by a special extension port.

Furthermore, there are 4 MIDI-ports and one USB-port with various routing possibilities.

It is packed in a metal case with the same dimensions like the famous ELEKTRON devices so it's a great extension for these devices. But you can use the pot controller also with your DAW like a classical 12-track-mixer.

The device has 72 standard pots and 12 buttons in a 12-track-layout, various kinds of MIDI commands like control change, note on/off, pitchbend, aftertouch and program change are possible. You can program every MIDI command for every separate control on the device very fast and easily.

Of course you can assign the pots and keys to any of these commands by learning incoming MIDI commands, which is the same procedure you know from your software/DAW. The pots work with standard resolution of 7 bit to have full compatibility to any software and hardware instrument, effect and DAW. Use the internal 30 setups to save your individual settings. Backup and restore of all settings by sysex dumps is possible too.

The factory settings are perfect to control music and video software products out of the box if they are freely assignable. So any additional device programming isn't necessary for many applications.

Some special setups are preconfigured for use with ELEKTRON RYTM and ABLETON LIVE.

Check out this amazing power box and you will get a reliable mate...

Notes: Updated version of Korg's excellent Wavestate, drawing on the iconic Wavestation synth to create a modern take on wavetable synthesis, now with added polyphony.

Supplier's Notes:
Wavestate mkII

Extended polyphony. Extended possibilities.

Korg's legendary Wavestation introduced the world to wave sequencing, and the 37-key Wavestate mkII builds on that legacy with a reimagined, compact synth designed to satisfy today's demanding musicians and producers. MkII expands polyphony to 96 stereo voices and adds a fresh look. It's completely compatible with sounds and samples for the original Wavestate.

Overview

Korg's legendary Wavestation introduced the world to Wave Sequencing, transforming raw samples into sounds that no-one had ever heard before. The flagship OASYS, Kronos and Nautilus keyboards developed Wave Sequencing even further, expanding on its unique palette of lush, evolving pads and driving rhythms.

Now, Korg is proud to present the new Wavestate mkII, with improved polyphony (96 stereo voices) and a fresh look. It's completely compatible with sounds and samples for both the original Wavestate, Wavestate SE and Wavestate Native software, including many excellent third-party libraries. Updated sounds and software keep it fresh and the compact form-factor, with 37 full-size keys, still transports easily and fits neatly into any stage, studio, or desktop setup.

Keyboard: 37-keys, velocity sensative
Sound generation: Wave Sequencing 2.0
Polyphony: 96 stereo voices
Configuration: Performance: 4 layers, reverb, EQ
Layers: Program, Arpeggiator, Key, and Velocity Zones
Programs: Wave Sequence, Filter, Amp, Pre FX, Mod FX, Delay
Presets: 261 Performances,799 Programs, and 1042 Wave Sequences
Controllers: MOD wheel, PITCH wheel, Vector Joystick, 8 x program/Performance Mod knobs.
Effects: Pre FX x4, Mod FX x4, Delay x4, Reverb, Performance EQ

Inputs/outputs:

Audio Outputs L/MONO, R (6.3mm TRS phone jack, impedance balanced)
Headphones (6.3mm stereo phone jack)
Damper (6.3mm phone jack)
MIDI in,out
USB Type B

Power: AC adapter (DC12V, 2500mA)
Power consumption 5w
Dimensions: 565 W x 338 (D x 92 (H mm
Weight: 2.9kg

Notes: Second-generation version of Korg's superb ModWave synth, building on the legacy of the iconic Wavestation with 60-voice polyphony, Kaoss Physics and Motion Sequencing 2.0.

Supplier's Notes:
Modwave is a synthesis powerhouse with distinctive wavetable timbres, Kaoss Physics, and Motion Sequencing 2.0. The new Modwave mkII provides an astonishing 60 voices of polyphony almost double that of the original Modwave. All LFOs have been updated with options for free running, delayed start, and retriggering, and a pre/post switch for reverb sends has been added, alongside new modulation sources, and more.

Modern monster synth

In 1985, Korg introduced the DW-8000 - a synth which combined digital wavetables with rich analogue filters to give users sounds which were impossible to create with analogue oscillators.

Modwave builds on the DW legacy, transforming it into a modern monster synth, featuring incredibly deep wavetable oscillators, gorgeous filters, wildly flexible modulation, unmatched polyphony, comprehensive pattern sequencing, and immediately satisfying hands-on control to deliver unique, powerful, and easily customizable sounds and phrases.

Over 200 factory wavetables each contain up to 64 waveforms. 30+ Modifiers can be used to change their basic character, and 13 Morph Types to process them in real-time. Using the unique, realtime A/B Blend, it's possible to create new hybrids from any two wavetables.

Expanded possibilities

Modwave can be expanded by importing new wavetables using the free Editor/Librarian software. There are many free and commercial wavetable libraries in the standard Serum format, or you can create your own using the free, cross-platform WaveEdit software (available in a custom version for the Modwave). Wavetables can be layered with samples from the built-in, multi-gigabyte PCM library, or import your own 4 GB of samples using the Sample Builder software.

Each Program has two full-featured wavetable oscillators, plus a sub oscillator/noise generator and any of a dozen stereo filter types, including the aggressive MS-20, sweet Polysix, and the newly enhanced Multi Filter. Animate almost any parameter using the massively flexible modulation system, with four triggerable envelopes, five LFOs, dual mod processors and two key-track generators-plus multi-lane Motion Sequencing and Kaoss Physics.

Even with all that synthesis power, playing up to four simultaneous wavetables per voice in a single Program, the Modwave mkII achieves 60-voice polyphony, incredible for a wavetable synth. Layer two Programs together for double the possibilities.

KAOSS in motion

Modwave introduced two unique new tools for creating dynamic motion: Kaoss Physics and Motion Sequencing 2.0. KaossPhysics combines an x/y Kaoss pad with modulatable game physics to create a responsive, interactive controller that is extraordinarily powerful.

Motion Sequencing 2.0 brings the organic, continuously evolving patterns of the Wavestate Wave Sequencing 2.0 into the world of motion sequencing, including multiple lanes and real-time recording to help you create complex and evolving phrases that other step sequencers cannot.

Modwave's evolved wavetable synthesis delivers its own brand of completely unique sounds and a knob-per-function layout that makes customizing those sounds fast and easy. There are hundreds of preset sounds empowered by this new architecture, organised by front-panel category buttons, and all instantly customizable via the four Mod Knobs. Modwave'sdistinctive wavetable timbres start with aggressive basses & leads, and lush ambient pads which will add a new dimension to your tracks. But that is just the beginning.

Those who want to dig deeper will find an endless source of discovery; with the Modwave's unique synth architecture, you'll be finding new things for a long, long time. Save as many of your sounds as you like; there's room for thousands more. You can also load your own samples, import wavetables in standard formats, and create your own wavetables using the free WaveEditsoftware.

KAOSS Physics

Kaoss Physics models a ball rolling on a surface and bouncing off walls. The surface can tilt in any direction, and a bump with variable height/depth and location attracts or repels the ball. Adjustable friction slows the ball's travel, and adjustable time controls the speed of the entire model. All of these characteristics are modulatable, so you can change them in real-time!

Start the ball by flicking a finger on the x/y pad, or launch the ball automatically using another modulation source. You can even directly control the ball by holding your finger on the pad. The position of the ball produces eight modulation signals, which can be used to control any modulation destination: the X and Y locations, the distance from the centre, the angle relative to the X axis, and separate signals for +/- X and +/- Y.

Walls can slow down the ball, as if they were padded, or accelerate the ball, like bumpers in a pinball machine. The walls can also be removed entirely, so that the surface wraps around to the opposite edges like a vintage arcade game.
The modelled environment can create specific modulation effects. For instance, use a centered bump with negative height so that the modulation values always eventually return to 0. Or, position a bump with positive height on a side or a corner, to push modulation values away from that zone.

The result is an interactive controller that amplifies your physical gestures, transforming them into complex musical results.

Motion Sequencing 2.0

Motion Sequencing 2.0 is evolved from the Wavestate's Wave Sequencing 2.0. Timing, Pitch, Shape, and four sets of Step Sequence values are separated into "Lanes," each with their own loop start and loop end, adding a deeper, more customizable level of phrase and modulation recording.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a step sequence value may be matched with a different duration, pitch, and shape every time that it plays. You can modulate each Lane's loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different!

Lanes can also randomize the step order every time they play. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The dual onboard arpeggiators can interact with Motion Sequences for even more possibilities.

Wavetables

Wavetables are sets of single-cycle digital waveforms, arranged in a specific order. The wavetable's "position" determines which waveform is played. Moving the position with an envelope, LFO, or other modulation source creates subtle or dramatic changes in timbre. Some wavetable systems switch abruptly from one waveform to another; others crossfade smoothly between them. Modwave can do either one.

Modifers

Use over 30 Modifiers to alter the character of any wavetable at load time. For instance, isolate the odd or even harmonics, add weight through anti-aliased quantization or saturation, or revisit the gritty character of old-school wavetable synths with the Vintage 8 & 12 options.

Morph

The 13 Morph Types let you stretch, squeeze, reflect, and otherwise alter the wavetables in real-time, changing their timbre andiwhen modulatedicreating additional motion in the sound. Sync creates classic swept-sync timbres, using only a single oscillator. Three special Morph TypesiFM, AM, and Ring Modimodulate Osc 2 with Osc 1, and the last two even apply to samples.

A/B Blend

Using the unique A/B mode, oscillators can blend any two wavetables with phase-synchronous precisionidifferent from simply layering voicesiopening up a dimension of intermediate waveforms. Add body to otherwise "thin" waveforms, for instance, or a touch of sizzle to a mellow timbre. Even fade between two different "modifier" versions of the same wavetable. A/B Blend can be modulated in real-time, of course.

Or, step outside the box with Korg's unique Multi Filter, which creates modulatable blends of multiple modes simultaneously - now with presets on a front panel knob, for easier exploration of its many possibilities.

An arsenal of effects

Modwave's superb effects deliver production-ready sounds. Each Layer has three dedicated effects, plus a send to the Performance's master reverb, followed by a master parametric EQ. Along with standards such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you'll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS and Kronos), plus modeled effects including VOX guitar amps, VOX wah, multi-head tape echo, and a collection of classic guitar pedals.

Notes: Endlessly customisable digital 'modular system within a modular system'. Includes more than 80 modules, allowing you to create effects, synths, control devices, oscillators, filters and much more.

Supplier's Notes:
What's a Euroboro?

The ZOIA Euroburo is a digital modular system that can be placed in your modular system, a real Russian nesting doll situation. We added a headphone output and a super-slim optional case so the Euroburo can live happily on your desktop or be easily mounted in a Eurorack case. Hence the euro + buro, pronounced "bureau"...get it!?

Create unique signature effects, synthesizers, sequencers and more while using 4 freely assignable CV ins and 4 outs to interface with other CV enabled devices. The additional headphone output and powered 9v case makes the module even more desktop friendly. With over 90 modules from CV utilities to audio effects, oscillators and envelopes to MIDI, the Euroburo can do almost anything to fill the gaps in your setup.

There's no need to worry about getting bogged down with endless menus or a cluttered interface. Creating patches and performing with the ZOIA is a tactile experience. Patching, deleting or moving modules and editing values can all be done quickly using the push-button grid and a flick of the encoder. With the addition of dedicated push buttons for the CV and Audio I/O, patching on the ZOIA has never been faster.

Notes: Meris describe the MercuryX as the most flexible studio reverb pedal ever made. A bold claim, but hear them out. Immense power with eight custom algorithms in a modular architecture. Full stereo with a wealth of programs from lush plates and twangy springs to experimental weirdness.

Supplier's Notes:
The Meris MercuryX takes the heart and soul of Mercury7 and expands it far beyond sci-fi into the highest quality and most flexible studio reverb ever created in a pedal format. Its modular reverb system format breaks the paradigm of pre-set reverb types and inspires new discoveries. MercuryX features the same easy to use UI as LVX, making it immediately intuitive to navigate.

All of Meris' passion for pro audio has made it into both the algorithms and hardware performance of this pedal. MercuryX combines 8 custom Meris reverb algorithms and incorporates those into a modular system architecture that first introduced with the award winning LVX pedal. It features discrete processing elements and control signal modifiers that can be connected as desired for infinite flexibility in crafting custom reverbs.

Here is a deep dive into the 8 different reverb structures in MercuryX. Each Reverb Structure has Gate controls that can be used to dial in a range of gated reverb effects including the classic percussive gate sound, reverse tail reverb sounds, and slow breathing textures.

Similar to the Dry Blend control of the Predelay, each Reverb Structure features a Predelay Blend control that allows you to put some or all of the predelay reflections in parallel with the reverb tank.

Ultraplate - Adapted from Mercury7, Ultraplate is an inspiring and lush plate with a fast build. Use the Ultraplate's flexible decay range to create a wide range of studio textures.

Cathedra - Adapted from Mercury7, Cathedra is a massive and ethereal algorithm with a slow build. Cathedra is perfect for scifi textures and recreating C-beams glittering in the dark near the Tannhauser gate.

Spring - A flexible algorithm that can be voiced to replicate both the amp based reverb sounds and the classic studio spring tanks featured on early recordings.

78 Room - A lively and direct sound. This algorithm is great for transforming static sounding virtual amps into the difficult to capture sound of a great amp live in the room with you. The Room algorithm features a unique infinite mode (Maxed out Decay controls) that interacts with the Tank Mod to provide deep chorused and flanged reflections.

78 Plate - Fast and dense, the 78 Plate algorithm is a good match for beefing up percussion and vocals.

78 Hall - A large hall with a medium build up of reflections. Great for building up ambient walls of sound. The Hall algorithm's extended reflections are a great base for sculpting with the Bass/Mids/Cross controls. Deep rumbling bass caverns and ethereal upper mid emphasized halos of sound are easy to create. Explore the additional sparse mode for the Hall when Diffusion is set Low.

Prism - The Prism Strucure is an dual tank that allows you to build your own geometric rooms by specificying the size and distance and reflectivity. Prism features a highly configurable modulation section which allows different modulation phases per side to further increase the stereo image.

Gravity - The Gravity Structure works by accelerating indivual windows of your signal and stretching them across the horizon.