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Notes: High-end all-rounders from Korg, pitched at DJs but featuring loads of consumer-friendly features like Bluetooth, noise cancelling, hands-free calls and more.

Designed to protect DJs' hearing when playing live, and with smart monitoring for more effective mixing, Korg's NC-Q1s are sort of 'specialist'.

But peel back those specifics (sister brand Vox has a similar pair for bands) and you're left with high-spec ANC cans supporting all the major codecs including aptX HD.

They're good with Siri and Google Assistant, can handle hi-res audio and feature an attenuation function for extra-noisy environments.

And all of this works. The design is subtle, the controls intuitive, and the precise sound is provided by 41mm custom drivers.

KORG's NC-Q1 is a very new kind of Bluetooth headphone technology, developed to protect your ears even in very loud environments while delivering unsurpassed high definition sound and noise-less monitoring.

Combining state-of-the-art Active Noise Cancelling, incoming sound attenuation and an array of smart features, the NC-Q1 headphones provide a flexible, controllable, powerful and great-sounding experience. With this unique blend of Noise cancelling technology and high-quality sound, the NC-Q1 is perfect for DJs, drummers, front of house engineers - anywhere that's hard to tame sound levels.

Outstanding Noise Cancelling and Sound Filtering - Attenuation function for very noisy environments

Smart monitoring with Sound enhancing (Volume/EQ control)

Clear, precise High-resolution audio with wide frequency response

Controls that are easy to access, intuitive and flexible - Bluetooth, Siri/Google assistant, popular CODECs supported.

Hands-free calling with Clear audio and beamforming for clear voice pickup.

Rechargeable battery; 36 hours of use on a single charge.

Protect your ears DJs and musicians are often exposed to extremely dangerous sound levels. Without correct ear protection, even a few minutes of exposure to these dangerous sound levels can lead to permanent ear loss. (Even 5 minutes of exposure to 105-110 decibels can cause irreversible damage.*) ANC The NC-Q1 features an advanced Noise-Cancelling system, utilizing both Feed-forward and Feedback Active Noise Cancelling technology that is tuned to withstand and process the high levels of sound found in many monitoring environments. Where other ANC headphones begin to distort, NC-Q1 delivers Noise Cancelling in extremely loud environments.

Unlike most other Noise Cancelling headphones, the NC-Q1 has microphones on both the inside and outside of the ear cup that accurately suppress a wide range of frequencies and auto-adjust according to the external sound environment. Its powerful attenuation function allows the NC-Q1 to work better than other headphones at minimizing high noise levels = the ideal choice for noisy environments.

The adaptable ear cushion (made of viscoelastic memory foam, like high quality pillows) over the ear cup provides not only the highest comfort, but also the best fit around your ear, providing excellent noise isolation not letting any sound in or out, and assuring the microphones placed inside and outside the earcup pick up the appropriate sound for highly precise and accurate noise cancelling.

The VH-Q1 goes one step further than most other headphones: the noises we hear come not only from the outside world, but also our own body, transmitted to our ears through the headband of our headphones.

By using a special frame structure, the VH-Q1 minimizes these noises and provides an unparalleled noise cancelling experience!

The DJ's new best friend Besides effective noise cancelling in extremely noisy environments, the NC-Q1 is ideal for use in a DJ booth.

The Smart Monitoring and Sound Enhancing functions allow users to customize their hearing of external sounds by selecting an EQ preset, adjusting the volume balance, and even choosing the ear from which to monitor (right, left, or both). Cue and monitor external sounds without having to remove any part of the headphones, to maximize your performance while protecting your ears. Full-Connectivity, Easy control Compatible with a wide variety of Bluetooth codecs (SBC, AAC, aptX, aptX-xLLC, APTx-HD), the NC-Q1 also gives users remote access to both Google Assistant and Siri, and its dedicated beamforming processing assures the clearest voice signal during hands-free calls, so you are always well connected with the world around you!

Dimensions: 158.5 x 204.0 x 84.0
Weight: approx 321g (without cable) TBD
Type of headphone: Dynamic / Closed headphones
Diaphragm materials: 5 layers of PEEK&PU
Frequency response: 10 Hz-25000 Hz
Compatible Bluetooth codecs: SBC, AAC, aptX, APTx-HD

Notes: The RODE Blimp is a complete windshield and shock mounting accessory for the NTG1, NTG2 and NTG3 microphones, as well as any third party shotgun microphone up to 325mm (12 3/4") in length. Now featuring the Rycote Lyre suspension system, the Blimp provides the ultimate in microphone suspension and isolation. Constructed from a single piece of hard-wearing thermoplastic, the Lyre provides superior acoustic suspension to traditional elastic solutions, and will never wear out, sag or snap.

The Blimp's handle has also been completely redesigned, reducing the product weight significantly, while increasing the ergonomics for handheld use. Housed inside the grip is a heavy-duty Mogami cable which splits via a junction box to a highly-flexible thin cable inside the Blimp, to minimise the transference of vibration to the microphone. With the lightweight design of the handle and suspension system the new Blimp design is over 25% lighter (550gm without microphone or DeadWombat fitted). The Blimp attaches to any standard boompole via 3/8" thread attachment at the base.

The Universal Blimp Mount is available as an option to remove the handle when the Blimp is being used primarily on a boompole to reduce weight. The Dead Wombat windshield, caring brush and tail/patch cable are included. The added confidence of a full ten year warranty* ensures that the Blimp is by far the best microphone windshield system available, further evidenced by a 2009 Red Dot Award and Australian International Design Award for outstanding product design. *Excludes normal wear and tear of Dead Wombat furry cover or any misuse, modification or improper storage and transportation of the product.

Notes: ***B-STOCK: Product has light surface marks/scratches, but otherwise in perfect working condition***


The 'Quaid Megaslope' is a five stage function generator or modulator which operates in one of 3 modes; a multistage 'CZ' or 'Juno' style complex envelope, a super flexible LFO and a step sequencer with per step programmable slew or slides.

Each mode produces a varying output voltage moving from point to point across a set number of chained together stages. Each stage features a destination level, an overall rate or time to reach its destination level and a variable slope for the output path to take. As well as direct control, every stage feature voltage control of both level and rate. There are both unipolar and bipolar voltage outputs together with triggers emitted for the end of each stage and the end of a full cycle.

The Quaid Megaslope is designed to be fun, flexible and intuitive to use.

Notes: Bela D Media's Sampled Landscape is a unique collection of sounds, programs and multis. Solely developed to create film inspired textures, Sampled Landscape easily generates a host of evocative and primal musical emotions deeming it the perfect tool for documentaries, soundtracks and new age music. This innovative product begins with sampled World instruments that are professionally blended with imaginative sound designed elements. From soft and beautiful to dark and mysterious, Bela D Media invites you to explore this new and exciting sonic path.

The Details:
Meditative flutes
Tibetan Bowls
Bells
Whispering Winds
Atmospheric Percussion
Ethereal Voices
Mantras
More

Release Format:
Native Instruments Kontakt 2 and 3 compatible
Audio Format:
24-bit/44.1KHz
The Environment:
For the express purpose of allowing the user to be in command of each exclusive mixing situation, Sampled Landscape is recorded within a controlled studio environment.
Advanced Scripting:
Offering the composer real-time control is our top priority. By means of advanced scripting technology within Kontakt 2, coupled with Bela D Media's specialized programming staff, remarkable real-time control has been achieved. The Sampled Landscape Kontakt script features user friendly 'tweak the patch' parameters including Effects, Filters, EQ, Envelopes and more.
SL Audio Demos:
No other sample libraries have been used. 100% Sampled Landscape.

Notes: For extreme, distorted drums Dual Drive module is a must! The module features two identical overdrive sections with adjustable Gain and Drive level, each with three flavors of overdrive. CV control over Gain and Drive adds more expression, while built in limiter prevents output signal to run into undesired clipping. Furthermore, the output of the first section is normalled to the input of the second, so you automatically get extreme, versatile dual overdrive circuit. The module can be used in the stereo appliations as well and it's not limited for drums only - it will turn any sound source into roaring monster.

Features
Two identical overdrive circuits
Manual GAIN and DRIVE controls
CV control with an attenuator over GAIN and DRIVE
Mode switch for selecting one of three overdrive flavours
Output signal limiter
Drive level LEDs

Specifications
Audio output level: -5V...+5V
CV level (full span): -5V...+5V
Power Consumption: 58mA@+12V - 58mA@-12V
Module width: 10HP
Module depth: 50mm

Notes: Cosmic Background consists of 4 sections:

White noise source
Release generator with voltage control
Voltage controlled filter with lowpass and highpass options
Voltage controlled amplifier

Together they form a pre-patched super versatile analogue drum voice. Additionally, each section is fully modular in it's own right, so there are patch points for:

Gate input
VCF audio input with attenuator (White noise is normalised to this input)
VCF CV input with attenuator (White noise is normalised to this input)
VCA audio input (VCF is normalised to this input)
VCA CV input (Release CV is normalised to this input)
Release CV input
Release CV output
Noise audio output
VCF audio output
VCA audio output

Product Specifications

12V draw: 18mA
-12V draw: 19mA
5V draw: 0mA
Depth: 35mm
Width: 10HP

Notes: The Mad Professor Double Moon is a small, easy to use and super versatile pedal for a wide variety of modulation sounds. True analogue bucket brigade signal paths with a Tone control makes the Double Moon a long-awaited modulation pedal for today's guitar player.

Double Moon pedal has 11 carefully designed modes that will let you dial in, not only all of the classic modulation effects, but far beyond that. All of the sounds are easily reached from a rotary switch: 3 chorus effects, 3 dual chorus effects, 3 flanger effects, flanger+chorus and a vibrato.

You can further on fine tune the LFO wave or Regen depending on the mode by the Control knob. The Depth knob will let you dial in the desired amount of the effect and the Speed knob will control the speed of the effect.

Modulation effects from mild to deep, motionless to faux-Leslie type, it's all there with the added Tone control!

Notes: Out of the hazy, sand blown distance, something comes forth. Moving slowly, moving softly, it is seen and just as quickly lost. It echoes in the open air, a voice on the wind. It's a Procession. A cavalcade making its way through the deserts of a distant planet. The sounds of another world. Or something along those lines.

Which is where the Old Blood Noise Endeavors Procession reverb comes in. It's what would be used to create a science fiction soundtrack. A strange mix of haunting reverb and three modulation settings, the Procession aims at inspiring something new, something fringe and something risky.

The Procession's simple controls run the gamut of reverb soundscapes ranging from simple reverb to complex Sci-Fi filtery echo weirdness. The Mix and Reverb knobs control the mix of dry/wet signal and the decay of the reverb, respectively. The Speed and Depth knobs correspond with the selected modulation mode: Flange, Filter or Tremolo.

The Procession has two footswitches. The Bypass switch is your standard on/off True Bypass switch. The Hold switch is a momentary footswitch that when pressed, will lock in whatever note is being played through the reverb effect. This will sustain as long as the Hold switch is pressed. If the Mix control is set less than 100% wet, you can continue to play over the sustaining reverb signal.

9VDC - 2.1mm negative center pin adapter.
60 mA draw.

The Procession now features an expression out jack and clickless switching. The output level can be tweaked via an internal trimpot for boost, slight drop, or unity gain.

Notes: It's time to bathe your tone in liquid sonic gold again! With the Black Fountain Delay V3, Old Blood Noise Endeavors take their iconic oil-can delay emulation and greatly expands on it.

Heavily increased delay time (around 1 sec), Tap Tempo, subdivisions, programmable expression control and momentary infinite feedback, are all new features that will make the pedal's warm and drippy vintage tones perfectly echo the wants and needs of modern-day musicians.

The Black Fountain was the pedal that started it all for Old Blood Noise Endeavors. Just like the company has rapidly evolved over the years, it's time for their firstborn to take a step up the evolutionary pedal ladder.

In the V3, first the delay time has been greatly expanded, which now almost reaches a full second in Modern and Vintage modes. These modes emulate the echoes of units like the Fender Echo-Reverb, Tel Ray Model 10 and Morley EDL, but the Black Fountain lets you go far beyond the echo potential of those classic units. With your standard delay controls like Time, Feedback and Mix and the unique Fluid control, which introduces wobbly modulation into the echoes, you can sculpt anything from vintage slapbacks, long sonar-like ambient trails, warbly fluctuating textures and short reverb-like sounds. You can even conjure gritty lo-fi tape modulation and saturation when using Vintage mode, since it's slightly dirtier and grainer than Modern mode.

On the other hand, Organ mode was designed to emulate short-delay oil-can units like the Tel-Ray Deluxe Organ Tone and Fender Dimension IV, hence it sports a fixed delay time of 211 ms and gives you greater control to sculpt the modulation. In this mode, Fluid controls the modulation rate, Time sets the modulation depth and Feedback controls the length of the trail.

With the addition of Tap Tempo and three different subdivision modes to the pedal, it's become super easy to keep those Modern and Vintage echoes rolling tightly in time with the music. While in Organ Mode, Tap Tempo allows you to instantly set the speed of the modulation on the fly. But the fun doesn't stop there! Simply press and hold the Tap Tempo switch and hear your echoes stretch out into a warm sonic blanket of awesomeness, as the delay feedback momentarily gets maxed out. Great for ambient pads, reverb-like swells, sound-on-sound textures and delay drones.

Finally, the expression input has become super clever, as you can now program the heel and toe positions of your sweep. This lets you minutely change the position of either the Time, Feedback knob or both at the same time, effectively letting you jump between two perfectly preset delay tones, just by rocking your foot.

Notes: The Aurelius is not your run of the mill chorus pedal. This compact, beautifully cased wonder is a three mode chorus with six programmable presets and an expression control. Inspired by the 1970s CE-1 Chorus Ensemble pedal, this digital unit has been tirelessly tweaked and fine-tuned to give you an all-encompassing chorus and vibrato experience like nothing else.

Choose from Vibrato, Chorus and Rotary mode and manipulate their Width, Rate and Balance to achieve your ideal sound. Shift seamlessly from one mode to another to cop a blend that is all your own. Just one simple tap of the Preset (Save/Recall) and you can summon up to six settings of your choosing at will.

Welcome, fellow frequency chaser! Kudos to you for referring to the official manual of this majestic Device rather than diving into its powers blindly. Or equally likely, traveling down a YouTube pedal demo rabbit hole where you eventually find yourself watching a tutorial on how to make gnocchi from scratch at 3am. You're about to embark on a magical journey with this mighty Aurelius pedal in front of you.

You see, this is not simply your run of the mill chorus pedal. This compact, beautifully cased wonder is a three-mode chorus with six programmable presets and an expression control. Choose from Vibrato (V) Mode, Chorus (C) Mode, and Rotary (R) Mode and manipulate their Width, Rate, and Balance to achieve your ideal sound. Shift seamlessly from one mode to another to cop a blend that is all your own. Just one simple tap of the Preset ("Save/Recall") switch and you can summon up to six settings of your choosing at will.

Feeling pretty powerful now, aren't you?

Inspired by the 1970s CE-1 Chorus Ensemble pedal, this digital unit has been tirelessly tweaked and fine-tuned to give you an all-encompassing chorus and vibrato experience like nothing else. Inspiration the 1940s and the advent of the Leslie speaker to boldly capture the sound of its rotating baffle system for the Rotary mode. Earthquaker studied the way that the horn and the rotor moved on Leslie speakers and emulated the phasing and speeds of the low frequency oscillator, but they exaggerated the hell out of them to make it sonically suitable for guitar, bass or your instrument of choice.

And by popular demand, like many Earthquaker pedals, this is equipped with an expression control so you can use any TRS expression pedal to manipulate the Width, Rate or Balance. Put it in the Vibrato mode and you'll have a really subtle chorus with a seasick vibrato and alternate quickly between the two seamlessly. And that's only just one mode. The possibilities are endless. Think about it.

This compact world of chorus in a box will fit on any pedalboard and is so intuitive and easy to use that you most likely won't have to refer to this manual ever again.

Each and every Aurelius is hand crafted in Akron, Ohio, USA and is inspected by the spirit of speaker innovator Donald Leslie.

Specs

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 75 mA
Input Impedance: 500 kO
Output Impedance: 100 O
TRS expression pedal wiring:
Tip: Wiper
Ring: +3.3V
Sleeve: Ground

Flexi-Switchr Technology

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Notes: Customized to hold the new Denon SC Live 4 controller. Crafted from 9 mm vinyl laminated plywood, sturdy aluminium profiles and heavy duty butterfly latches, this case provides ultimate protection for mobile use on the road.

Fits

Denon SC Live 4

Basics

Heavy duty construction of 9 mm vinyl laminated plywood
Solid aluminium profiles and spring loaded latches
Secure stacking due to stackable ball corners
Full padded interior keeps Controller well-protected
Detachable front cover/panel

Specs

Outer measures: 80 x 51 x 22,5 cm
Inner measures: 72 x 34,7 x 5,6 cm (Controller-compartment)
Weight: 12,4 kg
Colour: black/silver

Notes: Orca packs four quintessential GFI System's delay algorithms into a compact pedal that is straightforward and easy to use. Intuitive user interface coupled with an LCD screen makes it a breeze to navigate through Orca's vast sonic pallete and features.

Input/Output

Orca supports both mono and stereo input/output. Mono connection is made using standard TS patch cables while stereo connections is made via TRS patch cables (a splitter-Y cable may be needed).

External control

A multi-purpose jack provides connection to an expression pedal or tap-tempo pedal.

Expression pedal input enables expressive control over the delays' parameters, and the external tap-tempo can be used for remote tempo control.

Algorithms

Digital (max delay time : 1 second)

Tape (max delay time : 1 second)

Diffuse (max delay time : 1 second)

Ambiental (max delay time : 840 milisecond)

Specification

Input impedance : 1 MOhm.

Output impedance : 1K Ohm.

DAC / ADC resolution : 24 bits.

Current consumption : ~110 mA.

Weight : 0.6 Kg (1.6 lbs).

Dimension : 12 (L) x 7.2 (W) x 5.5 (H) cm

Power source : 9VDC (negative center).

Notes: EM-302 Ringo is a 4-quadrant multiplier. It utilizes a superb AC-coupled circuit to achieve a wide array of ring modulation effects. The carrier and modulator inputs have independent attenuators and bias controls.

Specifications:

Dimensions: 8 HP (3U)
Panel: 2.00 mm Anodized Aluminum
Power: +/-12V | 20 mA

Notes: A real powerhouse module that takes up only 12 HP of rack space. It can generate random and pseudo random control voltages, staircase waveforms, deliberate aliasing of audio signals, portamento type effects, adjustable audio range noise and has many other uses too.

It can be switched between Sample & Hold or Track & Hold modes, and the unique "Restrict" control affects the way the hold output changes with respect to the current input level and previously held output level. With the control fully off the unit behaves just like any other S/H, but at fully clockwise the output is restricted to move by only a small amount after each new sample. The output will still have the same range as the input, but will need more hold commands to get there. This versatile Sample and Hold circuit was designed by Tony Allgood, and is built under licence from Oakley Sound.

The Sample Hold & Slew module also includes a very well featured Slew generator, which includes a Gated Slew function. It can be used independently or chained with the S&H module. Slew mode can be switched between Linear or Exponential Slew types. There is a Gate input, so that the Slew on/off can be switched using an External CV (Gated Slew), and also the Slew control logic can be reversed by a toggle switch that doubles as a manual Slew on/off switch. In addition, it has slew up only, slew down only or slew up and down modes, which are selected with a three-way toggle switch. An indicator LED lights when Slew is active

There is also an inbuilt analogue Noise generator, which is normalised to the input of the Sample and Hold section, and there are both regular and clipped Noise outputs - the Clipped Noise is particularly useful with the sample and hold section, as it is weighted to produce higher random voltages. Both Noise outputs are fed through an internal "Noise Colour" control - at centre position it allows the noise through unfiltered, turning the control anti-clockwise introduces low pass filtering of the Noise, and rotating it clockwise introduces high pass filtering. The Noise source itself is based on an analogue band gap shunt regulator configured in avalanche mode, and it generates white noise with a gradual roll off above 8kHz. It is a little "grainier" in character than the noise from our MiniMod Glide & Noise module (which uses a reverse biased transistor as a noise source), so is a useful compliment to this module as it does not generate exactly the same sounding Noise

Lastly, it includes a wide range clock generator with a rate LED. The range is from one cycle every thirty seconds to around 2 kHz and the clock output is normalised to the Clock Input of the S&H section. It also has a Clock Out jack so that it can be externally patched to other Eurorack modules.

Notes: There is something special about a Keeley Modded Blues Driver. There's something even more remarkable about Andy Timmons' tone.

Since his exposure to this Keeley modded stompbox early on, it has been virtually glued to Andy's board. The Super AT Mod Overdrive captures the magic of the original Blues Driver Phat Mod with the addition of AT Mode. Chord work and harmonies are cleaner and tighter now, without reducing gain.

Asymmetrical Tube Clipping

The new Super AT Mod Overdrive features a return to RK's original clipping style, a 20 year old modification first performed in the Keeley Blues Driver Phat Mod. If you want a drive pedal that responds just like a tube amp, this is it. The topology of the pedal is similar to classic California tube amps, Keeley simply use JFET transistors in place of tubes. Nothing has been left out, even the filtering of an amp's tone stack is designed into the pedal. It's an amp-in-a-box, only better because it's Keeley developed with the guidance of Andy Timmons!

New Tone Switch

There is a new circuit design for the Tone Switch employed in the Super AT Mod. The new AT-mode is voiced for humbuckers and features lower mid-bass frequencies for tighter, more transparent response. The original Keeley PHAT-mode stands ready to put more power behind your favourite single coil equipped guitar. Either way, the Super AT Mod has got you covered.

"The Super AT Mod Overdrive is the ultimate expression of the slightly broken up/clean tone I have been searching for all these years. It also rocks with an amazing overdrive tone that is incredibly amp-like. I already have 2 on my board! Wishing you all the best on your Tone Quest!" - Andy Timmons

Notes: SkipLog, a probability processor with sequence capturing and looping features, along a range of other versatile functions waiting to be explored.

SkipLog is a 3-channel rhythmic probability processor designed for inventive rhythmic exploration in modular setups. Introduce unpredictable rhythmic possibilitis to your creative flow.
SkipLog's basic operation is simple: when a trigger or gate is received at one of its three channels' inputs, the same channel’s Probability knob allows you to control the likelihood of these triggers or gates reaching the output. This inputs are internally connected .

SkipLog continuously captures the binary outcomes of its use, storing them for potential sequences. Activate the Loop function to break from pattern creation and loop the recorded sequences. Individual Loop Length knobs for each channel allow adjustment of the loop sizefrom 1 to 16 or 32 steps (as selected on the back), providing evolving rhythmic patterns.

To fine-tune your arrangement, SkipLog introduces functions like Mute for real-time channel silencing, Inv for signal inversion, and Choke for establishing channel priorities. Lastly, the G/T (Gate/Trigger) Mode enables users to specify whether the channel output is a gate or a trigger.

Dimensions
8 HP
33 mm deep

Current Draw
100 mA +12V
22 mA -12V

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


Neatly designed slimline DJ MIDI controller from A&H. 52 controls and built-in audio interface. Compatible with any DJ software.

Supplier's notes:
Xone:K2 is a compact, slim line universal MIDI controller - incorporating a 4 channel soundcard, for use with any DJ software.

With no fewer than 52 hardware controls providing up to 171 MIDI commands across 3 layers - plus the ability to link multiple units using X:LINK, saving USB ports on your computer - Xone:K2 has the power and flexibility to put you in touch with the functions and features of your chosen software.

Quick and simple mapping lets you create a unique layout that mirrors your style and puts the functions that matter at your fingertips, whilst 3 colour illuminating switches give at-a-glance feedback - allowing you to work however you decide.

The high quality internal soundcard provides flexible user setup options using the Xone:K2 with headphones, headphones and a mix system or with an external mixer. Xone:K2 comes packed in a black padded case as standard. The case doubles as a stand, bringing the K2 up to the same height as most pro DJ mixers.

Xone:K2 is a compact designed MIDI Controller for use with any DJ software such as Ableton, Virtual DJ, MixVibes, Mixx and Traktor Pro. Xone:K2 can even be used to control lights or VJ software - if it can receive MIDI data it can take commands from K2. What each control does is entirely up to you - you can create a completely customised layout that perfectly fits the way you want to work. Xone:K2 has 52 physical controls - including 12 analogue and 6 endless rotary encoders with push switch, 4 linear faders, and 30 backlit performance switches - providing up to 171 MIDI control commands across 3 layers. We also provide example maps to get you started out the box and information on how to set up your own.

A Latching Layers system lets you assign controls to multiple layers, so a single physical control can be given up to 3 functions. You can configure all, some or none of K2's controls to be linked to the Latching Layers system. As a quick visual reminder, when toggling through layers all switches assigned to a particular layer will illuminate in the appropriate colour.

Xone:K2 has a high quality internal, four channel (2 stereo) 48kHz soundcard. Setup options include using the K2 with a pair of headphones, feeding a pair of headphones and a PA system, or connecting to an external DJ mixer.

Its slim line chassis, soft touch controls and minimal looks set K2 apart from the pack. There's plenty of substance too - Xone:K2 is built to Allen & Heath's renowned touring grade audio and build quality standards, including the use of steel nuts on all rotary controls to protect the circuitry from impact damage.

Xone:K2 comes packed in a black padded case as standard. As well as keeping it safe on the road, the case doubles as a stand, elevating the K2 up to the same height as most pro DJ mixers.

Two or more K2s can be linked via our X:LINK protocol, expanding the control capability. X:LINK uses a standard RJ45 connector and distributes power and data, allowing connection to X:LINK compatible devices, including Xone:DB4 and DB2, to expand MIDI data without using additional USB ports.

Notes: Use the extremely lightweight, yet powerful EUROPORT MPA100BT PA system to stream songs from your Bluetooth-enabled iOS device at the next company picnic, or to get your message across on the playing field. With its 100-Watt amplifier and premium 2-way speaker system, the MPA100BT provides superb sound for up to 300 people - and the rechargeable battery lasts up to 20 hours. We've even included one of our high-performance ULM300USB digital wireless microphones for a supremely easy-to-use wireless, go-anywhere PA system right out of the box!

Bluetooth Ready:

The days of tape decks and CD players are long gone. Now your music lives on your smartphone or computer tablet, so you can stop searching for those outdated cables and fancy adapters. Now with a simple wave of your hand, you can stream music from any Bluetooth-equipped device such as your iPad, iPod touch, iPhone or even your laptop computer. Now, isn't that easy?

Own the Stage with Digital Wireless:

You are ready to go wireless right out of the box, thanks to the included ULTRALINK ULM300USB wireless microphone system. Wireless gives you maximum freedom and mobility without the need to run cables. The highest-quality sound is provided thanks to the ULM's digital, license-free 2.4 GHz frequency spectrum.

The ULM wireless system combines professional-quality sound with simple setup and an intuitive interface for legendary audio performance. Just plug in the ULM receiver 'dongle', and instantly you have an exceptional wireless mic system. Freeing you from cables is the simply easy way to own the stage.

Ultra-Portability:

The great-sounding MPA100BT is amazingly-lightweight (18.7 lbs/8.5 kg) thanks to its highly efficient Class-D amplifier, and the onboard battery pack keeps the party going for up to 20 hours - without a power outlet in sight!

Built-in Mixer:

Loaded with features, the MPA100BT comes equipped with an onboard 4-channel mixer with Bluetooth connectivity for streaming audio directly from your iOS device, the same ultra-low noise, high-headroom mic preamps that have made our mixers legendary - and an Aux input for that aforementioned CD player.

Notes: Goldring D22GX stylus is designed to fit the current Goldring 1022GX phono cartridge or old model 1020 or 1022, a direct replacement when your stylus is worn - saving the cost of buying a whole new cartridge. Goldring cartridges generally last many hours until the stylus needs replacing. An indication of wear is a "duller" sound.

Simply remove your current stylus by carefully pulling it away from the cartridge and replace it with the replacement.

The 1022GX record cartridge is recommended for the discerning listener. The diamond stylus is a Vital PH type, which provides increased resolution and ensures the maximum accuracy of musical reproduction.

Replacement stylus: 1022GX - D22GX

Notes: Sync all your sequencers with ease and control the BPM - that's what we designed the midiclock for!

It's an ultra-stable hardware MIDI-Masterclock generator & has a great knob to give you full control over the tempo of your performances.

The midiclock generates incredibly accurate MIDI Clock messages.

It has two DIN MIDI outputs to connect to your gear. The clock signal can be distributed to more than two slaves by using MIDI Thru and you can start and stop everything with a single button.

Simply attach all devices that have MIDI Clock slave capabilities: Sequencers, synthesizers, drummachines and software like 'Live' from Ableton.

How to actually set the current BPM depends on the operating mode:

While using 'Live' mode, the BPM change immediately by turning the knob. You can use this mode if you want to make smooth tempo changes in your performance and are aware, that every turn of the knob changes the BPM.

In the 'Normal' mode, the changed value must be confirmed with a single click of the knob. This mode is perfect if you want to set your tempo once and simply need a stable clock signal. Accidental turning of the knob doesn't affect your BPM.

Notes: Performance

Transparency. Clarity. Accuracy.

Kali Audio's Lone Pine Series studio monitors are designed to allow you to hear every detail that's happening in your mix.

This starts with an exceptionally accurate frequency response. Whatever is present on your mix is what you'll hear in these monitors. Nothing is boosted or suppressed to cover flaws or try to sound more pleasing.

With the LP-6 and LP-8, you can mix with more confidence, and you can also be assured that your mix will translate as best as possible to whatever systems your audience is using.

The 2nd Wave goes even further, utilizing a more robust DSP for an even flatter frequency response on the top end.

LP-8:
100W Class D Power
37 Hz Lower Frequency Response
< 2.5% System THD 94 dB @ 1M
117 dB Max SPL

Features

3-D Imaging Waveguide
Hear three dimensional sound from a stereo pair of speakers.
Dual-Layer Voice Coil
Large diameter voice coil allows for low distortion and high dynamic range.
Low Noise Port Tube
Precisely engineered using airflow simulations for powerful bass without port noise.

Accuracy

The LPs have always been praised for their accuracy, and the 2nd Wave versions realize slight but noticeable improvements in that regard, particularly on the top end.

Power

Kali Audio defines a listening distance as the maximum distance at which the speakers can play continuously at 85 dB while maintaining 20 dB dynamic headroom.

This means that anywhere within that listening distance, you can listen for long periods of time at reference volume, and momentary peaks such as bass drops or explosion effects will come through clearly and with minimal distortion. The LP-6 has enough output for most 1-2 person setups, and the LP-8 can handle larger setups easily. Full output specifications, along with maximum listening distances, can be found in the user's manual.

Bass on the LP-Series monitors is delivered by larger magnets and larger voice coils than any comparable speakers on the market. This gives you more accurate bass response that extends lower, so you can dial in exactly the low end sound you need. Bass response is not boosted or overhyped, but you can be sure that you're hearing the bass that you have on the track.

Protective limiters prevent harmful voltage from ever reaching the drivers, so there is no risk of blowing these speakers. These have been updated for the 2nd Wave, allowing for 3 dB higher output.

Both models use 40W for the 1" soft dome tweeter. The LP-6 uses 40W for the 6.5-Inch woofer, and the LP-8 uses 60W for the 8-Inch woofer.

Ease of use

Boundary EQ Control

A speaker's given position in a space can drastically change its frequency response. A speaker placed against a wall or on a desk will sound very different than a speaker placed on a stand, even in a well-treated space. Hard surfaces like walls, desk tops, and recording consoles can change the low end frequency response of the monitor, and degrade the overall clarity of the sound.

Happily, most of the common positions are fairly predictable and easily corrected.

Kali's team did the Boundary EQ tuning at The Village Studios in Los Angeles, and came up with boundary compensation EQ settings to help you get the optimum sound for where you need to put your speakers. For the 2nd Wave, the boundary EQs have been updated for using the speakers on a desk with monitor stands.
Combined with the LF ad HF trims, this will ensure that the speakers sound their best no matter what room you're mixing in, or where the speakers are placed.

Easy Connections

The LP-6 and LP-8 both feature balanced XLR and TRS inputs, and an unbalanced RCA input.

The RCA input can be set to -10 dBu sensitivity when you're using consumer devices like a laptop or smartphone's headphone jack.

A speaker's given position in a space can drastically change its frequency response. A speaker placed against a wall or on a desk will sound very different than a speaker placed on a stand, even in a well-treated space. Hard surfaces like walls, desk tops, and recording consoles can change the low end frequency response of the monitor, and degrade the overall clarity of the sound.

Happily, most of the common positions are fairly predictable and easily corrected.

Kali's team did the Boundary EQ tuning at The Village Studios in Los Angeles, and came up with boundary compensation EQ settings to help you get the optimum sound for where you need to put your speakers. For the 2nd Wave, the boundary EQs have been updated for using the speakers on a desk with monitor stands.
Combined with the LF and HF trims, this will ensure that the speakers sound their best no matter what room you're mixing in, or where the speakers are placed.

Notes: Dynamic hold effects are the aim with this creative reverb pedal. Three reverb modes (tape, comb filtering and resonant bandpass filtering) can be frozen and triggered to create infinite sustaining textures.

Supplier's Notes:
Dynamics. It's the shifting ebb and flow of the tide. It's the ups and downs of life. It's witnessing night turn into day, as the sun attacks and sustains through the nightly veil, making the darkness release its gloomy grasp and decay. It's where you'll find the Old Blood Noise Endeavors Sunlight Dynamic Freeze Reverb. An envelope triggered multi-mode reverb with the ability to dynamically freeze and sustain your notes forever, seeing you create truly mesmerising sunlit soundscapes.

Building on what made OBNE's top-selling Dark Star such a stellar early-chain pad reverb, Sunlight twists it into the other dimension as a reverb pedal centred around the idea of a dynamic hold. When you play, your new notes are let through and old notes are allowed to fade away, but when you stop playing, old notes have the chance to repeat forever.

A dead simple to use interface of just two knobs controls the nature of this relationship. In addition, there are three sonic modes that highlight modulation, comb filtering and resonant bandpass filtering, each of which takes their own spin on the reverb signal. The Mix, Input and Decay controls work exactly the same across each mode, as they help control the dynamics.

Mix sets the loudness of the reverb, which goes from all dry to all wet and anywhere in between, allowing you to create everything from subtle reverberations to deep ambient textures. Now, the interplay between Input and Decay is where the real Sunlight magic starts to happen. Decay determines how long the reverb trails will sustain, which will go from quick ephemeral evaporations to infinite reverb pads. On the other hand, Input controls how much of your signal is allowed into and fed back within the reverb. At zero, no new input will be added to your reverb, but as you increase it, more signal is let through, letting you create gently evolving ambient textures or drastically changing synth-like pads.

Rate and Depth are mode-dependent controls. TAPE Mode is a modulated reverb inspired by the unexpected shifts of a tape machine wobbling. Here, Rate and Depth set the speed and intensity of the lopsided vibrato applied to the reverb signal. COMB Mode is a combination of reverb and delay. Four delay lines are placed after the reverb, and the emphasis on stacked short delays creates comb filters like a fixed flanger. Rate sets the time of all four delays, and Depth sets the feedback (or resonance) of the delay section. PASS Mode is a bandpass filter applied between two reverb paths, where a random sample-hold function sets the cutoff frequency of the bandpass. Rate sets the timing of the sample-hold and Depth sets the range of possible cutoff frequencies. If Rate is set to 0, Depth sets a fixed cutoff frequency.

But the sound shaping adventure doesn't end here. Sunlight also contains a bunch of expressive capabilities performed through the on-board ALT switch, which can be set to change control settings either momentarily or latching. It can be assigned to the Rate, Depth, Decay or Input controls or any combination of the four. You can also control them externally via an external expression pedal, the OBNE Expression Slider or even the OBNE Expression Ramper, which will open up even more creative possibilities.

Dimensions:

Product Height (cm): 5.800
Product Width (cm): 6.600
Product Depth (cm): 12.000
Product Weight (kg): 0.300

Box Height (cm): 7.800
Box Width (cm): 8.200
Box Depth (cm): 14.400
Boxed Weight (kg): 0.453

Notes: The DUDE is designed to achieve the classic D style ODS sounds and feel. From Robben Ford to Larry Carlton to scorching gain, it is all there. The Dude v2 has a less aggressive volume control, new knobs that are easier to read and a noiseless foot switching system.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adapter and a 5.5mm x 2.1mm jack.

Analog 18mA Current Draw

True Bypass Switching

Notes: The Polaris is a 4-stage cascaded OTA filter designed by David Dixon. It builds on the lineage of the Dr. Octature and Atlantis filters, but with a totally revised core and resonance control. Along with dedicated LP, HP and BP outputs it features a configurable MULTI output capable of an unprecedented 27 different filter modes.

With drive turned down the Polaris is capable of buttery smooth filtering, and the cutoff control range has been fine-tuned for playability. With the drive dialled up and the new asymmetric multi distortion circuit engaged it creates a more aggressive sound. Not content to be just a filter, the Polaris's AP phaser mode combined with frequency modulation can be used to achieve a phaser effect.

With so much versatility in a modest size, the Polaris is an ideal filter for a starter system and an excellent addition to the tonal palette of a larger modular.

Notes: With its novel microphone capsule and 32-bit float technology, the M2 MicTrak enables any user to make very good-sounding recordings in one take.

X/Y microphone with honeycomb protective grille
2-track recording (mono/stereo)
Monochrome LCD display (waveform display)
2x AA battery operation (up to 11 hours)
32-bit float USB mic function for Mac/Windows and iOS/Android
Improved coating to reduce grip noise during recording

Best possible results - guaranteed

The M2 MicTrak is Zoom's latest innovation in mobile recording. Featuring a new X/Y microphone capsule design and 32-bit float technology, the M2 delivers great sound from the first take.

One take - that's all you need

The M2 records clipping-free audio always. Thanks to 32-bit float recording, there's no need for leveling. Whether you're recording softly spoken dialogue or thundering drums, you'll always get the sound you want.

Podcasting, no matter where

When you're on the road, you need no other recorder than the M2 to deliver high-resolution, transparent stereo voice recordings anytime.

For breaking news, there's only one take

When there's only one opportunity to record the story, the M2 won't let you down.

Extremely quiet grip noise

Combined with the specially designed high-gloss finish, the M2's unique, resiliently suspended X/Y stereo microphones ensure that hand noise is drastically minimised.

Stereo and mono modes

Record in either mono or stereo mode. Stereo is recommended for music performances, while mono is the perfect choice for recording interviews and dialogue.

Normalize function

The M2 offers a NORMALIZE function that allows you to optimise the levels of your recordings by raising or lowering the volume. This saves time and makes the post-production process more efficient.

Always in sight

Thanks to the real-time waveform display on the M2's LCD screen, you can always keep an eye on your recordings.

Always in control

Use the headphone output to listen to your recordings or use the internal speaker for quick reference.

USB microphone with 32-bit float

Connect the M2 via USB to record and stream with a PC, Mac or in iOS or Android.

Integrated microphone mount

For stationary recording, mount the Zoom M2 on a microphone stand using the supplied microphone holder.

Long battery life

Up to 11 hours of battery life via Type AA batteries, securely housed via a new locking system, ensures the M2 is always ready to record when you need it.

Tech Specs

USB-C port (2.0)
USB bus power supported
Recording media
4GB-32GB microSDHC cards
64GB-1TB microSDXC cards
Built-in speaker
Headphone jack
Recording format: 44.1/48/96kHz, 32-bit float (48kHz in Audio Interface Mode), mono/stereo BWF and iXML

Whats in the box
Quick Guide
Windscreen
Microphone clamp

Optional power supply
Zoom AD-17

Notes: The Nectar "Tone Sweetener" strikes aperfect balance between versatility and simplicity. It offers a wide range of tones, spanning from a vintage tweed-style crunch to a full-bodied overdrive, and even a modern high-gain fuzz that pairs wonderfully with any guitar, pedal or amp.

Use the mode toggle to switch between the DRIVE and FUZZZ modes, while the LEDS indicate the selected mode, even when the effect is bypassed. Fine-tune your sound with the TASTE control to set the perfect eq for each guitar or amp.

The Nectar's responsiveness is truly unparalleled, like a delicate bee collecting pollen. Every nuance of your playing is enhanced and sweetened in the best way possible, with plenty of headroom.

True Bypass Design
Power requirement: 9V, 30mA
Made in California, USA

Notes: EarthQuaker Devices proudly present to you the new and improved Spatial Delivery V3 Envelope Filter!

EarthQuaker Devices took the already cosmic, original Spatial Delivery and added six available preset slots for you to store your preferred settings - whether they be dissonant sweeps, rhythmic auto wah frequencies, oscillating robot gibberish or honestly whatever filtered frequency fun you want.

Even the expression jack assignment can be saved and recalled in any of the slots so that the signature sounds you dial in are readily available with a quick tap of the switch.

Save your settings confidently on the go thanks to the two modes indicated by the LED Save/Recall switch. Green means you're in Live Mode so what you see is what you get; current control settings will be what you hear. Red means you are in Preset Mode, where your selected pre-saved setting will be what's taking the journey through your amp.

You didn't think this pedal could get any better, and then, bam!

And of course, for all of you Spatial Delivery diehards, all the familiar features of the original are still in place. This baby has three modes with the switchable Up Sweep, Down Sweep, and Sample and Hold functions, along with Range, Resonance and Filter controls.

Get some wild filter sweeps with the Up and Down modes and adjust the Range to control the sensitivity and reaction time of the envelope, which alters the width of the frequency sweep. The higher the Range and harder the attack equals a faster reaction time and higher frequency sweep and vice versa. But again, you're a smart player, you get this stuff.

In the Sample and Hold mode, the filter is controlled by random voltage and the Range controls the speed. The filter can be crossfaded between high pass (counterclockwise), band pass (center) and low pass (clockwise) for a wide variety of voices. The Resonance control goes from zero to the brink of oscillation and adds more body and ring to the filter voice.

Due to its envelope control, it is recommend that you place the Spatial Delivery first in your signal chain, however, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further. How far will you take it? Only time will tell.

Each Spatial Delivery pedal is handmade in Akron, Ohio, USA and is hand delivered... espatially for you.

Notes: ***B-STOCK: Product has light surface marks/scratches, but otherwise in perfect working condition***


ALM Eurorack cases are available in a range of sizes all including an integrated powered bus boards.

The cases all feature anodised aluminium construction, an on/off switch, rubber feet, and high quality switched powered bus boards with numerous keyed headers and ample power capacity.

These are simple and compact Eurorack cases, perfect for small, focused systems, taking along on travels, or as a tabletop addition to a larger setup.

Cases are available in 4 sizes; 3U 84HP / 6U 84HP / 3U 52HP / 6U 52HP sizes. They all offer 1 Amp on both the -12V and +12V rails per row.

Great modern cases

The ALM powered Eurorack case was originally designed for the System Coupe. Wider interest has seen it evolve into a range of different sized cases being made available by themselves.

A fixed solid bus board provides quality ample power and plentiful keyed power connectors. The shielded DC/DC power converter is low noise and includes overload and short circuit protection. Fixed, quality mounting rails are used over sometimes frustrating sliding nuts. The case has a great looking all anodised aluminium construction that is both strong and light.

The case proportions are designed to look great on a table or desk (not too deep, just enough) and also be easy to fit in a bag and transport.

Decksaver case covers are available currently for the 3U/84HP, 6U/52HP, and 6U/84HP cases.

Common Features

Self assembled aluminium lightweight cases with integrated switched power busses.
Up to 1Amp per -/+ 12V rail per row with quoted 100mV ripple noise at max load. No 5V rail.
Overload & Short Circuit protection.
Support modules up to 42mm depth (approx 2 stacked pcbs). All ALM modules fit.
M3 threaded fixed mounting strips (no sliding nuts!).
Module mounting screws and Allen key included.
Includes 12v external DC/DC power 'brick' with center positive 2.1mm barrel and at least 2 or 4 Amp rating (depending on model).

3U / 84HP

Provides up to 1 Amp power on each -12V & +12V rail.
Connections for up to 16 modules.
Decksaver cover available seperately.
Includes 2 Amp power 'brick'

Notes: The D-ENV is a 10hp Eurorack Envelope Generator with the addition of Delay and Hold functions for gates. As a "utility-effect" of sorts, it allows for delayed dynamics, which can provide more spacial or dimensional sounds within many configurations, including drum beat delays, or part of an echoic soundscape. Exponential envelope generator (ADSR/AR) with independent delayed gate/trigger processing (up to 1 second), and delay-hold (up to 1 second).

- 3 Env timing ranges (Short timing fixed range. Long timing can be extended for Extended-Long timing.)
- CV to Delay time
- Delay + Hold for Gate/Trigger Delays

Delayed Gate/Trigger can be routed internally at the push of a switch, and is "OR'd" with any income gates or triggers entering the envelope generator's gate and trigger input jacks.

Delayed gates only accept new gate signals once the entire Delay and Hold cycles are complete. Delay cycle starts once a signal at the D-G IN jack is received (rising edge -or- positive-going). Both the Delay and Hold cycles are minimum 12 ms, and maximum 1050 ms, each, and are sequenced from Delay to Hold.

Notes: The Turbo Series is not only stylish in appearance, but also employs serious engineering to achieve the best acoustic performance. The Bass-reflex acoustic design combines maximum efficiency and optimal bass extension. The MDF material ensures proper damping of vibrations from the drivers. All this is done behind a sophisticated industrial design utilising modern fashion elements.

In order to achieve this perfect combination of sound quality and appearance, the Turbo series enclosures were designed as a non-regular hexagon. After careful calculation and experiment, we found that the non-regular hexagonal structure is most effective in minimising standing waves inside the enclosure. We chose high quality MDF for the enclosure to not only damp out unwanted resonances, but to ensure a solid and inert structure to mount our drivers to. All internal surfaces are lined with blended wool to further damp the structure of the cabinet.

Using high quality pure silk from Europe for the tweeters, the patented dome shape perfectly articulates the high frequencies out past 20 kHz. It is designed to have a low resonance (for a low crossover point) but also high power handling.

Using patented technology from the Aviation industry, the PP carbon fiber / ceramic composite cone for the woofer provides a perfect balance between strength and weight. This lightweight yet strong cone ensures an extremely fast transient response from bass notes all the way through to the midrange.

The custom made amplifier design uses only professional grade multi layer PC boards (compared with the single sided PC boards used in other speakers). This ensures that the circuitry and components have better reliability and better performance, which in the end means higher fidelity sound.

Notes: cDVCA or class-D VCA is a new kind of VCA based on an entirely novel concept that is inspired from class-D amplification technology. This is not a transparent VCA and brings a lot of character to the sound.

The first VCA that tracks 1V/oct

Concept: The input signal is turned into an ultrasonic PWM signal (~34kHz). The PWM is scaled to the desired amplitude and then filtered back down to the original signal.

The twist: The PWM frequency can be lowered down into the audio spectrum and the frequency can be controlled via its 1V/oct input allowing for crazy waveshaping that tracks your melodies.

The drive controls an innovative clipping method that does not rely on overdriving any circuitry and therefore results in distortions with a very defined character.

The signal then goes into a 1 pole VCF/tone circuit that allows to keep things under some amount of control as the harmonics produced by this module can be very aggressive.

With no input the module generates a simple square wave and therefore can be used a simple synth voice (VCO->VCA-VCF)

Notes: The Loose Fruit provides a totally unique approach to waveshaping. Milk classic waveforms for subharmonics, tonal intervals and just-intoned juice. Combine with a classic (square, sine, tri, saw wave) oscillator to create a new world of tonal possibilities.

Loose Fruit is a new kind of waveshaper, more accurately, it's two waveshapers and a crossfader combined in one module to give you an arsenal of tonal possibilities. The input audio is processed by inverting it specific points - a little like a 'hard sync'. In this manner harmonics are created - not just regular 'infra' harmonics but also rich subharmonics - yes, the Loose Fruit adds bass.

Each waveshaper features 10 preset patterns which seamlessly fade into each other via the state control knob or the CV control. The resulting audio is mixed together by the crossfader. The three sub sections - waveshaper 1, waveshaper 2 and the crossfader - are normalled together but can also used independently of each other.

Width: 12HP
Power: +170mA / -125mA @+12V / -12V
Loose Fruit is now on Mk.2
changes in this version:
- States now fade between each other,
rather than switching

Notes: The remarkable EPQ2000 packs a heart-stopping 2,000 Watts of output power into an exceptionally lightweight (15.4 lbs/7.0 kg) package, thanks to our Accelerated Transient Response (ATR) technology. Ample power (2 x 1,000 Watts @ 4 Ohms; 2 x 600 Watts @ 8 Ohms) and high-tech efficiency combine, giving you a feather-light, supercharged workhorse that will keep your rig kicking for years and years to come.

Accelerated Transient Response Delivers the Knockout Punch:
It takes huge pulses of energy (current and voltage) to propel a woofer cone out fast enough to match a bass beat. That's called Transient Response and it's the holy grail of amp design. By carefully selecting transistors with extremely high slew rates and optimizing other proprietary parts of our circuitry, our amps are able to react instantly to even the most demanding electronic bass impulses. If the woofers in your PA system can keep up, your audience will hear a tighter, crisper, more natural sound. Instead of operating relatively continuously like most power amps, the EPQ2000 features rail tracking for effectively modulating the power supply rails with only the peaks of the input signal. This technology has revolutionized pro audio amp designs with its outstanding performance and efficiency. When combined with switching-mode power supplies that do away with heavy toroid transformers, our new designs provide more dynamic punch and, since they are so much more efficient, run cooler and don't require huge, heavy heat sinks.

Sublimely Simple Operation:
The front panel controls and indicators provide your system's vital signs at a glance. After pressing the Power button, the Power LED lights to show the amp is ready for action. All channels feature positive-detent Gain controls with Signal LEDs that light when a signal is present, as well as Clip LEDs to indicate when the signal is distorted and you need to reduce the input signal. Just as elegant as the front, the rear panel is home to the balanced XLR, 14 " TRS, and unbalanced 14 " TS and RCA connections. Take your pick of professional locking speaker Outputs or touch-proof binding posts to securely connect speakers. The same panel contains the switches that put the EPQ2000 in Mono, Stereo (two channel mode) or mono Bridge mode. A built-in Crossover switch allows you to send low-frequency content to subwoofers and other sound reinforcement speakers (CH1 < 100 Hz / CH2 > 100 Hz or Fullrange). Flick the Limiter On/Off switch to activate the built-in overload protection.

Sound Value:
The remarkable EPQ2000 power amp was built for the working musician. It is exceptionally light, packs a massive 2,000 Watts of output power, thanks to our Accelerated Transient Response (ATR) technology and is built rugged enough for life on the road. Plus, the EPQ2000's ultra-light price tag will leave cash left over for you to get more stuff to amplify!

Notes: This pedal was designed to emulate the sounds and textures of the Lo-Fi Loop Junky in real time, but it goes far beyond that. Click it on and mix your sparkly clear compressed signal with the smashed, lo-fidelity warbled signal and listen to it become a luscious emulsification that can be blended to the most perfect depth. Achieve new haunting chorus sounds and pulsating vibrato. Unusual and fun, you've never heard anything quite like it.

Notes: 8HP Micromodule based on Opensource Frames.

This devices comes with Parasites 1.1 firmware

Notes: mBrane is a 4 channel midi to CV interface based on opensource Yarns. The device includes a 1.5m 3.5mm TRS to Midi male cable (Type B). This is the brand new Rev1.1 of the device which now features PSImidi which allows ANY type of TRS midi cable to be used on the input. Type A or B, male or female, all will work.

Running firmware 1.5
Multichannel MIDI to CV/Gate conversion

Yarns is a MIDI interface providing up to 4 channels of very accurate CV/Gate conversion, which can be assigned to up to 4 voices.

In single voice mode, note, velocity, modulation and aftertouch (or other CC) CV are produced, along with a gate, a trigger, and a clock/reset output.

In two voices mode, two channels of note, modulation or aftertouch CV are produced, along with two gates, and clock/reset outputs.

Finally, in four voices mode, four pairs of CV/Gate outputs are provided.

Each voice has a built-in digital LFO to interpret modulation wheel messages as a vibrato; can respond to pitch-bend messages; or can be smoothed with a glide/portamento control - no need for a dedicated module and patches to get the right response from a MIDI keyboard!

Monophonic and polyphonic

The 2 and 4-voice modes are available both in a "polyphonic" and "multitimbral" flavour. The former receives chords from one single MIDI channel and dispatches them to the voices; while the later provides independent monophonic parts - which can be addressed to different MIDI channels, keyboard ranges, or even velocity levels.

Various note priority modes (low, high, last) and polyphonic allocation schemes (voice-stealing, random, cyclic) allows you to fine-tune the CV/Gate conversion to your playing style.

With sequencing and note transformation...

Each part can generate sequences either through an arpeggiator/euclidean sequencer combo; or with a SH-101 style sequencer with step-by-step recording, storing up to 64 notes. The module can sync to an external MIDI clock, and generate a clock/reset output at any subdivisions of the MIDI clock.

...and even more advanced features.

Other unique features include support for microtunings (either through standard MIDI messages or from a selection of historical tunings or indian ragas), just intonation, and an audio output mode which can transform one, two, or four of the CV outputs into simple digital oscillators.

Review: This is a very special and exclusive new version of what is a sonnet cold classic album from the annals of jazz history. Few albums hold the prestige of Getz/Gilberto which was released in 1964 and is a special collaboration between saxophonist Stan Getz, guitarist Joao Gilberto, and composer Antonio Carlos Jobim which very much represents a pinnacle moment in the fusion of jazz and bossa nova. Across its ten tracks, the album weaves a mesmerisng tapestry of melody and rhythm, casting a spell that continues to captivate listeners over half a century later. At the heart lies the symbiotic relationship between two musical giants: Stan Getz, the virtuosic tenor saxophonist renowned for his velvety tone and lyrical phrasing and Joao Gilberto, the Brazilian guitarist and vocalist whose soft, intimate delivery epitomizes the essence of bossa nova.

Notes: A revolution in synthesis, the award winning 'Gladiator 2' gives you a groundbreaking approach to sound generation. Its exclusive HCM synthesis technique covers new and unique aural territory, only possible with 'Gladiator'. The innovative synthesis, design and unmatched sound quality make this not only the perfect instrument, but also the best virtual synthesizer and go-to instrument for all those looking for the ultimate creative tool. 'Gladiator 2' is one of the most powerful synthesizers ever created and supports an exhaustive list of synthesis methods. All synthesis types can be combined freely to create new and exciting sounds.

Oscillators:
Synthesis types supported by Gladiator 2 are: Tone2's award winning Harmonic Content Morphing synthesis (HCM), Frequency Modulation (FM), Pulse Width Modulation (PWM), Analog oscillators, Resynthesized instruments, Vocoder sounds, Oscillator sync, Phase Distortion, Amplitude Modulation (AM), Phase Modulation, Waveshaping, Super-saw, Additive synthesis, Sample playback. Additionally existing osciallators can be morphed or modified with special algorithms to alter the sound. 'Gladiator' supports up to 18 oscillators per voice with 4x stereo unison and crystal clear sound quality.

Filters:
The analog modelled filter section uses high-end quality stereo filters, most of which are exclusive to Tone2 products. 'Gladiator 2' ships with 40 different filter types: Moog, Low Pass, High Pass, Band Pass, Vocals, Comb, EQ, FM, AM, Phaser, Resample, Analog etc.

Sounds:
'Gladiator 2' comes with an inspiring library of 1105 outstanding presets from top sound designers plus the 'Electronic Expansion' with an additional 300+ patches. All sounds are arranged into categories for easy access to the sound you require. The 'Electronic Expansion' is a preset and feature expansion pack for 'Gladiator 2' with more than 300 sounds, new add-on features, skins and additional effects. It is included in the boxed version of 'Gladiator2 Complete'. Impressive arpeggiator sequences, resonant basses, groovy drumlines, vocaloid sounds, cutting leads, chiptune sounds, techno stabs, rhythmic trancegates, deep housechords, atmospheric pads and ambient textures are among the many types of electronic sounds featured inside this expansion. A must have if you're looking for new sounds or if you want to expand 'Gladiator' with more features.

Effects:
'Gladiator 2' comes with an impressive reverb that offers a warm sound similar to high-end hardware units. 37 different stereo effects are included, all carefully crafted to offer the highest quality possible: Reverbs, Delays, Flanger, Phaser, Chorus, Ensemble, Rotary, Bitcrusher, Talkbox, Ringmod, Tube Amp, Dolby Prologic II compatible surround encoding, Waveshaper, Pingpong, Filters etc.

Modulation:
'Gladiator 2' has a powerful and flexible modulation section which is easy to set up. The analog modelled envelopes sound punchy. LFOs offer 22 different waveforms and can be synched to BPM. The Step LFO's design was inspired by the old analog step sequencers and can be used to create rhythmic sequences and trance gates. With 'midi-learn' you can assign your hardware controller with a single mouse click.

Psychoacoustic processing:
The exclusive IQM algorithm (Intelligent Microtuning) makes the synthesizer sound fatter and cleaner by automatically detuning notes for lush chords. The innovative phase modulator module in the OSC section is based on the latest knowledge in phonetic science. It makes a digital spectrum sound warm, silky and analogue. A special post-processing module in Gladiator mimics effects of the human ear. It creates deeper basses and more transparency. What is the advantage compared to other synthesizers? True high-end quality: analog, warm, crystal clear, rich sound; new synthesis method (HCM), new unique sounds which no other synthesizer can create, huge sonic range, boundless possibilities, psychoacoustic processing, different synthesis methods can be combined freely; flexibility, expandability; easy-to-use, low CPU and high reliability, 1105 professional preset sounds included plus 300+ expansion sounds, 'Gladiator' can replace a room full of hardware, Detailed handbook in 5 languages, excellent value for the money.

Notes: The Legenday and classic original POG won top awards from every major magazine on every continent for its flawless polyphonic tracking and musical flexibility.

The Micro POG delivers the same perfect tracking and smooth polyphony in a simplified design. Now in a small pedalboard-friendly diecast chassis, the Micro POG delivers and will blow you away the first time you use it.

*UK 230V power adapter included*

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

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

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

Notes: DJ Controller Workstation DDJ-1000

Customized to transport and protect the Pioneer DDJ-1000 DJ-Controller. Crafted from 9 mm vinyl laminated plywood, sturdy aluminum profiles, heavy duty butterfly latches and smooth rolling wheels it provides you with secure transport and workstation in one. Thanks to the integrated gliding laptop platform and the convenient cable access port, the setup is ready for action in no time at all.

Fits

Pioneer DDJ-1000
Pioneer DDJ-1000SRT

Specs

Outer measures: 80 x 51 x 23 cm
Inner measures: 70,7 x 35,4 x 5,1 cm (Controller-compartment)
Weight: 16,4 kg

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


Unreal value from Cre8audio's West Pest, the more experimental sibling to the East Beast. Loosely Buchla-inspired semi-modular synthesis with built-in sequencer, MIDI control and full Eurorack compatibility.

Supplier's Notes:
West Pest

Fully analogue West Coast style semi-modular synthesizer

The cousin of Cres8audio's East Beast desktop synthesizer, West Pest is a pesty cornucopia of simple complexity.

West Coast style is typically characterized by additive derived, rich and complex sounds. Often, more traditional user interface elements are replaced by the abstract and experimental.

All that said, West Pest is actually not a deep dive into the abstract. It provides a wide array of sonic capabilities while maintaining a quick and easy workflow. You'll make fresh & inspiring sounds in a flash. West Pest's huge sonic capabilities emanate from its modest bento box-sized exterior.

You can also feel free to pop West Pest out of its enclosure and transform it right into a 40HP eurorack module, or keep it in its case and use it anywhere for your West Coast style pleasure.

West Beast's oscillator, designed in partnership with Pittsburgh Modular Synthesizers, stems from 10 long years of stoic commitment to a continuous development of analogue oscillator research and development.

Its beautiful buzzy circuitry is not a clone or based on any outside designs. It is made with 100% modern components. This keeps it very stable, and giving it a super rich, and unique sound.

Folding waves, space, time & laundry?

West Pest utilizes a custom wave folder to shape the sound. It adds additional dimensions to West Pest's already unique sounding oscillator core.

A wave folder shapes sounds differently than a filter. Instead of removing harmonics, the wave folder increases the harmonic content of the oscillator by folding the wave in on itself to create sonically rich waveforms.

West Pest's wave folder takes what traditional wave folding circuits have done for years and ups the ante, allowing the user to fold previously unfoldable waveforms.

In addition to being able to send all of West Pest's waveforms through its wave folder/shaper, you can also input external sound sources. So go ahead, get weird with it.

Sculpt west-coast style

In continuity with the whole West Coast synth vibe, West Pest has a dynamics controller as well as an LFO to further sculpt its sound.

The Dynamics Controller combines the functionality of a VCA with a low pass filter to imitate the behaviour of soundwaves in the real world by dynamically modifying the harmonic content with the volume of the sound.

Go patch yourself

Semi-modular means that the West Pest will work without any patch cables. But who doesn't want to build a magnificent web of patch cables flowing in and out of their synthesiser? Brewing up sounds the old fashion way like unwavering generations before you, one patch cable at a time is where the real magic happens.
West Pest provides access to basically 8 different modules (Oscillator, wave contour, dynamics controller, LFO, multi-mod tool, MIDI to CV converter, sequencer, and button keyboard) worth of functionality with a whopping 18 Eurorack compatible patch points to plug into itself and your other gear. Rewire West Pest's signal flow, or share your favourite elements from West Pest with any other compatible synthesisers and vice versa.

And furthermore, the West Pest has got MIDI in, and MIDI through. Connect to a DAW, controller, daisy chain, or not. West Pest has you covered, at least, MIDI-wise. There's really no better way to get West Pest integrated into a DAW environment or connect to a controller.
Get your performance on.

But wait, there's more! West Pest includes quite a few additional performance features. You can dive in with its built-in tap tempo clock, arpeggiator, and sequencer. There's a lot of opportunities to inject in some randomness too.

Specifications for when used as a eurorack module
Width when used as a module = 40hp
Depth = 25mm
250mA power draw when running +12V rail
190mA power draw when running -12V

Input voltage range of oscillator = 0-10V

Included in the box - 1x West Pest, 1x West Pest wall-wart power supply, 5x Amazing Nazca Noodles Patch Cables, 1x 3.5mm to 5 pin MIDI Din pigtails and pizzazz (pizzazz's presence not guaranteed)