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Notes: Amazingly versatile phaser business in this brilliantly designed pedal. Watch the demo video to hear the amazing range of sounds this one can do. Best phaser ever? Might just be.

Supplier's Notes:

Jump into spaceship Horizont and begin your trek into star- filled galaxies, all while discovering the incredible vastness of the sounds created by this inter-dimensional multi-spatial stereo analog JFET Phaser. The unexpected is waiting for you behind the far away horizon and it will be a journey you'll never forget!

The Horizont's mission is to push way beyond the classic phasing sounds of yesteryear, and take you to uncharted phaser worlds the second you plug in. By combining lush analog JFET phasing with digitally controlled dynamics, Horizont creates a vivid and expressive modulation experience, all while providing experimental and creative features that'll kick phasing well into the 21st century.

Besides the more common phaser controls, the Horizont offers a plethora of new and exciting options for all the interstellar tone chasers out there. To greatly broaden the range of phasing tones available, KMA implemented a digital LFO with no less than eight different waveforms: Ramp Up/Down, Sine/Triangle/Square wave, a sweeping waveform, Sample & Hold and a random slope waveform going from 20s down to 40ms.

The implemented envelope generator is one of Horizont's absolute key features. It transforms your input signal into a control source to modulate the speed of the digitally controlled LFO or lets you manually phase for a resonant touch wah- like sound, depending on the state of the SWP- and SPURTCONTROL-Switch.

Set the SPURTCONTROL switch to LFO to let the SPURT knob adjust the internal phasing speed. However, by flicking the switch to ENV (Envelope) mode, it allows you to dynamically modulate the speed along the full LFO speed range, based on how loud the input source is (e.g. when you attack the strings hard). You can also combine the SPURT knob and the envelope by flicking the toggle to LFO+ENV where SPURT then sets the minimum speed. For even more control, you can even plug in an external expression pedal/CV-source (0-5V) to alter the minimum speed on-the-fly or you can use the TAP TEMPO switch (tap just twice) to set the speed to fit in with the tempo of your music.

The EXP-Mode switch also lets you choose between a manual phasing mode, controlled by an expression-pedal or an external CV source. Setting the EXP-Mode switch to the middle position will disable any external expression control.
The SWP (Sweep) switch lets you decide to use either the LFO or the envelope of your instrument signal to control the phasing.

The envelope can be set to upwards or downwards operation via the ENV switch, seeing the LFO either slowing down or speeding up, or flipping the orientation when phasing manually from lows to highs and vice versa. In conjunction with the FUEL (Sensitivity) and the DECAY controls, the envelope can be tailored perfectly to your needs.

The EMPH (Emphasis) mode from the original Astrospurt Phaser was kept, but have reworked and refined it extensively for the Horizont. The four toggle-switches determine the stage in which the phase-shifted signal is fed back into itself, while the REG (Regeneration) control sets the feedback amount. We also smoothed out the overall sound of the EMPH mode for a more pronounced, and crisp vocal-like tone. Each of the different switch variations and turn of the REG control will yield different results, seeing you discover new wild, fuzzy and noisy galaxies as you travel deeper down this sonic wormhole.

In order for you to levitate through spacetime, a stereo output has been added to the Horizont. You can switch between a standard stereo output or a panning output, via the STEREOPAN switch. Synchronized with the LFO speed, the upper cycle of the LFO sends the signal to the OUT1 and the bottom cycle to the OUT2. This is without a shadow of a doubt the most liquid and astonishing phasing experience you'll ever embark upon. But wait, there's more! Stop and take a deep breath, set the MIX control to fully clean and the Horizont is transformed into a Tremolo on-the-spot, with all the other aforementioned features.

Last but by no means least, the Horizont was equipped with an FX-Loop right in front of the phase-shifting line. This enables you to add your own secret sonic weapons to this spaceship, seeing you create your very own unique phasing sounds.The pedals' headroom was also increased drastically by boosting the internal circuit voltage to 18V, from the regular 9V input, to give the cleanest phasing possible no matter what instrument or line source you use.

Notes: Choose Your Weapon: Building on the success of the original, the feature-packed MPD2 Series gives you amazing creative musical ammo with Thick Fat backlit MPC pads, improved controls and new bundled software.

The MPD2 Series is a product of over six years of detailed customer research and user feedback. Akai turned it into the most capable and user-friendly line of pad controllers they've developed to date.

The MPD232 is a MIDI-over-USB pad controller perfect for producers, programmers, musicians and DJs alike. Its intuitive blend of MPC controls and technologies mesh with easy USB connectivity to bring the feel of classic beat making into the world of computer music production.

New, ultra sensitive Thick Fat MPC pads have been added, creating an amazingly responsive user experience. The MPD232 has an expanded control set featuring eight knobs, eight faders, eight buttons arranged in three banks for 72 total controls. This will enable you to maximize your sound and give you increased control over effects.

The MPD232 also boasts an all-new 64-channel, 32-step performance sequencer, which the MPD32 did not have. MIDI information is sent over its plug-and-play USB interface for use on Mac or PC, eliminating the need to install any drivers.

Along with the improved functionality we've added iOS compatibility using the Camera Connection Kit (sold separately) and included over $400 of free software. Titles include: Akai Pro MPC Essentials, Big Bang Drums and Big Bang Cinema from Sonivox, Ableton Live Lite, and Software Preset Editor.

The aforementioned Software Preset Editor allows you to enjoy intuitive control editing right from the front panel of the MPD232.

The MPD2 Series marks an important evolution of the pad controller. Many years of research and customer feedback has led directly to some of the most capable pad controllers Akai have ever developed. These MPDs are the perfect bridge between your creativity and your computer-based studio.

Notes: The E1 from Pro-Ject Audio Systems is the first E-Line turntable, aiming to deliver a great sound experience on a limited budget, hand made in Europe. It doesn't matter if you are a beginner, returnee or experienced vinyl fan. The E1 won't disappoint you! Our Plug & Play design with pre-adjusted tracking force and anti skating by our experienced technicians in the factory provides you the best settings for your turntable. Just lean back and enjoy your favourite records. The new E1 is available in three different versions to fit everyone's needs. All three models are equipped with an 33/45 RPM electronic speed switch.

The stylish CNC-machined composite fibre plinth, available in high gloss black, high gloss white or walnut finish, is carefully manufactured to ensure there are no hollow spaces inside. The lightweight and low friction 8,6" aluminium tonearm is optimized for the high quality Ortofon OM5e cartridge and will bring out its maximum potential. The new ABS Polymer main platter is strengthened with purpose-designed ridges in order to create an ideal, anti- resonant platform for your vinyl. To protect your E1 from dust, you will also find an elegant acrylic dustcover with adjustable hinges in the box. Boasting premium materials, stylish aesthetics and a rich, lively sound, the extensive development process has ensured that there has been no compromise in the sound performance despite such an affordable price.

In the box:

E1 with Ortofon OM5e cartridge
Directly soldered RCA Phono Cable (1,23m)
Felt mat
Dust cover
Adapter for 7" singles
Power supply

Technical Specs

Speed: 33, 45
Drive Principle: Belt Drive
Speed Variance: 33: +/-0.7%; 45: +/-0.6%
Wow & Flutter: 33: +/-0.25%; 45: +/-0.23%
Platter: Strengthened ABS Polymer
Signal to noise: 65dB
Tonearm: 8.6" Aluminium Tube
Effective arm length: 8.6" (218.5mm)
Overhang: 22.0mm
Effective Tonearm Mass: 7g
Included Accessories: 15V DC / 0.8A power supply, dust cover, 7" single adapter
Power Supply: 15V 0.8a
Power Consumption: 4.5W
Dimensions (W x H x D): 420 x 112 x 330
Weight: 3.5kg net

Notes: As a stand-alone instrument, Mavis is a straightforward analogue synthesizer with patchable modular utilities and the unmistakable Moog sound and quality. Easily remove Mavis from its case and it becomes a 24-point CV controllable module (44hp) ready to be installed into your Eurorack system or alongside Moog's other semi-modular instruments.

Mixing the familiar with the exotic, Mavis features Moog's legendary oscillator and filter circuits alongside a diode wavefolder - the first analogue wavefolder to appear on a Moog instrument. Combining traditional subtractive synthesis with additive wavefolding and oozing with personality, Mavis' clever presentation of synthesis modules and utilities ensure deep creative synergy and musical connection.

Mavis is a powerful, fun, and low-cost Moog that makes learning synthesis or expanding an already-advanced studio setup approachable for anyone looking to explore classic analogue sound in a new way.

Get closer to the circuits at the heart of Mavis and come away with a Moog analogue synthesizer that is uniquely "yours". No soldering is required and can be completed by any skill level in an afternoon.

A powerhouse on its own, Mavis was also designed to enhance any interconnected Moog semi-modular setup or Eurorack system. In 44HP, the synthesizer offers incredible value with two oscillators, full ADSR, ladder filter, sample and hold, wavefolding, attenuators, mixer, mults, and much more for more complex musical arrangements.

Mavis is eager to play along with other voltage-controlled devices (especially with Moog's other semi-modular instruments), and its useful collection of utilities and flexible control voltage routing allows for intricate dialogue between them.

Built-in keyboard with Glide and KB scaling

As a standalone instrument or as a 44HP Eurorack module, Mavis adds an expressive 1 v/o controller to any setup with the flexibility to dial in experimental new pitch relationships via the KB scale knob and explore musical intervals that go beyond the established standards.

Full Range Analog Oscillator

A Voltage Controllable Oscillator with PWM (Pulse Width Modulation), Waveform mixing, and Mod Source mixing, delivers rich harmonic character and motion.

Voltage Controlled Filter

Sculpt your sound with the -24-dB Moog Low Pass Ladder Filter, delivering the sonic power behind the distinct sounds of Moog basslines and leads.

Audio Rate LFO and 4-Stage Envelope Generator

Mavis uses crossfaders in its modulation routing instead of switches, allowing you to blend between a variable shape LFO and four stage envelope generators for interesting and unusual modulation contours.

Wavefolding and Modular Utilities

Mavis features Moog's first-ever wavefolding circuit, allowing for additive synthesis to sit alongside traditional subtractive synthesis, unlocking sounds not heard from a Moog before. Mavis also features a broad modular utility section complete with attenuators, offsets, mults, and a flexible DC-coupled mixer providing the tools needed for creative patching and sound design.

Patchable Sample and Hold (S+H) circuit:

Generates a random CV pattern that can be patched to modulate other parameters, including setting Mavis into a "random sequencing" mode of performance.

24-Point Patch Bay

Mavis is eager to play along with other voltage-controlled devices (especially with Moog's other semi-modular instruments), and its useful collection of utilities and flexible control voltage routing allow for intricate dialogue between them.

Protective Cover

Mavis includes a fitted protective cover for use during studio downtime or taking your instrument on the go.

Specs

Type: Semi Modular Analog Synthesizer - Operate standalone or as 44hp Eurorack module
Polyphony: Monophonic
Keypad: 1 Octave Keypad w/ Glide and Scaling
Sound sources: Analogue Voltage Controlled Oscillator (Mixable Saw/Square)
Filter: Analogue -24dB Moog Low Pass Ladder Filter
Envelope: 4-stage Analog EG (Envelope Generator)
Wavefolder: Diode Wavefolder
LFO: Analogue LFO (Mixable Triangle / Square)
Modular utilities: Sample and Hold, Attenuators, Offsets, Mults, and a flexible DC-Coupled Mixer
Patch bay: 24-Point Patch Bay (3.5 mm)
Accessories: Protective Cover, Patch Cables, Calibration Tool, and Nut Driver Included

Notes: It's time to break free

Bring your perfect studio guitar sound onstage with the new AmpliTube X-TIME delay pedal. This boutique pedal features 16 all-new delay effects leveraging IK's latest AmpliTube technologies, accompanied by an exclusive virtual X-GEAR version of the exact same effects. Use the virtual version with AmpliTube 5 (SE version included) to record and tweak settings and save as presets on your X-TIME pedal for world-class tone anywhere.

Best-in-show DSP

AmpliTube X-TIME leverages IK's latest technologies for hyper-realistic emulations of real-world gear. The state-of-the-art DSP onboard offers 16 high-end algorithms, while a special X-MODE opens additional infinite-feedback effects. All combined, X-TIME delivers amazing clarity to the stage with the realism and response that users love about AmpliTube 5.

Hardware that stands out

For AmpliTube X-TIME, great effort was made to guarantee your tone stays as pure and pristine as possible, no matter how simple or sophisticated your signal chain becomes.

Industry-leading integration

AmpliTube X-TIME includes a matching virtual version for Mac/PC and a copy of AmpliTube 5 SE. Open any version of AmpliTube 5 and you'll find your virtual X-TIME pedal available as a stomp for use within the program. Adjust any of your pedal settings with the convenience of AmpliTube's award-winning workflow and save them as presets. The X-GEAR Librarian lets you move presets between X-GEAR pedals and AmpliTube and easily reorganize them on the hardware pedal. You can store up to 300 presets per pedal.

All-in-one recording

With AmpliTube X-TIME there's no need for any other gear when it comes to recording guitar. The X-TIME features an USB audio interface and some must-have recording features right onboard.

5Hz to 24kHz frequency response to record the full range of your guitar or bass
Versatile routing options let you send the wet or dry signal to your DAW
Stereo out for monitoring sound between the X-TIME pedal and your computer
Full MIDI implementation to map control

From soundcheck to final encore

When it's time to play out, AmpliTube X-TIME holds everything you need to perform at your best. In fact, you can even leave your amp and cab at home, if you want to.

Fast, intuitive interface and control knobs to tweak your sound on the fly
High-contrast LED display keeps you informed on everything, indoors and out
Expression pedal input adds additional control over any parameter you choose
Full MIDI implementation is built-in for even the most complex setups
5 cabinet impulse responses let you connect directly to a powered cab or PA

With great tone comes great portability

With its open architecture for future updates, AmpliTube X-TIME will empower you no matter where you are and for years to come. Experience the freedom of moving between the studio and stage seamlessly, confident that you and the audience hear your sound exactly as you created it to be.

Notes: The HOUR GLASS Dual Compressor Pedal - Unlock timeless sustain and endless creativity with dual, independent circuits inspired by the legendary Ross compressor.

It is your ticket to extended sustain and unparalleled tonal control.

From warm, natural compression to soaring sustain, the HOUR GLASS opens up a world of sonic possibilities for you to explore.

Choose from Fast, Medium, or Slow Attack time options to tailor the HOUR GLASS's response to your playing style, and use the Treble toggle switch to select Flat, Medium, or High boost options to help shape your high-frequency tones.

Set one compressor for your single coil guitars, the other compressor for humbucker guitars and have precise tone and dynamic shaping when you switch guitars! Both compressors can also be engaged simultaneously for endless sustain!

Discover the freedom of expression with two independent circuits, that maintain the transparency of your guitar's tone. Precision controls for Level, Sustain, and Blend on each circuit allow you to sculpt your sound exactly as you desire. Built to withstand the rigors of time and the road, the HOUR GLASS is your reliable companion on every musical journey.

Unleash your creativity, transcend genres, and experience endless sustain with the HOUR GLASS Dual Compressor Pedal - Where Sustain has No Boundaries!

Notes: Echolution 3 is a multi-tap stereo modulation delay offering a myriad of sound design options including reverse, jump, pong, modulation tempo sync, variable low pass filter, flexible signal routing and comprehensive MIDI control. Delay times ranging from 100ms to 5 seconds can be dialed in using the Time knob or via Tap Tempo using the left footswitch. A second delay tap can be set to the same length or a fraction of the main delay time to create rhythmic echoes. The ¾ fraction creates a dotted eight note delay, while the Golden fraction uses the sacred geometry of the Golden Ratio (.382) as the multiplier for the second tap. The multi-tap settings can be even further enhanced by the stereo ping pong effect, which causes the different delay taps to switch sides on each repeat. Store up to 4 presets, unlock hidden features with the Universal Remote footswitch, and design yet unheard delay lines. Runs on standard 9VDC.

KNOB-BY-KNOB
Time: Sets the length of the delay line. Overrides tap tempo and vice versa. Select sub-divisions with the small push button. Can activate any two sub-divisions at once.

Mix: Sets the volume level of the delay signal.

Repeats: Sets the amount of regeneration in the delay line.

Mod: Select and set the modulation Speed, Depth, and Tone. Hold push button to sync Speed to tap tempo.

Preset Select: Push to toggle through presets, press and hold to select. To save a preset after making changes, press and hold. Presets can be toggled and selected using only footswitches (see manual).

Special FX: Reverse makes the delay line go backwards. Jump makes the delay line jump up one octave. Pong (activated with a push and hold) causes echoes to alternate between the left and right channels, meant to be used in stereo.

BREAK RULES AND BUILD WORLDS
Designed to offer a streamlined user experience and a massive feature set, Echolution 3 is a worldbuilder. In a compact package, "E3" offers multi-tap delay lines, with sound design FX options ranging from the subtly cinematic to the outlandishly dramatic. I/O options include stereo output, MIDI sync, and additional footswitch features. On board presets make revisiting your favorite corners of the Echolution 3 universe simple.

HOW TO DISAPPEAR COMPLETELY
Marvin has come across Echolutions in the Pigtronix universe beforeibut never quite like this. Echolution 3 is a supermassive black hole leading to a vivid dimension stuffed with color, light, and the unexplainable, causing the voyager to lose his or herself more deeply than they knew was possible. In this dimension, the imagination tends to expand: familiar figures appear in cloud formations, meteorites can be sat on like bean bag chairs, and ropes of light can be swung on like vines.

MODEL ECHOLUTION 3

MODEL NAME: Echolution 3
SKU: E3
FUNCTION: Stereo Multi-Tap Delay
CATEGORY 1: Delay
CATEGORY 2: Modulation
EXPRESSION: TRS Remote / MIDI
BYPASS: Buffered

ELECTRONICS
VOLTAGE: 9VDC
CURRENT DRAW: 100mA
INPUT IMPEDANCE: High
OUTPUT IMPEDANCE: 1k

BODY
LENGTH (IN): 3.25
WIDTH (IN): 4.5
HEIGHT (IN): 2.2
WEIGHT (LBS): 1

Notes: The basis of the module is a version of the transistor ladder with low-end compensation at resonance, to which Machineroom have added aggressive Overload and linear VCA. Thanks to three audio inputs, FILTH can work with polyphonic patches, if you add Trilobite (or another triple osc) and ADSR to it, you will get a paraphonic synthesizer. 2 VCA inputs in the classic case allow you to use loudness envelope and voltage offset (for example, velocity) at the same time, but there are many more options for their application.

Works in LP/HP and 12/24 db modes

In the 24db mode, the filter self-oscillates and can act as a sine generator with perfect pitch tracking in the range of 5 octaves.

Despite the name, without overload, the module can be used as a vanilla filter, but its brutal version is generally more preferrable.

Based on "transistor ladder" design of Minimoog 204D with a cut-off slope of -24 db/octave as in various Moog synthesisers.

10HP
* skiff-friendly (25mm depth)
* 28 mA +12V
* 21 mA -12V
* 0 mA +5V
hand-built in Kyiv, Ukraine

Notes: MachineRoom 204D Dual VCF is a dual voltage-controlled low-pass filter, which filters out the higher parts of the sound spectrum and lets lower frequencies pass through.

Based on the "transistor ladder" design of Minimoog 204D with a cut-off slope of -24 db/octave as in various Moog synthesisers. Resonance (or Emphasis) is adjustable all the way up to self-oscillation with V/Oct tracking up to 4 octaves.

Filter has separate controls for both sections, but can be used for stereo operations as well.

4 cv inputs (2 with attenuators) allows complex cut off modulation
Skiff-friendly
25 mm deep
12HP
Power consumption: 120 mA +12V, 15mA -12V, 0 mA 5V
Hand-built in Kyiv, Ukraine

Notes: More great value from TipTop's Eurorack reissues of classic Buchla modules. Noise sources, random voltages, sample-and-hold and integrator (slew) provide a range of modulation and processing options.

Supplier's Notes:
Offering tonnes of opportunity for creating unique instances of controlled randomness, TipTop Audio's Buchla Model 266t Source of Uncertainty is a recreation of the classic random voltage generator and sculpting module. Bringing back a classic set of Buchla's 200-series modules, the 266t recreates six different tools in one classic interface for all of the Eurorack community to bask in. The 266t divides into two sections of generation and modification, featuring two different processors and four generator types with one producing three flavours of analogue noise, labelled flat, -3dB/oct, and +3dB/oct.

The fluctuating random voltages section features two individual smooth voltage generators for adding wiggles and warbles to your modules, each controlled by a rate parameter with CV inputs for modulation. Right below is the quantized random voltage, offering a stepped random output that randomly decides voltage based upon one of two equations corresponding to a value called "n". Depending on the output, you can tune your range to a set amount of possibilities with n+1 output being more localized to the 5V range and the 2^n output having equal opportunity across all 10 volts. The final generator labelled stored random voltage produces two outputs of stepped voltage with an equally distributed random voltage output as well as a selectable bell distribution output that centres its options based on the probability control.

Looking at the processing section, the top-right sample and hold section is actually a track and hold processor, tracking the cv input and changing only at the next high input on the pulse in. The resulting CV output additionally has two alternate outputs that base off alternative pulse counts, and the pulse output alternatives similarly alternate each pulse count. The final section of the 266t lies in the integrator, featuring a simple yet very handy smoothing processor by determining the time it takes to reach from one CV value to the next. With all this versatility to work amongst many modules or even self-patch for related modulation, the Buchla Model 266t Source of Uncertainty will certainly make any modular system lively.

Specifications:

Size: 24 HP
Depth: 25mm
Power: +12V 150mA / -12V 100mA

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

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

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

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

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

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

Notes: Updated take on Nomono's mini synth. Virtual analogue and granular synthesis with effects, sequencer, looping and performance functions. An affordable but flexible instrument.

Supplier's Notes:
The Qun mk2 is a powerful and unique pocket synthesizer with sequencer and looper.

Normally, cheap synthesizers don't have full flexibility because of hardware limitations.

Nunomo had in mind a small synth that has full flexibility of the real synth with an affordable price tag- and Qun mk1 was the synth.

The Mk2 receives a big improvement from the mk1 by adding LED buttons and external processor for UI processing- SD card support is added.

Once you get used to it, it will be so powerful and it will provide tons of flexibility. It is a real synth, not a preset machine.

If you are looking for a pocket music sketch tool, this is it.

Connectivity: Standard MIDI (TRS Type A, comes with the synth), UART MIDI(Supports MAC OS X and Windows through the Nunomo SerialMIDI https://github.com/raspy135/serialmidi .

Analogue Modelling engine

The analogue modelling engine is made from scratch.
All analogue modelling engine parameters can be configured through MIDI.
2 Oscillators, 2 voices. It can be used as Quad tone (4 voices) or Dual Mono.
Flexible MOD (CV) routing. The signal routing is very flexible, close to modular synthesizer experience. You can route signals as normal, or totally radical.
AUX input can be used for external audio signal, or for modulation.
4 Envelope Generators
FM (4 Operators x 2)
1 LFO, rate can be controlled by MIDI notes
1 Organic sounding VCF
2/4 Poles, Low-pass, Band-pass, High-pass, Notch)
Keysync
1 Effect (Delay, Chorus, Flanger)
MIDI clock sync and beat clock sync
Wavefolding.
Granular synthesis
Oscillators can be used as a granular synthesis engine.
Player / Sequencer

Player (Piano mode)
Mind inspiring 64 step sequencer will generate beats for you
Note On/Off/Double/Triple
Transpose / Note width(Length)
Randomness control
Pattern shuffler
Scale quantize
Arpeggiate steps
Looper
Looper can record the sound up to 24 sec per recording, synchronized with the sequencer.

3 tracks
5 Scenes (3x5 = 15 recordings per session)
Play / Rec / Overdub

Preset bucket
Preset bucket is made for quick preset recall
It has 8 bucket per session, each bucket has 8 presets and 64 sequencer pattern
Mixer
3 tracks, stereo panning
Mute buttons
Extra processing mode allows to use the sound engine as a stereo effector.
Integrated compressor
SD card
Saving recording sessions
Saving preset data with sequencer patterns
All recorded data is saved to SD card, you can import the data to your DAW
You can import WAV files to Looper granular
Firmware update via SD card
For the completed manual and other resources, please visit https://github.com/raspy135/Qun-mk2 .

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


3 Channel 80s/90s Preamp

The VESTA contains a brand new set of voices from KRS along with a familiar feature set. Based on a couple of your favourite amps of the 80s and 90s, you'll feel right at home. Picture a classic Crunch tone suitable for rock and blues, along with a familiar 90s high-gain sound. If modern extended range high-gain is your thing, the CERES delivered. If you're more at home on a 6 string, the VESTA may be your preference.

It's smooth, chunky, thick, and more low-mid focused. It takes boosts just like your favourite vintage high-gain amps. It responds incredibly well to the guitar's volume control. Note: The Clean channel is identical to the CERES'.

Top mounted jacks allow for easy integration into your existing pedal board. Unique to our pedal operation, we include 3 bypass modes - True Bypass, Buffered Bypass, and Clean Bypass. In True and Buffered bypass the pedal operates as expected, no tonal coloration. The Clean Bypass mode enables the top row of Tone and Volume knobs accessing the Clean channel. These various Bypass Modes allow for integration into any style of rig - from driving a power amp directly (Clean mode), hitting a clean amp down the chain on your pedal board (True Bypass mode), or at the start of your pedal board, driving your other pedals into a clean amp (Buffered mode).

The preferred operating method is to run the VESTA into the input of the effects loop return of any amplifier head or directly into a power amp, but it will also work just as well when run into a clean channel with some EQ tweaking. For example, a typical Fender style clean circuit sounds best with Mids cranked, Bass around noon, Treble around 9-10:00, and Bright OFF. Tweak to taste...

Time based effects (delay, chorus, flange, etc) should be placed after the VESTA, before the power amp. A simple loop switcher can even be used to create effects loop(s) between the VESTA and power amp.

The VESTA includes two integrated footswitch buttons to activate the 3 channels. The left button toggles between Bypass and Rhythm/Lead.

The right button toggles between Rhythm and Lead. With the Bypass Mode switch set to Clean, bypassing the pedal actually activates the Clean channel.

Both distortion channels have the same switches and controls, and work in the same manner. However, Rhythm is inherently tighter and more aggressive than the Lead channel. Lead is more compressed and smoother and fatter overall. The Clean channel is not designed to get the "pushed" sound with the Level increased, rather it is designed to stay clean.

The gain controls in all channels feature the same range from clean to saturated signals and operate as close as possible to the full size KSR amps. They function without any unwanted top-end artifacts typically associated with solid-state circuits. The VESTA EQ options then make for a highly versatile Pre-Amp pedal giving you as much control.

Notes: Roucha Legio is a 12 dB /octave state-variable stereo multimode filter available on the Legio DSP+oscillator platform.

Noise Engineering received tons of requests for NE filters over the years, and Roucha Legio is their first dedicated release. The filter features lowpass, bandpass, and highpass settings and tracks frequency via the dedicated encoder and extremely accurate 1v/8va CV input. Roucha Legio's CV-controlled resonance parameter can go from clean to acidy-squelchy for bassline joy. Add CV for filter sweeps that will knock your socks off. Of course, because it's a Noise Engineering module, there's a Fold knob. Add wavefolding to the signal chain before, after, or both before and after the filter.

Noise Engineering have made it easy to carry out dramatic buildups and cuts with Roucha Legio. Just tap the encoder to bypass; tap again to turn the filter on again. Want to automate it? Send a gate into the Bypass input. The filter will remain bypassed as long as a high gate is present.

Roucha Legio is also a DSP and oscillator platform: users can change the firmware on any Legio module, 100% free, to any other firmware in the Legio series.

Dimensions
6 HP
38 mm deep

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

Notes: Ten-channel version of Mackie's new compact ProFX mixer, ideal for home studio use or small live setups. Built-in USB interface and digital effects section. Great value.

Supplier's notes:
The Mackie ProFX10 v3 10-Channel Professional Effects Mixer with USB is the ultimate affordable solution for live sound, home recording, and content creators. Now with our renowned Onyx mic preamps that offer 60db of headroom, everything from gain hungry mics to guitars will sound better than ever, and you can keep it all in check with simple single-knob compression. The new GigFX effects engine offers 24 built-in FX for even more options for adding the finishing touch. Record your tracks in 24-Bit/192kHz quality with 2x4 USB I/O plus zero-latency hardware monitoring for easy overdubs. Both ProTools First and Waveform OEM recording software/plugin packages are included.

Notes: Moog SR Series Cases are here to safeguard your Moog Matriarch synthesizer where you need it most and ensure your sound travels far and wide.

Developed with artists for artists

Musicians report the most important performance a case can offer are protection from impact and protection from wateriin that order. With that in mind, Moog SR Series Cases have been developed to be the first line of defense for your synthesizer.

Complete protection, comfort, and convenience

Moog SR Series Cases feature generous padding around a semi-rigid ABS shell, a rugged Ballistic Cordura outer that resists tears and abrasions, and laminated water-resistant zippers to offer on-the-go protection and safe storage for your instrument. Multiple strap and handle configurations keep your commute comfortable, and multifunction pockets ensure you're organized on arrival.

Moog SR Series Cases are a perfect fit for your Moog Matriarch synthesizer.

Specifications

Internal material: Padded plush liner
External materials: Durable abrasion resistant 1680D Cordura, water-resistant. Laminated zippers, reinforced stitching and metal rivets
Padding: Semi-rigid ABS, generous foam padding
Handles/straps: (2) Smooth and durable webbed handles (top and side) with reinforced stitching - Removable anti-slip shoulder strap, - Removable air-mesh padded backpack straps

*** Please note: the synthesisers in the pictures are not included, they are shown for demonstration purposes only. ***

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

Simple to look at but deceptively powerful, Dreadbox's Telepathy is a full analogue synth in a small module, featuring VCO, low-pass and high-pass filters, LFO, envelopes and VCA.

Supplier's Notes:
Telepathy is a full voice analogue synthesizer module with deep modulation options due to its multi-destination LFO and Envelope. From Bass to Lead sounds, to drums and drones, Telepathy has broad and versatile sound design capabilities. It has a Full Analogue path (Typhon VCO, 4-pole low pass / 2-pole high pass filters, analogue VCA) that is digitally controlled for more precision over its parameters, resulting in a warm, present and distinct Dreadbox sound.

With lots of useful and musical features integrated into a compact size (10hp), and its skiff friendly design, Telepathy is a great addition to small or large Eurorack systems.

Features:

1x Analogue Oscillator with saw, square, -1 oct square sub and noise, plus PW control for square, level for noise and waveshape
Automatic tuning for the oscillator and fine tune
Analogue 24db Resonant Low pass filter with Oscillator FM and Noise FM and 6db High pass filter
Analogue VCA
1x LFO with Free/Key/Track/BPM/BPM Key modes, Fade in, Triangle/Saw/Ramp/Square/Random waveforms, that is mapped to various parameters
2x Envelopes, one dedicated to the VCA with Velocity control and one loopable for Low pass Filter, Pitch and PW
CV in patch that can be mapped to all the basic parameters in parallel with dedicated amount for each parameter
MIDI in/out+through
CC in/out, Program Change in/out
Multitimbral Chaining functionality via MIDI up to 8 modules 16 presets
10HP

Notes: Blistering Reverb

The original synthetic atmosphere creator. The Reverberation Machine offers up drippy, saturated spring reverbs and cavernous expanses in one small package. Push the Altitude and hear the reverb blasted with gloom and distorted shimmer for the ultimate wall of sound. An instant classic for a reason, the Reverberation Machine's unique and experimental sounds are equally at home twisting your sound into a galactic nebula or adding a sinister and yearning beauty to anything you plug in.

Controls

Vol: Controls the master output volume.
Altitude Control: This is similar to gain. Turn it up to bring in a more wide open, distorted sound.
Verb: Blends in the amount of reverb.
Dark/Light Symbol: Dark cavernous reverberation to bright shimmering reverberation.

**When the Altitude and Verb controls are turned past 12 o'clock, the pedal can produce potentially harmful volumes, white noise, and other artifacts**

Specifications

Dimensions: 4.86" x 3.67" x 2.06" (including hardware).
Weight: 14 oz.
Power: 9V (runs ons a positive ring, negative tip 9V DC adapter or included 9V battery).
Current Draw: 66 mA

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

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

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

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

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

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

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

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

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

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

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

Notes: Create without boundaries.

Record, produce, compose, mix, master, and perform-all from a single, intuitive application. Only Studio Oner 5 provides integrated tools that take you from initial inspiration to mastered production, from full-length album to setlist on stage. The standard for end-to-end production, Studio One is the DAW that does it all.

Drag-and-drop everything.

Studio One pioneered the often-imitated drag-and-drop workflow that continues to be a guiding principle in Presonus' design philosophy. Audioloops, virtual instruments, plug-in effects, and even presets can all be dragged into your session from Studio One's innovative Browser. Copy FX Chains from one channel to another simply by dragging-and-dropping. Convert MIDI to audio or audio to MIDI using drag-and-drop. Upload and download files to and from your PreSonus Sphere Workspaces by drag-and-drop. Ease of use is at the heart of Studio One, so your mind stays focused on your inspiration.

Perfect harmony.

The only DAW with Harmonic Editing for both audio and MIDI, Studio Oner 5 offers Chord Track, a songwriter's dream come true. Create, audition, and change chord progressions and even have older parts follow a newer, better chord structure, thanks to the inspiration Harmonic Editing can provide. With version 5.3, you can now drag chords from the Chord Track to an Instrument Track to begin composing right away. Chord notes can even be extracted directly from audio by detecting chords and then dragging the audio event to an Instrument Track.

Inspiring plug-ins.

With a complete suite of effects plug-ins, Studio Oner 5 supercharges your mixing. These plug-ins are so good we've made a few available for use in any DAW by popular demand. From State Space Modeled guitar amps to lush reverbs and polyrhythmic delays, Studio One has all the plug-ins you need to mix and produce. Studio One Professional's unique Pipeline XT plug-in lets you use boutique and vintage analogue signal processors as easily as software plug-ins. Studio One's powerful Splitter plug-in lets you run multiple plug-ins in parallel on a single channel.

Analogue mixing with digital ease.

The proprietary Mix Engine FX plug-ins provide State Space Models of classic analogue consoles that can process your mix across channels on any bus, collectively. This isn't a stereo bus plug-in, this is multi-source processing that re-creates true analogue circuit behaviour like console input-gain saturation, analogue noise, and crosstalk-all painstakingly modelled component by component from real-world hardware.

Produce without limits.

Forget laborious transposition, cutting, pasting, and moving when arranging. Audition new arrangement ideas on the fly with a simple click of your mouse. Use Scratch Pads to test arrangements. The flexible Arranger Track makes moving sections of Songs as easy as moving Parts. Powerful comping tools make assembling a perfect take simple, efficient, and fun. A robust suite of tools ranging from transient detection to multiple slicing and time-stretching features makes editing multitrack drums blazingly fast. And with groundbreaking Harmonic Editing-the most flexible implementation ever-no other program can approach the ease of arranging and songwriting that Studio One 5 delivers.

Edit audio and MIDI- fast.

Clip Gain Envelopes let you polish performances or remove glitches with adding a plug-in to your effects chain. Convert audio to MIDI and MIDI to audio with a simple drag-and-drop for blazing fast sample replacement. Replace drum sounds with samples simply by dragging the source track to an Impact XT track. The combined Arrow and Range Tools boost your audio editing efficiency by merging the most frequently used tools into one. Select, move, split, or duplicate Events; trim start and end points of Events; adjust fades; and change the overall Event level in one seamless action.

A sound as unique as you.

Inspiring virtual instruments and unique Multi Instruments let you combine instruments to create your own unique library of sounds. You'll create beats faster than ever with Impact XT, our comprehensive rhythm-production environment. Build your own sampled instrument with Sample One XT. From polyphonic analogue to monophonic subtractive synthesis, Studio One has the sounds that make you want to create. Presence XT can be expanded with Add-on packs like Deep Flight One and PreSonus Studio Grand. Aux Channels let you easily use your hardware synths, drum machines, and groove boxes as part of your productions, so dust off that TX81Z or Portastudio and put them back to work! However you create, Studio One has a tool that makes the job easy.

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

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

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

The importance of using Audio Transformers

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

Notes: A characteristically unique take on mixing from Buchla, with six mono inputs and a built-in mic/guitar pre-amp. Each channel can be cued to a monitor mix, while the first and last channels also include voltage-controlled panning.

Supplier's Notes:
The Tiptop 207t is a modern reimagining of the classic Don Buchla 207 Mixer/Preamplifier from the 1970s 200 Series. This stereo mixer comes with a built-in preamp that allows you to boost external instruments and microphones, making it a versatile tool for any modular setup. The 207t also features a six-channel mixer with a variety of signal routing options, including the ability to route channels to the monitor and L&R signal outputs, with per-channel control over loudness and panning.

Each channel has a Mon switch that sends the channel's signal to the monitor outputs, which are always full-volume and summed to mono, making it useful for basic monitoring applications or rudimentary mixing. The Prog switch sends the signal to the L&R signal outputs, with loudness controlled by the Level Adjustment slider and panning determined by the Channel Assignment knobs. The first and sixth channels offer voltage control of panning; these channels are hard-panned when no CV is applied.

The preamp section features a 1/4" input and multiple gain settings, making it suitable for use with external line level instruments, electric guitars, or dynamic microphones. The continuous amplification control provides added flexibility for your audio needs. Finally, the Expansion In is a stereo input that sums to the left and right main outputs, which is great for chaining multiple 207t modules or adding another stereo source at the final output.

While the 207t's functionality may be simple, it is an essential part of any 200t system, serving as the glue that holds everything together. The Tiptop 207t is a fantastic mixer/preamp option that delivers quality sound and reliable performance.

Buchla 207t Features

Mixer/preamp module based on Don Buchla's original 207 design
Six-channel mixer with per-channel level control and panning
Voltage-controllable panning on channels 1 and 6
Manual panning on channels 2-4
Program switches can act as channel mutes for main outputs
Mon switches route signal (in mono) to Monitor output
Expansion input useful for stereo chaining and more
Re-designed preamp for high audio fidelity
Preamp suitable for use with external instruments, electric guitars, dynamic microphones, and more

Eurorack module
28hp wide

Notes: DP-2000 is a digital percussion pad with 8 touch sensitive zones and a huge library of internal sounds.

A USB-to-PC/Mac interface enables integration with a software recording suite as a trigger controller and sound source. Sounds from the flagship DM-8 kit are stored internally, along with additional world percussion instrument samples and the option to add user samples from a USB flash drive. Sounds are assignable to pads and adjusted using the intuitive user interface and control surface, and each pad has a dynamic indicator which varies in brightness to mirror the playing dynamics. Dedicated MIDI in and out connections mean that the DP-2000 can expand a live playing setup or operate from hardware sequencers and other MIDI controllers. In addition to tuning and dynamics control, dual-engine DSP effects can be applied to each sound and tailored to suit each sound. If performance space is very limited, inputs for a hi-hat pedal, kick pad and an additional trigger can turn the DP-2000 into a fully playable super-compact e-drum kit. Add the possibility of music playback from USB flash drive and comprehensive input and output options, the DP-2000 is as much at home as a standalone instrument or as an expansion to an existing drum or percussion kit.

Add hi-hat & kick triggers for a full e-drum kit
USB-C Bluetooth adaptor
USB interface to PC/Mac
Importable WAV files for custom sounds
Power supply: 9Vdc, 500mA (tip-negative) adaptor supplied
Inputs: Aux input, trigger, hi-hat, kick, MIDI 5-pin DIN, USB-C (U-Disk)
Outputs: Headphones (3.5mm), L+R output (6.3mm), MIDI, USB-B (PC/Mac)
Dimensions: 408 x 314 x 62mm
Weight: 2.8kg

In the box

The box for this item contains:

DP-2000 digital percussion pad
DC power adaptor
USB-C Bluetooth adapter

Notes: One of the hardest in the game. Dedicated kick drum synth from analogue experts Vermona. Shape your own sounds from scratch. Killer.

Supplier's notes:
The Kick Lancet generator is a handy analogue percussion synthesizer with priority to kick-drum sounds.

The heart of the Kick Lancet's sound structure is an analogue oscillator that produces sine and square waves, which can blend seamlessly from one to the other. 2 independent envelope generators with a decay/release phase can modulate the oscillator's frequency and the VCA. Additionally the VCO pitch can be modulated by the fast LFO (3Hz to 3 kHz, triangle). Noise and a pulse signal can be added in the mixer section. Vermona have a balls-controller for making it really big.

The Kick Lancet can be triggered by MIDI but beside that there are 3 different trigger inputs. A gate trigger, which impulse can trigger the Kick Lancet in normal way with additional accent or completely dynamical depending on the incoming voltage, a simply short current trigger (i.e. momentary foot switch) and an audio input, which offers the possibility to trigger the Kick Lancet by an audio signal statically or dynamically. Drum pads can also be connected here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ready-To-Go Preset Drum Kits

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

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

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

Two Performance Knobs Can Be Mapped to Many Parameters at Once

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

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

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

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

Quick Muting and Un-Muting for Each Drum Sound

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

Dedicated Mixer Controls

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

Advanced Bass Shaping Tools

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

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

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

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

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

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

Synth Engine Basic Configuration

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

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

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

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

Deep Modulation

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

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

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

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

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

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

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

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

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

DOUBLE UP

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

ALWAYS THE RIGHT FIT

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

MAXIMUM CONNECTIVITY

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

BUILT FOR FOREVER

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

TECHNICAL DETAILS

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

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

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

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

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

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

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

Features:

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

Depth: 38mm

HP : 6

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

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

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

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

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

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

Specifications:

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

Extras

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

Notes: Ornament & Crime for 1U Intellijel format

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

The apps currently available in Ornament & Crime:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Notes: Better known for analogue modules, it turns out Erica Synths are pretty damn good at digital too. Draw your own waveforms, build wavetables, tweak in real time and get freaky. Killer VCO.

Supplier's notes:
Erica Synths Graphic VCO allows you to draw your own waveforms, arrange them in wavetables and wavetable banks, morph between two selected waves and alter the resulting wave in advanced ways (FXes) - apply FM, phase distortion, ring modulation, wavefold/wavewrap, bitcrush.

Waves, wavetables, FXes and other settings can be saved and recalled from the memory instantly. The module has two outputs - the main output and the output with configurable suboscillator.

NB! To have the module functionality up to date, we recommend you to check the Erica Synths home pageor our social media from time to timefor announcements about firmware updates for the Graphic VCO. You can update the firmware of the module via miniUSB cable. More detailed instructions of the firmware update can be found in the User Manual.

The sound is clean, modern, punchy and detailed thanks to the unit running at 96kHz - quite different to some low bit-rate wavetable oscillators on the market. Wavetable interpolation is smooth as butter and with the built-in effects you can dirty things up in many different ways. The module scores highly on the sound front. The Graphic VCO is a very capable oscillator module with excellent sound quality and a lot of features that could make it the right choice, especially if live performance is your thing. - Sound On Sound
The bottom line is that the Graphic VCO is a joy to use. It's a module that's unashamedly digital, yet unmistakably eurorack. I think Erica showed a great deal of careful judgement and restraint in the design of this module. It would have been easy to have made it bloated and cumbersome trying to cram as many features as possible into it, but they kept it fairly simple which keeps the module fun and immediate in use. It's capable of a huge tonal palette ranging from beautiful to brutal that is bound to fit in with a lot of different styles and systems. - Ask Audio
The ability to draw and then effortlessly jump between different custom digital waveforms in this way feels unique on the Eurorack stage, and allows for a wide range of tones and transitions between them. - Orb Mag

Technical specifications:

Audio output amplitude
10Vptp
Octave range
C0-C8
Sample rate
96kHz
Unipolar CV input range
0 -+10V
Bipolar CV input range
-10V -+10V
Panel Width
16 HP
Module depth
30mm
Power consumption
152mA@+12V,
20mA@-12V

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


Introducing SUM0, a voltage-controlled oscillator with expanded harmonic possibilities, in a Eurorack format.

The 4 classic waveforms are generated by a meticulously designed oscillation engine.

You can modulate its frequency and its pulse width thanks to its integrated LFO, capable of reaching audible frequencies to achieve expressive modulations with the simple touch of a switch.

Expand the voice of your system by creating complex waveforms and high harmonic content thanks to its output mixer. This mixer also has an input to integrate an external signal to the mix output.

Of course, all its parameters (FM, PWM, SYNC, V/OCT) are at your fingertips through its patch points on the front panel.

And of course, assembled with a load of passion in Bocuma's studio-workshop in Guadalajara.

Nerdy-specs:

22HP
+12V > 12mA -12V > 12mA

Notes: Part of Sonicware's Liven groovebox series, the 8bit Warps draws on retro 80s chiptune vibes to create a mini instrument with huge character and surprising range.

*** Update: New features of the version 3.0 firmware September 2023 ***

Added 6 effect types:
- Distortion
- Phaser
- Tremolo
- Ring Modulator
- Auto Wah
- Reverse Delay

Added the Sound Locking features

A sequence can be duplicated to double the length

Looping of chain playback is now possible

New preset 29 drum sounds that can be easily made drum patterns with the sound locking feature

And several bug fixes and improvements

Supplier's Notes:
The LIVEN 8bit warps combines an 8-bit waveform memory synthesizer with a step sequencer.

Carefully selected preset waveforms and editable user waveforms along with high-quality filters and effects can be used freely to create a wide spectrum of sounds. The LIVEN 8bit warps can generate classic retro game sounds of course, but its unique 8-bit sound can also be used in a range of music genres, including EDM, hip-hop, techno and rock.

Powerful functions for live electronic music performance include 16 physical control knobs, parameter locking for each sequencer step, a looper, and SYNC IN/OUT and MIDI IN/OUT connectors to make synchronized performance with other equipment easy.

All these powerful functions are in a device that weighs only 790 g. Play it anywhere at any time.

Size : 11.7 inch (W) x 6.92 inch (D) x 1.89 inch (H), 297mm (W) x 176mm (D) x 48mm (H)

Weight : 1.74lb., 790g

Accessories: Warranty

Power supply: AA batteries x 6, or 9V DC output AC adapter (1A or higher, EIAJ3 standard inner diameter 1.7mm outer diameter 4.75mm, center +)

Notes: Analogue tones are on the menu with this beautifully designed bucket brigade chorus/vibrato. Warm, organic sound with lots of modulation options and expression pedal input.

Supplier's Notes:
The Tempest features a full analogue pitch shifting circuit designed around a BBD chip

Offers digital control and 4 different RAMP options over Rate, Depth or Blend.

Expression or Ramp are selectable via firmware, and the expression jack can be used for external tap/ramp & engage control.

Lag Control
4 different wave shapes
Tone control
Blend 100% dry CCW, 100% wet CW and rich lush chorus at 50%
Rate, Depth and Blend ramping engine
Tap tempo w/subdivisions
Ramp up, Ramp down, bounce up&down, bounce down/up
EXP or CV input jack to control over ramp parameters
Soft switch with relay bypass, momentary & latching operation
Top mounted jacks

Notes: Inspired by the vintage Bell and Howell 385 Filmosound projector that guitarists have modified and used as guitar amps, Walrus has created a dynamic and responsive overdrive modeled after the projector's tone.

The 385 was developed to have the same simple but effective tone control as it's older relative, but unlike the projector, the 385 breaks up the single tone control and integrates separate, boost and cut bass and treble, allowing the player to get more creative with mid-frequency scoops and bumps allowing for a much wider array of tones to be achieved.

The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box.

This means it is extremely sensitive to how hard you dig in - just like the amp.

Updated for 2023.

Controls:

Bypass: Soft touch, relay true-bypass. Press the switch to engage/disengage the pedal. LED indicates whether the circuit is engaged or not.
A/B: Soft touch switch. Press to swap between using either A (White) or B (Red) Volume and Gain controls. LED indicates which controls are being used - White for A, Red for B.
Volume A: Controls the overall volume in the A setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain A: Controls the overall gain in the A setting. Turn clockwise for more gain, counterclockwise for less gain.
Volume B: Controls the overall volume in the B setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain B: Controls the overall gain in the B setting. Turn clockwise for more gain, counterclockwise for less gain.
Treble: Used to adjust the level of the treble frequencies. Turn clockwise to increase the level of the treble frequencies. Turn counter-clockwise to reduce the level of the treble frequencies.
Bass: Used to adjust the level of the bass frequencies. Turn clockwise to increase the level of the bass frequencies. Turn counter-clockwise to reduce the level of the bass frequencies.
385+ Switch: When the switch is down, you are able to achieve classic 385 sounds. Flip the switch up to add an additional gain stage to the input of the pedal, achieving heavier gain sounds and driving the pedal harder.

Specifications

The 385 comes in a matte black finish with yellow and red ink featuring original artwork of a vintage Belle and Howell 385 projector by David Huttner ready to give you the dynamic tone you've been searching for.
The die cast enclosure's exact size is 12.1 x 6.6 x 3.5 cm
Power requirements are 9VDC (100mA minimum). The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.
Input: 1/4" TS, Unbalanced, 1M impedance
Output: 1/4" TS, Unbalanced, 10k impedance
True Bypass

Notes: Inspired by the vintage Bell and Howell 385 Filmosound projector that guitarists have modified and used as guitar amps, Walrus has created a dynamic and responsive overdrive modeled after the projector's tone.

The 385 was developed to have the same simple but effective tone control as it's older relative, but unlike the projector, the 385 breaks up the single tone control and integrates separate, boost and cut bass and treble, allowing the player to get more creative with mid-frequency scoops and bumps allowing for a much wider array of tones to be achieved.

The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box.

This means it is extremely sensitive to how hard you dig in - just like the amp.

Updated for 2023.

Controls:

Bypass: Soft touch, relay true-bypass. Press the switch to engage/disengage the pedal. LED indicates whether the circuit is engaged or not.
A/B: Soft touch switch. Press to swap between using either A (White) or B (Red) Volume and Gain controls. LED indicates which controls are being used - White for A, Red for B.
Volume A: Controls the overall volume in the A setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain A: Controls the overall gain in the A setting. Turn clockwise for more gain, counterclockwise for less gain.
Volume B: Controls the overall volume in the B setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain B: Controls the overall gain in the B setting. Turn clockwise for more gain, counterclockwise for less gain.
Treble: Used to adjust the level of the treble frequencies. Turn clockwise to increase the level of the treble frequencies. Turn counter-clockwise to reduce the level of the treble frequencies.
Bass: Used to adjust the level of the bass frequencies. Turn clockwise to increase the level of the bass frequencies. Turn counter-clockwise to reduce the level of the bass frequencies.
385+ Switch: When the switch is down, you are able to achieve classic 385 sounds. Flip the switch up to add an additional gain stage to the input of the pedal, achieving heavier gain sounds and driving the pedal harder.

Specifications

The 385 comes in a matte black finish with yellow and red ink featuring original artwork of a vintage Belle and Howell 385 projector by David Huttner ready to give you the dynamic tone you've been searching for.
The die cast enclosure's exact size is 12.1 x 6.6 x 3.5 cm
Power requirements are 9VDC (100mA minimum). The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.
Input: 1/4" TS, Unbalanced, 1M impedance
Output: 1/4" TS, Unbalanced, 10k impedance
True Bypass

Notes: Simple, straightforward and effective. The XVI-M offers 16 high-resolution faders, 16 programmable buttons and MIDI output over USB or TRS. Solidly built metal enclosure promises durability.

Supplier's Notes:
XVI-M MIDI Controller, 16 Faders, 16 programmable buttons, 14bit resolution

XVI-M Desktop is a 16 channel desktop MIDI control surface.

Features:

Long throw LED 60mm faders
USB MIDI, MIDI TRS#1 and MIDI TRS#2 outputs
USB Powered (USB C, Cable included). Stand alone adapter available but NOT included
14bit (MIDI Pitchbend) resolution faders. Can be set to any 7 bit CC or NRPN/RPN
Online parameter editor: https://misw.us/editor
Fader output can be routed to USB MIDI, TRS MIDI A or TRS B
3 color programmable button can be momentary, 1 state toggle, 2 state toggle, or 3 state toggle with each state sending a MIDI msg
Durable metal case
Includes:

XVI-M Control Surface
USB C to USB A cable (2m)
1.5m TRS A to MIDI DIN cable

Review: Originally released in 1980, this limited audiophile vinyl 2xLP box set from Analogue Productions offers a superb listening experience of a masterpiece of jazz-rock fusion. The remastered audio is crystal clear, revealing every nuance of the band's intricate arrangements and Donald Fagen's wry lyrics. From the opening strains of 'Hey Nineteen' to the lush harmonies of 'Time Out of Mind,' this is a sonic journey that will transport you to another time and place. Whether you're a longtime fan or a new listener, this box set is a must-have.

Review: Steely Dan's fourth studio album 'Katy Lied' was their 1975 standout moment, capturing a moment in time when the band had gained plenty of traction, and had already ridden the wave of fame for a good time. As a result, their music had grown in creativity and grandeur, expanding outwards from a mere prog rock outfit into a studio project, necessitating a steady stream of session musicians, highest-fidelity gear and lots of money. As ever, infectious guitar hooks and R&B funk structures make up most tracks here, making this an early party rock album if we've ever heard one. Katy may be a love interest or a sumptuous muse - but the title also alludes to a katydid, a species of insect related to grasshoppers or crickets.

Review: Steely Dan's latest reissue campaign spans many classic albums, including their fourth LP Katy Lied, but here we focus on The Royal Scam, their fifth. Once more produced by in-house maestro Gary Katz, and again a grand and sprawling recording project with tens of contributors and credits, the album deals thematically with the loose story of Owsley Stanley, the psychedelic drug kingpin and father of the modern soundsystem. Compared to their previous projects, The Royal Scam was known for its more paranoid and intense sound.

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


Dreadbox go back to their roots with this reissued analogue beast. Simple but effective single-oscillator monophonic design with a three-pole resonant filter and analogue distortion.

Supplier's Notes:
Dreadbox's highly anticipated Bass Synthesizer is finally back.

Its Deep and Dark sound is here to haunt you ...

All Analogue Bass Synthesizer
Faithful Reproduction of the 2016 Hades
1 Oscillators with 2 Sub Octaves and 2 Waveforms with PW control
3-pole Resonating Low Pass Filter
1 AD/RS envelope and a AR Amp Envelope

OTA VCA
OTA Distortion
Wide Range Triangle LFO
11 patch points for an astonishing spectacular modular experience
Compact, USB powered, Eurorack Format (42HP)

Monophonic Epicness
Super Fat Oscillator
2x Sub Octaves for extra headroom
Special Internal Bass Boost Circuit
Warm Filter
Drive effect for aggressive sounds
CV outputs: Envelope, LFO, Mod Wheel, 1v/oct
CV inputs: PW, Cutoff, VCA, CV, Gate

Specifications & Connections

USB powered (1.5 Watts)
50 Playing hours with 20,000mA portable power bank
MIDI IN via DIN5
14 MONO TS Jack Out

Dimensions: 21.5 x 13 x 6.5 cm
Weight: 0.9 kg

Requirements

USB-A Adapter (5v) with 1000mA or more
MIDI device or keyboard that is equipped with DIN5 midi output
Monitor, Amp or Headphones

Included in the box

Hades Eurorack module
42 HP case
1x DIN5 to 3.5mm adapter (specs as found at midi.org)
1x Ribbon cable

Notes: Erica Synths Black Hole DSP 2, an updated version of Black Hole DSP features 24 custom effects, designed in close co-operation of Erica Synths team rider KODEK and creator of SpinCAD software Gary Worsham. Each effect has 3 manually and CV controllable parameters, manual and CV control over sampling frequency for spanning from 48kHz to really Lo-Fi crunchy sound and full analogue dry/wet control. All effect parameter settings can be saved to the memory and instantly recalled with the effect, which makes Black Hole DSP II ideal for live performances.