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Notes: Expandoor

The Expandoor gets you quickly and simply using AMP's Melody Oracle, Star Song, or Touch Tones (as well as other possible future devices) as a CV and Gate controller. It outputs Eurorack-compatible CV and GATE signals, transforming your AMP device into a versatile and novel modular synth sequencer or controller. The Expandoor can be used as a standalone tabletop box, or mounted in a 3U 10HP rack space.

Three independent GATE outputs:

Just as the three "Register" zones on your AMP device gate the audio for the three octaves of the built-in synthesizer, there are three corresponding gate outputs on the Expandoor. The 1/8" jacks labelled "BS" "LH" and "RH" output ~11V DC gate signals whenever those zones are gating "ON" on your AMP device.

CV output, tuners and LED indicators:

The jack labelled "CV" outputs a tuned set of CV values (0-11V), tuned independently but correspondingly, to the set of tuners on your AMP device. The row of multi-turn tuners on the front panel allow fine tuning of each CV state. One tuner is active at a time, depending on the state of the "INTERVAL" zones on your AMP device. The active tuner is conveniently indicated in real time via lights found to the right of the tuners. The indicator lights serve a second function of showing you which tuner on the controlling AMP device is also active in parallel.

AMP LINK jacks

The AMP LINK jack on the bottom left of the front panel (with the arrow pointing IN) connects your controlling AMP device into the EXPANDOOR. Use only shielded CAT 5 or CAT 6 cables and connectors (the correct cables will have metal end connectors). The AMP LINK jack on the right outputs a signal identical to the input, allowing chaining of multiple Expandoors and/or Wave Expanders. Do not plug more than one AMP controlling device into a single Expandoor simultaneously, or damage to the devices could occur.

Each controlling device requires its own Expandoor or Wave Exapnder, but multiple expansion modules can be chained from one controlling device. One potential benefit to chaining expansion modules is the ability to output multiple tuned, corresponding but independent, CV channels. Meaning multiple sets of harmonic values could be tuned and accessed at the command of the single controlling AMP device, or accessed via other modules in your system.

Tech specs:

Input: AMP LINK via shielded CAT5 or CAT6 cable
Power: 12V DC Supplied via AMP LINK
Outputs: 3 Gate (~11V unipolar), 1 CV (variable 0-11V unipolar)
Tuners: 8 multi-turn fine tuners for CV, with indicator lights
Size: 3U 10HP (approximately 5.25" H x 2" W x 1.5" D)

Notes: AIAIAI's affordable XE range might just offer the best value studio headphones around. Balance S01 drivers and comfortable E04 ear pads are paired with a slim headband for great sound at a reasonable price.

Supplier's Notes:
Modular studio headphones.

Balanced and detailed sound
Enhanced comfort over-ear cushions
High sound isolation
Weighing only 190g
Modular headphone design

Modular studio headphones with highly detailed sound and full bass extension, balanced for music production. Comfortable PU leather over-ear earpads provide high isolation, reducing surrounding noise when creating on the go. Weighing only 190g for enhanced comfort over extended periods of time.

Balanced detailed sound

Critically acclaimed sound stage specifically designed for studio use with a clear and highly detailed sound representation.

The speaker unit contains a bio-cellulose diaphragm made from bacterial cellulose, an organic compound grown using certain types of bacteria. The precision-grown diaphragm from bio-cellulose is stiffer, lighter, and stronger than regular PET speaker units, allowing the sound-producing diaphragm to vibrate without the levels of distortion found in other speakers.

Each of these qualities results in more accurate and detailed sound from the speaker with the ability to retain clarity of sound at high volumes.

With a minimal and lightweight construction of only 190g, the TMA-2 Studio XE is ideal for the flexible, versatile and dynamic workflow of modern music makers.

Lightweight & comfortable

High grade over-ear memory foam cushions covered in resilient and soft PU leather, for enhanced comfort during long creation sessions or live performances. The over-ear cushion design provides high sound isolation when creating in noisy environments.

Headband made from high grade nylon combined with durable PU leather earpads, results in a total headphone weight of only 190g.

In the box

S01 . Balanced sound - Bio-diaphragm

Engineered with a 40mm speaker diaphragm made from stiff bio-cellulose to reduce distortion and increase transparency. Tuned for a balanced, accurate sound. Balanced sound - Bio-diaphragm.

H01 . Slim - PU foam

Slim and lightweight polycarbonate headband with soft, durable PU foam padding.

E04 . Over ear - PU leather

Soft over-ear memory foam cushions covered with PU leather. The thickness and materials provide better comfort and excellent isolation. Adding a low end boost for a warmer sound with powerful dynamics.

C05 . Straight - 1.5m - Adapter

Straight black 1.5m thermo plastic cable with soft touch surface. Comes with 1/4 to 1/8 screw-on adapter.

Headphones for life

As a music creator, you need headphones that can keep up with your evolving needs and styles. These TMA-2 modular headphone system offers a customizable solution that adapts to your creative process. With interchangeable components such as earpads, cables, and drivers, you can upgrade or change parts of your headphones to improve sound quality, comfort, or style.

By investing in this modular headphone system, you're not just buying headphones - you're investing in a long-term solution that evolves with your music. This reduces electronic waste while ensuring that you always have the optimal headphones just for you.

Diaphragm: Bio-cellulose
Driver diameter: 40 mm
Impedance: 32 Ohm
Magnet: High-grade Neodymium
Max power: 100 mW
Rated power: 40 mW
Resonance freq: 80 Hz

Notes: The Low Fat is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. It can be switched between 6dB (1 pole) response and 12dB (2 pole) response.

By patching a CV signal to the FCV input it can be voltage-controlled and used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. Feeding in a 1V/Oct pitch CV and setting the FCV pot to a suitable level allows it to track an incoming pitch CV, so the amount of High Pass filtering remains constant as the pitch of the incoming VCOs traverse up and down the frequency range. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines. Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter.

Dimensions:
2 HP
26 mm deep

Current Draw:
9 mA +12V
12 mA -12V
0 mA 5V

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


The BXx2 is a dual channel preamp, EQ and mixer based on the classic Boss BX series mixers. With the inclusion of both input gain and level controls, each channel can be overdriven, producing the signature saturated and lively sound the BX mixers are known for. The EQ controls provide the channels with simple but great sounding high and low shelf EQs for emphasising and shaping sounds and an additional 'Aux' input allows another mixer or extra sound source to be chained in.

Input gain controls

Sets the input gain of the channel preamp. Higher settings will cause source to overdrive the channel.

Inputs

In 1 - Input to channel 1 of the mixer.

In 2 - Input to channel 2 of the mixer.

Aux - Auxillary mix input for chaining with another mixer or extra source.

Fixed gain (-6dB).

EQ High

Sets the gain of the fixed high shelf EQ. Boosts high frequencies when set above 12 o'clock and cuts when set below.

EQ Low

Sets the gain of the fixed low shelf EQ. Boosts low frequencies when set above 12 o'clock and cuts when set below.

Level

Sets the channel level in the mix. Use level controls to trim back volume when overdriving the preamp.

Output

Audio output producing the mix of the 3 inputs.

Technical specifications

Power: +12V 10mA / -12V 10mA
Size: 8HP
Depth: 32mm

The BXx2 was designed in collaboration with Feedback Modules and is based on their single channel 'PRE BX' module.

Notes: Think of the MFD like a tiny DJ mixer: two stereo inputs, one stereo output, with the option to cue either input and crossfade between the two. A simple idea very well executed.

Supplier's Notes:
Inspired by DJ mixers, the MFD allows you to cue and crossfade between signals. Ideal for live performance as well as jamming out ideas in the studio.

Supplier's Notes:
The 'MFD' is a 2-channel stereo crossfader designed for live DJ-style mixing and jamming in Eurorack. Two mono or stereo inputs are mixed to a single stereo output via direct or voltage control. Additional Cue controls provide preview monitoring of either input pre-mix via dedicated Cue switches and an output.

Voltage control over the crossfade and DC coupling allow for further creative uses such as a high quality stereo VCA or as a mix processor for either stereo audio signals or CV.

The MFD is designed to have very low noise and cross bleed and employs equal power crossfading for smooth constant level blending between signal sources.

Features:

Two channel stereo crossfader with voltage control.
Approx equal power crossfading.
Cue output switches for direct monitoring of either stereo input (pairing well with HPO for headphone monitoring).
Can be used as a high quality stereo VCA.
DC coupled for use with both audio and CV.
Skiff friendly with reverse power protection.
Two year warranty.
Made in England.

Ideal For:

Smoothly blending and monitoring 'tracks' or 'scenes' during a live set.
High quality VCA use for stereo based sources.
Voltage controlled crossfading and mixing of both CV and Audio signals.
Other advanced uses including audio rate modulation, stereo panning effects and a CV controlled FX send.

Technical Specifications

Supply: +12V 70mA / -12V 70mA

Size: 6HP

Depth: 32mm

Notes: Portable Analogue Audio Mixing with the Power of Bluetooth

The Alto Professional TrueMix 600 is a portable audio mixer with Bluetooth and a built-in stereo USB audio interface that delivers all the essential features you need for home recording, livestreaming, podcasting, or performing. The TrueMix 600 features a dedicated Bluetooth channel for easily streaming from your personal devices. The Bluetooth channel also supports feedback-free phone pairing by utilizing mix-minus technology, a feature that no other audio mixer series in this class supports. There are six analogue inputs with high-headroom circuitry for minimal noise and clipping in your signal. The Mic Input Channels offers XLR inputs that are great for connecting dynamic mics or condenser mics with 48v phantom power. These channels also have balanced 14" line inputs for connecting instruments and other line-level signals. There are also two Stereo Input Channels, each with dual balanced 14" TRS inputs. These inputs are perfect for your line level audio sources. All channels feature a two-band EQ with colour coded knobs that make it easy to dial in your perfect sound while operating in low-light situations. Connecting the TrueMix 600 to your computer is also lightning fast, with plug and play connectivity on Windows and macOS. The TrueMix 600 is a feature-packed compact audio mixer that's perfect for using on-the-go.

Robust Output Routing

Whether you're making music at home, recording a podcast, or livestreaming online, being able to hear yourself is essential. The TrueMix 600 features a variety of output and routing options to handle any scenario. There are two headphone outputs, each with their own independent volume control knob. If you need to send your audio signals to another destination like an external effects processor, there is an AUX send/return and individual AUX send controls on each individual channel so you can always dial in the perfect mix. For recording, the USB output sends a copy of the main outputs to your computer, or you can connect the 2-Track in/out to an external recorder which can also be sent directly to one of the headphone outputs. The TrueMix 600 delivers everything you need to take full control of your audio routing.

TrueMix 600 Features

USB I/O for audio playback and stereo recording
Dedicated Bluetooth channel with mix-minus return for feedback-free phone pairing
Dual headphone outputs with independent volume control
1/4" Main, Tape, Headphone, and AUX outputs
Two mic input channels with phantom power and balanced line inputs
Two stereo input channels with balanced 1/4" TRS jacks
Two-band EQ on all channels
2-track inputs w/ assignable routing: Main Mix or Headphone Out
Eight-segment LED VU meter for precise level monitoring

Technical Specifications

Frequency Response All inputs: 20 Hz - 22 kHz (+/-1 dB)
THD+N (Total Harmonic Distortion) All inputs: < 0.005% (@ 4 dBu, 1 kHz)

Gain Range:
Mic inputs (Channels 1-2): 0 - 50 dB
Line inputs (Channels 1-2): 15 dBu - 35 dBu
Line inputs (Channels 3-6): -20 dBu - +20 dBu

Max Voltage Gain:
70 dB (MIC INPUT to MAIN MIX OUTPUT)
80 dB (MIC INPUT to CTRL ROOM / PHONES OUPTUT)
60 dB (MIC INPUT to AUX SEND)

SNR (Signal-to-Noise ratio) All inputs: > 110 dBu

Crossover Frequency:
Adjacent inputs: < -80 dB @ 1 kHz
Inputs to outputs: < -75 dB @ 1 kHz (stereo L/R, Channels 1-2, panned hard left or right)

Phantom Power: +45 ~ +49V with switch control

Impedance
Mic inputs: 3.9 kO
All other inputs: > 10 kO
Aux outputs: 1 kO
All outputs: 120 O

Equalization
High: +/-15 dB @ 12 kHz
Low: +/-15 dB @ 80 Hz

Bluetooth
Profile: A2DP
Module: Bluetooth 5.0
Operating Frequency: 2402 MHz - 2480 MHz
Range: 100 ft. / 30.5 m

Connectors
(5) 1/4" (6.35 mm) TRS outputs
(6) 1/4" (6.35 mm) TRS stereo L/R inputs
(2) 1/4" (6.35 mm) TRS headphone output
(2) 1/4" (6.35 mm) TRS mono input
(1) Standard RCA L/R input
(1) Standard RCA L/R output
(2) XLR inputs
(1) USB type-B input
(1) DC power input

Controls
(1) Power switch
(10) volume control knobs (1 per input, 1 aux return, 1 2TK In, 2 headphone out, 1 Bluetooth, 1 Main Out)
(4) Stereo pan control knobs (1 per input)
(4) Aux volume control knobs (1 per input)
(4) EQ Low control knobs (1 per input)
(4) EQ Hi control knobs (1 per input)
(4) Gain control knobs (1 per input)
(3) Locking switch buttons (2 source select, 1 Bluetooth)
(1) Horizontal sliding switch

Indicators
(1) Power LED
(4) Peak LEDs
(1) Phantom LED
(16) Main Out Meter LEDs
(1) Bluetooth LED

Power
Connection: DC
Voltage: 18V, 1A
Consumption: 18W

Dimensions (width x depth x height) 8.9" x 8.5" x 2.9" / 225.5 x 217 x 74 mm
Weight 3.2 lbs. 1.4 kg

Review: ***B-STOCK: Torn inner sleeve, otherwise in excellent working condition***


Amused To Death is the third studio album from Roger Waters outside of his work in Pink Floyd. As one of the fundamental creative forces in the prog behemoth, of course it's hard to separate his solo work from that most famous of bands, but this is indeed its own beast. At times it's an experimental space in which Waters uses space and minimalism to great effect, creating a foreboding sound peppered with speech samples and field recordings. There are of course plenty of more straightforward tracks too, like lead single 'What God Wants, Part 1'. This lavish issue of the 1992 album spreads the music out across four discs and comes in a box set format, a must-have for devoted Floyd and Waters collectors.

Review: ***B-STOCK: Record has light surface marks/scratches, otherwise in excellent working condition***


Amused To Death is the third studio album from Roger Waters outside of his work in Pink Floyd. As one of the fundamental creative forces in the prog behemoth, of course it's hard to separate his solo work from that most famous of bands, but this is indeed its own beast. At times it's an experimental space in which Waters uses space and minimalism to great effect, creating a foreboding sound peppered with speech samples and field recordings. There are of course plenty of more straightforward tracks too, like lead single 'What God Wants, Part 1'. This lavish issue of the 1992 album spreads the music out across four discs and comes in a box set format, a must-have for devoted Floyd and Waters collectors.

Review: ***B-STOCK: Slight box damage, otherwise in perfect condition***


A new special edition of The Beatles' Revolver comes courtesy of Apple, the original label on which the fab four released some of their most seminal works. Featuring a new mix and master by Giles Martin and Sam Okell, this version contains yet another 100-page book with a foreword by Paul McCartney and an unlikely essay by Questlove of The Roots.

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


Keyboard meets sequencing in Arturia's all-round controller. USB, MIDI, CV and analogue clock compatibility make this 64-step polyphonic sequencer a true all-rounder. Great value.

Supplier's Notes:
KeyStep 37 goes beyond an easy-to-use 64-step sequencer, arpeggiator and MIDI keyboard. It's responsive, dynamic, expanded in every direction to encourage musical exploration - the controller that's built to help write music and also includes Ableton Live Lite, making it a complete music production starter kit, as well as appealing to veteran musicians. Like KeyStep and KeyStep Pro before it, KeyStep 37 offers unique features not found in any other product.

The familiar KeyStep formula, expanded. KeyStep 37 features a velocity-sensitive 37-note keybed, complete with aftertouch and RGB LED feedback, while remaining lightweight and compact.

At the center of the control panel, you'll find 4 new knobs with an LED screen, giving you instant access to inspiring new expressive tools and MIDI tweaking - total creative control.

The new controls unlock KeyStep 37's unique & enhanced Chord mode. Choose from 12 chord types, an array of strum effects, and spread the voices out into complex velocity-sensitive parts that respond like a stringed instrument.

Map out KeyStep 37's 3-octave keyboard range with a scale of your choice using Scale mode. Any key you play will automatically quantize to the nearest note in the chosen scale.

Tap into the inner workings of your MIDI hardware and software with assignable 16 MIDI CC pa-rameters across 4 switchable banks. Use the 4 new controls to tweak settings on the fly for dy-namic performances.

The core of your setup:

KeyStep 37 is designed to be put in control. An accessible interface, a compact design and com-prehensive connectivity make it the perfect centerpiece for your rig - whatever your needs.

Hook up your synth hardware with MIDI in/out. Control your favorite VST instruments with MIDI over USB. Use CV pitch, gate and mod connections for modular integration. Analog sync in/out keeps everything in time without hassle. The best bit? Use it all at the same time.

Included is a free copy of Ableton Live Lite, an accessible music-making suite for your Mac or PC. Register KeyStep 37 for your free download and get creative right out the box - let the music flow freely.

Notes: Upgrade your Hercules T7 so it becomes a true scratching machine! With this you get 3 mini Innofader Plus faders already soldered to a board which drops straight into the Hercules T7. No soldering or adjustments needed for installation...faders are already pre-adjusted for tight cut-in < 1.0mm. User accessible calibration buttons on all 3 faders allow for further precision adjustments. Also includes a sleek see-through acrylic mounting plate.

Notes: The AT2040USB is an ideal microphone for creators, featuring a dynamic design for excellent voice capture with added USB functionality.

Combining the broadcast-quality performance of the AT2040 dynamic podcast microphone with plug-and-play USB functionality makes this the ideal microphone for podcasters, streamers, and other content creators to achieve professional results.

When live streaming, outstanding sound is just as important as interesting content and high-quality video. The AT2040USB microphone ensures a natural frequency response with rich, powerful lows and crystal-clear studio sound, making it easy for YouTubers looking to increase their viewership and streamers wanting to gain a professional edge.

This dynamic microphone also touts its quality with a highly directional, hypercardioid pickup pattern that helps eliminate common ambient noise, like the hum of a computer fan. With a narrower pickup angle than a cardioid design, the AT2040USB provides focused vocal capture, which is ideal and super effective for creators and gamers who stream and chat with followers.

Additionally, the microphone's robust metal body includes an integrated shock mount to minimize unwanted noise and vibration, while its internal pop filter protects against harsh spoken sounds. For added noise, shock, and vibration cancellation that may be transmitted through a mic stand, boom, or mount, users can purchase the AT8458a shock mount separately.

Highly Directional Voice Capture - Vocal Clarity

Hypercardioid polar pattern provides maximum vocal isolation for professional-quality sound.

Mute Button - Simple to Silence

A simple touch of the capacitive mute button immediately silences the microphone. The mic's LED ring changes from blue to red indicating that the audio is muted.

Headphone Output - Zero Latency Monitoring

A headphone jack with volume control allows you to monitor audio directly from the microphone, while the mix control allows you to blend your microphone signal with computer audio.

Headphone Output - Clean Articulation

The AT2040USB's multistage foam mesh windscreen includes a nonwoven filter to allow close-up use without annoying pops.

Integrated Shock Mount and Low-cut Filter - Quiet, Professional Performance

The mic features a specially designed, integrated shock mount that tames any noise, shock and vibration that might be transmitted through a mic stand, boom or mount. The low-cut filter eliminates low-frequency sound for additional reduction of vibration and surrounding environmental noise.
Features
Dynamic broadcast microphone with plug-and-play USB functionality is perfect for podcasters, streamers, and other content creators
Hypercardioid pickup focuses on your voice and minimizes room noises and echo
Multistage foam mesh windscreen provides superior internal pop protection
Integrated shock mount tames noise, shock and vibration transmitted through mic stands, booms and mounts
Built-in headphone jack with high-output amplifier and volume control enables real-time monitoring with excellent sound quality
Mix control allows the microphone signal to be blended with pre-recorded audio
Silent soft-touch mute button provides convenient, reliable muting at the microphone
High-resolution AD convertor with 24-Bit/96 kHz sampling rate for extremely clear, natural sound reproduction
Switchable low-cut filter controls unwanted low-frequency sound
Two-state LED indicator ring lights blue when mic is powered on and
lights red when it is muted
Professional-grade metal body for lasting durability
Includes mounting clamp and USB-C to USB-A cable (with USB-A to
USB-C adapter)

Specifications
USB 2.0 compliant
System requirements:
OS Windows 10, Windows 11
macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura (Please check the product's web page for the latest information)
Element: Dynamic
Polar pattern: Hypercardioid
Frequency response : 80-16,000 Hz
Low cut: 80 Hz, 18 dB/octave
Power supply: USB power (5 VDC)
Bit depth: 16 bit/24 bit
Supported sampling rates: 44.1 kHz/48 kHz/88.2 kHz/96 kHz
Controls: Headphone level control, Mix control, Low cut, Mute
Dimensions: 145.3 mm (5.7") long, 52 mm (2.0") maximum body diameter
Weight: About 600 g (21 oz)
Gross Package Dimensions: 9.0 x 24.4 x 24.6 cm
Gross Package weight: 978.6 g
COO: Taiwan
Output connector: USB Type-C
Headphone output: 77 mW (at 1 kHz, 1% T.H.D., 32 ohms)
Headphone jack: 3.5 mm (1/8") stereo mini-jack

Included accessories
AT8487 mounting clamp
5/8"-27 to 3/8"-16 threaded adapter
USB cable (about 2.0 m (6.6'), USB Type-C to USB Type-A)
USB conversion adapter (USB-Type-A to USB Type-C)

Review: Airto Moreira and Flora Purim are known as the legendary King and Queen of Brazilian Jazz. For the last 60 years they have been serving up rich and vivid albums as well as playing exhilarating live shows all over the world. They have fans all over the world from Japan's concert halls to the UK's jazz funk and jazz dance scenes and their latest album in 2022, If You Will, was nominated for a Grammy, proving that they very much still have it. A Celebration: 60 Years - Sounds, Dreams & Other Stories is a collection of their many best bits from over the years.

Notes: An accurate Manual Voltage Source.

Voltio fits somewhere between a music tool and a piece of electronics lab gear.

It generates voltages equivalent to all the notes on the 12-tone equal temperament scale throughout a ten-octave range, with an intuitive two-knob interface.

The Precision Adder In, lets you sum Voltio's Out with external voltages.

Additionally, the front panel banana connectors let you plug standard multimeter probes for hands-free operation on electronics lab.

Use it to transpose Oscillators and sequences in a musical way or as a reference to calibrate your analogue gear.

Features:

Easily adjust your oscillators in known intervals.
Transpose Musical phrases from sequencers, arpeggiators, or any other notes source.
Calibrate oscillators and filters on your DIY projects or during analogue gear maintenance.

Specs:

Current needs: +12V: 35mA, -12V: 15mA
Width: 6 HP
Depth: 30mm including power connector
Designed, kits prepared and assembled in Barcelona.

Notes: The studio legends

For decades now, professional users all around the world have placed their trust in Beyerdynamic's classic range: DT 770/880/990 PRO. These benchmark-setting studio headphones, available in three different models, boast extremely detailed resolution and very transparent sound.

The DT 770 PRO headphones is the range's closed-back model and offers maximum flexibility and detailed sound that you can rely on.

Impressive sound volume

The Beyerdynamic DT 770 PRO headphones have established themselves as a firm favourite amongst music producers, sound engineers and broadcasters and are used in studios all over the world. They reproduce the entire frequency range with incredible precision, and even reproduce low frequencies in punchy detail.

Top-notch impulse response

The headphones are designed for critical music and sound monitoring, providing a perfectly neutral listening environment with exceptional isolation and top-notch impulse response. High frequencies are translated into an analytical and differentiated sound. Ultra-low bass sounds are defined and reproduced crisply.

Extreme comfort

The robust spring steel headband ensures a secure fit for the wearer. Soft ear cups mean that the headphones are comfortable even if worn for prolonged periods. The single-sided cable allows the headphones to be put on and taken off frequently without cables getting tangled.

Allrounder; universal studio

These 80-ohm headphones are the ideal Choice for a range of studio applications.

Made in Germany

The DT 770 PRO headphones are and always have been handcrafted in Germany. The durability of these headphones is worth noting, because all the components used are replaceable if necessary.

High-end studio quality

Thanks to the Tesla technology developed in Heilbronn, the DT 770 PRO offers even finer resolution with precise and powerful bass. The pro flagship also sets new standards in terms of wearing comfort and workmanship.

Technical specifcations

Transmission type: wired
Weight headphones without cable: 270 g
Transducer type: Dynamic
Operating principle: Closed
Nominal frequency response: 5 - 35,000 Hz
Nominal impedance: 80 O
Nominal SPL: 96 dB
Nominal T.H.D: < 0.2%
Power handling capacity: 100 mW
Sound coupling to ear: Circumaural
Ambient noise isolation: approx. 18 dBA
Nominal headband pressure: approx. 3.5 N
Weight: 345 g
Length and type of cable: 3 m / straight cable
Connection: Gold plated mini stereo jack plug (3.5 mm) & 1/4" adapter (6.35 mm)

Notes: DT 990 PRO Black Edition

For decades now, professional users all around the world have placed their trust in Beyerdynamic's classic range: DT 770/880/990 PRO. These benchmark-setting studio headphones, available in three different models, boast extremely detailed resolution and very transparent sound.

The DT 990 PRO Black Edition is a technically identical design variation of DT 990 PRO headphones. It is the range's open-back model offering impressive spaciousness.

Benchmark for studio sound

These open-back studio headphones are a reliable tool for any sound enthusiast. The wide stereo image and three-dimensional sound reproduction make the beyerdynamic DT 990 PRO headphones a loyal companion for producers. Outstanding tonal depth ensures that even small changes in the positioning of the acoustic source can be perceived while mixing.

Incredible spaciousness

The circumaural headphones with their open-back design provide exceptional spaciousness and detailed tonal depth. Their mild bass and treble boost ensures a pleasant sound. The bass is not overstated but rather precise and the treble boost is powerfully present without sounding sharp.

Extreme comfort

The single-sided cable allows the headphones to be put on and taken off frequently without cables getting tangled, and soft, adjustable ear cups provide for added comfort. The robust spring steel headband design ensures that the over-ear headphones also offer a secure fit.

Difference compared to the DT 990 PRO

Soundwise, both models are identical as they feature identically designed acoustic transducers. First of all, they are distinguished by the black design elements and secondly, the Black Edition model is equipped with a straight 3m cable and the standard version with a spiral cable.

Professional devices

With an impedance of 250 ohm, the DT 990 PRO headphones are perfect for mixing in the studio.

Durability

One aspect that sets these products apart from the rest is that they are handmade in Germany. The durability of Beyerdynamic's products is worth noting because all the components used are replaceable if necessary.

Made in Germany

The DT 990 PRO headphones are and always have been handcrafted in Germany. With their high-quality materials and meticulous workmanship, these studio headphones are a sound, long-term investment.

High-end studio quality

Thanks to the Tesla technology developed in Heilbronn, the DT 1990 PRO offers even finer resolution with precise and powerful bass. The PRO flagship also sets new standards in terms of wearing comfort and workmanship.

Technical specifications

Transmission type: Wired
Weight headphones without cable: 250 g
Transducer type: Dynamic
Operating principle: Open
Nominal frequency response: 5 - 35,000 Hz
Nominal impedance: 250 ? / system
Nominal SPL: 96 dB
Nominal T.H.D: < 0.2%
Power handling capacity: 100 mW
Sound coupling to ear: Circumaural
Nominal headband pressure: approx. 3.5 N
Weight: 340 g
Length and type of cable: 3 m / straight cable
Connection: Gold plated mini stereo jack plug (3.5 mm) & 1/4" adapter (6.35 mm)

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


Classic closed-back headphones in a low-impedance version designed to play nicely with outputs on phones, laptops and interfaces. One of the best all-round options for production.

Supplier's notes:
The Beyerdynamic DT 770 Headphones 80 Ohm are closed back dynamic headphones that use the same comfortable, sound isolating design as the 250 Ohm studio version, but with a lower resistance for general purpose and mobile applications. Because of the lower resistance, the DT 770 Pro 80 Ohm headphones are louder and work on low power devices such as smart phones, MP3 player, laptops and bus powered interfaces. Therefore, if you are working in a loud environment or using a battery operated device, the Beyerdynamic DT 770Pro 80 Ohm headphones make the perfect choice of headphone.

When out and about, you really need to block as much ambient noise out as possible and a lot of headphones do this by clamping the ear-pads as tightly to your ears as possible and using materials that absorb a lot of sound. This produces two unwanted issues; discomfort, after prolonged use; and a loss of audio quality as sound being generated by the driver is absorbed by the cup. The DT 700 Pro series avoids this by using a clever bass reflex system and a large circumaural cup design with velour pads. Of course the real technology is in the transducer itself, which produces a nominal frequency response of 5Hz to 35kHz and a nominal SPL of 96dB, an exceptional performance.

Review: Capturing the era of Black Sabbath with Ronnie James Dio on vocals following Ozzy Osborne's departure, Live Evil was the first officially sanctioned live album from Birmingham's foremost heavy metal pioneers. The album came together in 1982, drawing on shows from Seattle, San Antonio and Dallas on the Mob Rules tour, and now it has been given the deluxe reissue treatment. As well as the original mix of the album, there's an entirely new mix of the album from the original analogue master tapes by long time band associate Wyn Daivs, complete with a 40-page hardback book featuring new liner notes and replicas of the original concert book and poster form the Mob Rules tour.

Review: Dave Clarke's Red Series remains a vital benchmark in the evolution of UK techno. Released between 1993 and 1996, the three-volume run even managed to brush the UK top 40 back in the good old days when anything felt possible. Tracks like 'Wisdom To The Wise' will forever be etched in the make up of techno, and for very good reason. Now the whole series is being given a lavish reissue treatment which takes in all the original releases along with additional discs of rare, archival tracks and remixes, all bundled up in a box with a booklet and autographed by the Baron himself.

Notes: The BOSS RC-1 is Boss' simplest and most user-friendly Loop Station ever, and it's a ton of fun! Since the RC-20 Loop Station was first released in 2001, BOSS has led the way by continually releasing new looping products. Though they've been used and enjoyed by various looping artists and performers, BOSS still pursued an easier and more affordable solution. The RC-1 is a straightforward looper that is easy to operate. Experience the fun of looping when you record, playback, overdub, and undo or redo loops using this compact BOSS stompbox. And of course, the RC-1 retains the BOSS quality and performance that musicians around the world have come to expect and rely on.

On the top panel, there is a new and innovative loop indicator, which consists of a 24-segment LED laid out in a circular pattern. You can quickly and easily determine the current status of the Rec/Overdub/Play modes. With a maximum 12 minutes of stereo recording time, the RC-1 is capable of capturing any extended performance that you can create or imagine! The stereo in/out jacks can be used with stereo effects and amplifiers. Additionally, they allow you to connect stereo instruments, such as synthesizers. Other convenient features include battery and AC power, as well as flexible external footswitching capabilities. The RC-1 is an especially great partner to start enjoying looping!

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Maximum Recording Time: Approximately 12 minutes

Controls: Pedal switch, LEVEL knob
Indicators: CHECK indicator, LOOP indicator

Connectors:
INPUT A (MONO) jack: 1/4-inch phone type, INPUT B jack: 1/4-inch phone type, OUTPUT A (MONO) jack: 1/4-inch phone type, OUTPUT B jack: 1/4-inch phone type, STOP/UNDO jack: 1/4-inch TRS phone type, DC IN jack
Power Supply: Alkaline battery (9 V, 6LR61), AC adaptor (PSA series: sold separately)
Current Draw: 95 mA

Expected battery life under continuous use (These figures will vary depending on the actual conditions of use.)
Alkaline: Approx. 3 hours

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information")
Alkaline battery (9 V, 6LR61)

Options (sold separately) AC adaptor: PSA series
Footswitch: FS-5U, FS-6, FS-7

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight: 430 g / 1 lb

Notes: BOSS's iconic DD-3 Digital Delay has been a pedalboard staple since 1986, loved everywhere for its great sound and simple operation. With the DD-3T, we've updated the classic stomp with enhanced functionality while fully retaining the original's sound and control layout. It's now possible to tap in delay tempos using the onboard switch or an external one, with your choice of three beat subdivisions. And the direct output jack has been moved next to the main output, providing easier connectivity for wet/dry setups.

In continuous production for over three decades, the DD-3 has been the go-to delay stomp for countless players. Based on the DD-2-the world's first digital delay pedal from 1983-the DD-3 is revered for its warm, round delay tone and simple controls that let you dial in sounds fast. The DD-3T's sound circuitry and controls are identical to the DD-3, delivering every drop of that classic vibe you know and love.

A key addition the DD-3T brings is tap tempo, an essential feature for creating the rhythmic delay effects at the heart of many guitar styles. In delay mode, hold the pedal switch for two seconds to toggle between bypass and tap operation. And for on-demand tap control, simply connect an external footswitch. When the DD-3T receives tap input, up to 800 ms of delay time is available, and the Mode knob sets the tap subdivision (quarter-note triplet, dotted-eighth note, or quarter note).

The DD-3T features a direct output jack like the DD-3, but it's been moved next to the main output jack to make connections easier. Plugging a cable into the direct out converts the main out to delay only, allowing you to send wet and dry signals to different amps for wide, immersive sounds. And if your amp or switcher has a parallel effects loop, just connect a dummy plug to the direct out to mute the dry sound for effect-only blending.

The original DD-3 (and DD-2 before) included a forward-thinking Hold function, which allowed you to capture a sound up to 800 ms long, play it continuously, and jam over the top. Many years later, BOSS further developed this creative concept with the successful Loop Station products, which helped spawn the new musical style of live looping. The DD-3T includes the same Hold function as the DD-3, but it's been renamed "Short Loop" to reflect today's common usage.

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls: MODE knob, TIME knob, FEEDBACK knob, E.LEVEL(Effect Level) knob, Pedal switch
Indicator: CHECK indicator (Used for indication of check battery)

Connectors:
INPUT jack: 1/4-inch phone type
OUTPUT jack: 1/4-inch phone type
DIRECT OUT jack: 1/4-inch phone type
TEMPO jack: 1/4-inch phone type
DC IN jack

Power Supply: Alkaline battery (9 V, 6LR61), AC adaptor (PSA series: sold separately)
Current Draw: 70 mA

Expected battery life under continuous use: Alkaline: Approx. 5 hours
*These figures will vary depending on the actual conditions of use.

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information")

Alkaline battery (9 V, 6LR61)

Options (sold separately)
AC adaptor: PSA series
Footswitch: FS-5U, FS-6, FS-7

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 420 g / 15 oz

Notes: Introducing the DD-8, the most wide-ranging and feature-rich BOSS compact series delay ever. This loaded pedal delivers more of everything-more great sounds, more delay time, more control options, and more connectivity. And it does it all in a standard BOSS pedal that slides easily into any mono or stereo setup. Eleven modes provide delay colours from basic to exotic, plus a looper with unlimited overdub capability and external control support. For maximum versatility in a minimum amount of space, there's no better delay stomp than the DD-8.

Equipped with a diverse selection of delays, the DD-8 packs impressive sonic range into one small pedal. Clean digital delays, vintage analogue and tape types, and modulation echo are available, plus specialty delays like shimmer and reverse. There's a new Warm type for softer echo tones, and a +RV type that blends delay and reverb together. Warp is perfect for dynamic ambient textures, while the new GLT type is great for glitchy rhythmic effects.

Everything sounds bigger and better in stereo, and the DD-8 delivers with full stereo I/O support and your choice of three output modes. The default independent mode provides linked parallel delays on the left and right channels, allowing you to maintain the true balance of stereo input sources in the effect sound. There's also a panning mode for ping-pong delay effects, and a wide stereo mode for enhanced spatial depth.

The DD-8's extensive real-time delay options help bring your music to life. You can tap in tempos with the onboard pedal switch, and control the Warp and GLT modes for unique expressive effects. Adding one or two footswitches unlocks more creative possibilities, like on-demand tap tempo, extended looper control, and a cool Twist effect for soaring echo sounds. Alternately, an expression pedal can be used for continuous control of level, feedback, or delay time-or all of them at once.

Having a looper on your pedalboard is a handy thing-it's great for practice, checking sounds at gigs, and creating on-the-fly backing while performing. The DD-8's looper mode has you covered, so you don't have to take up precious space with a dedicated pedal. All looper functions can be controlled with the onboard switch, providing all-in-one operation. But if you prefer to work with extended controls, just connect one or two footswitches to operate the looper's stop and clear functions externally.

The DD-8's inputs and outputs have smart functionality, allowing you to set the pedal for any application simply by connecting cables in different ways. A variety of mono and stereo connections are supported, including discrete dry and effect outputs for wet/dry setups. It's even possible to defeat the dry signal entirely, perfect for delay-only blending in a parallel effects loop.

Analog-Classic analogue BBD delay sound.
Standard-Clear digital delay.
Tape-Vintage tape-based delay sound.
Warm-Digital delay with a softer sound.
Reverse-Backwards delay for cool psychedelic effects and other unique tones.
+RV-Digital delay with reverb added.
Shimmer-Pitch-shifted delay for lush, shimmering textures.
Mod-Digital delay with modulation added on the repeats.
Warp-Unique delay with expressive pedal control. Holding the pedal switch increases feedback and level, allowing you to create ambient swell effects.
GLT-Newly developed delay mode that creates glitchy machine-gun effects when the pedal switch is pressed. Adjust the Feedback and Time knobs for a wide variety of sounds.
Loop-Loop recorder with overdub capability and up to 40 seconds of recording time with mono input (20 seconds with stereo input).

Specifications

Nominal Input Level: -20 dBu
Input Impedance1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls: MODE knob, TIME knob, FEEDBACK knob, E.LEVEL(Effect Level) knob, CARRYOVER switch
Pedal switch
Indicator: CHECK indicator (Used for indication of check battery)

Connectors: INPUT-A(MONO)/INPUT-B jack: 1/4-inch phone type
OUTPUT-A(MONO)/OUTPUT-B jack: 1/4-inch phone type
TEMPO/EXP jack: TRS 1/4-inch phone type
DC IN jack

Power Supply:
Alkaline battery (9 V, 6LR61)
AC adaptor (PSA series: sold separately)

Current Draw: 100 mA

Expected battery life under continuous use
Alkaline: Approx. 3.5 hours
*These figures will vary depending on the actual conditions of use.

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Dry battery (9 V, 6LR61)
Options (sold separately)
AC adaptor: PSA series
Footswitch: FS-5U, FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5

Size & weight
Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 440 g / 1 lb

Notes: The New Standard in Octave Pedals

Fusing classic BOSS octave tones with the latest tracking technologies, the BOSS OC-5 sets a new standard in octave pedal performance. Vintage mode provides a spot-on recreation of the legendary mono OC-2 from 1982, while Poly mode offers numerous enhancements for extended-range playing. And with the addition of an octave-up feature, a span of three octaves is now available for creative exploration. From fat, low mono sounds to octave-shifted chords and more, the OC-5 delivers the widest range, finest sound quality, and best playability in any octave stomp to date.

OC-5 Octave Sound Tryout

Get interactive with our custom TonePedia player and explore hundreds of sound variations. Select your instrument, tweak and choose pedal settings.

High-Octane Octave Performance

Powered by the latest real-time processing technologies from BOSS, the OC-5 provides exceptional sound and playability for the most expressive octave experience ever. A key feature is the newly developed tracking engine, which delivers clean, accurate performance with no latency. The OC-5 also offers wider range and greater polyphonic capabilities than previous OC models, covering all your octave needs in one high-performance pedal.

Classic Tones with Vintage Mode

Introduced in 1982, the OC-2 was the world's first modern octave pedal for guitar and bass. Still loved by players everywhere, the stomp's warm-yet-present tone sits perfectly in a mix, and its characteristic voice can be heard in many famous songs. The OC-5's Vintage mode brings you the OC-2's iconic mono sound, coupled with improved response thanks to the new tracking engine. Dedicated level controls are provided for -1 and -2 octave effects and the direct sound, giving you quick access to an endless variety of sub-octave colours.

Enhanced Poly Mode

The OC-5 also features an evolved version of the smart Poly mode first introduced with the OC-3 Super Octave, letting you play full chords with octave effects. The variable Range knob restricts the effect to the lower notes on your instrument, perfect for playing octave bass lines alongside normal chords and melodies in the higher registers. And with the new tracking refinements, it's even possible to isolate the octave effect to the bottom note in a chord-just turn the Range knob to the "Lowest" setting.

Extended Range with Octave Up

Another cool OC-5 enhancement is the new octave-up effect, which is available in both Vintage and Poly modes. Simply twist the dedicated +1 OCT knob to bring in the desired effect level. Use the octave-up effect on its own for faux 12-string sounds and unique solo tones, or blend it with the octave-down effects for extended chord voicings and super-fat leads.

Guitar/Bass Switch and Direct Out

The OC-5 lets you instantly optimize the performance of its tracking engine for either guitar or bass via a dedicated switch on the body of the pedal. And with the Direct Out jack, it's easy to route dry and effect sounds to different destinations, such as two stage amps or discrete channels on a mixer or audio interface.

Specifications

Nominal Input Level-20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls:
Pedal switch, GUITAR/BASS switch, VINTAGE/POLY switch, DIRECT LEVEL knob, +1OCT knob, -1OCT knob, -2OCT/RANGE knob
Indicator: CHECK indicator (Serves also as battery check indicator)

Connectors:
INPUT jack: 1/4-inch phone type
OUTPUT jack: 1/4-inch phone type
DIRECT OUT jack: 1/4-inch phone type
DC IN jack

Power Supply: Alkaline battery (9 V, 6LR61 or 6LF22), AC adaptor (PSA series: sold separately)

Current Draw: 60 mA

Expected battery life under continuous use: Alkaline: Approx. 5 hours
*These figures will vary depending on the actual conditions of use.

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information")
Alkaline battery (9 V, 6LR61)
Options (sold separately) AC adaptor: PSA series

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 440 g / 1 lb

Notes: Customizable tones for jamming and practice

With its impressive sound, built-in effects, and the ability to swap COSM amp types via a free app for iOS and Android devices, the CUBE-10GX is the perfect small amp for jamming, bedroom practice, and recording. Built to the respected CUBE standard, the CUBE-10GX delivers big, full tones with its custom 8-inch speaker and heavy-duty cabinet design. Clean, Crunch, and Lead amp types come ready to play from the factory, but you can easily switch them out from your favourite mobile device. The CUBE KIT app includes multiple amps to choose from, including vintage classics, ultra-heavy gain machines, and even amps for bass and acoustic-electric guitar. The compact CUBE-10GX also includes options for shaping your tones even further with three-band EQ and onboard chorus, delay, and reverb effects.

Big Sound, Compact Package

Packing versatile amp sounds, simple-yet-powerful tone controls, and high-calibre effects, the CUBE-10GX is ideal for both beginning guitarists and experienced players looking for a great sounding small amp. Renowned CUBE construction quality provides rich, full sound and maximum durability, with a custom-designed 8-inch speaker, ultra-rigid cabinetry, heavy-duty corner protectors, and more. From bedroom practice to jamming with friends to tracking in the studio, the CUBE-10GX delivers top-shelf guitar tones wherever you play.

Easily Customize Amp Types from Your Smart Phone or Tablet

Out of the box, the CUBE-10GX comes ready to rock with Clean, Crunch, and Lead COSM amp types. But that's just where the fun starts-using the CUBE KIT app for iOS and Android devices, you can load up those three slots with a variety of different amp types and adapt the sound of the CUBE-10GX for the music you like to play! Available as a free download, CUBE KIT includes seven additional COSM amp types to cover any style, from jazz to classic rock to high-gain metal. For enhanced versatility, there are even amp types designed for bass and acoustic-electric guitar. Simple and intuitive to use, CUBE KIT makes it easy to customize the CUBE-10GX's sound in seconds.

Three-Band EQ, Built-in Effects, and More

The CUBE-10GX is equipped with Bass, Middle, and Treble controls for fine-tuning your tone, plus three high-quality effects. Chorus, delay, or reverb can be dialled up easily with a single intuitive knob, and the reverb section offers plate and retro spring variations for a wide range of sound. Via the rear-panel Aux In jack, you can plug in a music player or smart phone and riff along with your favourite tunes. There's also a Rec Out/Phones jack, which mutes the onboard speaker and provides a direct output complete with COSM speaker modeling. This is a great feature for quiet practice with headphones, and also for tracking the CUBE-10GX's pro COSM tones directly into your favourite recording devices.

Specifications

Maximum Power Output: 10 W
Nominal Input Level (1kHz)INPUT: -10 dBu (1 M ohm), AUX IN: -10 dBu
Speaker: 20 cm (8 inches)
Controls: POWER switch, AMP TYPE switch (CLEAN, CRUNCH, LEAD), GAIN knob, VOLUME knob, BASS knob, MIDDLE knob, TREBLE knob, EFFECT knob (CHORUS, DELAY, REVERB, SPRING)
Indicator: AMP TYPE

Connectors:
INPUT jack: 1/4-inch phone type
AUX IN jack: Stereo miniature phone type
REC OUT/PHONES jack: Stereo miniature phone type

Power Supply: AC adaptor (DC 5.7 V)
Current Draw: 700 mA
Accessories: Owner's manual, AC adapter

Size & weight

Width: 346 mm / 13-5/8 inches
Depth: 179 mm / 7-1/16 inches
Height: 317 mm / 12-1/2 inches
Weight: 4.7 kg / 10 lbs. 6 oz.

Notes: Fresh-Sliced Inspiration

Envelop your music in vibrant rhythmic energy with the SL-2 Slicer, an inspiring creative tool filled with colourful sonic grooves. This BOSS original chops your sound into unique percussive patterns-including many processed with internal filters and effects-and provides multiple output options that bring grooves to life across the stereo field.

Evolved from the legacy SL-20 Slicer, the SL-2 offers expanded capabilities while shrinking the size to the pedalboard-friendly BOSS compact format. Instantly elevate performances with 88 onboard patterns and tap into more via the BOSS Tone Studio app. Grab the knobs to tweak audio slices on the fly and sync to songs with tap tempo and MIDI. Fun and easy to use, the SL-2 brings fresh musical power to all types of creators, from guitarists and keyboardists to loop performers, DJs, beatmakers, and beyond.

Compact Audio Adrenaline

The SL-2 brings massive sonic groove muscle to the compact pedal format. Modern DSP takes the BOSS Slicer engine further than ever before, delivering rich, animated sounds via single and dual paths chained with multiple internal effects. Eight pattern types-each with 11 variations-will keep you armed with creative firepower for a long time. When you're ready for more, connect to BOSS Tone Studio over USB to audition and load alternate patterns into the pedal and organize memory setups for different songs.


Pre-Loaded Pattern Types:

Single (1 and 2)-Rhythmic patterns that use a single Slicer effect.
Dual (3 and 4)-Rhythmic patterns that use two Slicer effects.
Tremolo (5)-Patterns with a traditional tremolo effect.
Harmonic (6)-Rhythmic patterns with pitch-shifting effects.
SFX (7 and 8)-Rhythmic patterns with different effects applied.

Shape Your Groove

With the SL-2's efficient interface, you can dial in sophisticated textures in seconds. Use the Attack control to shape the edge of the waveform for everything from hard-chopped slices to soft, fluttering movements. Then tweak the waveform's length with the Duty control, going from sharp, percussive transients to longer, fuller audio blocks. Adjust the tempo with the dedicated knob or hold the pedal switch to engage tap tempo mode for hands-free control. And with the Balance knob and +/-12 dB of output level adjustment, you always have complete control of the mix.


Set the Stage

The SL-2 dishes up loads of impressive sounds with a standard mono setup. But things get even better when using the two outputs and seven different output modes. Send direct and effect sounds to different destinations for recording and performance. Or surround yourself and listeners in animated movement using a variety of stereo and 3D processing options. You can also feed the SL-2 with your favourite stereo pedals to bring further magic to your grooves.


Stereo Output Modes:

Fixed (Default)-Sends the same direct/effect mix to both outputs.
EFX/Direct-Sends the effect sound to Output A and the direct sound to Output B.
Random-A stereo effect that randomly outputs the Slicer sound to the left, right, or center.
Ping-Pong-A stereo effect that alternately sends the Slicer sound to Output A or Output B.
Auto-A stereo effect that smoothly pans the Slicer sound between Output A and Output B.
3D Cross-Advanced spatial processing moves the Slicer sound in left/right and forward/back patterns in 3D space.
3D Rotation-Advanced spatial processing rotates the Slicer sound in 3D space.


Expand Your Creative Flow

With its generous external control options, the SL-2 flows with your creative needs. Plug in an external footswitch to instantly tap in the tempo or engage the effect with momentary presses. Or connect an expression pedal to control knob parameters or the overall level as you perform. With the TRS MIDI input, you can sync your SL-2 grooves to a drum machine, DAW, or any other device that sends MIDI clock. It's also possible to control expression, tempo, and bypass functions via MIDI CC messages.


Specifications
Sample Rate: 48 kHz

AD Conversion
24 bits + AF method
AF method (Adaptive Focus method)
This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD and DA converters.

DA Conversion: 32 bits
Patterns: 88
Nominal Input Level: INPUT A (MONO), INPUT B: -20 dBu
Maximum Input Level: INPUT A (MONO), INPUT B: +7 dBu
Input Impedance: INPUT A (MONO), INPUT B: 1 MO
Nominal Output Level: OUTPUT A (MONO), OUTPUT B: -20 dBu
Maximum Output Level: OUTPUT A (MONO), OUTPUT B: +7 dBu
Output Impedance: OUTPUT A (MONO), OUTPUT B: 1 kO
Recommended Load Impedance: OUTPUT A (MONO), OUTPUT B: 10 kO or greater
Bypass: Buffered bypass
Controls: TYPE knob, VARIATION knob, ATTACK knob, DUTY knob, TEMPO knob, BALANCE knob, Pedal switch
Indicator: CHECK indicator (Used for indication of Tempo and check battery)

Connectors:
INPUT A (MONO) jack
INPUT B jack
OUTPUT A (MONO) jack
OUTPUT B jack: 1/4-inch phone type
CTL/EXP jack: 1/4-inch TRS phone type
DC IN jack
MIDI IN jack: Stereo miniature phone type
USB port: USB B
Power Supply: Alkaline battery (9 V, 6LR61 or 6LF22, commercially available), AC adaptor (PSA series: sold separately)
Current Draw95 mA

Expected battery life under continuous use: Alkaline: Approx. 2.5 hours
*These figures will vary depending on the actual conditions of use.
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information")
Dry battery (9 V, 6LR61 or 6LF22)

Options (sold separately):
AC adaptor: PSA series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 450 g / 1 lb

Notes: Next-Generation Guitar Compressor for Expressive Players

Powered by BOSS's MDP technology, the CP-1X is a new type of multiband compressor for guitar that preserves the character of your instrument and technique for unlimited musical expression. Intelligent processing analyses your signal in multiple dimensions as you play, providing advanced dynamics control that never colours or muddies your tone like typical stompbox compressors can. The simple, four-knob interface makes it easy to dial in sophisticated results, while the handy gain reduction indicator always shows you how much compression is being applied. Optimized for all types of guitars, the CP-1X offers next-generation performance for every style of music.

Intelligent Processing for Natural Sound

When you first plug into the CP-1X, you're in for a totally new guitar compressor experience. Typical stompbox compressors colour and restrict your sound, and are hard to dial in for various playing styles. The innovative CP-1X eliminates these drawbacks and more, opening up a world of expressive potential. The powerful MDP engine analyses your guitar's many different tonal elements in real time, providing natural compression that intelligently follows and adapts to your playing. With this high-tech approach, your true tone and technique always comes through, even when using aggressive settings for that effected "squish."

Tap Into New Levels of Musical Expression

No matter what kind of guitar or style you play, the CP-1X always delivers rich, musical tone. From mellow phrases and arpeggios to heavy rhythms, fast solos, and beyond, every playing nuance remains detailed and defined. The pedal also provides superior performance for chicken pickin' country licks, funky rhythm grooves, and other standard guitar compressor applications, and works great as a booster thanks to its punchy, transparent sound. On seven- and eight-string guitars, the CP-1X easily controls upper-range dynamics without compromising your powerful low-end tone. And when used with acoustic-electric guitar, the natural, lush overtones are fully preserved as you go from gentle fingerpicking to full-chord strums.

Studio-Level Results with Simple Controls

With the knobs on most pedal compressors, what you see is what you get. Not so with the CP-1X, as the pedal's controls interact with each other at a highly detailed level. When you turn a knob, numerous interlocked parameters are adjusted under the hood at once. This gives you dynamics control and tone shaping ability that far exceeds standard compressor pedals, providing results previously attainable only with high-end studio processing. The good news is that you don't need to be a sound engineer to use the CP-1X-its sophisticated MDP processing has been meticulously fine-tuned by the BOSS engineers to let you dial in ultra-polished tone with familiar stompbox controls.

High-End Features for Pro Performance

The CP-1X features pro-level 18-volt input circuitry that provides ample headroom for the hottest guitar pickups, ensuring exceptional clarity with any instrument. A 16-segment gain reduction indicator clearly displays the compression amount, making it easy to see what the pedal's doing. The CP-1X's noise performance is also extremely low in comparison with other compressors, another huge benefit brought by BOSS technology.

MDP: Advanced Tech, Superior Tone

Leveraging decades of research and development, BOSS's proprietary Multi-Dimensional Processing (MDP) technology offers a fresh approach to achieving exceptional guitar tones. In real time, MDP analyses the various elements that make up the sound, including frequency, overtones, dynamics, pickup response, and more. Various playing characteristics are analysed as well, such as note register, single notes vs. chords, bends, vibrato amount, and others. Each individual element is then processed in unique ways to produce optimized tones as you play. With its ultra-detailed, high-tech approach, MDP delivers tone quality and playability that reaches far beyond the limits of traditional effects processing.

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
BypassL Buffered bypass

Controls:
Pedal switch
COMP knob
RATIO knob
ATTACK knob
LEVEL knob

Indicators: CHECK indicator (Serves also as battery check indicator), GAIN REDUCTION indicator
Connectors:
INPUT jack
OUTPUT jack
DC IN jack
Power Supply: Alkaline battery (9V, 6LR61), AC adaptor (sold separately)
Working Voltage: 18 V
Current Draw90 mA

Expected battery life under continuous use: Alkaline: Approx. 2 hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (9V, 6LR61)
Option (sold separately) AC adaptor (PSA series)

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 450 g / 1 lb

Notes: Modern phasing with tap tempo sync

The BOSS PH-3 Phase Shifter pedal provides a wealth of vintage and modern phasing effects, including new "Rise" and "Fall" modes for unique, unidirectional phasing. Syncing these phasing effects is as simple as tapping the pedal to the desired tempo, while an optional expression pedal provides realtime control of the PH-3's Rate, Filter and Tempo.

"Rise" and "Fall" Effects

In addition to standard up and down cycles, the new PH-3 Infinite Phaser can produce entirely upward or downward moving sounds through its new Rise and Fall effects. There's also 4-, 8-, 10-, and 12-stage phasers, plus a Step effect.

Total Control

Syncing the PH-3's phasing effects can be achieved by simply tapping the pedal to the tempo desired. Or, for maximum control, connect an optional expression pedal to control both rate and filter in real time as you play.

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output: Level-20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass

Controls:
STAGE switch
RES(Resonance) knob
DEPTH knob
RATE knob
Pedal switch

Indicator: CHECK indicator (Used for indication of check battery)

Connectors:
INPUT jack: 1/4-inch phone type
OUTPUT jack: 1/4-inch phone type
EXP/CTL jack: 1/4-inch stereo phone type
DC IN jack

Power Supply:
Alkaline battery (9 V, 6LR61)
AC adaptor (PSA series: sold separately)

Current Draw: 50 mA
Expected battery life under continuous use: Alkaline: Approx. 6 hours
*These figures will vary depending on the actual conditions of use.

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information")
Alkaline battery (9 V, 6LR61)

Options (sold separately):
AC adaptor: PSA series
Expression pedal: EV-30/FV-500L/FV-500H, Roland EV-5
Footswitch(momentary-type): FS-5U/FS-6/FS-7

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 415 g / 15 oz

0 dBu = 0.775 Vrms

Review: Sonic Transmutations is an extended compilation album celebrating over three decades of Clone Records. Marking the 31 years - which is coincidentally the national Dutch telephone code - the 8x12" inch box set draws together veteran talent and emerging iconoclasts, transmitting a frequency rooted the imprint's signature blend of essential dance music while journeying off into territories unknown. In a constant state of unfolding, morphing across phases of matter, Sonic Transmutations purveys an elemental energy that stands in testament to Clone's enduring legacy and explorations of sounds and structures.

Review: The Cocoon alphabet compilation is an always timely snapshot of the year in techno that was. It's well-curated by label head Sven Vath and always digs into several different sub-genres with a knowing skill. Now up to letter U, it is still going strong as we dive into everything from the soft and dreamy acid-laced deep techno delights of New Jackson's 'Acid Jackson' to the more bright and intense sounds of Jakob Reiter's 'Il Rotori'. Drumcomplex & Frank Sonic provide more epic peak time moments with 'Lacalute' and Space Dimension Controller's deft synth flourishes on 'Cold Tunings' make for a gorgeous high-speed techno trip.

Notes: This stand its part of a new concept in COVERUP. With differents parts, you can use to put on multiple synths, including big devices, until now, not possible with the other stands.

You can configure your setup with you like more, with two big devices, or three medium devices. Easy to ensamble, very light to move from your studio to live. Just you need 1 minute to arm and start to playing.

Your setup of synthesizers and studio equipment can change permanently and with it also the position on the work table.

Taking this into account, CoverUp developed a 3-level support, which can be set up in different ways depending on the number of machines that we are going to place and their size.

In the triple stand configuration (using all 4 parts), 3 20cm machines can be placed. deep and a maximum height of 7cm.

This space is enough for much of the hardware available today.

The triple bracket parts are assembled with screws (included) using a universal socket that holds them together firmly.

In turn each part can be used as a simple support. It is only enough to separate the parts by removing the screws and use each part as it suits us.

Each part has rubber feet underneath, so that the support does not slip and is firmly supported.

Both halves of the triple support are linked with wooden rods at various points to give it lateral stability.

The design contemplates space for the rear connectors of each equipment, so that none of them are obstructed by the support.

Measures:
Depth: 58cm
Height: 41cm
Width: 34cm

Notes: The model 230 double support is designed to house two large pieces of equipment, with the ability to improve the operating position of both.

In each position of the bracket, a 30cm piece of equipment can be placed. deep, such as Maschine MK3 and Maschine Jam.

This double support in turn allows it to be used as two simple supports. Simply unscrew the front half from the back.

At the same time, it saves a lot of space on the surface, ideal for optimizing the space in our studios.

The width is adjustable according to the length of the rods that join both halves.

The support includes rubber feet so that it does not scratch or slip and the screws for its assembly.

Notes: A standalone instrument to get you into the world of analogue synthesis. Hand-built, simple to use and capable of some excellent drones and tones. Just add headphones.

Supplier's Notes:
OVUM is where you start: a standalone all-analogue tool for exploratory sound synthesis - all you need to start creating is headphones.

OVUM is designed for exploring pure tones, drones, and microtonal sound textures. Five independently controlled triangle-core oscillators give you five lush voices to layer and evolve. Each voice has a separate control for volume, pitch, and tone, and can be switched between a bright square wave and a crisp triangle wave.

OVUM is hand-built from 100% analogue circuitry, with no digital components, screens, quantization, or key-combinations to memorize - everything is immediate and at your fingertips.

OVUM is enclosed in a beautiful and sturdy wood and aluminum case that feels as good in your hands as it looks on your tabletop.

OVUM has a USB-C port for power, and a single 3.5mm audio output jack for headphones or line-out to connect to an amplifier, audio interface, or effects.

To reduce waste, by default OVUM comes with just the instrument and a USB to USB-C power cable. If you don't have a spare USB power supply, they can be added to your purchase at checkout. OVUM is portable, but does not contain a battery. It can be powered by any USB powerbank.

Review: After their first round was such a success, Gary Crowley and Jim Lahat have been tasked with pulling together another essential collection of punk and new wave from the 70s and 80s, and you can rest assured they've done it again. There are some major, familiar names here like The Clash, The Slits and Ramones, but there's also a hell of a lot of rare delights from the likes of The Limit, The Art Attacks and The Newtown Neurotics. Musically, there's plenty of range too from spiky three-chord pub rock and punk through to Linton Kewsi Johnson and Dennis Bovell's crossover dub as Poet & The Roots. That's just a tiny overview of this mammoth six-disc set, which takes you deep into the heart of a vital, thrilling period in alternative music.

Review: Arther Baker's Dance Masters series continues, as the spotlight turns to another remix legend: one of the originators of the form, John Luongo. Regarded as one of the most influential DJs and mixers of his day, Luongo's many credits include remixes of Jackie Moore's 'This Time Baby', 'Vertigo / Relight My Fire' by Dan Hartman and Patti Labelle's 'Music Is My Way Of Life'. Luongo also went on to establish a production career in his own right, and his legacy is more than cemented here on this retrospective comp from Demon. This box set compiles his most striking tracks in a sixc LP compilation, as well as: a 16-page booklet; an in-depth essay from Alexis Petridis; a foreword by Arthur Baker and a rare photo album from Luongo's personal collection.

Notes: R2M is module 1 of a pair of two 2 HP modules that allow you to connect a chain of controllers to your DROID master through a standard 3.5 mm stereo cable (sometimes also called aux-cable).

The usual idea is that you put all your DROID controllers into a skiff case and mount your DROID master, X7 and G8 into another case, together with all your fancy Eurorack sound modules.

R2C is module 2 of a pair of two 2 HP modules that allow you to connect a chain of controllers to your DROID master through a standard 3.5 mm stereo cable (sometimes also called aux-cable).

The usual idea is that you put all your DROID controllers into a skiff case and mount your DROID master, X7 and G8 into another case, together with all your fancy Eurorack sound modules.

While you could do this with the typical 6-pin ribbon connector (e.g. the 80 cm version that we offer), using the R2M/R2C combination has some serious advantages:

The connection cable can be almost arbitrary long (20 m have been tested and works perfectly).

Since the connection is done on the front of the modules, you can quickly disconnect your skiff for the purpose of travelling to a gig.

You can use a standard 3.5 mm stereo TRS cable for the connection.

These modules are not just passive connectors but contain special driver ICs that transform the electronic voltage levels, which run in the 6-pin ribbon, to something more stable and reliable that is fit for longer distances in a more hostile environment.

The controllers do not receive their power from the master but from the R2C module, which has a power connector and a voltage regulator for that purpose. Each chain of the R2C module provides the same power to its controller chain as the master does (it contains the identical voltage regulator). That means that you can connect up to 32 controllers (!) to one R2C.

Another nice thing: The R2M/R2C combination allows for two of these master / controller connections in parallel. That means that you can have two masters being attached to their individual controller chains. That does not mean, that each of the masters can access each of the controllers at the same time, however. Both master / controller connections work completely separately.

Package contents:
* one R2M module
* one R2C module
* one Eurorack power cable for the R2C
* two 6-pin ribbon cables for connecting the R2M to two masters
* two 3.5 mm stereo TRS cables, approx.. 1.2 m
* 4 red M3 screws for mounting the two modules

Review: Die Gestalten's commitment to gnarly underground electro continues apace with this triple-pack monster from the shadowy figure. As ever there's a steely, almost industrial focus to the sound, where machine funk goes heavy on the machine. There is space for some melodic warmth as well, such as the cosy lead lines cresting over the top of 'Der Sucher' and the artfully modulated live version of 'Traenen'. But even in these more approachable moments there's a sense of robotic detachment - this is electro in the purist, icy sense of the word. If you thirst for a large dose of truly underground gear from a lone wolf, this payload will have you body popping for days.

Notes: The Chthonic Fuzz (pronounced: Thawnic) creates fat, corpulent, fudgy, sludgy, fuzz tones that pair perfectly with single-coil, P90, gold-foil, and De-Armond style pickups. It also works great with PAF-style humbuckers, but this fuzz was designed with brighter guitars and amps in mind.

Starting with a beloved a single-knob '70's fuzz circuit, DOD experimented with adding a subtle tone control (Lustre), and then a separate gain control (Fuzz). This yielded a simple yet powerful fuzz with an earthy, dark flavour. Straight-up transistor clipping using a pair of 2N2222 transistors allows guitar volume knob clean-up like other classic fuzzes, but the Chthonic comes from a different dimension. Think of it as a kind of Colorsound Overdriver from an alternate universe.

The Chthonic's Kraken/Cthulhu graphics are courtesy of the same artist that did the Carcosa Fuzz art. The Chthonic is a psychotic dizygotic dark companion to the Carcosa Fuzz.

Darker fuzz designed for brighter guitars and amps
Subtle tone control retains pick attack throughout entire range
Excellent clean-up with guitar volume knob
Lightweight all aluminium chassis
Crisp blue LED
True Bypass
11.88 cm (L) x 6.68 cm (W) x 5.71 cm (H)
0.453 kg.
Power Supply 9V Alkaline Dry Battery orPS200R Power Supply
Manufacturer Warranty: 1 Year

Notes: Module A-101-8 is a 8-stage phase shifter which uses light-sensitive resistors (LDR) and is a replica of the Compact Phasing A manufactured by the company Schulte in the seventies. The actual phasing circuit is identical to the historic model. Only the illumination control of the LDRs is different: the A-101-8 uses LEDs to illuminate the LDRs, the historic model used incandescent miniature lamps. And the A-101-8 has no built-in LFO but can be controlled by any external control voltage source (e.g. LFO, ADSR, random, Theremin, ribbon controller, sequencer, midi). The phasing offset (i.e. the base value for the phase shifting) and the modulation depth of the external control signal can be adjusted separately. The Compact Phasing A had no offset control but only a depth control for the built-in LFO. Feedback and mixing ratio of the output signal are set by two controls. The audio input is equipped with an attenuator. The module has two audio outputs available (same as the historic model) and a visual display of the phase shifting.

The module has these controls and in/outputs available:

Control Man. : manual control of the phase shift offset (base value)

Control CV: attenuator for the signal applied to the CV socket

Control Feedb.: Feedback or Resonance (similar function as filter resonance/feedback/emphasis)

Control Mix: sets the mixing ratio between original and phase shift signal appearing at output 1

fully CCW: only the modified input signal appears at output 1 (see note below *)

center: a mixture between the modified input signal and the phase shift signal appears at output 1, that's the standard position for the classical phasing effect

fully CW: the pure phase shifted signal appears at output 1 (e.g. for vibrato effects)

Control Input Level: attenuator for signal applied to the In socket

Socket In: audio input

Socket CV: control voltage input

Socket Out 1: audio output 1 (mix signal)

Socket Out 2: audio output 2 (modified input signal)

LED: visual control of the phase shift

The module has some peculiarities (same as the historic model):

The input signal is processed at first by a pre-stage which outputs a "modified" input signal (*). This signal is not processed by the phase shift stages but is affected by the feedback setting. Only when feedback is set to zero this signal is identical to the input signal. Otherwise it contains feedback components.

This signal is output on socket Out 2.

When both output sockets Out 1 and Out 2 are used as stereo channels one obtains a spatial stereo sound effect.

The same signals is also used for the CCW position of the mix control. With mix control fully CCW the unmodified signal appears only if the feedback control is set to zero. Otherwise it contains feedback components.

The historic model had two audio inputs: one 5-pin DIN socket and a 1/4" jack socket. The DIN socket was intended for high-level line signals. When the 1/4" jack socket was used the amplification of the pre-stage increased by about 100. The 1/4" jack socket was intended for low level signals (e.g. electric guitars or microphones). For this feature the A-101-8 has an internal jumper that can be used to increase the amplification. As long as the module is used within the A-100 system usually the lower amplification is used to avoid distortion.

The 8 photo resistors and LEDs are assembled within an small lighproof box. In addition the pc boards are made of lighproof black material to avoid interfering light from other modules or the bus board.

Dimensions
4 HP
45 mm deep

Current Draw
30 mA +12V
30 mA -12V

Notes: Module A-105-2 is a voltage controlled low pass filter with 24dB/octave slope.

It is the successor of the A-105 which had to be discontinued because the obsolete SSM2044 filter circuit. The A-105-2 is based on the SSI2144 which is in turn the successor circuit of the SSM2044. The features of both modules are nearly the same. The main difference is the clearly reduced front panel width of the A-105-2 (4HP instead of 8HP) and the associated changes of the controls and sockets positions. In addition the A-105-2 is equipped with 2 audio inputs.

The module has these controls and in/outputs available:

Control Frequ: manual frequency control
Control FCV2: attenuator for the frequency control voltage applied to socket FCV2
Control Q: manual resonance control
Control QCV: attenuator for the resonance control voltage applied to socket QCV
Control Input 1 Level: attenuator for the audio input signal applied to socket Input 1
Socket Input 1: audio input 1 (with attenuator)
Socket Input 2: audio input 2 (without attenuator)
Socket FCV1: frequency control voltage 1 (without attenuator, about 1V/oct scale)
Socket FCV2: frequency control voltage 2 (with attenuator)
Socket QCV: resonance control voltage (with attenuator)
Socket Out: audio output
Technical notes:

Frequency range: about 15Hz ... 15 kHz
Resonance up to self oscillation
Max. input voltage at Input 2 without clipping/distortion: about 15Vpp
Max. output voltage without clipping/distortion: about 15Vpp
The signals of both inputs are mixed before they are processed by the filter. This saves an external mixer for small setups.
Depth: 45 mm

HP : 4

Notes: Module A-105-2V is a voltage controlled low pass filter with 24dB/octave slope.

It is the successor of the A-105 which had to be discontinued because the obsolete SSM2044 filter circuit. The A-105-2 is based on the SSI2144 which is in turn the successor circuit of the SSM2044. The features of both modules are nearly the same. The main difference is the clearly reduced front panel width of the A-105-2 (4HP instead of 8HP) and the associated changes of the controls and sockets positions. In addition the A-105-2 is equipped with 2 audio inputs.

The module has these controls and in/outputs available:

Control Frequ: manual frequency control
Control FCV2: attenuator for the frequency control voltage applied to socket FCV2
Control Q: manual resonance control
Control QCV: attenuator for the resonance control voltage applied to socket QCV
Control Input 1 Level: attenuator for the audio input signal applied to socket Input 1
Socket Input 1: audio input 1 (with attenuator)
Socket Input 2: audio input 2 (without attenuator)
Socket FCV1: frequency control voltage 1 (without attenuator, about 1V/oct scale)
Socket FCV2: frequency control voltage 2 (with attenuator)
Socket QCV: resonance control voltage (with attenuator)
Socket Out: audio output
Technical notes:

Frequency range: about 15Hz ... 15 kHz
Resonance up to self oscillation
Max. input voltage at Input 2 without clipping/distortion: about 15Vpp
Max. output voltage without clipping/distortion: about 15Vpp
The signals of both inputs are mixed before they are processed by the filter. This saves an external mixer for small setups.
Depth: 45 mm

HP : 4

Notes: Zoar is a highly interactive medium-high gain discrete distortion (using only transistors; no opamps or diodes in here!) that has that highly sought after touch sensitive amp-like quality.

It has been finely tuned to create a highly tweakable hi-fi and modern sounding distortion, but with the ghosts of old school circuitry to deliver a grind that is both instantly familiar and delightfully unique.

From defined sparkle and tightness of an overdrive to low-medium gain fuzz that's perfect for drop tuned guitars and basses, Zoar can do it all. Zoar lets you dial in and control every nuance of your tone from jangly on-the-verge of break up to blowing the walls out heavy saturation.

While having its roots in a very familiar past, the passive 3-band EQ has been finely tuned for modern tones. While this style of tone shaping seems simple on the surface, it is deceptively complex and highly interactive - yet surprisingly easy to instantly dial in dozens of mind blowing sounds.

Want to elevate your sonic spirit to a higher level? Try running Zoar at higher voltage! Zoar can handle power up to 18v DC. Higher voltages will yield a different frequency response with more defined dynamics and a faster response. When powered at 18v, the range of clean tones are widened, dirty tones become punchier with better note articulation, low frequencies are tightened, higher frequencies will cover a broader spectrum without becoming harsh and the output volume nearly doubles! The experience is not unlike plugging into a wall of high wattage tube amplifiers!

This meticulously crafted box has six knobs that allow you to truly customize your sound with the Level, Weight, Gain, Bass, Middle, and Treble controls.

The Gain control on Zoar goes from the edge of break up all the way over the cliff into the crunchy, grinding abyss. The character of the distortion is heavily dependent on the setting of the Weight control as well as the pickup type and further fine-tuned by the EQ section.

Zoar's 3-Band EQ and Gain controls give you nearly unlimited options with great focus and sensitive precision, but the real powerhouse of Zoar is the Weight control. This control dictates the amount of low end that is passed into the circuit, thus controlling the entire character of the pedal. Simply dial in the 3-Band EQ to 12 o'clock and adjust the Weight to see how drastically it dictates your sound. From a mere clean boost to a high gain distortion to overdrive to the crispy Hi-Fi fuzz territory, this function gives you everything.

The Level control hits unity around noon, but this is dependent on where the other controls are set. In addition to controlling the output volume, it also plays a small part in controlling the voice of Zoar. By adjusting the Level control with any combination of EQ (boosting the frequency bands and cutting the output volume), you can achieve drastically different curves that have the feel of the more traditional low pass filter type tone control.

Review: While they might be best known for one mega-hit, Pete Burns' Dead Or Alive were much more than 'You Spin Me Round'. Emerging just ahead of the new romantics era, their embrace of synth-pop collided with an antagonistic spirit rooted in punk. Capped off with the flamboyant theatrics of Burns' voice and appearance, and you have one of the all-time greats of the era, amply celebrated on this singles collection which features some of the killer extended mixes and alternative versions that make their 12"s as essential as their LPs. At 180 tracks spread over 27 discs, there's a lot to chew on - much more than just a one-hit wonder.

Notes: With its take on the cult-classic, chainsaw distortion pedal, the EHX Hell Melter takes distortion to its extremes. The Hell Melter features expanded controls and tonal capabilities, allowing the already in-your-face sound of the pedal to broaden by switching to more open clipping options and boosting the internal voltage for increased headroom, less compression, and more attack.

Originally designed as the ultimate in high-gain tone, this world-famous distortion circuit is known for the death metal sounds of Sweden's Entombed and the shoegaze wash of My Bloody Valentine. It's even found a home in the rig of David Gilmour!

The EHX Hell Melter's expanded control set includes Gain and Level controls, and a powerful active EQ featuring with parametric mids for improved versatility. The Dry level control allows for blending your input signal for improved low-end when used with a bass or even blending in other distorted tones.

Boost Footswitch engages an input gain boost and volume boost which is internally adjustable. The Normal/Burn switch toggles between the classic chainsaw sound and the more open clipping option.

Classic Heavy Metal circuit with expanded controls
Increased overall output volume
Active EQ controls expansion with parametric MIDS control
Noise gate and dry level control
NORMAL and BURN modes
Footswitchable boost section
Independent distortion and level knobs
9V power supply included

Specifications

Circuit: Analogue
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.75 x 4 x 2.25
Current Draw: 140mA
Year Released: 2023

Notes: Bridging the worlds of overdrive, distortion, and fuzz in a sub-compact pico chassis!

The EHX Pico Triboro Bridge is a tri-mode drive box with a wide range of tonal possibilities. Featuring Overdrive, Distortion, and Fuzz modes, it bridges any gap in your gain. With a powerful EQ, input contouring, and a pico-sized footprint, the Triboro Bridge can be your tonal keystone or a welcome change from the routine drive.

Starting with Overdrive mode, the gain spectrum ranges from low to mid with an open voicing that can be used as a light always on drive or a solo boost. Engage the Triboro's Distortion mode for additional gain-staging for a tone from crunchy rhythms to fully saturated leads. Transform the pedal into something completely different with the Fuzz mode's over-the-top gain, Gate and Low Pass Filter.

The Triboro Bridge controls features Volume and Gain knobs to control the overall output and saturation of the tone. In Overdrive and Distortion modes, the Treble and Bass knobs act as a Baxandall EQ for simple yet effective tone shaping. In Fuzz mode the Treble knob is now the gate more, controlling the Fuzz's noise gate threshold, and the Bass knob controls a Low Pass Filter for extreme tonal variations. Additionally, the Triboro Bridge features an Input Contouring EQ which can be applied to your tone at the input, for a more modern, sculpted tone in all modes.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 3.65 x 2.0 x 2.0
Current Draw: 100mA
Year Released: 2023