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Notes: Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

Notes: Melbourne's hybrid synth combines analogue circuits with wavetable options, all controlled by motorised knobs. A beautiful flagship instrument with lush sound and features to back up its unique interface.

Supplier's Notes:
NINA combines the tactile and sonic qualities of classic analogue synths with modern functionality, patch recall and automation.

NINA: 12 Voice Analog Polysynth
4 part Multi-timbral
Motorized, recallable, automatable, assignable, and robust high resolution control panel
Unlimited & quick to edit Modulation Matrix
3 Oscillators per voice. 2 Analog VCOs, 1 Digital Wavetable.
Patch morphing
Onboard effects

NINA Specifications

Oscillators

3 Oscillators per voice. 2 Analog VCOs, 1 Digital Wavetable.
Oscillator 1 & 2 with waveforms morphable between triangle to sawtooth and PWM square-wave.
Sub octave mode for VCO 1 square wave.
Hard Sync Oscillator 2 from VCO 1.
Fine & Course tune control with up to 8 octave range.
96kHz 24bit Wavetable Oscillator Resolution.
User loadable Wavetables.
Selectable Fuzz & Noise sources - Pink, White, Oscillator 1 & 2 XOR (Fuzz).
LFO with selectable shapes, through-zero modulatable rate & level controls.

VCF
Classic 4 pole transistor ladder VCF
Modulatable resonance, available as a matrix destination.
Extremely over-drivable, or perfectly smooth low noise modes.
Dedicated control for Envelope to Cutoff modulation amount.

VCA
Traditional ADSR envelope with ultra-fast slopes possible.
Melbourne Instruments designed four-quadrant (through zero) VCA.
Stereo: 2 VCAs per voice.
Infinite panning.

Unison polyphony
Play up to 12 voices in unison or polyphonically.
Mono Triggered and Legato modes.
Selectable polyphonic panning schemes

Modulation
Extensive modulation matrix. 16 sources to 27 destinations. No bus count limitation.
Morphable modulation settings.
Quick to edit MOD mode. Select a source and dial in amounts instantly on control panel.
All MOD amounts are through zero (bipolar)

Patch morphing

Morph between patches to create new timbres.
Morph entire patch including Modulation Matrix.

ADSR envelope generators

2 x ADSR envelopes available as mod sources
Modulate Attack, Decay, Sustain, Release, and Level using velocity or any other mod source

Multi-timbral layers

Up to 4 layers for 4 Timbres controllable via MIDI channel and note ranges
User selectable number of assigned voices per layer
Optional linked note ranges across layers for quick keyboard splits & layering

Effects

Upgradable VST3 effects algorithms built on an Open Source architecture.
96kHz 24bit resolution
Parallel or Series mix modes. Parallel mode retains analogue sound.

Sequencer

Up to 16 Step Polyphonic
Adjustable note value
Hold mode
Send Sequencer to Arpeggiator
Tempo sync from external source

Computer

Hackable Open Source software built on a powerful Raspberry Pi 4 running Elk Audio OS.

Connectivity

Audio Out
4 assignable line level outputs.
Stereo main outputs with effects.
Aux outputs (3 & 4).
Headphone output.

Audio In
3 TRS Balanced Line or CV Inputs.
1 TRS/XLR Combo. Mic for line/CV input.
CV +/-10V max. Analog gain and offset trim.

Physical

Weight: 5.5kg (12.1lb)
Dimensions (length x width x depth): 446mm x 230mm x 71mm.
Solid metal construction.
19" rack mount ears available.

Notes: The most accessible route into Moog's semi-modular synths. Subharmonicon polyrythmic synth and DFAM percussion synth, plus accessories, mixer, cables and everything else you need to get started.

Supplier notes:
Moog Sound Studio: A complete analog synthesis studio in a box. Everything necessary to start patching today. All you need is a pair of headphones!

Ready to take the next step in your analog synthesis journey? The Moog Sound Studio has you covered. Moog Sound Studio is an all-inclusive bundle of semi-modular synthesizers and accessories created to provide users with all of the equipment, cables, accessories, and educational tools needed to enter the world of analog synthesis for the first time or to continue to explore sound in an immersive new way. All you need is your own headphones or personal speaker and you're ready to get started!

Moog's Subharmonicon and DFAM synthesizers are a magical combination. Subharmonicon is a rich sonic kaleidoscope of 6-tone subharmonic chord shapes and polyrhythmic sequences, while DFAM presents an inspiring new approach to drum synthesis and rhythmic pattern creation. While each instrument is uniquely powerful alone, pairing the two together creates an experience that is greater than the sum of its parts. Patch them together to create new sounds, unlock novel behaviors, synchronize patterns, and explore endless sonic possibilities.

Along with a duo of semi-modular analog synthesizers, each Moog Sound Studio includes a personal stereo summing mixer with 3-way power distribution to provide flexible signal routing and power your entire system conveniently from a single power supply. Also included are a series of guided exercises, exploration games, experimental patch sheets, imaginative studio art, and more to outfit your studio and take your synthesis skills to the next level. And of course, all of the cables and accessories needed to connect everything are included as well!

Moog Sound Studio takes the magical environment and hands-on learning experience of Moog installations found at events around the world and presents them in a way that empowers you to explore synthesis with joy and confidence from the comfort of your own home or studio.

This is an exciting time to be a part of the growing synth community. The Moog Sound Studio is here to provide a meaningful electronic experience that informs, inspires, and nurtures synthesists at any point in the creative journey.

WHAT'S IN THE BOX?

Subharmonicon
Subharmonicon is a semi-modular polyrhythmic analog synthesizer that employs a 6-tone sound engine and multi-layered clock generator to explore the world of subharmonics, polyrhythms, and the unique relationships they create. Subharmonicon Excels at: Unique subharmonic chord shapes and intricate polyrhythmic sequencing.

DFAM
DFAM (Drummer From Another Mother) is a semi-modular analog percussion synthesizer that empowers an expressive hands-on approach to percussive pattern creation. DFAM Excels at: Rich electronic drum patches and organic analog sequencing that breathes.

Personal Stereo Summing Mixer and Instrument Cables
This 4-input analog summing mixer (1/4" IN, 1/8" stereo OUT) features selectable mono or stereo configurations for versatile routing options, and the built-in 3-way power distribution hub supplies power throughout your Moog Sound Studio conveniently from a single power supply. The included instrument cables come in lengths and colors to compliment the system and reduce clutter.

2-Tier Rack Kit
Conveniently stack both synthesizers and the summing mixer together as one connected system to maximize studio space and orient instruments vertically for optimal interconnectivity.

Cable Organizer and Custom Patch Cable Set
The included patch cable organizer connects to the two-tier rack or mounts directly to any wall, keeping patch cables neat and orderly for a hassle-free workflow. A custom set of patch cables has been selected in lengths, colors, and quantities to maximize system patchability.

Guided Exercises, Exploration Games, and Experimental Patch Sheets
Learning synthesis doesn't have to be intimidating! Included games and educational materials allow the player to explore at their own pace while enjoying the journey. Developed with artists who know these instruments best, these detailed and fun exercises are designed to accelerate your synthesis experience by exploring new skills to support your ongoing synthesis practice - A perfect jumping-off-point for beginners or source of inspiration for the seasoned pro.

Studio Art
All original artwork, created by Jim Stoten (M32/DFAM) and Philip Lindeman (SUBH/DFAM), has been thoughtfully designed to aid users in the exploration of new imaginative worlds. The characters, poster, and objects that accompany each Moog Sound Studio come together to transform any space into an immersive creative environment.

Notes: Originally released in 1970, Minimoog Model D was the world's first portable synthesizer and served as the archetype for all electronic keyboards that followed. The all-analog instrument gained acclaim for combining the colossal sound of the 1960s Moog modular synthesizers with the accessibility of pre-wired modulesimeaning that it could be played instantly and intuitively with no patch cables required. It was quickly embraced by a diverse roster of performers, with artists like Herbie Hancock, Kraftwerk, Rick Wakeman, Sun Ra, Piero Umiliani, Giorgio Moroder, Bernie Worrell, and Gary Numan all shaping unique sounds and forging new musical genres using the instrument.

More than a half-century since its invention, Minimoog Model D is back in production at the Moog factory in Asheville, North Carolina. An exceptional sonic tool and one of the most beloved and iconic synthesizers ever designed, it returns to the hands of synthesists of all kinds and serves as inspiration for the next generation of electronic musicians.

The three-oscillator, monophonic, analog synthesizer is securely housed in a locally sourced Appalachian cherry cabinet and hand-finished aluminum chassis. Sounding as vibrant and deep as ever, its legendary low-pass ladder filter, powerful oscillators, and rich saturating mixer retain the exact component placement and through-hole design of a 1970s-era Minimoog Model D.

While no changes have been made to the original sound engine or audio signal path, the 2022 Minimoog Model D includes a series of popular functional modifications that expand this legendary instrument's sonic capabilities. These modifications include a dedicated analog LFO with triangle and square waveshapes, a premium Fatar keybed with velocity and after pressure available via top panel CV jacks with onboard trimpots, MIDI integration, and a mixer feedback modification which allows the Minimoog Model D to overdrive and scream with the turn of a knob. And, for the first time in its history, the Minimoog Model D now features a spring-loaded pitch wheel with center deadband, allowing for improved playability and wild performance flourishes. This newest edition also includes updates to the MIDI functionality, allowing for improved modern studio integration.

SPECS
NUMBER OF KEYS
44
KEYBOARD RANGE
F0 to C4
KEYBOARD ACTION
Synthesizer (Spring)
NOTE PRIORITY
(Low, High, Last): User Selectable
SOUND SOURCES
3x Oscillators, Noise Generator and External Audio Input
OSCILLATOR FREQUENCY RANGE
0.1 to 20 kHz (In Six Overlapping Ranges)
OSCILLATOR STABILITY
(short term) > 0.25 %
OSCILLATOR WAVEFORMS
Triangle, Triangle-Sawtooth (Oscillator-1, Oscillator-2), Reverse Sawtooth (Oscillator-3), Sawtooth, Rectangle, Wide Pulse and Narrow Pulse.

Notes: Designed for seamless integration with Serato and the Stem-Split feature, the Four is Rane's flagship controller. Clever compatibility options let you add vinyl, CDJs and other controllers like the Rane Twelve or Denon LC6000.

Supplier's Notes:
Designed for creativity, built to last

The FOUR brilliantly combines the latest in performance-focused DJ technology with RANE's tried-and-true build and industry-leading sound quality. The result is a bulletproof, great sounding, feature-packed DJ controller that will unleash exciting new levels of creativity in your DJ sets and livestreams. With never-before-seen features like STEM-SPLIT, Performance Pad OLED displays, and a new dynamic internal FX engine, the FOUR is the world's most advanced 4-channel Stems DJ controller.

Harness the power of Serato stems

RANE and Serato have a long history of creating ground-breaking DJ products together, dating back to the RANE SL1 box in 2004. The RANE FOUR takes this partnership to the next level by melding the industrial-grade build and sound quality of RANE hardware with the powerful new Stems capabilities of Serato DJ software. The result is a next-level DJ controller with unprecedented Serato Stems control. A dedicated Stems Pad Mode, Instrumental and Acapella buttons, and RANE's exclusive STEM-SPLIT feature provide you with the ultimate Stems workflow and experience to fully elevate your creativity as a DJ.

New levels of creative FX

The newly designed internal FX suite features 22 paddle-triggered, fully customizable Main FX and 4 knob-controlled Channel FX for adding flavour and personality to individual Stems elements and tracks. This robust FX suite features traditional FX classics like Reverb and Echo and exhilarating new additions including Scale Down, Recycler, Riser, and more. The Channel FX section offers dynamic, hands-on manipulation of 4 knob-controlled FX including Filter, Filter Roll, Noise, and Flanger. The RANE FOUR also allows you to switch seamless back and forth between the built-in hardware FX and Serato's software FX, providing limitless options for any style of DJing.

Four channels of performance possibility

The 4-channel mixer section features full EQ control and intuitive FX assignment options, plus 2 external Line/Phono inputs for external turntables or decks. The FOUR is DVS-enabled and unlocks both Serato DJ Pro and Serato Pitch 'n Time when connected to laptop running the latest version of Serato. Enhanced Sampler routing options allow you to control the Sampler volume via a dedicated knob, or assign the audio to Channel 4 so that you can layer FX on top of your DJ drops, instruments, and other samples. The quick-access deck selection buttons allow for swiftly switching platter control between software decks, and the FOUR also supports external modular decks like the RANE TWELVE MKII and the Denon DJ LC6000 for a full physical 4-deck mixing experience.

Focus on your performance, not your laptop

The 8 OLED displays above the Performance Pads on each deck offer visual feedback for all pad modes, making it easier than ever to see the function of each pad without having to look at the computer. See Cue, Loop, and Sample names as well as Roll and Loop lengths, beat divisions, Pitch Play tuning, and Stem elements and FX.

The best static platters... ever

The 8.5" capacitive jog wheels were designed to be the smoothest and most accurate static jog wheels available on a DJ controller. A central colour display indicates play head position, BPM, pitch percentage, pitch range, overview waveform with Hot Cue markers, song key, time, loop size, deck selection, Beat Jump length and more.

Trusted Rane quality

The RANE FOUR is the only 4-channel DJ controller built to RANE's rigorous standards. Solid, bulletproof construction, MAG-FOUR crossfader with curve adjustment and channel assignment switches, aluminium FX toggles, and industry-leading sound quality and connections ensure that the RANE FOUR will always perform like a champ, no matter what.

Technical Specifications

Digital Audio

Converters: Cirrus Logic, 24-bit PCM, 48 kHz
Digital Signal Processing: 32-bit, Floating Point, Double precision
Dynamic Range (A-weighted, unity gain): ADC: 113 dB DAC: 113 dB
CD Input to Analog Output: 110 dB
CD Input to USB Output: 113 dB
USB Input to Analog Output: 113 dB

Connections

(2) XLR / 1/4" (6.35 mm) TRS inputs (Mic 1-2)
(2) RCA stereo input pairs (Deck 3-4)
(2) XLR outputs (Main)
(2) 1/4" outputs (Booth)
(1) RCA stereo output pair (Main)
(1) 1/4" (6.35 mm) TRS output (Headphones)
(1) 1/8" (3.5 mm) TRS output (Headphones)
(2) USB Type-B ports
(2) USB Type-B ports

Audio Outputs

Main Outputs (XLR):
Gain Trim: Off to 0 dB
Maximum Output: 8 Vrms
THD+N (20 kHz BW @ 1 kHz): 0.004%
Frequency Response: Flat - 20-20kHz

Main Outputs (RCA stereo pair):
Maximum Output: 4 Vrms
THD+N (20 kHz BW @ 1 kHz): 0.004%
Frequency Response: Flat - 20-20kHz

Booth Outputs (1/4"):
Gain Trim: Off to 0 dB
Maximum Output: 8 Vrms
THD+N (20 kHz BW @ 1 kHz): 0.004%
Frequency Response: Flat - 20-20kHz

Headphone Outputs (1/4"/6.35 mm and 1/8"/3.5 mm TRS):
Maximum Output: 4 Vrms Voltage: (no load)
Output Power: 50 mW (50 ohms)
Dynamic Range (A-weighted): 108 dB

Audio Inputs

Microphone 1/2 (Combo XLR/1/4" [6.35 mm] TRS):
Analog Gain: 25 dB
Maximum Input: 110 mV
Gain Trim: Off to +26 dB (unity at center)
Tone Control: 2-band

Line/Phono Inputs 3/4 (RCA stereo pairs, switchable):

Line: Line
Maximum Input: 4 Vrms
Gain Trim: Off to +12 dB
Tone Control: 3-band, full-cut to +10 dB
THD+N (20 kHz BW @ 1 kHz: 0.004%

Phono: RIAA
RIAA Curve: +/-0.25 dB
Gain (@ 1 kHz): 31.5 dB
Maximum Input (@ 1 kHz): 106 mV
Dynamic Range (A-weighted): 102 dB

Pads: (16) on/off multi-colour back-lit pads (8 per deck, 9 modes each
Wheel Displays: (2) 320 x 240 Colour LCD's
Pad & FX Displays: (9) 128 x 32 Monochrome OLED's
Faders: (1) MAG FOUR tension-adjustable crossfader with contour, (4) Standard channel faders

Power:
Connection: IEC
Voltage: 100-240 V, 50/60 Hz
Consumption: 20 W

Dimensions (width x depth x height):
Dimensions (width x depth x height): 30.8" x 15.9" x 4.2" / 782.32 x 403.8 x 106.6 mm
Weight: 18.25 lbs./8.27 kg

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

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

Polyphonic aftertouch

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

Thousands of instruments made real

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

Included software

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

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

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

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

S88 MK3 Dimensions: 1353 × 347 × 120 mm
Weight: 6kg

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

System requirements

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

Notes: Hand built in Japan to exacting audiophile standards, the Model9500 is a thing of beauty. Four-channel rotary design with five-band master EQ. Also available with wooden side panels.

Supplier's Notes:
MODEL9500B Music Mixer

4-channel table top mixer

MODEL9500B (broadcast mixer) Music Mixer STD

ARS MODEL 9500B DJ Mixer is a Japanese made, 4ch. rotary mixer with world's first 3band hybrid isoeq Hi-EQ Mid-EQ Low -Iso on each channel.

This 4 channel High Quality Rotary DJ Mixer has a 3 band Isolator and 5Band Equalizer on the master.5Band Equalizer Control: 75Hz 300Hz 1Khz 3Khz 10Khz 5BandPotentiometer and Switch are All ALPS .

A long time in the development phase, this mixer is a beautiful example of Japanese hand made precision workmanship. Highly recommended.

It is designed with purist ideals with only essential features.

ARS 9500 has 3 band hybrid iso-EQ hi-EQ mid-EQ low-iso on each channel and 3band Iso and 5band EQ on the master.

The Master Isolators can be boost of cut from +18db ~.

The Ch hi-EQ mid-EQ can boost or cut from +12db ~ -12db. LOW-ISO boost of cut from +6db ~.

Each channel has Post Fader Send. also Return and Effect Loop.

* Due to the Model-9500 is designed for a professional use, The body is no power switch to avoid accidentally power off while playing.

* Minimizing the power noise by designing the All circuit board and the power circuit board independently and setting them apart.

Wood is a natural material, so there may be unevenness in the wood grain. Thank you for your understanding.

Specs

Frequency Response: +/-1dB 20Hz-20Khz
Input: 3 x Phono: 47K Ohm / 5 x Line: 20K Ohm
House Output: RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Booth Output: RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Effect Loop: RCA Unbalanced Impedance 20K Ohm
Effect Loop: Output: RCA Unbalanced Impedance 600 Ohm
Send Output: RCA Unbalanced Impedance 600 Ohm
Return: RCA Unbalanced Impedance 20K Ohm

Isolator Frequency Response:
3band hybrid isoeq 1-4Ch /Low-ISO /MID-EQ/HI-EQ
Master 3Band Iso: 10 - 300 Hz / 300 - 3000 Hz / 3000 - 20000Hz boost of cut from +18db ~ -?.
5Band Equalizer Control: 75Hz 300Hz 1Khz 3Khz 10Khz 5Band

Headphone Monitor Trim: Cue-Mix-Pgm
Power Consumption: 30w
Power Requirement: US-115V/EU-230V(Selectable)
Dimensions: (W)366 x (H)250 x (D)100 mm
Model: 9500BW
Unit weight: 5400g
ACBOX:1100g
Front Panel Colour: Black

Notes: The 1248 provides all the I/O you need for a well-equipped personal studio, including four mic inputs, two dedicated hi-Z guitar inputs, 8 x 12 balanced analog with separate main and monitor outs, 2 x 8-channel ADAT optical, and RCA S/PDIF (with sample rate conversion), for a total of 32 inputs and 34 outputs. Need more I/O? Expansion possibilities are seamless and virtually limitless.

The 1248 employs latest-generation ESS Sabre32 Ultra converters, known for their industry-leading performance, together with expertly engineered analog circuits that reflect more than three decades of pro audio engineering expertise. The result? The 1248 achieves actual, measured performance of 123 dB dynamic range (A-weighted, 20 Hz to 20 kHz) on its balanced TRS analog outputs.

Every digital audio workflow has some latency. The only question is, how much? In the case of the 1248, the answer is, not much at all. In the 1248, latency is measured in a handful of samples, from the time an audio signal first goes digital to its arrival somewhere else (to an output, the mixer, or the computer). By keeping latency this low in the hardware, the 1248 helps minimize latency introduced by your host software.

Thunderbolt lets you connect displays, hard drives, and other peripherals to your computer, along with the 1248, and the Thunderbolt bus won't even break a sweat. But more importantly, Thunderbolt gives you an astonishing 256 channels of computer I/O (128 in and out). You can use them to route audio to the physical inputs and outputs on the 1248, plus the 48-channel mixer inside the 1248, plus audio network streams. The 1248 is the first and only interface to combine Thunderbolt I/O connectivity with AVB audio networking.

Don't have a Thunderbolt-equipped computer yet? Hi-speed USB 2.0 provides across-the-board compatibility with pretty much all laptops and desktops. The 1248 is USB audio class compliant, which means you enjoy OS-level USB compatibility and support, including iPad support (with a camera connection kit). Since USB 2.0 devices are compatible with USB 3.0-equipped hosts, your 1248 interface is a future-proof investment in your studio.

The 1248 is equipped with a 48-channel digital mixer designed just like a large format mixing console. The 48 inputs can take signal from anywhere: the physical inputs on the 1248 interface itself, audio channels from host software on your computer, audio network streams, or even mixer outputs. The mixer provides 7 stereo aux busses, 3 groups, a reverb bus that can alternately serve as a 4th group, a Main Mix bus and a separate Monitor bus that can serve as a solo bus. In essence: capable and transparent mixing.

British analog mixing consoles and renowned for their musical EQ profiles. The 1248 meticulously models these classic EQs to give you the very same, magical EQ response found on there coveted desks. Each input channel also provides a classic compressor module with optional peak/RMS operation. Groups and the Main Mix bus are equipped with MOTU's Leveler, an accurate model of the legendary Teletronix LA-2A optical levelling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics.

With one click on the 1248's routing grid, you can route any source signal to any destination. Sources can be analog or digital inputs on the interface, computer channels, mixer bus outputs, or audio network streams from other devices on the network. Destinations include interface outputs, host software inputs, mixer inputs, or any other device (or computer) on the AVB network. You can even split any single input (or stereo pair) to unlimited multiple output destinations.

The 1248 network port includes AVB Ethernet, the new industry standard developed by the IEEE for professional audio networking. Add a second MOTU AVB interface (1248, 8M or 16A) with a simple Cat-5e or CAT-6 ethernet cable.

The software that you use to control the 1248 doesn't reside on your hard drive. It's a web app served from the hardware itself. This means you can control the 1248's on-board DSP, mixing, device settings, and network audio routing from the web app software running in your favourite web browser on a laptop, tablet or smart phone connected by wire or Wi-Fi to your local area network. Use any web client on any platform - Mac, Windows, Linux, iOS, Android - as long as it shares the same network.

Connect an Apple Airport or other Wi-Fi router directly to the 1248 with a standard Ethernet cable and control the 1248's powerful mixing and DSP effects from your smart phone or tablet, without a computer. Great for live sound mixing.

The large backlit 324 x 24 LCD lets you view all signal activity at a glance with detailed metering for all analog and digital I/O. Access hardware settings from a simple and convenient menu.

Notes: The MOTU 8M is part of a MOTU's new range of high end Thunderbolt audio interfaces. Each of the new MOTU interfaces feature AVB networking, connectible with each other through cat-5e up to 5 units giving room for expandability at very low latency. The MOTU interfaces also features a DSP engine running 32 bit floating point processing, 12 stereo busses and DSP effects based on vintage hardware.

The MOTU 8M features 8 pristine mic inputs with individual mic preamps, these offer adjustable 48V phantom power and -20dB pad. All of the gain levels on each of the inputs can be adjusted either on the front of the panel or through web app control software from your computer, tablet or smart-phone. All the mic/guitar inputs on the 8M offer V-Limit protection, a hardware limiter that prevents digital clipping, allowing recording up to +9dB above zero with no digital clipping.

The preamps on the 8M offer 53dB of gain which can be adjusted in 1dB increments, with the control provided by digital rotary encoders and graphic feedback given through the large backlit LCD screen. The 8M is also equipped with a 48 channel digital mixer, the inputs can be received from anywhere, whether it be from the 8M's inputs or through your host computer software.

Notes: The 16A is one of several new high-performance audio interfaces from MOTU that combine superb audio quality, large console style mixing, and state-of-the-art features

Sixteen balanced/unbalanced TRS analog inputs and outputs, plus 2 x 8-channel ADAT optical ports, deliver a total of 32 inputs and 32 outputs. Use the 16A for expanded analog I/O for your computer, or as a flexible, capable patchbay and mixer. Or both!

The 16A employs latest-generation ESS Sabre32 Ultra converters, known for their industry-leading performance, together with expertly engineered analog circuits that reflect more than three decades of pro audio engineering expertise. The result? The 16A achieves actual, measured performance of 123 dB dynamic range (A-weighted, 20 Hz to 20 kHz) on its balanced TRS analog outputs.

Every digital audio workflow has some latency. The only question is, how much? In the case of the 16A, the answer is, not much at all. In the 16A, latency is measured in a handful of samples, from the time an audio signal first goes digital to its arrival somewhere else (to an output, the mixer, or the computer). By keeping latency this low in the hardware, the 16A helps minimize latency introduced by your host software.

Thunderbolt lets you connect displays, hard drives, and other peripherals to your computer, along with the 16A, and the Thunderbolt bus won't even break a sweat. But more importantly, Thunderbolt gives you an astonishing 256 channels of computer I/O (128 in and out). You can use them to route audio to the physical inputs and outputs on the 16A, plus the 48-channel mixer inside the 16A, plus audio network streams. The 16A is the first and only interface to combine Thunderbolt I/O connectivity with AVB audio networking.

Don't have a Thunderbolt-equipped computer yet? Hi-speed USB 2.0 provides across-the-board compatibility with pretty much all laptops and desktops. The 16A is USB audio class compliant, which means you enjoy OS-level USB compatibility and support, including iPad support (with a camera connection kit). Since USB 2.0 devices are compatible with USB 3.0-equipped hosts, your 16A interface is a future-proof investment in your studio.

The 16A is equipped with a 48-channel digital mixer designed just like a large format mixing console. The 48 inputs can take signal from anywhere: the physical inputs on the 16A interface itself, audio channels from host software on your computer, audio network streams, or even mixer outputs. The mixer provides 7 stereo aux busses, 3 groups, a reverb bus that can alternately serve as a 4th group, a Main Mix bus and separate Monitor bus that can serve as a solo bus. In essence: capable and transparent mixing.

British analog mixing consoles are renowned for their musical EQ profiles. The 16A meticulously models these classic EQs to give you the very same, magical EQ response found on these coveted desks. Each input channel also provides a classic compressor module with optional peak/RMS operation. Groups and the Main Mix bus are equipped with MOTU's Leveler™, an accurate model of the legendary Teletronix™ LA-2A™ optical leveling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics.

With one click on the 16A's routing grid, you can route any source signal to any destination. Sources can be analog or digital inputs on the interface, computer channels, mixer bus outputs, or audio network streams from other devices on the network. Destinations include interface outputs, host software inputs, mixer inputs, or any other device (or computer) on the AVB network. You can even split any single input (or stereo pair) to unlimited multiple output destinations.

The 16A network port introduces AVB Ethernet, the new industry standard developed by the IEEE for professional audio networking. Add a second MOTU AVB interface (1248, 8M or 16A) with a simple Cat-5e or CAT-6 ethernet cable.

The software that you can use to control the 16A doesn't reside on your hard drive. It's a web app served from the hardware itself. This means you can control the 16A's on-board DSP, mixing, device settings, and network audio routing from the web app software running in your favourite web browser on a laptop tablet or smart phone connected by wire or Wi-Fi to your local area network. Use any web client on any platform - Mac, Windows, Linux, iOS, Android - as long as it shared the same network.

Connect an Apple Airport or other Wi-Fi router directly to the 16A with a standard Ethernet cable and control the 16A's powerful mixing and DSP effects from your smart phone or tablet, without a computer. Great for live sound mixing!

Notes: The all new Apogee Ensemble is the first Thunderbolt 2 audio interface to offer superior sound quality, the lowest latency performance and the most comprehensive studio functionality all in one box. Ensemble includes 8 Advanced Stepped Gain mic preamps, monitor controller functionality including talkback, front panel Guitar I/O, two headphone outputs and digital connectivity for a total of 30 x 34 I/O. Blending acclaimed innovations, groundbreaking new features and an effortless user interface, Ensemble empowers you to capture inspiration
when creative lightning strikes.

Launched in 2007, the first Ensemble re-defined the possibilities of the personal studio interface, setting new standards of quality, simplicity and value. Winning that year's TEC Award for Digital Audio Technology, Ensemble went on to become the preferred interface for thousands of hit-making producers, engineers and artists. Now, with 30 years of digital audio expertise and the latest technological innovations, Apogee has re-built Ensemble to introduce the next generation of music creation technology.

Blending the best of Apogee's acclaimed innovations with groundbreaking new features and the power of Thunderbolt technology, the completely redesigned Ensemble sets a new standard for personal studio interfaces.

Ensemble delivers the full potential of Thunderbolt 2 performance with the lowest latency, unmatched CPU efficiency, 2 ports for expanding your system and a revolutionary 32-bit playback signal path.

Ensemble's proprietary Thunderbolt driver has been written from the ground up for Mac OS X Mavericks, resulting in unmatched performance and efficiency. Latency has been reduced to an astounding 1.1ms round-trip, allowing you to monitor through your DAW, plug-ins included, simplifying your workflow and leveraging the power of your Mac. Even when your session's DSP demands require a higher buffer setting, Ensemble's ultra-low latency means no longer having to choose between power and speed.

To accommodate different workflow preferences, Ensemble features optional direct hardware monitoring through Apogee's Maestro App with 0.6ms of latency.

Ensemble's custom driver includes two innovative features to maximize the performance of the software-hardware interface: a full 32-bit signal path from the output of your DAW straight to the high-performance ESS DAC, and a revolutionary Direct Memory Access (DMA) engine to more efficiently read and write data directly to Mac memory independent of the Mac CPU.

The DMA engine, running on Ensemble's hardware logic chip, reads digital audio data directly from your Mac's memory in a 32-bit format, increasing the driver's efficiency and providing the highest resolution signal possible to the DAC stage. This implementation allows the driver to crunch an enormous amount of data at an amazing speed, while making a very light demand on your Mac CPU. You benefit with lower latency, more plug-in power, and a transparent and encompassing
listening experience.

Intel's Thunderbolt technology was made for connecting multiple high bandwidth peripherals to your Mac. Ensemble includes two Thunderbolt 2 ports for conveniently connecting hard drive arrays, video capture devices and Thunderbolt monitors with up to 4k resolution from a single port.

Apogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Quartet, the original Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY and OSCAR winning recordings and have set the industry standard in professional recording for over two decades. Ensemble is built solidly on this reputation.

From the mic preamps to the AD/DA converters and the clocking, Ensemble is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Ensemble was built by Apogee engineers to make a difference you can hear.

Ensemble's analog-to-digital conversion stage has been upgraded from previous generations of Apogee products such as Duet and Quartet to provide greater dynamic range, lower distortion and an almost non-existent noise level.

Ensemble's 8 uniquely designed mic preamps feature Apogee's Advanced Stepped Gain Architecture, in which the circuit is dynamically optimized to provide superior bandwidth, ultra low noise and nonexistent distortion across the unprecedented gain range of 0-75 dB. Whether recording powerful drums, dynamic vocals or delicate strings, your recordings retain the full impact, intricate detail and lifelike dimension of the original performance.

ESS Sabre32 32-bit Hyperstream DAC with Time Domain Jitter Eliminator offers unequalled dynamic range, ultra low distortion, and unmatched audio clarity free from input jitter.

Notes: The Prophet-6 is Sequential's tribute to the poly synth that started it all - the Sequential Prophet-5. But it's not simply a reissue of a classic. Rather, as Sequential put it, "It's the result of our effort to build the most awesome-sounding, modern analog poly synth possible." The Prophet-6 takes the best qualities of the original Prophet - true voltage-controlled oscillators, filters, and amplifiers - and adds enhancements such as studio-quality effects, a polyphonic step sequencer, an arpeggiator, and more. The result is pure, unadulterated analog tone with the stability and reliability of a state-of-the-art modern synth.

Central to the warm, punchy sound of the Prophet-6 are its two newly-designed, discrete voltage-controlled oscillators (plus sub-oscillator) per voice. Continuously variable waveshapes provide the tonal palette with triangle, sawtooth, and variable-width pulse waves. There are two discrete filters per voice - a four-pole, resonant, low-pass inspired by the original Prophet-5 filter, and a two-pole, resonant, high-pass filter. Voltage-controlled amplifiers complete the all-analog signal path.

The dual effects section provides studio-quality reverbs, delays (standard and BBD), chorus and phase shifter. While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path. There's also an independent stereo distortion effect, which is 100% analog.

Also present from its classic predecessor is a Poly Mod section, with enhancements. True to the original, modulation sources are filter envelope and oscillator 2 (both with bi-polar control). Destinations include oscillator 1 frequency, oscillator 1 shape, oscillator 1 pulse width, low-pass filter cutoff, and high-pass filter cutoff. Another welcome reprise is Unison mode, which features configurable voice count (1-6 voices) and key modes. The polyphonic step sequencer allows up to 64 steps and up to 6 notes per step. You can create sequences polyphonically, with rests, and sync to an external MIDI clock. The full-featured arpeggiator can be synced to external MIDI clock as well.

The knob-per-function front panel offers instant access to virtually all Prophet-6 functions. Included are 500 permanent factory programs in 10 banks of 100 programs. In addition to these, you can create and save up to 500 user programs of your own. Toggling off the Preset button enables live panel mode, in which the sound of the Prophet-6 switches to the current settings of its knobs and switches. In this state, what you see is what you hear.

All of this awe-inspiring sound is packed into a four octave, semi-weighted keyboard with velocity and channel aftertouch that's an ideal combination portability and power for the project studio or the gigging musician.

Notes: The Motu 112D is a state-of-the-art, Thunderbolt-equipped Digital Audio Interface, Router, Format Convert and Mixer. This very flexible unit from Motu is the ideal addition to any studio, featuring 24 channels of AES/EBU, 24 Channels of ADAT optical and 64 channels of MADI (AES10) for a total of 112 simultaneous digital I/O channels, all in a single rack space. The Motu 112D has multiple uses, one is serving as a central digital hub, unifying all your studio equipment e.g. mixing consoles & workstations, and then link it all to an AVB audio network with sub-millisecond routing.

The 112D provides one set of BNC (coaxial) MADI connectors (in and out), which provide 64 (or 56) channels of I/O at 1x sample rates, 32 (or 28) channels at 2x rates and 16 (or 14) channels at 4x rates (up to 192 kHz).

Three 8-channel banks of AES/EBU I/O on standard 25-pin D-sub connectors provide 24 channels at 1x and 2x sample rates (up to 96 kHz). Six banks of ADAT optical I/O provide 24 channels of optical I/O, either with three 8-channel banks at 1x sample rates or with six 4-channel banks of SMUX at 2x sample rates.
112D front and rear panels

Connect all your MADI, AES/EBU and optically-equipped gear, plus your computer, mixing console, and AVB network, then route channels from anywhere to anywhere else. With a few finger taps on your iPad screen, you can convert any format to any other. AVB network cable runs can be up to 100 meters long on standard, affordable CAT-6 wiring. For any situation that involves both MADI and audio networking, the 112D serves as an economical and capable MADI-to-AVB converter with near-zero latency and flexible routing and splitting to/from the AVB network.

Powerful DSP delivers large console style mixing with 48 channels, 12 stereo busses, and 32-bit floating point effects processing, including modeled analog EQ, vintage compression and classic reverb. The 112D allows you to mix audio from any and all sources: the local digital inputs, computer audio channels and other devices on the AVB network.

Flexible computer connectivity

Like MOTU's popular 1248, 8M and 16A interfaces, the 112D provides 128 simultaneous channels of computer I/O over Thunderbolt. All seven interfaces in the lineup, the 112D included, offer cross-platform, class compliant, high-speed USB 2.0 connectivity (compatible with USB 3.0 and iOS), or, as an alternative to USB or Thunderbolt, audio interface operation over AVB Ethernet when connected to a recent-generation Mac running Mac OS X Yosemite (10.10). One primary benefit of using MOTU devices as an AVB audio interface is that you can place the 112D or other MOTU interface up to 100 meters away from your computer using standard, affordable cabling.

Notes: Powerful step sequencer built around four well-equipped full-featured 16-step sequencers communicating via both MIDI and CV/Gate. There are no screens or submenus.

All features have their own dedicated controls and have their own dedicated in- and outputs on the large 87-point patch bay. Every aspect of this sequencer is CV-able. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once!

The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped!

Our step sequencer lets you construct complex musical patterns, via both MIDI and CV/Gate. Built around four full-featured 16-step sequencers in a compact and light enclosure, the Komplex Sequencer is a powerful tool both live and in the studio. All features have their own dedicated controls; no screens or submenus, and all features have their own dedicated in- and outputs on the large 87-point patch bay. By patching both internal and external CV sources through the patch bay of the Komplex, you can control any parameter of the sequencer immediately and "sequence the sequence." Controls include Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Transpose, Repeat, Sequence Start Point and Skip. Additionally, the sequencer can vary output range and also has a quantizer on board operable in different scales.

And not only is the sequencer compatible with almost any synthesizer with CV/Gate, MIDI note, velocity and CC information can also transmitted by any of the four sequencers. Lastly a seven bank CV Recorder is on board and can output up to 5 banks at once! The Komplex Sequencer opens up a whole new world of creative possibilities and starts where other sequencers have stopped.

CV Inputs
Clock, Rec Clock, Transpose, Start, Stop, Skip Step, Sequence Start Point, Repeats, Seq Length, Gate Length, Play Mode, Glide, Division, CV Recorder (CV In, Clock, Start, Bank Up/Down)

CV Outputs
CV Out, Gate Out, Start Of Sequence, End Of Sequence, Clock, CV Recorder CV Out (A, B, C, D and CV)

Sequencer Controls
64 Sliders and Step Select Buttons, Speed, Sequence Length, Gate Length, Play Mode, Glide, Division, Quantizer and Scale, Output Range, One-Shot Mode, Play/Pause and Stop, Global Play/Pause and Global Stop

Section Controls
Repeat Set, Mode Menu, Skip Step, Glide, Sequence Start Point, Gate

MIDI
MIDI In, MIDI Out, MIDI Clock Out (1 trigger per quarter note)

CV Recorder
Banks A, B, C and D available at corresponding sequencer patch bay outputs. All 7 banks selectable at CV Recorder CV Out by the Select control or Bank Up/Down inputs. CV is recorded and clocked through the CV Recorder CV and Clock inputs or Sequencer Rec Clock inputs.

Extra Features
Mode Menu (Skip Step Mode, Repeat Mode, Unipolar/Bipolar CV Output, MIDI Message, MIDI Channel, MIDI CC) and Firmware Updates

Casing:
Powder coated aluminum casing, silk screened printing and wooden side panels.

Dimensions
46.2 cm x 29 cm x 4 cm (L x W x H)
18.2" x 11.4" x 1.6" (L x W x H)

Net Weight
3.2 kg / 8.8 lb

Shipping Weight:
4.5 kg. / 9.9 lbs including power adapter and instruction manual.

Power Requirements:
9VDC power adapter. Only use the KOMA adapter shipped with the unit.

Accessories
Included: dust cover, manual and power supply unit.
Rackmount kit available separately

Notes: Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the "race to the bottom," VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

The performance of Mackie's Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Mackie VLZ mixers are truly built like a tank. From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap around chassis and features like grime resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment.
VLZ4's new black powder coat finish, cockpit inspired controls and high contrast knobs not only optimise your mixer's usability in low light scenarios, it also means your mixer looks as good as it performs.

Mackie's VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra compact 402VLZ4 for desktop applications to the tour friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs.

Notes: Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the "race to the bottom," VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

The performance of Mackie's Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Mackie VLZ mixers are truly built like a tank. From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap around chassis and features like grime resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment.
VLZ4's new black powder coat finish, cockpit inspired controls and high contrast knobs not only optimise your mixer's usability in low light scenarios, it also means your mixer looks as good as it performs.

Mackie's VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra compact 402VLZ4 for desktop applications to the tour friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs

Notes: Ultra-low latency operation with USB or FireWire, combined with the legendary RME driver stability and maintenance. Active jitter suppression, individually switchable reference levels for all inputs and outputs, full stand-alone functionality, RME's unique DIGICheck metering and analysis toolbox, and identical operation on Windows PC and Mac.

TotalMix FX, RME's digital high-end mixer and signal router, driven by two powerful DSPs, with integrated EQ, Dynamics and Reverb/Echo effects at up to 192 kHz, plus a built-in monitoring controller.

The full-blown feature set also includes optional Class Compliant mode and operation with TotalMix FX for iPad, RME's app to fully control the 802 from the iPad, without any computer. The easy to use app includes metering for all 90 channels plus effects bus, different setup screens, and complete control of all features.

The Fireface 802 is a highly integrated pro audio solution, a full-blown studio, all within a 19" enclosure. An interface designed for users who don't want to make compromises in sound, stability and ultra-low latency operation, and who long for an unrivaled professional feature set. Once again a milestone interface from RME, including the best of the best and even a bit more.

Notes: This synthesizer will make any desktop proud! The TI Desktop features an all-metal enclosure with a wooden strip on the front. Loads of knobs and buttons give direct access to the most important sound shaping parameters.

This range of instant access hands-on control will delight those who don't like menu diving. Like all other Virus TI synthesizers, a stereo analogue input offers the power to process external signals through the Virus' sound engine.

An optional 19" rack mounting kit is available for purchase.

There are not many modern synthesizers which can claim to have shaped the sound of music -- from electronica to soundtrack -- as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.

The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.

Artists including Depeche Mode, Madonna, Linkin Park and The Prodigy tour with a Virus-based setup. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.

Notes: The Access Virus TI2 Keyboard Synthesizer uses innovative technology to greatly expand the VIRUS Synthesizer, resulting in an advanced stage/standalone instrument, while simultaneously extending the product capabilities with a suite of compelling studio integration features.

The Access Virus TI2 Keyboard include greatly increased polyphony, 2 new oscillator types, a per-patch programmable arpeggiator, 16×2 delay/reverb fx, embedded singles in multi mode and much more.

The Access Virus TI2 Keyboard can link to your computer with "VIRUSControl". A companion software program which ports the hardware synth into a host sequencer, to use as a sample-accurate VST/AU instrument. Simultaneously offering 2-way audio and MIDI connectivity, control surface functionality, editor and librarian functions and more.

Notes: There are not many modern synthesizers which can claim to have shaped the sound of music -- from electronica to soundtrack -- as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.

The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.

Artists including Depeche Mode, Madonna, Linkin Park and The Prodigy tour with a Virus-based setup. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.

The Virus TI line of synthesizers includes 4 different variations: two keyboard models and two desktop versions. The great news is that all of these instruments produce the same award-winning sound. In this way, Access offer you a choice of formats without compromising the most important aspect of any instrument: how well it performs musically.

Designed as the ideal companion to any DJ or project studio, this 37-key model is not only compact but also stunningly beautiful. The side panels are a mix of wood and pure aluminium, while the white LEDs add class and style. The sound engine is exactly that used in the powerful and versatile TI Desktop and Keyboard models.

Even though the Virus is truly multi-talented instrument with great range, you still instantly know it when you hear a it in a production. That's because Access really "get" synthesizer basics: outstanding oscillators, amazing filters and breathtaking effects.

Every part, even in multi-mode, comes with its own chain of independent effects (including reverb and delay). The massive voice count makes it possible to stack even complex sounds for the first time without breaking a sweat.

Notes: There are not many modern synthesizers which can claim to have shaped the sound of music -- from electronica to soundtrack -- as much as the Virus line of synthesizers has. The Virus is known as much for its flexibility and powerful sound as for Total Integration, our award winning way to interconnect a hardware synthesizer with your DAW.

The first Virus was released in 1997 and each new iteration has added more features more powerful hardware, and greater musical potential. That evolution explains why the Virus TI series is so sought after and why it receives such praise from owners, press, and fans all over the world.

Artists including Depeche Mode, Madonna, Linkin Park and The Prodigy tour with a Virus-based setup. Producers such as Sasha, Pete Tong, Roger Sanchez and Dr. Dre consider the Virus a core part of their studios. Composers such as Hans Zimmer, James Newton Howard, John Powell and Mark Isham are enthusiastic Virus users, utilising its signature sound for their Hollywood blockbuster soundtracks.

The Virus TI line of synthesizers includes 4 different variations: two keyboard models and two desktop versions. The great news is that all of these instruments produce the same award-winning sound. In this way, Access offer you a choice of formats without compromising the most important aspect of any instrument: how well it performs musically.

Designed as the ideal companion to any DJ or project studio, this 37-key model is not only compact but also stunningly beautiful. The side panels are a mix of wood and pure aluminium, while the white LEDs add class and style. The sound engine is exactly that used in the powerful and versatile TI Desktop and Keyboard models.

Even though the Virus is truly multi-talented instrument with great range, you still instantly know it when you hear a it in a production. That's because Access really "get" synthesizer basics: outstanding oscillators, amazing filters and breathtaking effects.

Every part, even in multi-mode, comes with its own chain of independent effects (including reverb and delay). The massive voice count makes it possible to stack even complex sounds for the first time without breaking a sweat.

Notes: Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the "race to the bottom," VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

The performance of Mackie's Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Mackie VLZ mixers are truly built like a tank. From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap around chassis and features like grime resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment.
VLZ4's new black powder coat finish, cockpit inspired controls and high contrast knobs not only optimise your mixer's usability in low light scenarios, it also means your mixer looks as good as it performs.

Mackie's VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra compact 402VLZ4 for desktop applications to the tour friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs

Review: Japanese six piece Mountain Mocha Kilimanjaro, fresh from another national tour of Australia, drop two instrumental funk tracks with the B Side plucked from their recent album Taking A Lesson From The Past. We kick off with "Lie On The Side", a JB's type uptempo groove with fantastic brass workouts and jangly rhythm guitar. On the flip "Power Of Soul", originally penned by Jimi Hendrix, is a rockier affair with frantic drums and a screaming hammond organ and the end.

Notes: The Apogee Quartet is a professional USB audio interface designed to deliver the ultimate desktop recording experience to the iPad and Mac based studio.

Featuring 4 inputs and 8 outputs of Apogee's industry leading AD/DA conversion technology as well as 4 world class mic preamps, the Quartet bridges the gap between the 2 channel Apogee Duet and Apogee's flagship interface, the Symphony I/O.

The Quartet for iPad and Mac features special circuitry designed to deliver professional performance for iPad use along with low latency USB 2.0 performance for Mac. The Quartet's MIDI input and output connector lets you connect and power a Core MIDI compatible keyboard or controller while using Duet with your iPad or iOS device.

Notes: Ever since the "dawn of digital" audio engineers the world over have had a love-hate relationship with their consoles. The new BEHRINGER X32 digital mixing console lets you focus on your event, instead of navigating a vast sea of knobs, buttons and menus like most other live digital mixers. X32 is intuitive and powerful with 40 processing channels and 25 mix buses, all equipped with serious signal processing (dynamics, EQ and inserts), which can be configured quickly to meet the demands of virtually any gig, large or small.

The console's extensive connectivity includes 32 high-end programmable mic preamps, 6 balanced Line ins and outs (1/4" jack), 16 balanced XLR Outs, plus dual Phones and balanced Control Room outputs (XLR and 1/4" jack). Additionally, a single AES50 CAT5 cable from FOH to the stage can transfer up to 48 channels of bi-directional audio, collecting all input signals and delivering all bus outputs, along with 16 individual monitor feeds for Behringer's brand new P16 personal monitoring system, all on just one line. The two AES50 ports provide connectivity for up to 6 Behringer S16 stage boxes, or for sharing signals between multiple consoles.

Thanks to the netbook resolution, 800 x 480 high-contrast color TFT display, you're never more than one or two button presses away from any of X32's eight control screens. Once you select the desired function, dedicated rotary/ push encoders allow you to set parameters and source I/O assignment.

The X32 ships with the insanely powerful XUF FireWire/USB audio interface card, pre-installed in the expansion slot right out-of-the-box! XUF provides low latency, 24-bit audio interfacing with Mac or PC host computers in the form of 32 In x 32 Out channels and MIDI. It even transmits HUI and Mackie Control data along with the audio I/O, which provides convenient remote control of your DAW via the console's group fader section controls. XUF is compatible with CoreAudio on Mac OS 10.5 and above, and high-performance ASIO drivers for Windows PC are downloadable from Behringer's website.

Notes: Thanks to its legendary onboard X32 mix engine, the X32 COMPACT can be your top-notch studio recording interface today, control a complex theatre production tomorrow, or sit securely in your side-rack while you mix your band's club gig from your iPad. A revolution in its own right, the incredible X32 COMPACT combines the finest analog I/O and powerful digital connectivity with ample processing for 40 channels, 25 buses and up to 152 signal sources.

You can easily control every parameter of the mix directly on the X32 COMPACT using the 800 x 480 graphic UI, but the awesome flexibility of networked remote control literally opens up an amazing world of possibilities. Use our X32-EDIT PC/Mac/Linux application, X32-MIX for iPad, X32-Q for iPhone/iPod touch and X32-Q for Android to control the mix from anywhere in the room. You can even run multiple instances of these powerful apps at the same time, giving your performers the ability to mix their own personal monitors on-the-fly!

With its 16 MIDAS -design mic preamps and dual AES50 ports, the X32 COMPACT can support up to six S16 digital stage boxes for massive I/O connectivity. Ultra-flexible routing options and 8 powerful stereo FX engines make the X32 COMPACT the ideal choice for handling audio now - and as your needs grow.

Enhanced Workflow & Multi-Channel Networking:

With the introduction of our new X32 version 2.0 firmware, we have not only dramatically enhanced the workflow, but also added all-new capabilities including "Acoustic Integration" for total connectivity and control of your speaker and In-Ear Monitor (IEM) systems. Then we completely re-imagined the more than 50 onboard FX "Plug-Ins" and added classic processor examples based on "True Physical Modelling". We've also made the X32 even more flexible, with swappable expansion cards for connecting to other multi-channel audio networking via USB, ADAT, MADI and Dante protocols, in addition to the onboard ULTRANET and AES50 connectivity. Above all, the X32 puts the power of digital in your hands - without compromise.

Intuitive. Immediate. Natural:

X32 COMPACT is your mind-to-sound interface... the intersection of creativity and production.

Whether you're accustomed to digital mixers or not, the X32 COMPACT's intuitive user interface offers a fluid mixing experience that instantly feels like home. And then there is the X32 COMPACT's latest version 2.0 firmware. We've added new scene management features and EQ functions, including a 100-band Real Time Analyzer, flexible library import/export capability and faster FX editing. We also included 16 new FX "Plug-Ins" which are based on True Physical Modelling of famous classic audio hardware. This process means that we essentially "rebuilt" classic analog gear in the digital domain. And then we added the most amazing digital networking that allows you to connect to the new TURBOSOUND iQ speakers via simple CAT5 connection. We call it "Acoustic Integration".

This high-performance iQ Series also includes authentic acoustic modelling of some of the world's most famous speakers - all remote controllable from your X32 COMPACT.

This is the total solution you have been waiting for.

Notes: The Tempest is a collaboration between Sequential and longtime friend and fellow instrument designer Roger Linn. Though they've consulted with each other on past projects, the Tempest marks the first time a product will carry both the Sequential and Roger Linn Design logos, referring to Linn's legacy as inventor of the digital drum machine.

The Tempest utilizes analog synthesis to generate the sounds. The Tempest's 16 velocity- and pressure-sensitive pads are arranged in an 8 x 2 array to facilitate both real-time and step entry of beats. 2 pressure- and position-sensitive Note FX slide controllers provide a unique new method of performance and control.

Each of the 6 analog voices has 2 analog oscillators plus 2 digital oscillators (with a large bank of included samples), Dave's classic analog low-pass filter with audio-rate modulation, an additional high-pass filter, analog VCA with feedback, 5 x envelopes, 2 x LFOs, an extraordinary variety of analog modulation routings, and stunning sonic quality, warmth and punch.

Although optimized for drum sounds, it excels at tuned sounds as well, and even doubles as a 6-voice analog synth. In addition to the 6 direct voice outputs, there are stereo mix outputs and phones outputs, plus 2 inputs for foot switches or expression pedals, MIDI in/out and USB.

The performance-oriented operating system, 90 x panel controls, and bright 256 x 64 OLED display work together to provide a tightly integrated, non-stop workflow: record a drumbeat in real-time, switch to another drumbeat and use the lit pads to record it using step programming, switch to another drumbeat and record tuned keyboard parts, use the 2 touch controllers to record real-time note or beat-wide parameter animations, use the generous sound controls to edit any of the drum sounds, tweak the analog effects or drum mix, arrange beats in real time and record the live arrangement into a song, enter/exit Song mode and much more, all without ever stopping play.

A variety of unique effects are provided while maintaining a pure analog signal path, stereo analog compressor and distortion circuits affect the stereo output mix, beat-synced delay is achieved by generating additional delayed note events within the sequencer, and a beat-synced stutter effect is created entirely within the sequencer by looping short portions of the drumbeat on demand.

*Please note - The Tempest Drum Machine now ships with OS version 1.4. Notable among the new features are:

- Increased sequence length (up to 128 sixteenth notes, or 8 measures of 4/4)
- Arpeggiation
- New modal scales
- Free-running LFOs
- Compressor envelope controls
- Quantize disable
- A total of 928 new factory sounds, 64 new beats, and 16 new projects

Notes: Eowave's new analogue duophonic ribbon synthesizer.

Eowave are rethinking instruments from the past with smart sensor technology. The result is a new innovative instrument with real analogue oscillators, a duophonic ribbon, 100% compatible with the computer environment with a USB I/O, MIDI I/O and 4 CV out.

Sensor technology now enables to recreate controls like ribbons with a new accuracy and a new duophonic process. The ribbon enables to play glissando like on a Theremin, les Ondes Martenots or a Trautonium. The addition of 1 x oscillator takes all its dimension with the new duophonic ribbon which extends the instrument sonorities spectral to play simple chords, but also enables numberless modulations, e.g. FM of one oscillator on the second one.

The Persephone markII has 2 x analogue oscillators with a waveform from triangle to saw, going from 1Hz to more than 20000Hz. An analogue resonant 12dB low-pass filter inspired from the filters from the 70s-80s enables to shape the sound. With its entire analogue audio signal path, the Persephone markII can generate notes with a continuous variable range up to 10 x octaves to create deep and resonant cello tones on the lowest notes to ultrasonic frequencies on the highest pitches. An optical modulation key will transmit the slightest vibration for expressive modulations.

16 x routing presets enable to select different routing architectures between the sound parameters and the 7 controls available (ribbon pressure, ribbon position1 & 2, key, pedals 1 & 2, LFO) for 8 destinations (lo pitch, hi pitch, filter, VCA lo, VCA hi, filter mod1, filter mod2 and VCA). 8 x presets are fixed and 8 are editable users presets configurable thru a free software. Users routing presets will be stored in the Persephone2 internal memory. This new section significantly increases the instrument control and modulation possibilities.

The A/D conversion is made with Eowave ESS DSP. This process assures a 12 bits resolution (4096 values) conversion for an accurate musical gesture. It's 100% MIDI compatible and uses USB full speed 12 MB/s. This makes the Persephone2 compatible with all MIDI compatible softwares whilst the latency is reduced at less than 1.5ms.

With a complete I/O section featuring 4 x CV outputs, 2 x pedals inputs, MIDI in & out, audio out, USB (MIDI), the Persephone markII can be turned into a powerful and unique controller to control most of your analogue or digital synths.

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Notes: All-new black look as the Matriarch semi-modular synth joins Moog's Dark Series. Classy looks inspired by the brand's vintage synths, classy modern take on the Moog sound.

Supplier's Notes:
Matriarch Dark is a new color variant for Moog Matriarch. Matriarch Dark presents the same great features, sounds, and specs as the original colorful Matriarch, now offered in an all-black color scheme that invokes the timeless look of Moog's classic modular control panels.

Matriarch is an analog synthesizer with an emphasis on imagination. The pinnacle of Moog's semi-modular family of synthesizers, Matriarch's patchable architecture and classic Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound.

Easily create rich harmonic shapes with up to 4 notes of paraphony that can be sequenced, shifted, and stored with Matriarch's intuitive 256 step sequencer, or stack the analog VCOs to play on a massive 4 oscillator mono synth.

With a deep assortment of synthesis modules based on Bob Moog's original circuit designs, Matriarch's 100% analog signal path spans a dynamic sonic vocabulary - from overdriven monophonic bass to gently evolving paraphonic plucks that cycle through waveshapes into a wash of infinite delay trails . Coupling the power of vintage-designed stereo ladder filters, dual Envelope Generators, stereo Analog Delays, and stereo VCAs, Matriarch delivers a multi-dimensional sound that empowers the sonic exploration of space and time.

Though Matriarch's semi-modular design requires absolutely no patching, 90 modular patch points are easily accessible throughout the panel via the included 3.5mm patch cables. This powerful electronic instrument is a highly-versatile addition to any stage or studio that can effortlessly transform from a performance keyboard into a fully modular analog synthesizer at a moment's notice.

In addition to its standalone function, Matriarch is also an ideal processor of external sound sources and a powerful keyboard front-end for expanding a DFAM, Mother-32, Grandmother, or Eurorack modular system.

MODULE-PROVENANCE:
Oscillators based on the Minimoog
Mixer based on the classic CP3 module
Filters based on the classic 904A module
Envelopes based on the classic 911 module
VCAs based on the classic 902 module
Analog Delay based on the MF-104M and 500 Series effects

WHAT'S IN THE BOX:
Matriarch Dark
Manual
Patch Cables: (2x 6/12/18/24")
Registration Card
Drawstring Bag
IEC Cable
Power Brick
Instrument Catalog

SPECS:
TYPE-- Semi-Modular Analog Synthesizer
SOUND-ENGINE-- 100% Analog
NUMBER-OF-KEYS-- 49 Full-Size Keys
TYPE-OF-KEYS-- Velocity-sensing with Aftertouch (Velocity and After-touch are not hard-wired - available via MIDI, KBD VEL OUT and KB AT OUT jacks)
OTHER-CONTROLLERS-- Pitch Bend, Mod Wheel, Variable Glide, Expres-sion pedal in to CV out, and Sustain Pedal in
POLYPHONY-- Monophonic, 2-Note Paraphonic, and 4-Note Paraphonic SOUND-SOURCES-- 4x Analog Oscillators with Selectable Waveforms (Os-cillators 2, 3, and 4 support Hard Sync), White Noise Generator, External Input jack.
MIXER-- 6 input (5 eurorack level and 1 instrument level) DC coupled dis-crete mixer with
asymmetrical clipping behavior
FILTERS-- 24dB/Octave Low Pass Filter with Resonance, 24dB/Octave switchable Low
Pass/High Pass Filter with Resonance. Configurable in parallel (HP/LP), stereo (LP/LP), and series (HP/LP).
MOD-SOURCES-- Analog Modulation Oscillator with selectable and patchable output (Sine, Saw, Ramp, Square, Stepped Triangle, Smoothed Random, Sample and Hold, Noise). Additional LFO (Tri, Square)
ENVELOPES-- 2x Four-Stage ADSR with End of Envelope gate outputs
ATTENUATORS-- 3x Bipolar Voltage Controlled Attenuators with Ring Mod capabilities
MULTS-- 2x4 Parallel-wired Non-buffered Patch Points
VCAs-- 2x discrete analog VCAs routed in stereo
EFFECTS-- Stereo Analog Delay with Ping/Pong, MIDI and CV clock sync, voltage controlled Mix, and independent L/R delay times, feedback, and I/O.
ARPEGGIATOR-O-STEP-SEQUENCER-- 256 Steps with up to 4 notes per step; 12
Sequence locations
PATCH-POINTS-- 90 x 3.5mm front and rear panels, 49 Inputs, 33 Outputs, 2x4 Parallel-wired Mults.
PEDAL-INPUTS-- 1/4" Sustain, 1/4" Expression
AUDIO-INPUT-- 1/4" TS jack (Rear Panel)
AUDIO-OUTPUTS-- 2x 1/4" TS jacks for line level output (Rear Panel), 1/4" Headphone jack with dedicated level knob (rear panel), 2x 3.5mm Eurorack level outputs, 2x 3.5mm Delay outputs
MIDI-IOO-- 5-pin DIN In, Out, Thru; plus MIDI over USB (Rear Panel)
DIMENSIONS-- 32" (81.28cm) Wide x 14 1/4" (36.19cm) Deep x 5 1/2" (13.97cm) High
POWER-- Included Power Adapter 12V DC (positive tip), 2A, 100 to 240 Volts AC, 50/60Hz with screw-on barrel connector.
WEIGHT-- 24lbs. / 10.89kg

Notes: Inspired by the legendary EMS Synthi AKS, this is easily one of Erica's most impressive releases to date. Proper experimental analogue brilliance developed in conjunction with Riga Technical University.

Supplier's Notes:
Since its beginnings Erica Synths has promoted experimental electronic music and has developed instruments that enable musicians to explore it.

When it comes to standalone instruments, one of the most encouraging instruments in experimental music was Synthi AKS, so Erica Synths have teamed up with engineers from Riga Technical University to develop a synthesizer with a user interface inspired by Synthi AKS.

SYNTRX [sintrex] is developed from scratch all analogue synthesizer (no part of schematics is cloned from Synthi AKS) with digitally controlled patch matrix. Unlike most of patch matrixes around, that mechanically connect signals, our 16x16 matrix utilizes 32 (!!!) 16 channel analogue switch ICs AS16M1 (made in Latvia, Alfa RPAR) and is a mixer/buffered multiple with 3 level attenuation (gain 1, 0,6 and 0,3) in connection points. It has 256 patch memory, automatic patch switching in performance mode or via MIDI messages.

SYNTRX has 3 highly accurate VCOs that track great over 8 octaves, noise generator with "colour" filter, resonant VCF, ring modulator, spring reverb, looping envelope generator, joystick controller, input amplifier with adjustable gain for microphone to line level signals, 3 VCAs, output signal filter, analogue CV/audio signal level indicator and built in speakers. Extra features, not found on Synthi AKS, are Sample & Hold circuit with individual clock, octave switch for VCO1, synchronization of VCO2, AD mode on the envelope generator, as well as MIDI that accepts CV, Gate, Modulation wheel messages and program change messages for the matrix control. The SYNTRX comes in aluminium enclosure with ash tree side panels.

SYNTRX will inspire users to explore the space and travel to previously undiscovered audible realms.

Notes: Black version of RME's premium stereo AD/DA converter, offering exceptionally accurate conversion for mastering and critical listening applications.

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

*** Update June 2023 ***

RME have just released a free software controller for the RME ADI-2 DAC FS!

Labelled as a 'pre-release', this app is currently only available for Mac and iPad, although we're assured a Windows version is also not far off. It's also only available for the DAC models at present, however versions for the Pro and 2/4 Pro SE are also being worked on as we speak.

Fully-featured Software Control

With the sheer multitude of features that the DAC has to offer, the front panel can no doubt be a bit overwhelming at times. The introduction of software control is sure to be well-received therefore, offering a simpler way to explore its built-in parametric EQ, Loudness and Crossfeed controls, as well as the various DAC filter types (SD Sharp, NOS, etc.).

Additionally, settings can be saved on your Mac or stored as presets directly on the device.

For more information visit https://www.synthax.co.uk/latest/2023/06/22/rme-adi-2-remote-software-controller-download/

Supplier's Notes:
RME's reference AD/DA converter is a host of devices all put together into one unit, with a simple and mostly automated way of using it right out of the box. A unit with the industry's biggest footprint per feature ratio, excellent tech specs, crystal clear and transparent sound signature, and two extremely powerful headphone outputs. The new ADI-2 Pro FS R Black Edition features the AK4493 chip, slightly improved specs and comes with the new extended Multi-Remote Control (MRC).

Ultra-fidelity PCM/DSD 768 kHz AD/DA Converter
As the most flexible converter available, the ADI-2 Pro offers balanced/unbalanced analog I/Os, double Extreme Power headphone outputs, SteadyClock III, 4-stage hardware input and output level control, DSP-based signal processing, external power supply operation, Class Compliant USB compatibility, sample rates up to 768 kHz as well as DSD record and Direct DSD playback (256 / 11.2 MHz).

Analog or Digital - Options Galore
The ADI-2 Pro includes two servo-balanced analog inputs on combo XLR / TRS jacks, two separate balanced and unbalanced outputs on XLR and TS, two stereo Extreme Power headphone outputs on the front, an optical SPDIF I/O that also understands ADAT, and coaxial SPDIF (RCA) and AES I/O (XLR) via an included breakout cable. This universal set of I/O options offers superior quality and flexible connectivity to those who take a no-compromise approach to audio.

The USB 2.0 port is fully Class Compliant (UAC 2) for connection with compatible iOS devices, and is also used for firmware updates. Including an external switched power supply with lockable connector, the ADI-2 Pro can be easily powered from battery, opening up mobile applications as well as galvanically isolated use cases.
As a computer interface the ADI-2 Pro offers a stereo (2 in / 2 out) and a multichannel mode (6 in / 8 out). Compatibility with Mac OS X comes right out of the box. Under Windows the ADI-2 Pro uses RME's MADIface series driver, for full WDM and ASIO compatibility and highest performance.

Perfect Sound Capture and Reproduction
Aiming for the absolute reference sound, any detail in the ADI-2 Pro is special and has its own story. The main PCB is an extraordinary 10 layer design with custom copper thickness, guaranteeing finest undisturbed sound as well as ample but separated power for the phones outputs. Internal power supply stages and precise regulators use a super-low-noise design to not degrade performance through the power rails. Selected SoundPlus operational amplifiers maintain highest SNR, lowest THD and high slew rate under all conditions. The whole analog circuit design is fully symmetrical and balanced throughout - and DC-coupled. The only capacitors in the signal path perform DC protection at the analog input sockets, and have been carefully selected to avoid any sonic impact.

The 4-channel AD-converter, supporting 786 kHz sample rate and DSD recording, is used in a dual mono design, with 3 dB improved signal to noise ratio. Two premium DACs are used for two separate stereo outputs. Internal audio processing like EQs, Crossfeed and spectral analysis, is done by a high performance DSP with 2.17 Giga FLOPS (2882 MIPS), delivering enough computing power to work even at 768 kHz sample rate.

For easy operation a high quality Sample Rate Converter has been added, switchable to the AES or SPDIF input, solving any clocking problem between those. And RME's latest SteadyClock III technology ensures perfect jitter reduction and stable clocking, no matter if internal or external clocks are used.

High Resolution Display Operation
RME have incorporated many unique features, not found on any comparable devices, like 5-band parametric EQs for fully individual phones compensation, adjustable Bass/Treble controls with quick access, a binaural crossfeed function, adjustable loudness filter, selectable AD/DA filters, four discrete I/O reference levels, auto reference level setting, auto balanced phones mode, and many more. The display is not only used to control the unit, but also shows warning and guidance messages.

Professional features such as M/S Processing, stereo width and phase reversal up to full control and storage of all settings are included, as well as RME's famous Spectral Analyzer, a 30-band biquad filtered analysis tool offering unprecedented musical visualization, perfectly complementing the high-resolution IPS display.

Notes: Semi-modular digital synthesis from a brand with a long history. Full Eurorack-compatible desktop module, including an eight-voice swarm oscillator, multi-mode filter and lots more.

Supplier's Notes:
A semimodular synthesizer consists of 9 essential synthesis modules whose combination provides a very powerful and straight forward starting point into the world of Eurorack synthesizers. Let's see, which modules are included in Radikal's latest brainchild: The system includes one swarm oscillator, a mixing stage with a noise source, a very powerful filtering section around the analog multimode filter plus stereo digital emulations of 12dB multimode and 24 dB ladder filters and one VCA. One LFO and one snappy envelope generator for modulation purposes plus the secret weapon of all Radikal Technologies digital modules, the SNAPSHOT INTERPOLATOR are adding extra excitement to your sonic adventures. The icing on the cake of the sound engine is a digital FX section with incredible modulated stereo delay effects including tape delay, phasing, chorus, flanging etc.!

In a modular synth system, the different sound generating and altering sections are not connected. The user has to establish all the connections that are necessary to generate sound effects and tones with patch cables. In a semimodular synth the most essential connections are hardwired. This means you can play the DELTA CEP A right out of the box. Of course you can go a step further and add your own module patching.

The DELTA CEP A has a MIDI interface, which is essential when you want to use the paraphonic mode of the Synth. The paraphonic mode let's you play chords and turns the DELTA into the perfect pad and ensemble section. The MIDI Interface has additional outputs for external modules and a special digital bus allows for controlling the SWARM OSCILLATOR RT-311 direct with notes and chords to layer additional voices in monophonic and chords mode using an external MIDI keyboard.

The SNAPSHOT INTERPOLATOR is a very unique feature in the synthesizer world. First you have the ability to store snapshots of your sound creations into the internal memory. Then you can play these snapshots sequentially for very cool sonic sequences. But that is not all. You can even create smooth transitions from one snapshot to the other for stunning sound morphing effects. Independent from the Interpolator, the snapshot memories can also be used as preset memories and are filled with sounds from our sound designers.

23 knobs, 14 buttons, 28 RGB LEDs, 14 outputs and 17 inputs - the DELTA CEP A has a great synthesis potential that can even grow by adding additional modules. The connectivity provides the freedom to use it as part of your existing Eurorack system or as an independent solo synthesizer with our special DELTA CEP A desktop case.

Notes: Complete digital integration for the analogue studio:

Designed for the needs of the recording professional, the Quantum 4848 is the perfect solution to take your analogue gear into the digital domain. Equipped with 32 inputs and outputs of DB25 line-level connectivity and pristine digital conversion with 120 dB of dynamic range, the Quantum 4848 allows you to bring vintage and boutique analogue gear into your DAW at blazingly fast speed thanks to its near-zero-latency Thunderbolt interface. 16 additional channels of ADAT Optical I/O let you tie in digital gear, and you can expand your simultaneous I/O to 192 channels. The included Studio Oner Professional DAW features Pipeline XT, allowing you to use your analogue gear as plug-ins inside your Studio One session.

The perfect companion for your patchbay:

With the Quantum 4848, your audio interface is an integrated extension of your recording environment. Rear panel DB25 line-level I/O makes connecting your Quantum 4848 to your existing analogue patchbay a breeze. With 32 channels of inputs and outputs at sample rates up to 192 kHz, you can route audio from your vintage gear and analogue recording console to your DAW and back in pristine quality, capturing every nuance of your boutique equipment. Integrating digital gear is facilitated by 16 channels of ADAT I/O. For a full complement of 48 channels of conversion, you can simply add two DigiMax DP88s via the 16 ADAT channels. A true Thunderbolt device, up to 4 Quantum 4848 interfaces can be stacked to create a 192x192 system - or combine the Quantum 4848 with Quantum and Quantum 2 interfaces to add PreSonus' recallable XMAX Class A high-headroom preamps.

Superior software integration:

Studio One Professional's Pipeline XT plug-in lets you insert hardware processors into your Studio One session with automatic latency compensation. Once inserted, Pipeline XT functions just like any other plug-in effect, allowing you to drag and drop it from one channel to the next or change the insert order. Studio One's latency management allows you to stay in the native processing domain throughout the entire production process, so you can easily mix and match your favourite plug-ins with your favourite boutique hardware processors. Furthermore, Studio One allows the Quantum 4848 to go as fast as you need-flexible dropout protection reduces the risk of audio dropouts in large, CPU-heavy songs, even at very small buffer settings.

Superior speed:

Every design decision during Quantum's engineering was made with one goal in mind: speed. Quantum sports high-speed Thunderbolt connectivity and a no-frills, direct-to-DAW architecture that was designed to transport your audio to and from your DAW with an imperceptible amount of latency. Cutting-edge 24-bit, 192 kHz converters with 120 dB of dynamic range ensures the fidelity of your audio as it moves to the digital domain.

Superior flexibility:

Some DAWs limit your I/O access when you use third-party audio interfaces. The Quantum 4848 resolves this issue by providing three Channel Profile modes that allow you to adapt the input and output channel configuration when the application you're using limits you to 32 inputs and outputs or less. Set the Quantum 4848 to use 32 analogue inputs with 16 channels of ADAT, 24 analogue inputs with 8 channels of ADAT, or 16 analogue inputs with 16 channels of ADAT to customize the assortment of analogue and digital inputs and better accommodate your needs. And if you get tired of limiting your available inputs, launch Studio One Professional to record up to 192 simultaneous inputs, mix and master your sessions all from the same software.

Superior sound:

Audiophile-grade digital converters and low-jitter clocking create a superior recording and listening experience. The Quantum audio interface operates at up to 192 kHz for ultra-high-definition mixing and recording. High-quality converters on every input and output provide 120 dB of dynamic range to capture complex musical harmonics smoothly and naturally with no audible distortion. BNC word clock I/O and low-jitter clocking ensure the Quantum 4848 and other digital audio devices operate in tight sync for superior imaging.

Designed with the modern analogue studio in mind, the Quantum 4848 provides flexible connectivity to easily integrate into analogue patchbays, vintage consoles, and more. And with Studio One's unique Pipeline XT plug-in and performance management tools, bringing your analogue studio into the digital domain has never been easier or sounded better.

Review: Last year, Japanese imprint P-Vine reissued Positive Force and Denise Vallin's eponymous debut album, a "holy grail" of turn-of-the-80s soul that originally appeared in ultra-limited numbers on a "private press" LP. This 7-inch single brings together two of that album's undoubted highlights. On the A-side you'll find "Everything You Do", a sugary-sweet chunk of soft-focus soul in which Vallin's strong, heartfelt vocals rise above a slow-dance-friendly fusion of laidback grooves, twinkling electric pianos chords and sleazy '80s sax solos. Flipside "You Told Me You Loved Me" is a slightly more up-tempo affair with rousing horns, eyes-closed guitar solos and a strong, sing-along chorus complimenting the band's slick grooves and Vallin's off-Broadway vocals.

Notes: The Next Evolution of the Prophet:
The Prophet X is a potent fusion of samples-plus-synthesis and is Sequential's most ground-breaking evolution of the Prophet yet. At its heart, it's a bi-timbral, 8-voice-stereo (16-voice mono) synth with a newly developed sound engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators - all processed through analogue filters. With 150 GB of internal samples from acclaimed sound developers 8Dio, and all of the powerful synthesis tools you've come to expect from Sequential, the Prophet X has a musical voice uniquely its own.

Sample Engine:
On the sample side of things, the Prophet X provides two independent, stereo, digitally sampled instruments per voice (4 in Stack or Split mode). The 150 GB of internal sample content was created by 8Dio, known for pioneering "deep sampling." You'll find a diverse collection of acoustic and electronic instruments as well as plenty of edgy ambient and cinematic effects. You can shape the samples through loop manipulation, sample stretching, and the Prophet X's sound-sculpting modulation functions. Each sample instrument has its own Tone control for high-pass or low-pass filtering. Fifty gigabytes of additional internal storage is dedicated to importing external sample libraries. Support for user-created samples is planned for December 2018. Add-on sample packs are available from 8Dio on product release.

Synth Engine:
On the synth side, the Prophet X gives you the power of a classic Prophet, with two high-resolution digital oscillators that feature both classic waveshapes and a supersaw for more timbral possibilities. Using the Shape Mod control, you can manually dial in a desired waveshape width for any of the classic sine, sawtooth, or pulse waves, or use an LFO or other mod source for continuously shifting timbre. You can shape the raw sounds with all of the classic synthesis functions you'd expect, including 4 syncable LFOs with slew and phase offset, 4 loopable five-stage envelope generators, and a 16-slot mod matrix with dozens of modulation sources and destinations.

Stereo Filters for Depth and Impact:
At the heart of the Prophet X's powerful sound are its new, 24 dB-per-octave resonant low-pass filters, which are based on a vintage design. There are separate filters in the left and right channels for a true stereo signal path. These add exceptional presence and fullness to both the samples and the oscillators. For additional polyphony, you can switch the Prophet X from 8-voice stereo mode to 16-voice mono mode, which is useful for stacks and splits.

Poly Step Sequencing:
The polyphonic step sequencer provides up to 64 steps and up to 6 notes per step. You can create a different sequence for each layer if working in stacked or split voice mode, making it a powerful tool for composition or performance. Sequences can have ties and rests, and can sync to an external MIDI clock. The arpeggiator features note repeats, re-latching, and can be synced to external MIDI clock, as well.

Two Effects per Layer:
A dual effects engine provides multiple reverbs, 2 delays (standard and BBD), chorus, phase shifter, flanger, vintage rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix.

Road-worthy and Studio-ready:
With loads of sonic firepower and personality, a five-octave, premium-quality, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, MIDI USB support, and three crisp OLED displays, the Prophet X fits into any music rig or gig - in the studio or on the road.

Notes: Amazing flagship synth from the legendary Waldorf. Seriously powerful multitimbral virtual analogue monster. The designers reckon it's one of the most powerful synths ever built. We're not going to argue.

Supplier's notes:
Kyra is a powerful, hardware virtual analogue synthesizer capable of creating a wide range of contemporary sounds for live and studio musicians.

From first glance it is patently obvious that Kyra is a beautifully-designed desktop VA Synthesizer - as the wording elegantly emblazoned on its eye-catching front fascia subtly states. As a truly multitimbral instrument it features eight independent 'parts' with up to 32 notes per PART, each effectively being a complete synthesizer with sound sources (OSC GROUP 1, OSC GROUP 2, SUB 1, and SUB 2); FILTERS; modulators (EGs, LFOs, and MOD MATRIX); multi-effects unit (EFFECTS); and a USB 2.0 connection - can exchange MIDI (Musical Instrument Digital Interface) information, as well as send the audio from each stereo PART to a computer as eight stereo 24-bit streams at 96kHz (with 48kHz downsample mode available) and one stereo audio return from the computer supporting a single 24-bit stereo audio stream from the host DAW (Digital Audio Workstation). With that being said, the only other resource they share are the four balanced, stereo output pairs - OUT A (Right and Left), OUT B (Right and Left), OUT C (Right and Left), and OUT B (Right and Left) - using 32-bit DAC (Digital-to-Analogue Conversion) running at 96kHz sampling rate connected to four internal stereo busses and that powerful pool of 128 hardware voices.

Patches:
Better still, each PART hosts a Patch from the pool available to the system. Speaking of which, Kyra has a generous Patch storage capacity of 26 banks - A through to Z, each containing 128 patches. That's a total of 3,328! The first seven banks are 'user' patches stored in RAM (Random Access Memory), meaning users can change them quickly and individually using the Store sequence. The remaining 19 banks are ROM (Read-Only Memory) patches that users can recall and use just like RAM patches but cannot be replaced using the Store sequence. It is, however, perfectly possible to freely copy whole banks between RAM and ROM, so all are user- programmable. And any Patch can be recalled via MIDI program changes and Bank select commands.

Oscillators:
As a sensational synthesizer with a spectacular specification, Kyra has two primary virtual alias-free oscillator groups (OSC GROUP 1 and OSC GROUP 2) per voice, each with Saw (sawtooth); Wave (waveform) - with no fewer than 4,096 18-bit linear PCM (Pulse Code Modulation) 32x oversampled waveforms covering a huge range of synthetic and emulated sound sources with two wave sources per voice; Pulse; and noise simultaneously available. Also OSC GROUP 1 and OSC GROUP 2 each has an independent detune-able oscillator - SUB 1 and SUB 2 - with four selectable shapes and two selectable (Octave) pitches. Real Hard Sync, ring modulation, and FM (Frequency Modulation) are available between those oscillator groups.

Filter:
Successfully synthesizing sound is inextricably linked with flexible filtering. Fortunately for discerning users, Kyra's FILTERS front panel perfectly positions powerful control, creatively implementing accurate emulations of classic analogue ladder filters with 2-pole (12dB/octave) low pass (12dB LP), band pass (12dB BP), and high pass (12dB HP), plus 4-pole (24dB/octave) low pass (24dB LP), band pass (24dB BP), and high pass (24dB HP) configurations. Creatively, 128 filters are configurable for single or dual parallel (Dual Filter) true stereo operation.

Envelope and LFOs:
Onwards and upwards, three fast-response ADSR (Attack, Decay, Sustain, Release) envelope generators with EG Slope setting are also at hand. Helpfully, one is assigned to the VCA (Voltage Controlled Amplifier), another to the filter, while the third can be freely assigned. All are available in the MOD MATRIX (modulation matrix), itself being a six-channel affair with up to three destinations per channel giving a maximum of 18 routings. It is also worth noting that the three LFOs (Low Frequency Oscillators) - with 128 waveforms, monophonic, polyphonic, random, anti-phase, and quadrature stereo phase settings - are also available in the MOD MATRIX and additionally as a MIDI clock sync source.

Arpeggiator:
Creativity continues courtesy of an arpeggiator (ARP) on each PART with 128 preset patterns; Up, Down, Random, and Chords modes; and an ability to synchronise to MIDI clock. Arpeggiators are aimed at live performance, primarily, but can clearly complement composition. Kyra's ARP is an integral part of a Patch, so settings are always stored.

Notes: The MOTU 8pre-es takes the styling and feature set of the 828es - including dual LCD screens, Monitor Control and built-in Talkback - and complements it with 8 high quality microphone pre-amps.

Equipped with renowned ESS Sabre32 DAC technology and a new front panel design, the 8pre-es connects to a Mac, PC or iOS device over Thunderbolt or USB with low latency, high performance drivers to deliver 52 channels of audio I/O, 48-channel mixing and DSP effects, including Classic Reverb, modelled analogue EQ and vintage compression modelled after the legendary LA-2A.

Eight mic/line "combo" inputs provide transparent preamps with superb 129 dBu EIN, 118 dB dynamic range and remote control for individual gain/pad/48V phantom power.

Control room features include a built-in talkback mic with front-panel "talk" button and "A/B" speaker select buttons.

The AVB port allows for additional I/O options such as MADI or AES/EBU to be easily added to the system via an Ethernet cable connection.

Advanced extras include flexible routing and splitting, system expansion, audio networking, stand-alone mixing, Wi-Fi control from mobile devices, DC coupled analogue outputs and AudioDesk workstation software.

Notes: Just look at it. Stunning hand-made audiophile business from Japanese audio specialists Alpha Recording System. Loosely Bozak-inspired but updated for maximum sound quality. A thing of beauty.

Supplier notes:
ARS's new flagship tabletop mixer is a serious piece of kit. Hand-made in Japan using proper audiophile-spec components, it's a strong contender for the title of ultimate rotary mixer. DJ Harvey's already bought one. We don't blame him.

Supplier notes:
ARS MODEL 9900 DJ Mixer is a Japanese made, 6 channel rotary mixer with 3 band EQ on each channel. The ARS 9900 is Alpha Recording System's flagship table-top mixer, featuring a 3 band isolator on the master. Potentiometer and switch are ALPS, the VU meter is made by Sifam. Each channel has post fader send, return and effect loop.

A long time in the development phase, this mixer is a beautiful example of Japanese hand-made precision workmanship.

Frequency Response: +/- 1dB, 20Hz-20Khz
Input: 3 x Phono: 47K Ohm/9 x Line: 20K Ohm
Effect Loop: RCA Unbalanced Impedance 20K Ohm
Return: RCA Unbalanced Impedance 20K Ohm

House Output: RCA Unbalanced Impedance 1K Ohm/ XLR Balanced Impedance 100 Ohm
Booth Output: RCA Unbalanced Impedance 1K Ohm/ XLR Balanced Impedance 100 Ohm
Tape Output: RCA Unbalanced Impedance 1K Ohm

Effect Loop: RCA Unbalanced Impedance 600 Ohm
Effect Return: RCA Unbalanced Impedance 600 Ohm

Power Consumption: 30w
Power Requirement: US-115V/EU-230V(Selectable) 50/60Hz
Front Panel Colour: Black

Notes: The GR version of the SL1200 sits above the standard MK7 model in the Technics range. Designed for even higher sound quality than the already excellent MK7. Serious kit for very serious DJs.

Supplier's notes:
The new standard model inheriting the technology of the SL-1200G, which was developed as a reference direct-drive turntable for the next generation.

Launched in 2016, the SL-1200G combined Technics' traditional analogue technology and advanced digital technology, while redesigning parts throughout. Its outstanding performance literally rocked the hi-fi market and redefined the reference for direct-drive turntables. Parts that were inherited from the SL-1200G were newly developed for the SL-1200GR, beginning with the coreless direct-drive motor and precise motor control technology that eliminated the cogging that originated from rotation irregularity, and including a low-vibration, high-rigidity platter and high-sensitivity tonearm. By these measures, the level of performance clearly outperforms the usual standards of its class. The SL-1200GR invites more audio enthusiasts to enjoy music with the rich, robust sound of analogue records.

In 1970, Technics commercialized the world's first direct-drive turntable, and the system took the world by storm. Unlike belt-drive and other systems, direct-drive systems rotate the motor at low speed and directly drive the platter, thus providing numerous advantages, such as the almost complete absence of degradation in S/N ratio due to motor vibration and deceleration mechanisms, as well as high reliability over a long period time because of not requiring parts replacement.

And in 2016, Technics developed the twin-rotor, surface-facing, coreless direct-drive motor with rotor magnets placed on both sides, thereby eliminating the rotation irregularity of the motor, referred to as "cogging," which was a unique issue for direct-drive systems. This motor was adopted for the SL-1200G, which once again drew a significant response in the hi-fi market. The SL-1200GR inherits the same design philosophy with the new development of a single-rotor, surface-facing, coreless direct-drive motor, resulting in the elimination of cogging.

The rotation control, which verifies and corrects the precision of the motor, uses the latest motor control technology cultivated in the development of Blu-ray disc devices, just as that used by the SL-1200G. Sine waves stored in ROM are used for the control waveforms at constant speed, and this achieves smoother and more stable rotation compared with using the simple sine wave generation with an external coil as in the conventional SL-1200MK5. In addition, the electrical circuitry has had tuning performed so that the newly developed motor of the SL-1200GR achieves maximum performance. The starting torque achieves 2.2 kg x cm with only a single rotor. The same startup time of 0.7 s (at 33 1/3 rpm) as the SL-1200G has been achieved.

The platter achieves high rigidity and vibration damping characteristics by using a two-layer construction with deadening rubber applied to the entire rear surface of the aluminium die-cast to eliminate the unnecessary resonance that is otherwise relayed to the record, thereby producing clear sound.

To increase the inertial mass and reduce vibration, the shape of the aluminium die-cast portion was optimized by simulation. At 2.5 kg (including the rubber mat), the SL-1200GR platter is 0.8 kg heavier than that of the previous SL-1200MK5. Also, the back surface of the platter has strengthening ribs added to improve rigidity. Increasing the surface area of contact with the deadening rubber achieves damping characteristics that are more than twice those of the SL-1200MK5.

The tonearm tracks the rotation of the record and enables reading with high precision, and the tonearm inherited by Technics is the traditionally used static-balance universal S-shaped tonearm, employing an aluminium pipe with excellent light weight and rigidity for the material of the tonearm pipe.

With its gimbal suspension construction, the tonearm bearing section uses a cut-processed housing that employs high-precision bearings, as in the SL-1200G. The high initial-motion sensitivity of 5 mg or less is achieved through manual assembly and adjustment by skilled Japanese artisans. This enables the grooves etched into the records to be accurately traced.

In addition, one type of auxiliary weight comes included, and the cartridge can be swapped with a variety of other cartridges to match the music genre or feeling. (Applicable cartridge weight when using the supplied auxiliary weight: 10 - 16.4g, not including the supplied head shell).

The turntable uses gold-plated phono terminals for detachable cables, and so a wide variety of cables can be selected. Also, the use of metal shielding construction inside the case reduces the effects of external noise.

Review: In 1988, a Japanese art student called Naoki Asai gathered together a few of his more musical friends and recorded "Aber Heidschi", his sole album. Released in limited numbers as a private-press vinyl LP, the set has gone on to become something of a cult classic. Listening to this first ever reissue, it's easy to see why. Simultaneously dreamy, hallucinatory and super-sweet, the set's 12 tracks deliver a particularly dewy-eyed and tactile take on the increasingly psychedelic indie-pop sound then popular in Britain and the united states. Asai's Japanese vocals are particularly alluring, in part because of their boyish sweetness, while the accompanying music somehow manages to sound both extremely lo-fi and joyfully jangling.

Notes: Updated and improved version of one of the best synths on the market. Incredible eight-voice analogue powerhouse based on the legendary Yamaha CS-80. "All those moments will be lost in time..."

Supplier's Notes:
Deckard's Dream, or DDRM, features eight voices, each with two identical layered parts consisting of a 100% analog voltage controlled oscillator made with discrete waveshapers, analog lowpass and highpass filter (each with their own cutoff and resonance settings,) noise generator, unique multi-segment filter envelope, and VCA + ADSR envelope. Each layer also features its own independent programming section for MPE-based velocity and polyphonic aftertouch control of its filter cutoff and amplifier settings.

DDRM's performance section features global pitch control with coarse & fine-tuning sliders, layer 2 detune slider, independent keyboard range control for each layer, mix balancing between layer 1 and layer 2, global filter cutoff and resonance offsets, and a global LFO to control both layers' filter/pitch/amplifiers simultaneously.

DDRM was created with full expressive performance control in mind, and boasts programming sections for global MPE-based control over LFO parameters + pitch bend, as well as global key tracking control over the filter and amplifier settings of both layers. Finally, there is a global portamento/glissando slider affecting both layers simultaneously. The level of expressive control these parameters give over a performance is something found in very few synthesizers, and the result are stunning!

DDRM features full MIDI control and the ability to store 128 presets per bank across 10 banks, integrating this classic synth concept seamlessly into the future of your modern studio needs.

Deckard's Dream MK2 delivers everything the previous versions of DDRM in a new thin and light tabletop format with wood sides or rack-ears (both included). It also brings additional controls over Sustain modes and time.

Notes: Long-awaited analogue monster from Japan's Black Corporation, inspired by the rare RSF Polykobol II keyboard. Raw synth power with eight-voice analogue-based architecture. Stunning.

Supplier notes:
The unique architecture of KIJIMI features smoothly variable waveforms on each fully analog oscillator, a rich SSI2144 lowpass filter, and a wealth of deeply programmable modulators, making it one of the most powerful polyphonic analog synthesizers ever made.

KIJIMI features eight voices, each with two oscillators + one suboscillator, a lowpass filter, VCA, 6 envelopes, and 16 LFOs. A deeply programmable modulation matrix along with velocity and polyphonic aftertouch route these modulators into a variety of destinations to create anything from subtle movements in bass lines to complex, organically evolving soundscapes. Polyphonic aftertouch introduces another level of touch- controlled modulation independent to each voice, making KIJIMI a truly powerful performance tool.

Variable wave shaping of its analog oscillators is a feature unique to KIJIMI's synthesizer design. Rather than selecting a single waveform KIJIMI offers a range of waveforms from Triangle through Saw to Pulse waves, passing smoothly through every shape in between. Using modulation sources to control the oscillator waveform brings a new dimension to the sound sculpting process. Each oscillator can be modulated independently, detuned in semitone intervals and synced to each other, VCO2 can even be used to FM VCO and filter, bringing rich harmonic content to the initial tone.

KIJIMI's SSI2144-based lowpass filter is an updated version of a legendary design found in some of the most powerful analog synthesizers throughout history. Apart from being a gorgeous, rich lowpass filter for typical duties, a powerful feature found in the KIJIMI is the ability to FM the filter via VCO2, resulting in sounds ranging from atonal clangorous FX to aggressive vocal-sounding formants. The filter cutoff and resonance can be independently modulated, providing a filter section, which is far more complex than most analogue polyphonic synthesizers.

KIJIMI's two envelopes are set up in typical ADSR mode by default, but a CYCLE button can be switched on to enter a cycling trapezoidal mode reminiscent of the function generator found in the EMS Synthi. In this mode, the 4 parameters are instead used to control Rise, Time On, Fall, and Time Off, resulting in a uniquely controllable cyclic function. Each envelope also features 3 switchable speed modes ranging from fast, medium, or slow.

By default, KIJIMI features two powerful LFOs - Each with many selectable waveforms, rate, and a dedicated A/D envelope for modulating its rate on each new trigger. This means that each LFO can have its speed modulated on each new note independently of any other modulators across the synthesizer.

The modulation matrix in KIJIMI is what makes this instrument truly special: 8 destinations for each LFO, and 4 destinations for ADSR2, each with its own button to switch between Unipolar (+/-) or Bipolar modulation. Furthermore, the new firmware introduces the ability to assign different LFO settings (rate, waveform, EG and depth) to EACH individual destination. Below the Modulation Matrix are the performance modulators: Velocity and MPE- based polyphonic aftertouch which can be routed to 6 simultaneous destinations, each with its own bipolar level setting. With the ability to control filter, VCA, pitchbend, sub oscillator level, and 2 LFOs each modulating up to 8 destinations independently on each voice through your aftertouch performance, the expressive possibilities are truly limitless.

KIJIMI features full MIDI control and 10 preset banks with 128 slots including a Factory Bank and 9 user banks for storing and recalling settings.

Review: This is the only album by mysterious Lui Williams (Lui), released in 1978. He and his band used to play at Maui Surf Hotel along Kaanapali Beach in Maui, Hawaii. (The hotel appears in the front cover.) This is a Hawaiian album, but his original "Oh, Oh (Think I'm Fallin' Love)" got popular among Soul / AOR lovers, and now the rare original LP is traded at a high price among collectors. It includes another his original "My Lover", Hawaiian cover of jazz standard "My Funny Valentine", Hawaiian traditional "Hawaiian Wedding Song" and so on. P-Vine reissued it as CD in 2018, and now we present it as vinyl.

Review: Sought after jazz/funk/soul release gets an official Japan reissue of the classic Roy Porter album from 1975.

Review: P Vine in Japan first put out a cd reissue of this 1971 album way back in 2007 and at last they reissue a Japan only edition of the album on wax for the first time since Vistone in the USA put out a version in 1990.Heavy brass funk fuelled jazz workouts led by Roy Porter on drums.

Review: This is the great debut album of "Placebo",released in 1971. They were a Jazz/ Progressive Rock band out of Belgium led by keyboardist Marc Moulin. It includes a cover version of Marvin Gaye's "Inner City Blues" and "Humpty Dumpty" is sampled by Detroit underground hip hop artist J dilla.
Undoubtedly one of the best of Belgian jazz-funk records ever, and now the rare original LP is traded at a high price among vinyl collectors.