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Notes: Two-channel DJ mixer from one of our favourite brands. Ultra-simple design with three-band full-cut EQ and sweet sound on a par with much more expensive boutique mixers. One for the purists.

Supplier's notes:
The NUO 2.0 mixer is a 2 channel analogue mixer addressed to the professional DJ of any kind, in despite of the music style.


The NUO 2.0 mixer features the professional characteristics that made its predecessors acclaimed worldwide and it equips the best analogue components available in the market place in order to obtain the highest sound performance.



Whether you play house, techno or hip hop, perform smoothly or as a scratch DJ, the NUO 2.0 mixer will please all your needs thanks to its versatility and plenty of features, such as the precise and ergonomic full cut EQ, FX Send control per channel in pre or post fader mode, faders curve adjustments and suitability for the awarded magnetic Eternal crossfader for the professional scratch DJ.

Its superb sound quality and robust format, plus balanced XLR master output and booth output for monitoring make it also a perfect mixer for small installations.

Notes: Gorgeous analogue goodness in this all-rounder, featuring overdrive, filter, envelope, LFO and a nice retro spring reverb among others processing options. Tons of character.

Supplier's notes:
Today's digital effects and plug-ins can create almost perfect room simulations. However, when it comes to characteristic and charismatic reverb, analogue effect-processors are yet to beat. The reverberating sound of a spring is so lively and unique that its sound is almost impossible to recreate in the digital domain. In addition to this, Retroverb Lancet is not just a spring reverberation system - it is an analogue multi-effects-processor. It offers overdrive, filtering, VCA, envelope and LFO to manipulate the spring sound and create different sounds like auto-wah, tremolo, distortion, delay, gater and of course reverb.

The typical spring reverb sound is generated by a Belton/Accutronics type 4 spring tank with 3 individual springs. It can be placed pre or post the VCF/VCA section and equalized by the Tone parameter.

The Crash function generates the popular thunder effect that occurs when kicking an amplifier with spring tank. You don't have to kick Retroverb Lancet you simply can achieve this effect by pressing the Crash button. It also can be triggered by a Gate voltage.

The multimode filter works as lowpass or highpass with a slope of 24 dB per octave or as bandpass with 12 dB per octave. It is followed by a voltage controlled amplifier. The filter and amplifier can be modulated individually by different sources.

The Retroverb Lancet offers 3 internal modulationGorgeous analogue goodness
in this all-rounder, featuring overdrive, filter, envelope, LFO and a nice retro spring reverb among others processing options. Tons of character. sources:

Envelope follower: the envelope follower converts the amplitude characteristic of the audio input signal into a control voltage.
Envelope generator: the envelope generator can be triggered by the input signal itself, a second audio signal or a gate voltage. Depending on the trigger source it works as Attack-Decay or as Attack-Sustain-Release envelope.
LFO: the LFO offers saw up and saw down, square, sine as well as sample&hold. Additionally it can use the envelope generators settings as waveform. It can oscillate freely or reset by different trigger sources.

The Retroverb Lancet also offers a CV/Pedal input which can be feed by external control voltages or can be used with expression pedals.

Notes: The Vermona Filter Lancet is a compact but versatile stand-alone multimode filter for your desktop. It's the right weapon against static sound and boredom and made for any kind of audio signal. The filter section itself has 3 modes: low-pass, high-pass and band-pass. The last one works with a slope of 12 dB per octave whereas low- and high-pass are 24 dB filters.

You can give the filter some extra punch with the Balls knob, known from Kick Lancet. It pushes low and high frequencies of the signal before being filtered. And of course the resonance is self-oscillating.

Other than the filter section of Mono Lancet, the Filter Lancet is not based on (Moog-) cascade circuitry. It was inspired by the filters of the Vermona M.A.R.S. respectively DAF-1 and Action Filter.

Without modulation the Filter Lanced would still be a good filter but kind of boring. So it is equipped with a LFO, an envelope generator, an envelope follower and a CV/pedal input. The LFO has 2 frequency ranges and goes up to 250Hz - that's fast. At low frequencies the LFO can be re-triggered by gate- or audio signals. It has sample & hold and five waveforms: saw up and saw down, square, sine and triangle.

The envelope generator can be triggered by the input signal or an additional audio signal as well as by a gate voltage. If triggering it via gate it works as an attack-sustain-release envelope. With audio triggers its mode is attack-decay. The envelope follower transforms the contour of the input signal into control voltages that can serve as modulation source.

The LFO modulation intensity can be set separately from modulation intensity of envelope generator and envelope follower on the VCF- as well as on the VCA section.

The Filter Lancet features a drive circuit right in the input section to add subtle shades of overdrive up to solid distortions.

The Filter Lancet is packed with useful features. It's a great and powerful addition to any synthesizer including Mono Lancet with or without Modular Dock. But Filter Lancet also is designed for stringed instruments. It creates standard effects like WahWah and tremolo with ease and even adds a palette of extraordinary sounds to any effect repertoire.

Notes: Offspring from a noble house, the little synthesizer machine with the big and evil sound.

Waldorf is back in the game. With the Blofeld.

This synthesizer offers all the unique qualities that made Waldorf a truly legendary brand.

The engine inside the heavy duty, full metal chassis of the Blofeld delivers the same fat and rich sound that so many Waldorf users worldwide love when they play their pulse, Q, Q+, micro Q, microwave, microwave II/XT, or even the flagship wave.

Notes: Professional Audio and MIDI recording package. Powerful editing tools,
32/64Bit XP and VISTA compatible, with numerous plugins and instruments.
Now includes many performance optimisations, and additional instruments such as
Dimension PRO, Beatscape, True Pianos, and audio processing using transient
shaper and tube leveller. Plus many gigabytes of libraries and creative content.

Notes: Monster's 'Turbine Pro Copper' are studio quality monitors engineered for the most critical listening applications. They deliver the accuracy, transparency and detail required by musicians and audio professionals who must hear absolutely everything. Advanced driver technology, resonance-cancelling enclosures and superior isolation provide astonishing new benchmarks in resolution and clarity. The end result is true game changer in personal listening -- a high end audio experience that you can put in your pocket.
Turbine Pro Copper faithfully reproduces all your audio sources with complete tonal and dynamic fidelity throughout the frequency spectrum. Its ultra-wideband driver system delivers deep, tight bass that sounds like an in-ear subwoofer, and crystal clear mids and trebles that rival full-sized high-end speakers. The sound is open, unveiled and remarkably vivid -you'll hear exciting new subtleties even in your best-loved music.
'Turbine Pro Copper' has been conceived as a true audiophile playback system that just happens to be extremely portable. Its superior fit and isolation duplicates the effect of full-sized speakers perfectly tuned to their room. The patented Magnetic FluxTube™ cabling is derived from the same technology found in the best Monster Speaker cables, as are the secure, 24k gold plated connectors. With 'Turbine Pro Copper' in-ear listening is no longer a compromise for the serious listener.

- Low-mass, ultra-wideband drivers deliver astonishing detail and accuracy.
- Low frequency extension that acts like an in-ear subwoofer.
- Supertip technology provides superior fit and isolation for any listener.
- A true high end audio experience that goes with you anywhere.

Notes: The Vermona Mono Lancet is a two-oscillator mono synth with basic architecture, adding one filter, one ADSR envelope and one LFO to the equation. It is a compact synthesizer with big sound, easy user interface and charm.

The Vermona Mono Lancet sits on the desktop and is about the size of a typical paperback book. It has a bit of a retro look to it with its cream star-shaped knobs and two-tone brown metal chassis. It tilts forward slightly, making the three rows of knobs easy to read and all the more tweakable.

The Vermona Mono Lancet is primarily triggered via MIDI and supplies both MIDI input and thru ports on the rear. Round the back is the audio out on a quarter-inch jack and a mysterious 25-pin D-sub socket labelled extension. Over on the left is where you plug in the 12V power supply and next to that is a promising little button labelled overkill.

The top row of controls is used for VCO 1 and 2 and its various modulation options. Each oscillator has a three-position switch to choose from pulse and saw waves, plus one extra option either a triangle for Osc 1 or noise for Osc 2. Both have three-position octave switches with Osc 2 sitting one octave higher. It also offers independent de-tuning by up to seven semi-tones in either direction. The pitch of both oscillators is modulated together, and sources include the LFO and the envelope - which provides positive and negative modulation.

The Glide knob adjusts the speed. When the knob's at zero, the glide is off. There is a second glide legato mode available (this only slides the overlapped notes) and this can be switched on or off via MIDI CC 89. This is achieved by sending the designated MIDI CC number below 64 for off and above 64 for on.

Notes: Thanks to Motu's hybrid interface technology, the Audio Express connects to any current Mac or PC via FireWire or high-speed USB 2.0. Connect your mic, guitar, keyboard and digital input, then you are ready to make pro-quality recordings in your personal studio.

You can quickly balance the levels of your mic, guitar, keyboard and a S/PDIF device right from the front panel. Each instrument has its own volume control. Route inputs directly to any output pair, each with its own unique mix: main outs, line outs, S/PDIF out and phones.

The Audio Express interface is designed to be simple to use, so that you can focus on your music and performance. Connect your powered speakers, plug in your instruments, adjust their volumes with the front panel knobs, and then double-click to install the drivers. What could be easier?

The Audio Express interface delivers Motu's renowned and award-winning audio interface technology to your personal studio with pristine audio quality, advanced engineering and rock-solid performance.

Notes: State-of-the-art analog modelling and multi-band vocoding are finally available in a compact, portable instrument. With 37 keys and 128 user-rewritable programs, the microKORG synthesizer/vocoder is perfect for the performer, producer, computer musician or beginner looking for an affordable synthesizer. The new microKORG delivers the quality sounds and features you expect from Korg at a price that will astound you.

The microKORG boasts the same dual-oscillator DSP synthesis engine found in Korg's critically acclaimed MS2000 and offers a wider selection of waveforms than any other modelled synth. Oscillator 1 features a total of 71 waveforms. These include traditional analog waves like saw, pulse, sine and noise, plus more unique choices like Vox wave and cross wave. Together they provide a cool selection that can be modulated to produce an extensive range of timbres. In addition, 64 exclusive DWGS waveforms from Korg's classic DW-8000 enable the microKORG to reproduce a broad collection of imitative sounds. Sounds like bells, electric pianos, guitars, basses and more that would be difficult reproduce on an analog synthesizer. You can also apply Ring and Sync modulation from Oscillator 2 to create the kind of complex timbres that are the true sign of an advanced synthesizer.

4 filter modes are available, offering -12 dB (2-pole) low pass, high pass and band pass configurations plus an extra steep -24 dB (4-pole) low pass setting. All include resonance. 2 classic ADSR envelope generators and two MIDI-syncable LFOs provide the power to shape your sounds. Add a virtual patch matrix that lets you create advanced modulation settings U routing the mod wheel to control filter cutoff or pulse width, using an LFO to control panning or amp level, etc. U and you have performance that is unheard of from a synthesizer in this price range.

The microKORG includes an 8-band vocoder with many advanced features. You can capture and freeze the formants of your voice, and then play it across the keyboard, or shift the formant frequency to make your voice sound male, female, like a child or just plain wacky! Best of all, the microKORG comes with its own microphone so you can start having fun right away.

3 types of modulation effects (chorus/flanger, phaser, ensemble), 3 types of delay effects (stereo, cross, L/R) and a 2-band equalizer add the finishing touch to the microKORG. The delays can be synchronized with the arpeggiator or to an external MIDI clock U a great feature for live performances or for laying down tracks. All effects can be edited to create your own, unique sounds.

Korg have used all of the microKORG's synthesis power in the creation of 128 great-sounding presets. They cover a wide range of the latest musical styles plus many vintage favourites. Sixteen vocoder Programs are also included. The pitch bend wheel, modulation wheel and 5 other knobs provide flexible realtime control over filter cutoff, attack, release and other important parameters. The edit mode allows you to fully edit the existing sounds, or to create your own new ones.

6 types of arpeggio patterns (UP, DOWN, ALT1/2, Random, Trigger) are built in, with control over tempo, gate time, swing, and up to a 4-octave range. You can turn individual steps on or off within a pattern, providing the feel and functionality of a step sequencer.

2 external audio input jacks are provided, so you can run other instruments, CDs and more through the microKORG's filter and effects, allowing you to process sounds in truly creative ways.

The microKORG's compact size is perfect for the musician or DJ looking to add a synth to his or her setup when space is tight. It's also a great choice for use in a computer-based music setup. The five realtime knobs on the front panel can transmit MIDI messages (control changes), so they can be used as controllers for software synthesizers. Use the 37-note velocity-sensitive mini-keyboard for controlling other gear or for recording and editing with your sequencer. And thanks to battery-power, the microKORG is the ultimate portable controller when used with a laptop computer!

There's no complex menu structure - all parameters are located on the panel for easy access to any function. A large dial and LED illuminated buttons provide easy program selection even on a dark stage. With its beige-gold body, wooden side panels and retro-influenced design, the microKORG has a look that's both vintage and funky.

Notes: Dark Time is an 2 x8 steps analog sequencer with CV/Gate, USB and Midi interface. It is planned in the first place as an add-on for the Dark Energy but may be used even in combination with other Midi, USB or CV/Gate equipment too.

Features overview

two rows with 8 controls each
for each step:
- rotary control (same knob type as Dark Energy)
- red LED
- three-position switch On/Off/Skip
On = trigger signal is active for this step
Off = no trigger for this step
Skip = step is skipped
- three-position switch Stop/Continue/Jump
Stop = sequence stops here
Continue = sequence continues
Jump/Reset:
If only one of the 16 toggle switches is in the Jump position a Reset is carried out (i.e. sequence jumps to stage 1)
If two or more of the switches are in the Jump position the sequence jumps to the next step with the switch in the Jump position and then continues from this position (until another step with the switch in the Jump position is reached and then the same procedure is carried out again)
several operating modes:
1x16 (i.e. the two rows are daisy-chained)
2x8 (i.e. both rows run in parallel)
1-8 Combi (lower row set individual gate lenght of the upper row)
several running directions:
forward
backward
random
CV scaling: 1V/Octave standard (note: not suitable to control devices with Hz/V scale !)
several voltage / tuning ranges: 1V, 2V, 5V (corresponding to 1/2/5 octaves)
gate voltage 0/+5V (please refer to the remarks below concerning devices with S-Trigger or Korg MS10/MS20)
for units manufactured later than early 2012 (from serial number 120240) the output voltage for Gate/Clock/Reset/Start-Stop can be set to +12V by means of an internal jumper (the corresponding interface boards are marked V2/2011 or V3/2012). The following document describes the modification procedure in detail: Dark_Time_12V_Gate.pdf
if you own a unit manufactured before 2012 (serial number 120239 or less) the following technical document describes how to modify the unit for +12V level of the Gate/Clock/Reset/Start-Stop outputs: Dark_Time_12V_and_5V_Gate_Voltage_Modifikation.pdf
quantization on/off/custom scale (custom scale not yet available in the first firmware version)
when quantization is "off" the resolution is still 10 bit (i.e. 1024 steps over the full rotating range of each potentiometer), from this the term "quantization off" is not fully correct, with quantization "on" the resolution is 13/25/61 steps for 1/2/5 octaves
transpose via switch (-1/0/+1 octave), Midi/USB or external CV input
timing control, selected by a three position switch:
internal via built-in clock oscillator with frequency and pulsewidth controls
external via Midi/USB
external via analog clock/start/stop
analog interface for CV/gate/clock/Start-Stop (inputs and outputs, monophonic 3.5 mm miniature jack sockets)
Midi interface
USB interface (power supply via USB is not possible)
optically adapted to Dark Energy (same knobs, same depth and height, same wooden side plates and so on)
Powered via external power supply (12V AC/min. 400mA) for 230V
powering the device via USB is not possible, because the analog circuits require a dual voltage (+/-12V).
Additional remarks and specs:

for devices with S-Trigger inputs (e.g. Moog) or the Korg synthesizers MS-10/MS-20 a special S-Trig cable is required to connect the gate output of the Dark Time to the Gate/S-Trig input of the synth, details on the FAQ page of our website. You find the price of the special cable in our price list in the accessories section.

Dark Time cannot be used to control synthesizers which use the Hz/V standard for the pitch CV (unless the quantization of the Dark Time is not used). Only for the Korg MS-10 and MS-20 there is a solution to use 1V/Oct control voltage. A corresponding note can be found on our FAQ page: Controlling Synthesizers with Hz/V standard

Distance between the knobs (center - center): ~ 25 mm, diameter of the knobs: ~ 16 mm

Distance between the toggle switches (center - center): ~ 12.5 mm

Distance between knobs and switches (center - center): ~ 20 mm

The metal case is made of 1 mm steel, black coated with white printing

Overall dimensions: about 248 x 145 x 75 mm

Dimension of the metal case only (without side plates and knobs): about 223 x 135 x 55 mm

Side plates dimensions: about 145 x 65 x 12.5 mm (same as Dark Energy)

Weight: about 1.5 kg (without power supply)

The wooden side plates can be removed if desired. They are mounted by means of two screws to the metal box. The holes in the metal box can be used also to mount several devices together (e.g. with common wooden side plates on both ends) or to mount the Dark Time to one or two Dark Energy.

The device can be positioned horizontal (desk top) or vertical

These parts are included: power supply (12V AC/min. 400mA) for 230V mains voltage with European mains plug, one USB cable (type A-B, 2 m length) and four A-100 patch cables

For the power supply a low voltage DC socket with 5.5 mm outer diameter and 2.1 mm inner diameter is used (even 2.5 mm will work)

Powering the device via USB is not possible, because the analog circuits require a dual voltage (+/-12V).

Notes: The UR28M interface delivers high-resolution audio with striking clarity. Connecting via USB 2.0, the DSP-powered console features digital and analog I/O with D-Pre mic preamps.

Designed for easy access to controls and connectors, the UR28M's console comes with a single prominent output volume knob for individually controlling the levels of one of three stereo output pairs or the levels of six outputs simultaneously. You can also select between three monitoring mixes set up in the dspMixFx mixer or Cubase which is routed to the selected outputs. Several smaller rotary knobs to control signal levels of inputs 1 and 2 and the levels of the two headphone outputs. While further dedicated switches for inputs 1 and 2 allow you to employ 48 volt phantom power, 26 dB signal attenuation and connecting high-impedance instruments. Other controls include the Dim button for attenuating all line output signals by 20 dB, the Mono button and the Mute button for muting the selected output signal. Four-segment LED meterings for the inputs and the output are also available on the UR28M console.

The rear panel provides two TRS line inputs and 2 Neutrik combo TRS/XLR mic/line inputs alongside six analog balanced TRS outputs plus a coaxial S/PDIF input and output connector. Also included is a 1/8" stereo input jack for connecting to a portable audio player or other devices as a reference source.

The UR28M represents a top-notch recording system with plenty of inputs and outputs to connect to microphones, instruments, studio monitors and headphones. There's a USB connector to hook up to either your Mac or PC that lets you record and mix your productions with the included Cubase AI workstation or other audio software.

www.youtube.com/watch?v=qW1IYWefv_I

Notes: As Sony's highest level of professional headphone, the MDR-7520 is designed for critical listening applications. These headphones utilize ultra wideband 50mm HD driver units incorporating liquid crystal polymer film diaphragms. That's why the listener gets high power handling capability with great durability and unparalleled sound quality.

The MDR-7520 employs newly developed noise isolation earpads with a pliable cushion material that conforms to the natural shape of the ear, providing comfort and high acoustic isolation. This model has a lightweight magnesium alloy housing to decrease weight and increase comfort, reduce fatigue, and help prevent unnecessary vibration, plus a detachable cable.

This product comes with PrimeSupport, fast, hassle-free repairs and a helpline offering expert technical advice. Which gives you the peace of mind that Sony is looking after your equipment and your business.

www.youtube.com/watch?v=jf-QCKIqt9M

Notes: The MOTU 4Pre delivers a highly capable and compact hybrid audio interface from one of the most respected names in computer recording. The MOTU 4Pre features 4 premium grade microphone preamps and comes complete with USB 2.0 and Firewire connectivity. The 4Pre also features hands-on mixing and makes the ideal live-recording interface for both studio and stage.

The 4Pre packs 4 mic inputs into an impressively small half-rack form factor, along with a healthy complement of additional professional-grade audio connections. Just think of the possibilities. You can record and mix vocals plus guitar for 2 musicians simultaneously. Or mic a drum kit with overheads and close-ups. Or record lead and background vocals in one take. The 4 inputs are not just for mics: they are combo jacks that also accept a quarter-inch plug. Inputs 1-2 take line-level signals, such as the output from a synth or keyboard. Inputs 3-4 are Hi-Z DI inputs with proper impedance for plugging in your electric guitar directly, without an amp or cabinet, to process your guitar sound through amp and cab simulation plug-ins in your host software.

The MOTU 4Pre can record and play all channels simultaneously, and high-speed USB 2.0 provides plenty of bandwidth, even at 96kHz. Thanks to MOTU's Hybrid interface technology, the 4Pre connects to any Mac or PC via FireWire or high-speed USB 2.0. Connect your mic, guitar, keyboard and digital input, and you are ready to make pro-quality recordings. The 4Pre has been engineered with MOTU's renowned, award-winning audio interface technology, which delivers the pristine audio quality and rock-solid performance that MOTU interfaces are known for worldwide. You can always record and mix with confidence, knowing that decades of engineering experience are behind you, every step of the way.

Notes: Built with MOTU's award-winning MIDI interface technology, the MIDI Express XT is a professional MIDI interface and SMPTE synchronizer that provides plug-and-play connectivity to any USB-equipped Mac or Windows computer.

The Express XT provides 8 MIDI inputs, 9 MIDI outputs, 128 MIDI channels and compatibility with all Mac and Windows software. 16 convenient, one-touch presets (8 x factory and 8 x user programmable) give you instant front-panel access to multiple operational configurations.

The included ClockWorks console software for Mac OS X and Windows provides comprehensive MIDI routing, merging and muting.

As a professional-grade SMPTE time code synchronizer, the Express XT converts and stripes SMPTE in all frame formats (23.976, 24, 25, 29.97 drop and non-drop, and 30). SMPTE jam sync with adjustable freewheeling provides glitch-free sync.

The Express XT also supports MIDI Machine Control (MMC), with the ability to serve as either an MMC master or slave. The Express XT can distribute MMC transport commands to all other connected MMC devices.

Connect a foot switch to the convenient front-panel pedal input and then program it to generate MIDI data when pressed. Send the data to any connected devices. For example, you could send MIDI patch changes to synths and sound modules during live performance.

The MIDI Express XT takes full advantage of USB, giving you high-speed MIDI throughput, sub-millisecond timing accuracy, support for hot-swapping and plug-and-play expansion. Need to connect another sound module or synth? No problem. Just add another MOTU USB MIDI interface via any available USB port. And the Express XT's internal international power supply delivers reliable performance and professional operation.

No other MIDI interface offers this much value and performance at such an affordable price.

Notes: The CDN77USB is a dual USB and MP3 CD player designed for professional DJs. USB drive support allows you to put your entire digital music library on a USB flash or hard drive and use it at a gig. if you're a DJ transitioning to using MP3 files, the CDN77USB is ideal, because it allows you to still use your entire library of CDs or MP3 CDs. In addition, the CDN77USB comes loaded with features like master tempo, scratching, seamless loop, pitch control, reverse and brake effects and an auto-BPM counter, making the CDN77USB an affordably priced unit with premium features.

For DJs whose libraries live on their computer, the CDN77USB is a perfect solution. Thousands of songs can be loaded from a computer onto a USB flash or hard drive, which can then be accessed from either of the CDN77USB's two USB inputs. DJs can also load two songs from a single flash drive at the same time.]

Notes: Sony have released a great range of headphones to the market, all of which vary in audio reproduction abilities, but can any of their other IEM's hold their own against their EX1000 model? Sturdy design, premium packaging and premuim sound quality. They don't come at a cheap price point but by gosh they warrant the price tag.

The design of the MDR-EX1000 is exactly what you would expect from a set of high end IEMs. Lightweight and robust! The housing is made with a magnesium alloy and that's what gives the MDR-1000s that lightweight feeling.

When you grab your MDR-EX1000s not only will you instantly notice that they are lightweight but you will notice the impressively sturdy cabling, it even has the nice touch of being replaceable.

There is one immediately noticeable characteristic and that's the awesome bass reproduction. These are by no means 'bass heads' headphones, the bass is impressively sophisticated with very little, in fact, as distinct lack of distortion! It's crisp, punchy and hits the spot every time.

The trebles are rather extended, sound smooth and perform with clarity with the mids being impressively true to life and clean. Like many of the top tier IEMs they are not very forgiving to badly recoded audio. They bring out the best of the best in your music, but if your music is not well recorded, your MDR-EX1000s will make this evident.

Lets just say you won't struggle to find a eartip that suits your preferences, however if you are trying all of the included set aside some time because there are 10 different tips in total. Sony really wanted to make these comfortable, they have included 7 sets of hybrid eartips and 3 standard silicone ones.

The premium effect is continued right the way through the product even down to the handy carry case that is included. You could get away with just throwing these headphones into you bag on the way to work, however you did splash out on them so don't be silly, stick them into your carry case! Also included in the packaging is a shorter replacement cable to suit your listening preferences.

Everything about the MDR-EX1000s screams luxury, screams premium and most certainly screams quality. The robust yet lightweight housing and cabling makes these ideal for use on the go and while the noise isolation from them may not be the best on the market the sound quality is fantastic. It's not all about the bass, but the impact and precision of these makes the bass a major pull factor, complimenting the smooth mids and extended trebles you won't miss a beat again. Remember these headphones are suited for 'well recorded' music and if you're listening to your tunes on the way to work be aware of the possibility of random air-guitar or vocal outbreaks.

Notes: Pulse 2 Analog Synthesizer is proof positive that good things can come to those that wait. For ever since this high-quality synthesizer developer discontinued its original rack-mountable Pulse and Pulse+ programmable analogue monosynths boasting ballsy bass tones and legendary leads beyond compare, those Nineties electronic musicdominating sounds have been severely sought after by those in the know. Which was exactly what drove us into development overdrive to produce an all-new Pulse fit for the 21st Century.

As an all-new, all-analogue synthesizer design, Pulse 2 flawlessly delivers exactly what synth connoisseurs around the world have been truly craving for quite some time - three analogue oscillators living in perfect harmony with a VCF (VoltageControlled Filter), yet we did not stop there: the fresh filter circuits in the Pulse 2 now offer 12dB Highpass and Bandpass modes in addition to 24dB/12dB Lowpass for strengthened sound-sculpting flexibility, while we added analogue Filter FM, two Overdrive circuits, and Ring Modulation from OSC 3, together with Paraphonic and Unison modes allowing up to eight-voice chords - a fantastic feature found on our recently-released Rocket Synthesizer.

Pulse 2 is housed in a sturdy metal desktop casing. Alongside its generous 128x64-character backlit LCD, eight eye-catching stainless steel knobs are available to nimbly navigate through the parameter matrix - logically laid out across the front panel for all to see at all times, set the master Volume, and easily edit display-accessible parameters.

Connectivity comes well catered for courtesy of USB, MIDI In, MIDI Out, Ext In (external analogue signal input), line OUT, and headphone output - not forgetting, of course, CV Out (supporting both the V/octave and Hz/V standards) and Gate Out (V-Trigger- and S-Trigger-compatible), allowing a myriad of suitably equipped older (or newer) synths to be connected to the Pulse 2 to mirror whatever MIDI 'note' information is being played by the Pulse 2, including the output of its powerful ARP (arpeggiator). And if that's not enough to be getting on with, the CV Out can even be modulated in the eight-slot modulation Matrix, making for even more tantalising tone colours and performance possibilities!

Alongside analogue must-haves like a noise generator, Pulsewidth modulation, and hard Sync, other notable features include an Alternating Pulsewidth Modulation mode new to the Pulse 2 (offering a dense PWM sound without affecting perceived loudness), and an XOR Osc mode (that is a binary XOR combination of two PWM oscillators with two distinct output levels - high and low only - capable of producing inharmonic spectra unlike anything associated with any analogue synthesizer other than the original Pulse) - all of which, of course, contribute to kickstarting those still soughtafter sounds right here, right now in the 21st Century. Speaking of which, 500 onboard sound programs should be more than
enough to keep the most diehard synthesist smiling! What's more, all are backwards-compatible with the original Pulseseries, so original Pulse owners can quickly transfer their favourite sounds to their new Pulse 2 via MIDI (dump).

Notes: The Rode NT1-A 1" cardioid condenser microphone has become an industry standard, delivering the warmth, extended dynamic range, clarity and high SPL capability typically only featured on some of the most expensive microphones.

This pair of NT1-A microphones has been acoustically matched to be within +/- 1/2 dB sensitivity, and is an ideal stereo microphone solution for recording choirs, drum overheads and other X/Y and spaced pair stereo recording applications.

The NT1-A-MP (matched pair set) also features professional accessories for both microphones, including 2 shock mounts and 2 x 20 inches microphone cables. Also included is a matched pair certificate, detailing the microphones' serial numbers and certifying them as being acoustically matched.

The Rode NT1-A acoustically matched pair of large diaphragm 1" cardioid condenser microphones is covered by Rode microphones' industry leading 10 year warranty.

http://www.youtube.com/watch?v=5zByhzmhbe8

Notes: The NT2-A carries on the tradition forged by the now legendary Rode NT2. A professional large capsule (1") studio microphone incorporating 3-position pick-up patterns, PAD and high pass filter switches conveniently located on the mic body.

At the heart of the NT2-A is the Australian designed and manufactured HF1 dual diaphragm capsule. The frequency and transient response of this transducer has been voiced to complement today's modern recording techniques, and yet still evoke the silky smooth character of the legendary microphones of the 50's and 60's. These features provide the flexibility and superlative audio characteristics that make the NT2-A one of the most versatile condenser mics available.

Includes SM6 popshield, XLR cable and microphone dust cover.

http://www.youtube.com/watch?v=DCtdnmFxFJs

Notes: The Rode NT2000 is the world's first large diaphragm condenser studio microphone with seamlessly variable polar patterns, filter and pad located conveniently on the microphone body.

The NT2000's state of the art surface-mount electronics combined with the Australian designed and manufactured HF1 Capsule, provide extremely low self-noise (7 dBA) and a maximum SPL of 147 dB (157 dB with pad fully engaged) ensuring exceptional results and the ultimate in recording creativity.

http://www.youtube.com/watch?v=c2ZaOHXHdas

Notes: The Rode NT4 stereo microphone offers a perfect X/Y stereo array without the need for matched pair microphones and complex stereo bars and equipment.

Combining a matched pair of 1/2" cardioid condenser capsules fixed in a perfect 90 degree near-coincident alignment, the NT4 instantly creates a faithful stereo array that is ideal for drum overheads, percussion, choir vocals, environmental recording and sound design.

The NT4's versatility is further extended by its ability to be powered by a 9V battery, in addition to 48V phantom power. Both stereo XLR and 3.5mm minijack cables are supplied to ensure the NT4 is ready to record to mixing console, portable recorder or camera.

The Rode NT4 X/Y stereo condenser microphone is covered by Rode Microphones' industry leading 10 year warranty.

Notes: The Rode NT6 compact microphone is specifically designed for difficult mounting applications where the highest quality audio is required. Although clearly relevant to instrument miking, the NT6 is extremely well suited to any situation where an unobtrusive but powerful microphone is required.

Featuring a 1/2" cardioid condenser capsule, the NT6 capsule head measures 45mm (1.8") in length and weighs only 42gm (1.5oz). An all-metal, multi-position mounting ring provides 180 degree of vertical rotation, while the microphone head is connected to the body via a custom 3m (10') shielded Kevlarr reinforced cable.

The microphone body incorporates both a high-pass filter and pad setting. The high-pass filter can be introduced to cut vibration, rumble and undesired sounds sources under 80Hz, while the pad offers a -10 dB level attenuation, useful when recording louder sound sources.

The NT6's small form factor make it an ideal small diaphragm cardioid microphone for use in the mid-side (M/S) stereo array, in combination with a figure-8 large diaphragm microphone such as the NT2-A, NT2000 or K2.

The Rode NT6 compact condenser microphone is covered by Rode microphones' industry leading 10 year warranty.

http://www.youtube.com/watch?v=9IFuW-32x8E

Notes: The Rode NTK is the multi award-winning Class-A tube microphone that has found a home with tens of thousands of professionals around the world.

The heart of the NTK is the Australian designed and manufactured HF-2 capsule. The electronic circuitry complementing this very sensitive transducer includes a hand-selected twin-triode 6922 valve and audiophile grade components and lay-out. The result is an ultra-wide dynamic range, very low noise, and stunning tube warmth. The NTK's rich valve sound is ideal for vocals, acoustic instruments, drum overheads, guitar amps and pianos.

The Rode NTK's gold plated membrane is housed in an internally shock-mounted capsule, with a satin nickel finished body and heat-treated steel mesh head. A dedicated power supply unit is included as standard, along with a 10m multicore cable and RM2 standmount.

http://www.youtube.com/watch?v=oZ2gAE51vtM

Notes: Protect your investment when you're on the road. The EW Pro Molded case is designed to meet ATA specifications. It is custom fitted to the EW Pro. It has heavy duty casters and an internal compartment for storing cables.

Notes: The Pro VLA II is a tube driven Vactrol-based compressor/leveling amplifier designed to excel in any professional audio environment. Superior performance and an incredible tone makes the Pro VLA II and indispensable tool for tracking, mixing, mastering, dynamic control of live sound sources or for use in broadcast audio.

Capable of delivering a far more musical natural sounding and sonically transparent compression than competitive units in its class, the Pro VLA II uses an Opto-electronic circuit rather than the more typical design VCA driven level detection circuit. This VCA-less design coupled with a 12AT7 vacuum tube in the gain stage makes the Pro-VLA II the ideal dynamic control device for critical audio applications.

Exceptional signal integrity with extremely low noise and low distortion is achieved in the Pro VLA II by utilizing a transformerless design throughout.

Unlike typical compression units that use Voltage Controlled Amplifiers (VCA's) to handle level detection, the Pro VLA II's Opto-electronic design allows a far more transparent and musical sounding compression without sounding aggressive or un-natural. This Vactrol based optical electronic circuitry is the basic component of the classic highly sought after compressors of past.

The Vactrol design allows the Pro VLA II to react to audio signal in much the same way the eye naturally adjusts to fluctuations in light levels, smoothly, quietly and almost imperceptibly.

The Pro VLA II is a soft knee leveling amplifier by design. Although capable of providing dramatic compression effects, the Pro VLA II was designed to excel in any application where transparent, expressively musical dynamics control is desired.

Large highly visible backlit analog VU meters accurately display input and output levels while extremely fast 10-segment LED's display gain reduction. For added functionality, the LED's display either average level for mastering & mixing applications or peak hold for monitoring individual sources when tracking audio.

XLR and 1/4" TRS balanced inputs and outputs are provided to ensure the Pro VLA II can connect with any audio source or hardware. A +4 dBu/-10 dBu mode switch optimizes the Pro VLA II I/O for either consumer or professional equipment.

Notes: The ART Pro MPA II is an affordable high performance microphone preamp.

The ART Pro MPA II can be configured for dual mono or stereo operation with selectable mid/side mic support, summing the adjacent channel, to decode left/right signals.

Each microphone input circuit, with selectable 48V phantom power, features variable input impedance which can radically vary the overall performance of any high quality dynamic or ribbon microphone.

The Pro MPA II can operate at either a low or high plate voltage on the 2 integrated hand-selected 12AX7 tubes for wider variation of preamp tone and performance. Large back-lit analog VU output meters display output levels while multi-colored LED arrays show tube gain.

Housed in a standard 2U space rack mountable steel chassis, with CNC routed black anodized aluminium face panel, the Pro MPA II is designed to deliver years of reliable operation in the studio, production facility, or on the road for live sound reinforcement.