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Notes: Still a classic, still a brilliant mixer. Nearly 20 years on the market but sounding just as good as ever, the Xone:92 seems like a bit of a bargain now.

Supplier's Notes:
The industry-standard Xone:92 is a versatile six channel analogue mixer, renowned for its expansive, involving sound. With its solid construction and easy to use interface, the 92 is on the riders of most of the world's top DJs and is a permanent fixture in the booth at many of the biggest superclubs.

The Xone:92 was one of the first professional DJ mixers to incorporate MIDI for control of DJ software or external devices, and the first to include the innovative dual VCF filters. With its two stereo FX sends, twin Mic/returns, and one of the best EQ sections around, this mixer is a DJ's dream tool.

For those who prefer to blend with rotary faders the Xone:92R is also available.

Notes: A&H described this groundbreaking mixer as the most advanced product they'd ever designed when it was released. Ultra-technical design with emphasis on effects and performance options.

Supplier's notes:
The Xone:DB4 is a ground-breaking mixer and the most advanced product that Allen & Heath have ever designed. Every feature has been meticulously researched with a view to offering DJs ultimate creativity. Based on the iLive pro-touring FX system, A&H developed FX algorithms with BPM conscious parameters and tight spectral control, customised to perfectly fit the DJ environment. As the loops and FX are automatically synchronised to the tempo of the track, it is very easy to build some amazing grooves and soundscapes without problems of latency, low fidelity and the general hassle often associated with using software and laptops.

The icing on the cake is the flexible input matrix, where any audio source can be selected on any or all of the channels. Different processing can be applied to the same track on separate channels and you can fade between them, or a phrase sampled in the looper of one channel can be added to the mix later in the track. Our digital design team has done an incredible job to ensure that this is one of the most innovative and exciting DJ mix tools to date.

Quad FX Core:
The heart of the Xone:DB4 is the powerful Quad FX Core DSP engine, enabling each channel to have its own FX bank and BPM detection system, which automatically adjusts all time-related FX and loops to the tempo of the music. There are 5 studio quality FX types optimised for DJ use - delays, reverbs, modulators, resonators and damage - plus each FX type has a patch library of different effect variations. Each FX bank has a dedicated expression control and a rotary pot to set the wet/dry level, whilst further tweaking can be performed using the global controllers in the FX master section.

X:LINK uses a standard RJ45 connector and distributes power and data allowing connection to X:LINK compatible devices, saving USB ports on your computer.

Each channel has a built-in looper, with selectable loop length from 1/16 beat to 4 bars. DB4 will always record the full 4 bars, so the loop can be expanded or shrunk at will.

Each music channel can select any of the available stereo music sources: Analogue Line 1-4 (switchable to Phono on 2-3), Digital 1-4 or USB 1-4.

The Mic/Line input has 2-band EQ, gain, cue and mix level. This can also be routed to all main input channels overriding Matrix analogue input channel 1 for adding FX and accessing the loopers.
A built-in, high quality (24-bit / 96kHz), multi-channel, fully patchable USB2 soundcard allows replay and recording from audio software for 4 stereo sends and 4 stereo returns.

Each music channel has a 3-band EQ that can be configured as standard asymmetric EQ (+6/-26dB), Isolator (+6dB/OFF with a 24dB/octave slope), or reconfigured as a High-Pass/Low-Pass filter system with adjustable resonance. EQ knob pointers change colour to show which type of equalization is active.

User-defined settings such as meter mode, BPM range, USB audio routing scheme and display brightness can be saved to a USB key for recall on another DB4.

All controls (except Mic and Phones level) send MIDI data and the mixer can double up as a MIDI controller via the MIDI shift button, allowing the Loop and FX selection controls to send MIDI data without changing the mixer settings. DB4 can generate internal MIDI clock which can be used to control the tempo of a connected DAW via USB and the ability to change the mixers MIDI channel.

Booth, record and phones - source selectable and level trim. Booth and main - phase and level trim controls.

The OLED display is clearly visible, even in bright sunlight, and displays channel FX selection and current BPM, as well as being an easy interface for the Menu setup functions.
4 channels, USB, S/PDIF co-axial I/O, Mic/Line input, XLR outputs, Looper, EQ/Filter, QuadFX DSP effects, built in 24bit/96kHz 4in/4out audio interface

DB4's lightweight aluminium chassis is designed to make touring with the console easy.

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: The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of Bass, Lead, Pad and Effect sounds. Additionally, with its total of six filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These four synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI and additionally via CV/gate (1V/octave) inputs for every synthesizer channel.

Notes: The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of bass, lead, pad and effect sounds. Additionally, with its total of 6 filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These 4 synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI.

www.youtube.com/watch?v=UWFsfUa9pUk

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


The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of Bass, Lead, Pad and Effect sounds. Additionally, with its total of six filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These four synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI and additionally via CV/gate (1V/octave) inputs for every synthesizer channel.

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


The new PerFourMer is a real analog synthesizer, through its simple control surface and very flexible sound production it is able to offer a near inexhaustible variety of bass, lead, pad and effect sounds. Additionally, with its total of 6 filter inputs, the PerFourMer is also perfectly suited as a complex filter-bank. Even though the PerFourMer is not considered a modular system, it can still be described as a modular or at the very least a semi-modular. The basic concept is reminiscent of classics such as the Oberheim 4 Voice or the Korg Monopoly.

The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These 4 synthesizer channels can be linked with each other and be played in 3 different operating modes.

Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI.

www.youtube.com/watch?v=UWFsfUa9pUk

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: 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.

http://www.youtube.com/watch?feature=player_embedded&v=ROdMInjMtm0
http://www.youtube.com/watch?feature=player_embedded&v=3YkS9vAcvDc
http://www.youtube.com/watch?feature=player_embedded&v=vW9ayttFvy4

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: 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: 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: Mackie SRM 1600W High-Definition Powered Loudspeakers deliver a new level of SRM ruggedness, output, clarity and simplicity. With two powerful full-range boxes and a chest-pounding subwoofer, SRM loudspeakers deliver the modern output, amazing sound and proven durability you demand from your system.

With SRM, you get all the latest modern tools to make your show sound amazing without the headache you'll get from sorting through endless menus during the show. SRM Series 1600W High-Definition Powered Loudspeakers are packed with complex and DSP-intensive acoustic optimization that is ready to rock with just a press of a button. Like the game-changing Mackie SRM450, which brought studio-quality sound to the masses 15 years ago, the new all-wood SRM models deliver premium, high-definition sound to the everyday portable PA.

True to Mackie's legendary "Built-Like-A-Tank" design history, SRM Series 1600W Powered Loudspeakers deliver the raw power and unmatched durability you demand. After all, your speakers are an investment and you work them hard. Each SRM loudspeaker can pump out 1600 watts of unadulterated power via custom high-output transducers, delivering gig-level volumes with room to spare. The professional grade cabinets feature an extremely tough, all-wood design with substantial internal bracing that not only adds natural character to your sound, it ensures your speaker will survive night after night. Add to that the steel front grille that just begs to be stomped and you've got a speaker that not only delivers the power you crave, but is also "Built-Like-A-Tank" because we know what it's like to gig.

Flexibility is critical with a portable PA system. That's why SRM loudspeakers feature an integrated 2-channel mixer than can handle anything you can throw at it. Each channel sports Mackie's Wide-Z inputs that are custom-designed to handles anything from mics to guitars to mixers with a single twist of a knob plus a stereo RCA input perfect for smartphones or laptops.

You can stick a full range SRM speaker on a tripod or connect it to an SRM subwoofer with a standard speaker pole. Perfect for use as stage monitors, SRM top boxes not only have a specific monitor speaker mode, they also reach a 60-degree angle when placed on the side. This directs the sound at the musician's ears, not their belt buckle. And, installs are no problem, since SRM full-range loudspeakers are flyable via standard M10 rigging points.

Notes: Don't let its small size fool you. The Prophet 12 Module boasts the same power and sound as the Prophet 12 Keyboard. Each of the Prophet's twelve voices is composed of a brand new hybrid digital/analog architecture that sounds different than any other DSI line of synths, yet retains the true Prophet vibe. With a humongous twelve voice polyphony, sophisticated architecture, and sleek design, the Prophet 12 is ready to handle any sound in any setting.

The Prophet 12's brand new hybrid voice has a digital front end followed by an all analog signal path output. Each voice has five high resolution digital oscillators, a digital character effects section, a resonant Curtis low-pass filter, a high-pass filter, a tune-able feedback circuit, a four-tap delay line with feedback per line, four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a sophisticated arpeggiator, and a sixteen slot modulation matrix with 26 mod sources and 97 modulation destinations. The Prophet 12 Module is packed with a plethora of sonic potential and power!

Frequency and amplitude modulate the oscillators with incredible accuracy. Freely assign oscillators in whatever operator and modulator configurations you choose. You can even assign each of the oscillators to modulate LFOs, envelopes, and filters.

The Prophet 12 Module's streamlined interface invites quick and easy control of every parameter on the synth. Each synth section can be selected at the press of a button with every parameter editable from the crisp OLED display. Easily create modulation assignments using the Assign Mod buttons. Dedicated Low and High Pass Filter potentiometers provide quick and smooth control of the filters.

The Prophet 12 Module has a rugged steel enclosure and is equally at home on your desk, in your rack, or on stage! An extensive MIDI implementation covers every available parameter on the synth and you can easily pair it with your favorite MIDI controller or DAW.

The Prophet 12 is the most cutting edge hybrid synthesizer on the market and defines what a modern polyphonic synthesizer is. Designed and manufactured in San Francisco, the Prophet 12 Module has a glorious combination of form and function in a sturdy, portable and elegant build.

Dave has been a pioneer in the field for 35 years. After creating such greats as the Prophet-5, '08, and VS, this is his favorite Prophet yet!

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: 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: 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: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


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


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


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: 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 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: 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: From the most critical and demanding studio environments to the world's biggest stages, the Stage-B16 delivers the same superb analog quality as MOTU's new line of award winning audio interfaces, in a rugged stage box form factor with powerful, flexible AVB networking.

Three products in one:
Stage box - 16-input stage box with AVB Ethernet "digital snake" connectivity.
Rackmount Mixer - DSP-equipped 48-input 12-bus digital mixer with wireless control.
Audio interface - Universally compatible USB audio interface for Mac and Windows.

The Stage-B16 sets a new standard for analog audio performance in a stage box. The 8 XLR analog outputs deliver a stunning 123 dB DR, a level of measured performance normally found only in products costing thousands.

Digitally controlled analog preamp gain provides accurate adjustments in 1 dB increments from web app software running on your laptop, tablet or smartphone, with the ability to save gain settings.

The 16 individual mic preamps deliver 117 dB dynamic range (DR), with -110 dB THD+N (-1 dBFS, unweighted, 1kHz). Each input is equipped with 63 dB of preamp gain, individual 48V phantom power and -20dB pad.

The Stage-B16 sets a new standard for what it means to be a stage box. With AVB networking technology, you can run mic signals over standard Ethernet cabling to a front-of-house mixing console up to 100 meters away, plus any other destinations on the network, such as the monitor mix console or a computer-based recording rig. For small- to mid-sized applications, the Stage-B16 takes care of all live sound mixing duties, controlled wirelessly from your laptop, tablet or smartphone - all with audio quality that's so good, it belongs in a world-class recording studio.

The mixer in the Stage-B16 is identical to the mixer found in MOTU's flagship 1248 and 16A interfaces. If you know your way around a large-format mixing console, you'll feel right at home. If you've ever wished to mix on a large console, the driver's seat is now yours.

British analog mixing consoles are renowned for their musical EQ profiles. The Stage-B16 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 with peak/RMS operation.

Groups and the Main Mix bus are equipped with MOTU's Leveller, an accurate model of the legendary Teletronix LA-2A optical levelling amplifier, known for its highly sought-after Automatic Gain Control (AGC) characteristics.

The software that you use to control the Stage-B16 doesn't reside on your hard drive. It's a web app served from the hardware itself. This means you can control the Studio-B16'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 smartphone 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 Stage-B16 with a standard Ethernet cable and control the Stage-B16's powerful mixing and DSP effects from your smartphone or tablet, without a computer. Great for live sound mixing!

The Stage-B16 provides "digital snake" connectivity using AVB Ethernet, the new industry standard developed by the IEEE for professional audio networking. Run cable lengths up to 100 meters with standard CAT-5e or CAT-6 ethernet cables and ultra-low, sub-millisecond latency. Route audio from an AVB network over an entire performance venue or recording facility.

Connect up to five MOTU interfaces using a MOTU AVB Switch (sold separately).

Build a network with multiple interfaces, computers, and AVB switches using standard network cabling, with ultra-low network latency, even over long cable runs (100 meters point to point). Stream hundreds of audio channels among devices and computers on the network.

The Stage-B16 connects to your computer with audio class compliant hi-speed USB 2.0 (compatible with USB 3.0 and iOS) for across-the-board compatibility now and in the future. Alternately, if you have a Mac running OS X Yosemite (10.10) or later, you can use a standard Ethernet cable for operation as an audio interface. Either way, the UltraLite AVB is compatible with all audio software.

The Stage-B16 is so flexible, it can serve many roles - in the studio, on stage, and throughout an installation. The Quick Setup menu lets you instantly reconfigure the Stage-B16 for many common situations, from operation as a standard audio interface to serving as a network "snake" from one location to another. Once a preset is chosen, you can easily customize the routing grid and mixer settings to further suit your specific needs - and then save your own custom presets.

Notes: Although spring reverbs have been built for more then five decades they are still highly desired because of their individualism and sound quality. They can almost be seen as standard for guitar amplifiers and can be found in a great number of studios around the world, as they are also a perfect choice for vocals, organs and synthesizers.

Once again VERMONA presents a tube spring reverb of it's own class and once again the name is "ReTubeVerb". Some details have been improved and there are also strongly requested features like balanced in- and outputs as well as the possibility to get it in a rack system.

Uncompromising Tube Technology:
The ReTubeVerb is build upon classical tube circuitry - you will not find a single semi-conductor in its signal flow. This uncompromising realization needs some efforts but the result justifies the concept! What you'll get is the warm and slightly compressed tube sound without interferences and unpleasant coloration.

Spring Tank:
The deep and voluminously reverb effect comes out of a high quality six-spring reverb tank (three double-springs) made by the spring reverb pioneer ACCUTRONICS.

Equalizer:
We've chosen three very usable frequencies which makes it easy to form the reverb effect as you like without much efforts.

Balanced In- and Output:
Beside the unbalanced instrumental- / line in- and outputs we've implemented a transformer-balanced input and output as well. It's not that kind of feature that's integrated just to have it, but with great attention towards sound quality. The audio transformers are made upon our specifications to perfectly fit for their purpose.

True Bypass:
There's a true bypass as well as the EFFECT STOP function. The latter allows refining the input signal by the tube preamp without reverberation.

The ReTubeVerb relies on traditional technology but also makes spring reverberation a cutting edge topic.

*For audio samples, please visit - http://www.vermona.com/index.php/en_retubeverb.html

Notes: The S32 provides 32 MIDAS-designed remote-controllable mic preamps, plus 16 balanced analog XLR returns at the stage end - and all it takes is a single Cat 5e cable (up to 328 ft / 100 m). While KLARK TEKNIK, the industry-leader in high-end digital audio processing, invented the AES50 SuperMAC technology that made it all possible - Behringer's superb scale of production makes the S32 so very affordable.

Ever since its formation in the 1970s, MIDAS has had a long history of innovation and leadership in the world of audio mixing consoles. Employed by the most famous touring acts and installations world-wide, legendary MIDAS consoles such as the XL4 and Heritage H3000 quickly became industry standards.

MIDAS has earned their impeccable reputation due to their no-compromise approach for audio and build quality and in particular for their Award-winning Mic Preamps which are considered by industry experts as the industry's best sounding designs. Building on this legacy, the XL8 and PRO Series of Live Mixing Systems continue this great heritage of Award-winning audio quality.

BEHRINGER is proud to incorporate a MIDAS designed mic preamp for the ultimate in high-quality audio reproduction in both live and studio environments. Find out more about MIDAS' amazing legacy by visiting their extensive website.

When used as part of a complete X32 system, two S32 Stage Boxes can be connected via the mixer's built-in dual AES50 ports, providing connectivity for up to 64 remote mic/line inputs, 32 balanced outputs and the awesome POWERPLAY P-16 Personal Monitoring System - which can feed up to 16 individual monitor mixes via CAT5 to every musician on stage. When 32 inputs are not enough, an S32 Stage Box may also be cascaded with an S16 or SD16 for full use of the 48-channel bidirectional capacity of AES50 SuperMAC networking on just one CAT5 line. Behringer also included 2 optical ADAT outputs and two AES-3 (AES/EBU) stereo outputs for digitally connecting to outboard devices, such as PA system controllers. The S32 also features a convenient USB port for system updates via your PC - plus MIDI I/O for your lighting systems and sound module control.

The S32 was initially designed with Behringer's flagship X32 Digital Mixing Console in mind, but any mixing board with AES50 networking capability can still tap directly into the S32's powerful feature set. For instance, an S32 and X32 CORE can be used to create an amazing power-combo for remote controlled digital mixing in only 4U. While the X32 CORE may be used to run an independent monitor mix, it can also relay and share all I/O with the FOH - whether you are using an X32 Series console, or any other digital mixer that supports MADI, Dante, ADAT or AES50 I/O. Behringer offer very reasonably priced option cards to replace the standard 32 x 32 channel USB interface for exactly that purpose. You can even choose to run the complete show from the stage racks X32 CORE via Behringer's remote control apps. And since the S32 and X32 CORE communicate via AES50, they don't even have to live in the same physical rack, but can be separated by up to 100 m (328') of CAT5 cabling, if that is more convenient for your venue.

The world-renowned engineers at KLARK TEKNIK, MIDAS, TURBOSOUND and BEHRINGER have all come together to create something truly innovative that will change your live and studio workflow forever - welcome to ULTRANET. This revolutionary technology seamlessly transmits up to 16 independent channels of 24-bit digital audio and control data via a single Cat 5e cable between compatible digital devices - including mixers, I/O stage boxes, powered loudspeakers and personal monitoring systems. Advantages realized through ULTRANET digital networking, versus traditional analog methods, include: all audio signals are impervious to Radio Frequency Interference (RFI); signal crosstalk is eliminated, and ease of use translates directly into a significant amount of time saved during show setup or installation. ULTRANET effectuates a powerful digital eco-system that gives you unparalleled ease of deployment, performance and control for BEHRINGER P16 Personal Monitoring Systems and Turbosound iQ Speaker Series.

As you can see, the S32 is an extremely versatile 32 x 16 digital stage box solution with remote controllable MIDAS-designed mic preamps, KLARK TEKNIK's AES50 connectivity and a wealth of other professional-grade features - all at a price anyone can afford! Built tough enough to withstand the rigors of the road, the S32 only takes up only three rack spaces and connects to FOH with a single, inexpensive Cat 5e cable, such as the KLARK TEKNIK NCAT5E-50M. Now you can have the missing link between the stage and FOH at a fraction of the cost of competing systems - and Behringer back it up with a comprehensive warranty program.

Notes: The Prophet-6 desktop module is every bit as powerful and easy to use as its counterpart, the Prophet-6 Keyboard. The module has all of the same controls as the keyboard version and provides the same immediacy and ease of use - with absolutely no menu diving. As with the Prophet-6 Keyboard, all parameters are at your fingertips, with full-sized knobs and switches and a comfortable, intuitive layout.

How does it sound? Awesome - just like the keyboard, because on the inside, it's exactly the same. The same analog signal path with discrete VCOs and VCFs. The same high-quality digital effects. The same classic sound that has been earning raves from customers and reviewers alike.

We've also added a poly chain feature so that any two Prophet-6s can be paired for twelve-voice polyphony!

Both the Prophet-6 desktop module and keyboard are 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-5 - 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 and 500 rewritable user programs. 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 desktop module that's small enough to fit in a backpack. It's an ideal combination of portability and power for the project studio or the gigging musician.

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: Moving Combos a Quantum Leap Forward:
After we revolutionized the bass world with the original Bass Amp 2.0 concept, we decided to shrink the package down into a combo.

Compact portability and all the killer features from RH750 makes it a winning combination!

- RH750 Bass Amp
- 2 x 10" Driver + 1" Tweeter
- 3 Presets
- Onboard tuner

Ultimate Tone Tools:
Use the 4-band semi-parametric EQ to sculpt your basic tone. Then apply SpectraComp and/or TubeTone for the finishing touch.
Traditional compressors tend to be controlled by the lower strings only, but with multi-band compression, you get even 'per string' compression.
TubeTone emulates not only a tube preamp, but also the power amp section of a classic tube amp. Shockingly convincing!

Tune Up:
Why no one has ever done this before is simply beyond us. Adding an onboard chromaitic tuner makes life so much easier for everyone!
The tuner is always on, and you can check your tuning state at any point. And when you need to tune up between songs, the built-in tuner will get you back and playing in seconds. Crowds just hate to wait!

Presets:
Different situations call for different tones. Be it a change of bass, a different song/style or a different venue, you need your amp to be instantly flexible and adapt to your needs.
You can store up to 3 different presets so you can handle whatever music might throw at you. Also, the optional RC4 footswitch allows you to instantly control your presets.

Vertical Stacking Explained:
Vertical Stacking... It may sound like a term that was developed by our sales and marketing departments, but in reality Vertical Stacking was born in our bass development department. The concept emerged from years and years of bass playing. Yep, that's right! The guys developing TC bass gear are actually bass players themselves, and they know what it's like out there in the real world of bass.

Acoustic Tilt:
Just like early reflections are key to the Vertical Stacking concept, you can take advantage of the same phenomenon if you use either an RS212 or RS112 as the lower cabinet and an RS210 as the upper cabinet.
It's perfectly fine to align the front of each cabinet, but if you want to emphasize clarity and definition in a natural way (without adjusting the tone controls of the amp), try pushing the upper RS210 cab back a bit.
Now, you will get eary reflections of the upper cabinet coming your way, and even though it may sound like a minor adjustment, the difference is significant and you can control the amount of early reflections by how far you push back the RS210 cab.

RC4 Remote:
Want to switch easily between your presets, or tune up without having to turn around? The RC4 Remote is your solution!
You gain total control right at your feet, and it will also allow you to quicly mute the amp for silent tuning in betweens songs.

Notes: After we revolutionized the bass world with the original Bass Amp 2.0 rig (RH450 + RS cabs), we decided to shrink the package down into a combo.

Compact portability and all the killer features from RH450 makes it a winning combination!

- RH450 Bass Amp
- 2 x 10" Driver + 1" Tweeter
- 3 Presets
- Onboard tuner

Ultimate Tone Tools:
Use the 4-band semi-parametric EQ to sculpt your basic tone. Then apply SpectraComp and/or TubeTone for the finishing touch.

Traditional compressors tend to be controlled by the lower strings only, but with multi-band compression, you get even 'per string' compression.

TubeTone emulates not only a tube preamp, but also the power amp section of a classic tube amp. Shockingly convincing!

Tune Up:
Why no one has ever done this before is simply beyond us. Adding an onboard chromaitic tuner makes life so much easier for everyone!

The tuner is always on, and you can check your tuning state at any point. And when you need to tune up between songs, the built-in tuner will get you back and playing in seconds. Crowds just hate to wait!

Presets:
Different situations call for different tones. Be it a change of bass, a different song/style or a different venue, you need your amp to be instantly flexible and adapt to your needs.

You can store up to 3 different presets so you can handle whatever music might throw at you. Also, the optional RC4 footswitch allows you to instantly control your presets.

Vertical Stacking Explained:
Vertical Stacking... It may sound like a term that was developed by our sales and marketing departments, but in reality Vertical Stacking was born in our bass development department. The concept emerged from years and years of bass playing. Yep, that's right! The guys developing TC bass gear are actually bass players themselves, and they know what it's like out there in the real world of bass.

Acoustic Tilt:
Just like early reflections are key to the Vertical Stacking concept, you can take advantage of the same phenomenon if you use either an RS212 or RS112 as the lower cabinet and an RS210 as the upper cabinet.

It's perfectly fine to align the front of each cabinet, but if you want to emphasize clarity and definition in a natural way (without adjusting the tone controls of the amp), try pushing the upper RS210 cab back a bit.

Now, you will get eary reflections of the upper cabinet coming your way, and even though it may sound like a minor adjustment, the difference is significant and you can control the amount of early reflections by how far you push back the RS210 cab.

RC4 Remote:
Want to switch easily between your presets, or tune up without having to turn around? The RC4 Remote is your solution!

You gain total control right at your feet, and it will also allow you to quicly mute the amp for silent tuning in betweens songs.

Notes: Reverb 4000 is a single-engine stereo version of Reverb 6000, featuring the best reverbs and presets from Reverb 6000 and M5000 as well as emulations of numerous immortal classics.

Reverb 4000 is the first stereo Reverb capable of rendering credible space onto two discrete sources, or to truly process a composite stereo source. Quite simply, Reverb 4000 gives you the most immense and innovative selection of State-of-the-Art stereo Reverbs - at the touch of a button.

Designed as a single rack space module with an extremely easy-to-use, instant-access interface, and with the option of using the ICON software editor for PC and Mac in DAW environments, Reverb 4000 is the ultimate choice for live and studio applications working in stereo.

Studio:
Reverb 4000 complements any large scale mixing console, and provides the professional studio with the ultimate Main Reverb featuring an amazing palette of simulated rooms from natural sounding credible spaces to emulations of vintage reverbs and TC Classics.

Reverb 4000 integrates perfectly with DAWs and features 24 bit AD/DA converters as well as 44.1 to 96kHz Sample Rates. Connect to the included ICON software editor via USB for easy access, complete overview and detailed editing.

Live:
The Instant Access front panel is a great advantage for Live applications. Never before has a Main Reverb provided so many colors to the palette, and been so easy to operate. Switch between Character, Glossy and Vintage Reverb effects with just a single touch of a button.

The front panel always keeps important parameters within reach, and thanks to the latest DSP and power supply technology, as well as our heritage of making top-end reverbs, Reverb 4000 delivers the best true stereo reverbs imaginable.

Algorithms:
Reverb 4000 comes fully loaded with seven pristine reverb algorithms, covering both generic and source reverb types. With these algorithms at hand, you can rest assured that you will be able to find - or tailor - the perfect reverb no matter what type of production you're working on.

I/O Structure:
Input Source - Select between Analog and Digital.

Digital Source - When Input Source is set to Digital you can select between:
- AES/EBU
- S/PDIF
- Optical

Select according to the connected Digital Input source.

Input Channels:
Stereo: Stereo signal is processed.
Left: Only the signal present on the Left Input is processed.
Right: Only the signal present on the Right Input is processed.

Digital Output:
Dither - Range: 8, 12, 14, 16, 18, 20, 22, 24, off Reverb 4000 processes internally at 24-bit resolution. Dither must be set to match downstream devices.

Status Bits - Select whether the Reverb 4000 should send out AES/EBU or S/PDIF status bit information.

MIDI Map:
You can use the "MIDI Custom Program Map" to customize how Reverb 4000 should map incoming program changes, making it an even more flexible and creative tool without ever compromising audio quality or depth.

Reverb Types:
Back in the day, reverb was mostly used as a Generic effect applied to many sources of a mix. Nowadays, where you have more aux send and returns and new approaches have emerged. Tracks are treated individually, adding room character, flavor and depth in creative and complex ways. We call this a Source-based approach, and we have put more than 30 man-years of development time into design and refinement of Source-based room simulation.

Even though we may now consider Generic types to be less than ideal, there are still applications for which they may be chosen instead of their Source-based cousins. Our large reverb and room simulation palette of High-end reverbs allows you to choose whatever principle that suits your present need.

Notes: ***POWER SET FOR EU AND AUSTRALIA 220-230V:
The Pittsburgh Modular Structure 208 and Structure 360 eurorack enclosures use a switching power supply that needs manually set to the correct AC input voltage. The internal switch has already be properly set for 220-230 VAC. This setting works for the EU and Australia or other countries that use 220-230 VAC power.
For use in countries that use 100-120 VAC power, such as North America and Japan, the switch inside the case on the AC/DC regulator needs to be switched to the left. The switch is marked with a Yellow sticker printed with "AC input voltage can be selected by switch. Check input voltage avoiding damage before power on." The switch is located on the side of the enclosure below the arrow.
Please contact Pittsburgh Modular with any questions. service@pittsburghmodular.com***

Structure EP-360 Eurorack Enclosure

Maximum Power for a New Generation -

Beautifully stained hardwood triple row, 360hp powered eurorack travel case with lid. A huge case to house a monster synth. Features include a professional, heavy duty, internal power supply designed to exceed the needs of the most demanding analog and digital eurorack systems.




Everything is New:
With years of research and two case lines under our belt, we decided to start over and produce a line of cases for the next generation of eurorack synthesizers. The eurorack modular ecosystem is expanding faster than ever and manufacturers are constantly pushing eurorack cases and power supplies to the limits. What started as a power supply designed to drive primarily analog synthesizers has transformed into a supply that needs to simultaneously meet the unique demands of sensitive analog circuitry, power hungry digital processors, and ground sensitive user interface modules.

We started with what matters most. Clean power. A lot of it. Up to 3x the amount of clean power available in cases from other brands. Next we turned our focus to the enclosure itself and there was only one goal. Make the case stronger. Our engineers tested countless combinations utilizing different types of wood, joints, adhesives, assembly techniques, and hardware to ensure that Structure cases are as durable as they are beautiful.

With a clean and gorgeous design that promotes creative exploration, the Structure enclosures are our most robust and refined case line yet. With massive amounts of both room and clean power, you can reach completely new heights in your creative performances.






Includes:
Structure EP-360

Power
:
6 Amps of Clean +12v Power

6 Amps of Clean -12v Power

5 Amps of Clean +5v Power

Custom Powered Bus Board with 15 Keyed Eurorack Power Headers Per Row, 45 Power Headers Total

External On-off Rocker Power Switch with LED

Universal IEC Power Connector Works Anywhere

Structure EP-360 Enclosure
:
Hardwood and Steel Construction (No cheap plastic here)

Triple 120hp Rows

Removable Lid

Lid Fits Over Fully Patched System (No need to remove patch cables)

Edge to Edge Rail Design Reduces Gaps Between Modules and the Side of the Case

24 Smooth Sliding Square Nuts Per Rail (Holds up to 72 modules)

Beautifully Hand-Stained Hardwood

Matching Black Steel Hardware Set




Structure EP-360 Dimensions
:
External Depth with lid:9 1/4"
External Depth without Lid: 5 1/2"
External Height: 17"
External Width: 25 1/2"
Internal Depth Above Power Supply: 2 3/4"
Internal Depth Above Bus Board: 3 3/4"
Internal Depth Above Nothing: 4 1/4"

Notes: The Modor NF-1 synth is a digital DSP synth very comparable to the classic Virtual Analog synths, but Modor is moving further on from this point. We use the classic structure of VA-synths, with oscillators, filters and effects, with parameters that can be modulated using LFO's and envelopes. But every element has been rethought and reinvented. In a digital way.

The NF-1 has a classic 12dB/oct resonant filter, but we are also giving it a versatile formant filter, never seen in hardware before! It does make classic sawtooth waves, but we're also including a lot of other brand new modulatable noisy waveforms! It has a classic delay effect, but we make every parameter editable to give way to special unexpected effect types! And so on...

Oscillator section:
- 3 identical fully independent oscillators
- 10 waveforms:
- SAW: pulse width modulation sawtooth wave
- SQU: pulse width modulation pulse wave
- TRI: pulse width modulation triangle wave
- SYNC: sounding like a oscillator-synced wave
- ADD: additive harmonics
- SONAR: resonant bandpass filtered noise
- WIND: wind instrument noise
- ARC: arcade game style noise
- FM: sinus FM pair
- FBFM: feedback sinus FM pair

Filter section:
- 12dB/oct resonant filter switchable as lowpass, hipass, bandpass or bandstop (notch)
- Formant filter with 3 morphing vowels, 10 vowel presets and user controllable formant frequencies

Effects section:
- 'Comb filter' effect section to create chorus, flanger, ... effects
- Delay effect section to create echo effects
- All parameters can be set independently and are modulatable

Modulation section:
- 4 3-stage envelopes, 3 level settings and 4 time settings
- 2 switchable LFO's with TRI/SAW/SQU/SIN waveforms, 1 TRI-LFO connected to modwheel, 1 random S&H with lowpass option
- Modulation matrix with 7 user-defineable modulation wires,
- 16 source signals, 59 destination signals

UK Power adapter, wooden end panels & rack ears included

*For audio demos, please visit - https://soundcloud.com/modor-music

***NOW FEATURING THE FOLLOWING HARDWARE IMPROVEMENTS:

- Use of less 'wobbly', more stable feeling potentiometers
- Improved DAC gives a 12dB lower noise-floor
- Improved EMC-design (CE and FCC approval should follow soon)
- Line out is now capable of driving a headphone (Left line output doubles as stereo headphone out)
- MIDI USB connector has been added

Notes: Two Legends. One Instrument:
The OB-6 is a once-in-a-lifetime collaboration between the two most influential designers in poly synth history, Sequential and Tom Oberheim. The OB-6 takes the classic bold Tom Oberheim sound - with its true voltage-controlled oscillators, 2-pole filter, and amplifiers - and adds modern enhancements such as studio-quality effects, a polyphonic step sequencer, an arpeggiator, and more. No other modern analog poly synth can boast such a pedigree or such a massive, in-your-face sonic signature.

Vintage SEM Tone:
The OB-6 sound engine is inspired by Tom's original SEM, the core of his acclaimed 4-voice and 8- voice synthesizers. It features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice with continuously variable waveshapes (sawtooth and variable-width pulse, plus a triangle wave on oscillator 2). The classic Oberheim-inspired 2-pole, state-variable, resonant filter provides low-pass, high-pass, band-pass, and notch functionality. Voltage-controlled amplifiers complete the all-analog signal path.

Dual Effects:
The dual effects section provides studio-quality reverbs, delays (standard and BBD), chorus, flangers, and faithful recreations of Tom's original phase shifter and ring modulator. While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path.

X-Mod and Poly Step Sequencing:
Also present is X-Mod, which expands the tonal palette and makes it easy to create dramatic and unconventional sounds. 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, filter cutoff, and filter mode. 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. Unison mode features configurable voice count (1-6 voices), chord memory, and key modes.

Easy to Program:
The knob-per-function front panel puts virtually all OB-6 functions at your fingertips. Included are 500 permanent factory programs and 500 rewritable user programs. Turning on the Manual button enables live panel mode, in which the sound of the OB-6 switches to its current front panel settings. In this state, what you see is what you hear.

Easy to Play:
This analog powerhouse is packed into a four-octave, semi-weighted keyboard with velocity and channel aftertouch, making it perfect for stage or studio.

*For audio demos, please visit - https://soundcloud.com/davesmithinstruments

Notes: Station 252 is a portable Eurorack system that transforms your collection of modules into a distinctive-looking musical instrument that is great for the studio, easy to travel with, and powerful on stage. In the studio, Station 252's ergonomic design provides a natural interface that allows you to work comfortably with your knobs, cables, and tactile elements.

Traveling is a breeze; it folds down and is ready to go in less than a minute and it's easy to carry in one hand, even when completely filled with modules. It was made to fit in an airplane overhead bin and provides the convenience of a universal power supply wherever you go. Under the spotlight, Station 252's clean, professional design enhances your system's appearance and seamlessly integrates with your electronic music performance.

Design:

Station 252 is the product of careful electromechanical engineering. The result is a rack system made of three rows of 84HP for a total module space of 252HP that converts into four different positions. Constructed from carefully selected lightweight materials, this entire Eurorack weighs only 13lbs/5.9kg when empty and is built to last.

Station 252 comes equipped with a complete hardwired ZEUS Studio Bus power supply system, the world's only high-power system that can guarantee low noise with minimal bleed-through between modules for a clear sounding synth. This monster power system has proven record of reliability, safety, and performance all around the world. Included are three Zeus Studio Bus boards supplying up to 7200mA of audio grade power to your modules, that is twice more than previous version of Zeus. ZEUS keeps your modules in a coot space, optimizing their performance and extending their lifecycles. The Station 252 can take power anywhere in the world from 100-240VAC.

Notes: Classic Oberheim Sound - Made Portable:
The OB-6 desktop module is just as powerful and easy to use as its counterpart, the OB-6 Keyboard. The module has all of the same controls as the keyboard version and provides the same immediacy and ease of use. As with the OB-6 Keyboard, all parameters are at your fingertips, with full-sized knobs and switches and a comfortable, intuitive layout.

How does it sound? Massive - just like the keyboard, because on the inside, it's exactly the same. The same analog signal path with discrete VCOs and VCFs. The same high-quality digital effects. The same classic Oberheim sound that has been earning raves from musicians around the world.

We've also added a poly chain feature so that any two OB-6s can be paired for twelve-voice polyphony!

Two Legends. One Instrument:
Both the OB-6 desktop module and OB-6 keyboard are a once-in-a-lifetime collaboration between the two most influential designers in poly synth history, Sequential and Tom Oberheim. The OB-6 takes the classic bold Tom Oberheim sound - with its true voltage-controlled oscillators, 2-pole filter, and amplifiers - and adds modern enhancements such as studio-quality effects, a polyphonic step sequencer, an arpeggiator, and more. No other modern analog poly synth can boast such a pedigree or such a massive, in-your-face sonic signature.

Vintage SEM Tone:
The OB-6 sound engine is inspired by Tom's original SEM, the core of his acclaimed 4-voice and 8- voice synthesizers. It features two discrete voltage-controlled oscillators (plus sub-oscillator) per voice with continuously variable waveshapes (sawtooth and variable-width pulse, plus a triangle wave on oscillator 2). The classic Oberheim-inspired 2-pole, state-variable, resonant filter provides low-pass, high-pass, band-pass, and notch functionality. Voltage-controlled amplifiers complete the all-analog signal path.

Dual Effects:
The dual effects section provides studio-quality reverbs, delays (standard and BBD), chorus, flangers, and faithful recreations of Tom's original phase shifter and ring modulator. While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path.

X-Mod and Poly Step Sequencing:
Also present is X-Mod, which expands the tonal palette and makes it easy to create dramatic and unconventional sounds. 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, filter cutoff, and filter mode. 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. Unison mode features configurable voice count (1-6 voices), chord memory, and key modes.

Easy to Program:
The knob-per-function front panel puts virtually all OB-6 functions at your fingertips. Included are 500 permanent factory programs and 500 rewritable user programs. Turning on the Manual button enables live panel mode, in which the sound of the OB-6 switches to its current front panel settings. In this state, what you see is what you hear.

Easy to Play:
This analog powerhouse is packed into a desktop module that's small enough to fit in a backpack. It's an ideal combination of portability and power for the project studio or the gigging musician.

Notes: This mixer is designed with purist ideals with only essential features. Based on the ARS 4100, the ARS 6700 mixer has 3 band isolators on each channel and a 5 band EQ on its master channel.

Each channel has a SEND, RETURN and Effect LOOP.

HOUSE and BOOTH have the same PCBs so the output sound should be identical on both.

Supplied with UK 3 pin plug

Notes: Users can adjust the crossover point to choose which frequency ranges of "LOW", "MID" and "HIGH" should be emphasized for their preferences and music genres.

Maximum Boost 12dB provides the users to be well aware of changes and is good for protection of speaker systems.

Volume curve is designed with insistence on quick attack and sharp response.

Its simplified design minimizing all possible sound degradation.

ARS MODEL-3500 provides superior controls for DJs to react to each different scenarios, giving more characteristics to their performance.

Supplied with UK 3 pin plug

Notes: ***B-STOCK: Box slightly torn and creased, but content in perfect condition***


Users can adjust the crossover point to choose which frequency ranges of "LOW", "MID" and "HIGH" should be emphasized for their preferences and music genres. Volume curve is designed with insistence on quick attack and sharp response.

The simplified design minimizes all possible sound degradation. The ARS MODEL-3600 provides superior controls for DJs to react to each different scenario, giving more characteristics to their performance.

- No power switch to avoid accidentally turning the power off while playing.
- Independently designed main circuit board and power circuit board for minimized power noise.

Supplied with UK 3 pin plug

Notes: 20th Anniversary Flagship Interface:
The Fireface UFX+ becomes the centre of any multitrack studio because it is able to handle up to 94 channels I/O with ease. With unprecedented flexibility, compatibility, the inclusion of DURec (Direct USB Recording) and RME's famous low latency hardware and driver designs, the Fireface UFX+ raises the bar to new heights.
Packed with features not found on its older sibling, including MADI I/O (188 channels of I/O, 128 channels more than the Fireface UFX), a more powerful DSP, USB 3.0, Thunderbolt technology, and a new optional remote control firmly places the RME Fireface UFX+ as the new reference in multitrack recording, mixing and monitoring.

You name it, you connect it:
Its flexibility in connectivity and expansion is unrivalled - Analog, ADAT, MADI, AES, SPDIF. USB 2, USB 3 and Thunderbolt technology are standard on the Fireface UFX+. The UFX+ has an impressive channel count: 12 analog + 16 ADAT + 2 AES + 64 MADI = 94 channels input plus output = 188 channels in total. Thunderbolt technology gives the Fireface UFX+ real PCI Express audio 0performance under Mac and Windows, with lowest latency, lowest system overhead and lowest CPU load. The Fireface UFX+ is fully Thunderbolt technology compatible under Windows, including hot-plugging.
All new AD/DA converters, optimized analog I/O circuits, as well as improved SNR and THD values guarantee pristine, crystal clear and transparent audio. A new PAD-free mic circuit design with +18 dBu maximum input level and 75 dB gain range serves even the most critical recording situation and source trouble-free.
New low impedance Hi-Power phones outputs (2 Ohms) with +19 dBu maximum output level provide ample output power as well as volume on any phones, high or low impedance.

Comprehensive MADI Connectivity:
The Fireface UFX+ opens the doors to a host of RME and 3rd party digital and analog I/O solutions. Expanding your analog channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.
To further enhance MADI flexibility, the Fireface UFX+ boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analog plus 16 ADAT plus AES), the MADI I/O is still available via RME's integrated hardware mixer TotalMix FX. Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

Improved DURec (Direct USB Recording):
DURec, which is available on the front of the Fireface UFX+, now offers second generation hardware with improved USB functionality and compatibility, providing greater reliability even with slower or multi-partitioned USB thumb drives.
The maximum number of recordable channels has been raised to 76, meaning all 12 analog inputs plus 64 MADI channels can be recorded simultaneously. An internal Realtime Clock (RTC) delivers time-stamped files, and playback now includes several advanced player functions previously unavailable.

ARC USB Remote Control - Plug'n Play Plus:
The ARC USB connects to your computer via USB, and talks to TotalMix FX directly. It has 15 freely assignable and illuminated buttons, one encoder wheel, and a TS jack to connect a foot switch.
The ARC USB is a USB 1.1 MIDI remote control for the Fireface UFX+. Thanks to operating as a UAC 1 class device, it is natively compatible to Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX+.

TotalMix FX:
Since 2001, TotalMix has added unlimited routing and mixing to RME audio interfaces. Its unique capability to create as many independent submixes as output channels available, turned it into the most flexible and powerful mixer of its kind.
With supported hardware, TotalMix FX includes a complete effects system, which not only adds flexibility to the recording chain, but also makes latency saddled software solutions obsolete.
TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, incl. main monitors and headphone mixes for musicians.

TotalMix FX for iPad App:
TotalMix FX for iPad adds full control over hardware mixer and DSP effects for Fireface UFX+, UFX, UCX, 802, Babyface, Babyface Pro and MADIface Pro when in Class Compliant Mode, and lets you create, store and load complete mixes directly from the iPad.

Notes: The Apogee Element 88 is a 16x16 Thunderbolt audio interface using the best technology found in the Symphony I/O, Ensemble and Groove.

The Apogee Element 88 includes eight mic preamps with Apogees' Advanced Stepped Gain Architecture that dynamically optimises the gain up to 75dB to provide superior bandwidth and low distortion.

Using high-quality AD/DA conversion, the Apogee Elements delivers unmatched clarity and definition making recording and mixing decisions far easier and improving the quality of your music. The included Word Clock also provides Apogee's superior clocking technology ensuring your digital audio system performs at is best.

In addition to excellent sound quality, the Element 88 provides incredible low-latency performance thanks to the use of Thunderbolt drivers which provides a latency of 1.41 round-trip and rock-solid stability. Furthermore, Apogee's Direct Memory Access technology allows you to run far more plug-ins and monitoring through your DAW even at low buffer settings delivering power and speed.

The Element 88 comes with a powerful control software ecosystem including apps for your Mac and iOS device for input type, input and output levels and five different low-latency mixers. An optional USB Apogee Control Hardware remote is also available separately and can configure a broad range of settings.