Search dance music

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


Configuring a streaming setup from scratch can be a daunting task, particularly for users with little or no music production experience. The minimalist design of the AG01 takes this into account by combining a high-quality condenser microphone with DSP effects, a LOOPBACK function, flexible input connectivity, and a simple, intuitive mixer for stress-free streaming operation.

Simply connect to your computer or iOS/Android device along with the headphones of your choice, then set your levels and you've got a fully operational streaming station that can be up and running within minutes. If you're an aspiring live streamer that requires a compact yet comprehensive, high quality all-in-one solution, the AG01 is ready when you are.

In most streaming applications your microphone is likely to feature prominently onscreen so it is important for it to complement your overall vision. With a unique and iconic design that blends classic and contemporary aesthetics, the AG01 looks as good as it sounds, offering both black and white-based models to suit your preference.

In addition to the condenser microphone audio input, the AG01 is equipped with a mini stereo line input jack, and an upgraded 4-pole mini jack (TRRS) for smartphones that allows input and output. You can also add audio from devices connected via USB in LOOPBACK mode. Combined with these features, this microphone-type model can cover a wide variety of streaming styles that could not be achieved in the past without a separate mixing device.

The AG01's high-performance condenser microphone utilizes a cardioid polar pattern that captures your voice or musical instrument performance precisely, and converts it into high resolution audio (192kHz, 24bit) while blocking out unwanted ambient noise from the rear or sides.

The AG01 features high-quality DSP effects, allowing you to easily add COMP/EQ and REVERB to color and hone your audio and get the best sound possible to broadcast to your audience. What's more, these tools are processed by the internal DSP chip so there is no delay, making the AG01 particularly valuable for live streaming, when real-time accuracy is required.

You can also turn these effects off completely to capture pure, raw recordings of the AG01's condenser microphone for music/audio production that will be edited by an engineer later.

There are many situations in live streaming where you may need to make audio adjustments on the fly. The carefully configured physical controls of the AG01 respond to these needs providing a simple operating experience that won't detract from your live content or performances.

AG Controller offers two modes, "Simple" and "Detail," which allow users with varying degrees of audio engineering experience to easily and precisely check and adjust the AG's DSP processing from any Windows/Mac or iOS device connected via USB.

The AG01 can be easily placed on a desk or any flat surface with its dedicated stand, or mounted on a desk arm, making it adaptable to almost any environment.

It can also be used in combination with a mobile battery allowing you to take your fully functioning streaming station anywhere you like.

*For stable operation of the AG01, a power supply of DC 5V 900mA or more is required.

AG01 comes bundled with Cubase AI music production software, as well as WaveLab Cast for audio production and editing. The AG01 is also compatible with Rec'n'Share and Cubasis LE applications for iOS devices which are available free of charge from Yamaha and Steinberg to support and inspire your audio content creation.

Specifications

Microphone Unit: Back electret condenser type
Polar Pattern: Cardioid
Adress Type: Side
Frequency Response: 30 Hz - 20 kHz
Max Input SPL: 110 dB (THD - 1.0% at 1 kHz)
Sensitivity: -34 dB i 3 dB (0 dB=1 V/Pa, at 1 kHz)
Connector: USB Type-C

Input Channels
Microphone: 1 (Mono condenser microphone)
AUX: 1 - Stereo mini
Smartphone: 1 - 4-pole mini input/output (TRRS)
USB: 1

Output Channels
PHONES: 1 - Stereo mini
Smartphone: 1 - 4-pole mini input/output (TRRS)
USB: 1
Bus: 1 Stereo
Functions: MIC GAIN (HIGH / MID / LOW), MUTE button x 1, STREAMING OUT (MIC / INPUT MIX / LOOPBACK), MIX MINUS MIC (ON / OFF)

On-board processors
DSP: COMP/EQ, REVERB (SPX Reverb) *Detail is Controlled on AG Controller
USB Audio: 2 IN / 2 OUT, USB Audio Class 2.0 Compliant, Sampling Frequency: Max. 192 kHz, Bit Depth: 24-bit, Type-C
USB DC Power Input: 1 - Type-C, 5 V DC, 900 mA

General specifications
Power requirements 5 V DC, 900 mA
Power consumption Max. 4.5W
Dimensions: W: 116 mm (4.6") H: 281 mm (11.1") D: 118 mm (4.6")
Net weight: 1.2 kg (2.6 lbs)
Included accessories: USB 2.0 Cable (1.5 m), Quick Guide, Safety Guide, Wavelab Cast Download Information, Cubase AI Download Information
Others: Operating Temperature: 0 to + 40C

Notes: From the outset, KMA Machine's goal was to create the most flexible analogue upper octave pedal ever yet produced. Based on a highly refined and improved version of the Shriek circuit from KMA's venerated MOAI MAEA pedal, the MANDRAKE brings an even more robust and present upper octave to the sonic table. By combining that upper-octave might with a versatile, yet highly intuitive user interface, the pedal provides a ton of killer tonal options in a very modern and pedalboard-friendly package.

"The humanesque abomination, begat of the evils that once fertilised his empire of dirt, now senses the bleak emptiness of the air that surrounds him. In recognition of his harvest and the perpetual change to his existence, his mesmerising scream is both devastating and euphoric, so all those that encircle him are subdued from the aural toxicity that emanates from the disfigured effigy."

Octave up pedals (as used by so many legendary performers including Hendrix, Tony Iommi, Josh Homme, Billy Corgan, Jack White and so many more), can really give added bite to your sound. But often, many of these fun tools can be untamed and lead to nasty clashing overtones.

With MANDRAKE however, KMA didn't want to just make a one trick pony octave up device. The powerful and ultra-fast tracking Shriek circuit was expanded on with its edgy and fuzzy character that's reminiscent of many of the best vintage octave-up devices. To do this, a 2nd order Low-Pass Filter was introduced, a TIMBRE and individual Mix controls to KMA's well-regarded circuit to make it way more versatile in a single pedal. Let's look at those cool new things in more detail.

The FILTER control helps to tame your upper harmonics, as well as to improve tracking, letting you achieve unhinged, cutting and shrieking mayhem when the control is fully turned all the way to the left. While turning the knob in the other direction gives a more mellow and blooming synth-like texture. The FILTER section is also very useful for tailoring the upper octave effect to different instruments and pickups, where getting the right tone is not a "one size fits all" equation.

In addition, to enable the octave voicing in MANDRAKE to be sculpted exactly to your own personal taste, the TIMBRE control defines the amount of fuzzy gain present in the upper octave. This allows you to perfectly blend in the pedal's tonality with the rest of your signal chain. Turning the control fully counterclockwise, gives a slightly crunchy and percussive tone that's ideal for melodic arpeggio enhancements. While cranking the TIMBRE knob fully clockwise will transform MANDRAKE into a crushingly saturated doom-hammer, instantly ready to wreak havoc with each power chord you throw at it!

Topping off the features, the DRY and OCT+ controls allow the dry signal and effected upper octave to be mixed independently, for precise tonal balancing. This is especially handy when using MANDRAKE together with other dirt pedals or when you just want to retain the natural body and attack of your instrument.

Subtle descant or decimating octaval Armageddon? With MANDRAKE the choice is totally yours!

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


Erica Synths Modulator is an advanced modulation and pitched noise source with focus on rhythmic (but not limited to) compositions in mind. It features two identical syncable to the BPM LFOs/noise sources with selectable morphing waveshapes. LFO frequency can be manually adjustable, as well as they provide frequency divisions and multiplication in Sync mode. Each LFO has two outputs- main one and secondary one with adjustable phase, so you can create evolving modulations. Furthermore, LFOs can be linked to work at the same frequency and the first LFO has built in VCA to control output signal amplitude.

Notes: The tiny but mighty Eurorack power supply with all the bells and whistles

Micronova is a miniature power supply with a big soul. It can provide up to 18W of power for your modules and multiple units can be easily daisy chained to power larger systems.

This bundle includes:

an assembled Micronova
an assembled Micronova busboard
a Micronova front entry kit

Please note that the front entry requires assembly. It's a delightfully easy kit, but make sure you know what you're getting into!

A suitable AC-DC power adapter is required. We have adapters available for domestic customers. International customers please take a look at the manual for guidance and recommendations.

Check out the manual to get to know Micronova and all of the delightful ways you can integrate it into your case.

100 mm x 30 mm x 13 mm
15-20V, 1.5A
+12V @ 1A
-12V @ 300mA
+5V @ 500mA
Daisy chainable
Busboard included
Front entry kit included

Notes: Nive Grad is a level shifter designed for simplicity. Two Eurorack signals can be attenuated down to pedal and line levels, and two external line or pedal signals can be amplified up to Eurorack level. Integrating a drum machine, external synth, effects processor, or guitar with your Eurorack system has never been easier!

Nive Grad uses 1/8" jacks to save HP. If you want to use 1/4" gear with your system, ask your modular supplier about mono/TS 1/8" to 1/4" adapters or adapter cables.

Nive Grad pairs well with Noise Engineering's Xer Mixa system mixer, but can be used in any Eurorack system.

Type: Universal drum synthesizer
Size: Level Shifter
Depth: .9 inches
Power: 2x5 Eurorack
+12 V: 25 mA
-12 V: 25 mA
5 V: 0mA
Nive - level - from Latin niveum

Grad - step or degree- from Latin Gradus

Notes: Further pushing the boundary of clock-defined pedals, the latest entry in Old Blood Noise Endeavors' BL series is a Phase Repeater, in the process making a genre entirely of its own.

Phase repetition takes the modulation of a phaser and applies it to the realm of time, creating a completely unique sound and more like delay or reverb than its namesake phaser. First used in the OBNE Dweller pedal, the BL-52 Phase Repeater represents a new spin on the sound, with simple controls including a Clock slider that enlightens the timing of everything in the pedal.

At a point, describing sound feels like describing time: the fourth dimensional perplexity of it all! Of course, this makes sense in that time being intermingled with sound and frequencies only existing over a period of time, whatnot. We spend a lot of time thinking about all-pass filters, you and I. How they pass all frequencies, but at different times. How this, in the digital realm, can create a phaser or a reverb, depending on how much memory you allow it and thus, how much of the fourth dimension it's playing with at any given... well, time.

BL-52 is what we call a phase repeater pedal. It's an effect we stumbled upon in our Dweller pedal development, living somewhere between phaser, delay and reverb, as it creates a series of repeats both unexpected and pleasing. It's digital trickery to do something quite unfamiliar and once you've bonded with it, is irreplaceable.

The BL-52 Phase Repeater is solely focused on that effect, with the Clock control setting the timing of the entire system: the sample rate that determines signal fidelity, the timing of the phase repetition and the speed of the LFO that shapes the diffusion of the repetition.

In short, it is an effect that does not require exactness, but rather openness to where the repetition will lead you.

Notes: A compact Voltage Controlled Oscillator designed for generating SINE waves, Variable wave-SHAPEs, SUB-Octaves, Oscillator SYNC and Linear FM in the analog domain.

The Sub-Timbral Oscillator is the more subtle and melodic friend to the DPO's complex harmonic lattice.

Notes: As an Old Blood Noise Endeavors take on reverb, BL-37 Reverb Variable-Clock Effector is a new voice with a streamlined control set: a reverb both more immediate and more degraded than any other.

Thanks to its simple yet intuitive and interactive control set this modulated reverb can be quick and highly reflective or slow and stretchy with noticeable pitched undulations.

The sheer audacity of sound, to fill a room, to fill our heads, to fill our hearts. To act digitally as if tangible, as if these walls could talk, as if this were a real space and not a series of all-pass filters and modulated delays meant to capture the idea of somewhere we'd been before and something we'd done before and something we were before, as if. To give control over the whole thing, to simply stretch by hand the entire clock! It's a heck of a concept really.

BL-37 is a reverb pedal. It is lush but also ringy, and easily stretchable. It modulates, and sometimes that modulation feels certain, an obvious pitch bend, while other times it washes, simply a shimmering softening element. The control set for BL-37 is simple. A Clock slider sets the timing of the entire system - the sample rate that determines signal fidelity, the timing of the reverb, and the speed of the modulation within that reverb are all affected as the slider slides. Additional controls for Feedback, Mix, and Volume allow you to further craft the spatial voice in play here.

Notes: Ledges is a three-mode reverb with the ability to save and recall six presets and user-assignable expression control with loads of customizable options. From classic, standard reverb tones to undiscovered sonic reaches, it's everything you've ever wanted and needed out of a reverb.

The three switchable modes each deliver a unique blend of reverb, but are connected through a spectrum where the Room (R) reverb's longest setting is the Hall (H) reverb's shortest setting, the Hall reverb's longest setting is the Plate's (P) shortest setting, and the Plate's longest setting just keeps on going. The Room setting at its shortest achieves a small, boxy room sound that gradually gets bigger as you turn it up. As you increase the Hall setting, it morphs into a Cathedrals-style reverb that becomes really big, boomy and echoey with distant reflections. Turn up the Plate setting to get bouncy reflections that recycle and reverberate forever.

Ledges can go from an '80s slapback reverb mix to a bigger room spring reverb with the twist of the dials. The Mix knob lets you control how much your signal is affected, while the Length knob controls the size of the reverb. The Damping knob subtly mutes the high-frequency reflections of the reverb, which you'll hear clearly by adjusting your gain.

In addition to all of the features, there are six Presets available. Simply select a number with the switchable knob and then engage the Save on the center button and dial in your perfect sound. A quick Recall on the same button and you have all of your personalized reverb sounds with a single tap. You can assign an expression pedal to each of the three controls and then save it all in the presets.

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 80 mA
Input Impedance: 1M O
Output Impedance: 100 O
TRS expression pedal wiring:
Tip: Wiper
Ring: +3.3V
Sleeve: Ground

Flexi-Switchr Technology

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Ledges is buffered bypass with tails. Power is required to pass signal.

Power

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. It is always recommend you use pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Notes: ***B-STOCK: Without original box, product in perfect working order***


This monitor comes with free Studio One Prime and Studio Magic plug-ins.

Superior transient response:
In order to dampen resonance peaks at higher frequencies, conventional dome tweeters are injected with fluid to raise their mass, sacrificing transient response time. By contrast, the custom-designed AMT tweeter in the R80 uses an incredibly thin, folded Kapton membrane (< 0.01 mm) with an inlayed aluminum circuit functioning as the voice coil, allowing the tweeter to move at the same instant as the electric current. The resulting reactive response time provides marked clarity and superior transient reproduction.

Wide, consistent stereo image:
An unfolded AMT tweeter diaphragm provides 8 to 13 times the projection area of a traditional 1-inch dome tweeter, enabling R80 monitors to provide a much wider stereo soundstage than traditional designs. At the same time, the R80 provides a very limited vertical dispersion, which helps to reduce reflections from the ceiling and desktop that can cause phase coherence issues. Because it's less subject to room-anomaly interference, the R80 reacts predictably and sounds consistent from room to room.

Transparent sound:
The R80 utilizes an 8-inch, custom-coated, woven Kevlar low-frequency driver. This rigid cone maintains a more consistent dispersion pattern across its frequency response range. Biamped and driven by a 150W Class D amplifierimaking the R series some of the most powerful monitors in their categoryithese monitors deliver an open, clear, and less fatiguing listening experience.

Have it your way:
You can customize the R80 in several ways. It's available with black or blue faceplates to fit your studio decor. With balanced XLR, balanced 1/4" TRS, and unbalanced RCA line-level inputs, it's easy to feed audio to your R80 monitors from a mixer, an interface, a media player, or almost any other line-level source. And R series monitors offer user-adjustable contour features for optimizing the monitors for your mixing space. This enables full integration into any studio environment.

Accuracy defined:
The R80's AMT monitor design provides lifelike sonic reproduction that will allow you to hear the room in your recordings. Its transparent sound and responsive transient reproduction makes it an ideal solution for anyone who is mixing high-resolution audio. Hear the R80 at your favorite PreSonus dealer.

Notes: Colortones SPRING REVERB II is an expressive, analogue voiced, vintage reverb engine hosting 3 versatile recreations of classic Reverb Units together with 2 independent modulation filters - Vibrato and RotoTrem.

Reverb Modes

STUDIO - Modern 90's Rack Reverb - A Warm and Natural studio reverb

TANK - 70's Electromechanical Reverb Tank with bright, wet acoustic room reflections

ECHOVERB - Based on the 90's Princeton PT2399 Echo Chips with pronounced delayed reflections/echoes.

The MOD knob adds an additional depth control for subtle Vibrato and RotoTrem FX adding a spatial dimensionality to the acoustic characteristics of the Reverberation.

Spring Reverb II captures the essence of iconic Reverbs while adding its own sonic characteristics. Whether you're looking to add a subtle touch of reverb to your playing or create expansive soundscapes, the SPRING REVERB II pedal is the perfect tool to take your playing to the next level.

Controls

Reverb Mode Switch

Select between : Classic 80's Studio Rack, 70's Tank, EchoVerb

Decay

Adjusts the decay time of the reverberation tail

Blend

Adjusts the Mix / Depth of the reverb effect with the dry signal. Noon / 12 O'Clock is 50/50 Wet Dry Mix, beyond noon edges toward a wet only sound

Tone

Tilt EQ style reverb tone control. Does not effect the dry signal tone. Noon / 12 O'Clock is unity

Mod

Adjusts the Depth of the vibrato like modulation within the Reverb engine, adding complex harmonics and spatial depth

LEDs

The Left LED indicates INPUT CLIPPING and will illuminate when the input signal is too hot. It also indicates when the SECOND LAYER of knob functions is active

Bypass LED indicates when the effect is active

Bypass

A short tap on the Soft touch footswitch activates True Bypass.

A Long press (500ms) tap will initiate the Layer 2 controls

Secondary layer controls

Micro tune delay time - EchoVerb mode only

Controls the master Speed/Time for the delay in the background of the EchoVerb Reverb engine

Boost

Allows for -+6dB output Boost. Noon is Unity

RotoTrem speed override

Controls the master Speed/Time for the RotoTrem Modulation. Add just a little to expand the depth of the Reverb or more to get a faster modulation

RotoTrem depth

Adjust the amount of the RotoTrem applied post Reverb.

Tech Specs:
True Bypass
Current Draw: 145mA
Input Voltage: 9V DC (center negative)
external power supply not included

Review: While it's been 13 years since the tragic passing of one of the greatest rock and metal vocalists of our time, the legacy left behind by Ronnie James Dio serves as unwavering testament to the man's aura, character and prowess, even up to his final recordings which make up this collector's box set. Featuring the final four albums recorded under his own name, all housed in a sideloading box with newly created art on five 180g coloured LPs (1996's Angry Machines on Halloween orange with black marble, 2000's Magica on transparent blood red and black smoke, 2002's Killing The Dragon on transparent yellow with black marble and 2004's Master Of The Moon on electric blue with milky clear marble, plus the rare Electra single on a cobalt blue 7", the epic collection coincides with the upcoming release of Dio: Dreamers Never Die; the first authorised career-spanning documentary centred around the iconic frontman.

Notes: 8-input CV expander for Xer Mixa

Expando Expandi adds 8 freely assignable CV inputs to the Xer Mixa in just 4 HP. Connect up to two Expando Expandi to Xer Mixa for easy CV control over channel levels, pan, aux sends, and more.

Expando Expandi is not for use on its own and is currently compatible only with Xer Mixa.

Notes: ***B-STOCK: Product has light surface marks/scratches, but otherwise in perfect working condition***


At 84hp wide the NiftyCASE isn't super tiny or super huge, in fact, it's just right for all of the cardboard boxes bought to ship it to you in. Aside from the 84hp width NiftyCASE features ample +12v -12v and +5v power for your modules. It will also take Din MIDI from any DIN MIDI device and USB MIDI from your computer and turn it into eurorack compatible CV, gate, mod, and clock.

MIDI to CV, gate, clock, and mod

It's all built into the case. Make your instrument and don't waste precious hp (space for modules) on power and MIDI tools. you can plug NiftyCASE into your computer via USB or 5pin MIDI DIN device and send it MIDI. It will convert it into CV, gate, mod, and clock. Sequence with your DAW, jam with your controllers, or do something wacky, NiftyCASE has got you covered.

Power

Built-in power saves space for more of your modules, and keeps things good and easy.

As is, you can plug up to 10 modules into NiftyCASE's 10 gang flying bus that provides a peak 1500mA of +12v, 500mA -12v, and 500mA +5v, covering all industry standard power requirements

Specs:
Useable case area = 84hp
Internal depth = 55mm
Weight = 1.8kg
6.8cm x 44.6cm x 18.6cm
Range of cv out 1 = 0-10V
Range of cv out 2 = 0-10V
Voltage output gate 1 - off =0 on =5(off = 0 on = 4.65)
Voltage output gate 2 - off =0 on =5(off = 0 on = 4.65)
Voltage output mod = 1-10V
Voltage output clock - off =0 on =5
Power output for modules
+12V - 1500mA peak output**
-12V - 500mA peak output**
+5V - 500mA peak output**
1/4" ts mono output on rear
MIDI in via USB and 5 pin Din
MIDI thru via 5 Pin Din and USB

Included in the box:

NiftyCASE
NiftyCASE switching power supply with blades for NA, EU, UK, and AU

* Please note that the right and left sides of NiftyCASE fit very flush. It is recommended to favour a module with a pcb 1mm or more narrower than it's front panel for use on the left and right sides of the case (this amount or more of tolerance is fairly common on many modules).

** The NiftyCASE power supply is designed only to power modules that are being used in the NiftyCASE. Modifying the case or using it otherwise to power external cases & external modules is not advised.

Notes: Entry-level model in the FGDP range, billed as the ultimate finger drum pads. The portable, rechargeable FGDP-30 features a built-in tone generator and speaker, all controlled by outstandingly responsive pads arranged in an ergonomic format.

Supplier's Notes:
The ultimate finger drum pad

With ultra-sensitive Pads in an ergonomic layout perfect for finger drumming, the FGDP features a Tone Generator, internal speaker, and rechargeable battery that make it a true all-in-one instrument that you can play anywhere. Let your fingers make the rhythm!

Made for finger drumming

Thoughtfully designed layout and Pads for the ultimate finger drumming performance. From sampled acoustic drums that sound like they're right in front of you to powerful electronic sounds, beloved and curated by top professional artists, covering a wide range of genres. Yamaha promises uncompromising performance.

Optimised layout

Introducing a distinctive Pad layout meticulously designed for optimal finger drumming by prioritizing ergonomic comfort.

With the FGDP, you have the freedom to assign Voices to Pads according to your creative vision, but at Yamaha, we recommend the 3-finger style. Harness the power of your thumb for the kick drum, rely on the enduring middle finger for precise hi-hat control, and let your dexterous index finger bring to life the delicate nuances and intricate phrases of the snare.

The home position enables you to effortlessly execute fundamental rhythms, like 8th notes using just one hand. You can use your other hand to play on the other symmetrically laid out pads to unleash captivating back beats in 16th note or double kick styles.

Equipped with an ample number of Pads perfectly suited for finger drumming, the FGDP empowers you to deliver your finest performances, setting itself apart from conventional Samplers and MIDI Pads.

Expressive precision

Featuring cutting-edge Pads designed to capture every subtle nuance, the FGDP ensures that no detail goes unnoticed. With the powerful combination of the internal Tone Generator, you can deliver delicate performances encompassing ghost notes, impactful accents, flams, and lightning-fast rolls. Moreover, the Pads support Aftertouch, enabling unique drumming techniques such as cymbal choking by applying pressure to a Pad while holding it pressed. With the FGDP, your drumming possibilities are limitless.

Specifications

Size/Weight

Dimensions
Width: 223 mm (8-3/4 in)
Height: 49 mm (1-15/16 in)
Depth: 195 mm (7-11/16 in)
Weight: 1.0 kg (2 lbs. 3 oz)

Packing Box
Width: 282 mm (11-1/16 in)
Height: 108 mm (4-1/4 in)
Depth: 244 mm (9-5/8 in)

Pad section

Drum Pads: 18 pads
Number of Trigger Settings: Preset 12
User: Preset overwrite
After Touch: Polyphonic, Channel

Control Interface
Voice Guide: English

Tone generator
Tone Generator AWM2

Maximum Polyphony: 64 notes
Drum kits: Preset: 39 Kits, User: Preset overwrite
Voices: 1,212
Kit Edit: Yes (only some parameter)
Effects Reverb: 11, Chorus: 10, Variation: 23, Speaker EQ: 5

Click
Tempo: 30 to 300 BPM, Tap Tempo supported.
Beat: 1 - 16
Others: Patterns (1/4, 1/4T, 1/8, 1/8T, 1/16, 1/16T, Clave)

Functions

Registration Memory

Number of Buttons: 2
Preset: 1 Bank, User: Preset overwrite

Amplifiers and Speakers
Amplifiers: 2.5 W
Speakers: 4 cm × 1

Other

Connectors
Headphones: Headphones/Output (Stereo mini jack x 1)
AUX IN AUX IN (stereo mini jack × 1)
USB: USB TO HOST (Micro B)

Power Supply
Power Supply: USB power adaptor 5 V/1.5 A or greater USB BC specification compatible products (Sold separately)
Internal Battery: 1,400 mAh, 4.5 Wh 3 hours
Power Consumption: 4 W

Accessories
Included Accessories: Owner's Manual, USB cable

Notes: Eurorack is a synthesist's toy chest. Stompboxes are a guitarist's toy chest. Each industry offers a seemingly infinite variety of products that enable musicians to build systems unique to their needs and to create a signature sound. Each is also somewhat addictive. Rare is the musician who doesn't eventually need a larger toy chest to house the accumulated toys.

Fortunately for the budget-conscious musician, Eurorack modules and stompboxes have always existed in separate worlds - someone whose Eurorack system consumes an entire wall in their home is usually not the same person whose pedalboard now requires a dedicated roadie just to transport it to the gig.

Intellijel's Stomp removes the barrier between Eurorack and stompbox. It provides the modular synthesist with a portal to stompbox nirvana, and the guitarist with a wormhole to the sonic manipulations of Eurorack modules.

Stomp enables the modular synthesist to interact with the impressive assortment of delays, choruses, flangers, phasers, fuzz boxes, tremolos, wah-wahs, amp simulators, compressors, and pitch shifter pedals available to guitarists. If your effects pedal is adorned with an expression pedal input, Stomp supports that too, and even features a built-in LFO to modulate your pedal's expression input. Need something crazier? No problem. Simply patch any modulation source from your modular system into the expression control jack to override the built-in LFO.

Conversely, guitarists can plug their guitar directly into Stomp's RETURN jack, giving them access to the myriad filters, ring mods, wavefolders and - most importantly - the near-infinite CV modulation delights inherent in Eurorack.

Features:

Robust Neutrik 1/4" TS connectors for the SEND/RETURN and TRS for the Expression interface
Signals arriving at Stomp's RETURN jack pass through a Class A triode emulator, allowing for some tube-like overdrive at high gain setting.
Stomp is more than just a simple level shifter - it's also an impedance converter, which provides proper drive and loading for any FX pedals or instruments you connect.
Separate gain controls on both the SEND and RETURN. This enables you to adjust the level of any audio being sent to the FX pedals as well as any audio coming back into the modular. Not only does this allow you to optimize the signal-to-noise ratio, but by significantly boosting the RETURN level, you can achieve some pleasingly overdriven tones.
Supports both Instrument and Line levels via a front panel switch.
Use Stomp's RETURN circuit as a "direct box" for connecting any instrument.
The high input impedance of the RETURN circuit allows it to be used as a piezo pickup preamp for acoustic instruments.
Use Stomp in the studio as an active "re-amping" device to play pre-recorded tracks back through guitar amplifiers or pedals.
All inputs are protected for minimum RF interference.
Return signal can be phase inverted for use with those pedals or effects types that invert phase.
Low MIX output impedance for driving long cables, lower noise, and minimum interference from outside sources.
The Expression Pedal Output converts analogue CV sources (or the internal LFO) into an output compatible with most stompbox Expression inputs.

Size: 8HP
Depth: 35mm
Power: 47mA @ +12V 13mA @ -12V

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


Crystal-clear clock-synced delay for loop up to 90 seconds, echoes, sound-on-sound, Karplus-Strong etc.

Features:
Loop or echo time is synchronized to a clock
87 seconds of delay/loop time maximum
48kHz/24-bit sampling rate, loop recorded at 16-bit (24-bit optional)
Extremely quiet, low noise and low jitter design
Tap tempo button and clock Ping input set the basis for one "beat"
Delay/loop time set as a number of musical beats (or fractions of beats) using the Time knob, switch, and CV jack
Sample-accurate clock output for perfect synchronization
Loop clock outputs for each channel
Time switches change range of Time knob from 1/8th notes up to 32 bars
Digital feedback, up to 110%
Delay Feed control, independent of dry/wet signal mix
Infinite Hold mode disables recording input and fixes regeneration at exactly 100%
Reverse mode plays memory contents backwards
With an infinite loop locked, knobs or CV can "window" around memory, by shifting the loop
Trigger inputs for toggling Infinite Hold and Reverse
Send and Return for applying effects to feedback with external modules
CV jacks to control Time, Level, Feedback and Dry/Wet Mix
16HP Eurorack module

Specs:
48kHz, 24-bit low-noise hi-fidelity
Up to 90 seconds of loop time
16HP
+12V: 110mA
-12V: 45mA

Included with the Looping Delay:
16-to-16 pin power cable
4 x M3 Knurlie screws

Notes: ***B-STOCK: Slight dent om the edge, otherwise in perfect condition***


VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)

Notes: Constructed with 100% aluminium die casting, this two-tier sleek and robust keyboard stand weighs a mere 3.06kg, making it an incredibly lightweight and portable option. Designed to support keyboards with up to 76 keys and weighing up to 60kg, it offers the reliability and strength for musicians on the go. Easy to set up and dismantle, this stand is a perfect choice for those looking to blend functionality with simplicity.

Features:
Maximum height: 1,300mm
Capacity: 69.8kg
Weight: 8.19kg
Includes: 1 angled base and 1 straight, 1 pair of 45mm straight arms, one pair of 38mm arms

Notes: Constructed with 100% aluminium die casting, this two-tier sleek and robust keyboard stand weighs a mere 3.06kg, making it an incredibly lightweight and portable option. Designed to support keyboards with up to 76 keys and weighing up to 60kg, it offers the reliability and strength for musicians on the go. Easy to set up and dismantle, this stand is a perfect choice for those looking to blend functionality with simplicity.

Features:
Maximum height: 1,300mm
Capacity: 69.8kg
Weight: 8.19kg
Includes: 1 angled base and 1 straight, 1 pair of 45mm straight arms, one pair of 38mm arms

Notes: Step up to the RC-5 and prime your pedalboard with maximum looping range. Capture sound with premium 32-bit quality, navigate parameters and monitor loop status with the backlit LCD, and tap into expanded operation via the control jack and TRS MIDI I/O. And with over 50 rhythms, 13 hours of stereo recording, 99 phrase memories, and more, the compact RC-5 puts a deep well of musical power at your feet.

Featuring best-in-class 32-bit AD/DA and 32-bit floating-point processing, the RC-5 captures your personal sound with full fidelity and keeps loops crystal clear, even with multiple overdubs. And with 13 hours of stereo recording time, there's plenty of space for extended creative journeys.

The RC-5 features the most advanced interface available in any compact looper pedal. The LCD lets you keep an eye on loop status as you perform, with a backlight that changes colour to indicate recording, overdub, and playback states. And coupled with the multi-function parameter knob, it's quick and easy to navigate rhythms, kits, system settings, and more in the heat of the moment.

The RC-5's versatile pedal switch controls all looping functions-record, overdub, play, stop, and undo/redo. But deeper control is also supported if you need it. Connect up to two external footswitches for direct control of many assignable functions, or an expression pedal for continuous adjustments. Players with advanced systems will love the TRS MIDI I/O, which saves space and enables remote operation from MIDI switchers and foot controllers, plus MIDI sync with drum machines and DAWs.

With 57 preset rhythms and seven different drum kits, the RC-5 is ready to elevate loop and practice sessions with inspiring grooves for any style. For each rhythm, A/B variations can be selected from the panel or controlled via MIDI while performing. The RC-5's looper engine also includes a cool reverse function that's great for infusing your music with fresh sonic colours.

The RC-5 provides 99 phrase memories, letting you store loops as fast as you create them. In addition to audio, a phrase memory includes the selected rhythm and kit, so it's ready to go when you call it up. Loop audio can be backed up to a computer via USB. And with WAV import via BOSS Tone Studio, the RC-5 becomes a pedalboard playback hub for lesson material, jam tracks, or backing music for your next gig.

Notes: Make your playing soar with majestic ambience

Powered by Multi-Dimensional Processing technology (MDP), the TE-2 Tera Echo produces a dynamic new stereo ambience effect that goes far beyond traditional delay and reverb.

Multi-Dimensional Processing for Superior Tone

Roland's innovative Multi-Dimensional Processing (MDP) analyses audio signals in many dimensions and applies ideal effects to each. By giving different dynamic changes relative to the input signal in real time, MDP can create bold, all-new sounds with a previously unattainable range of expression.

TE-2: Inspirational Echo

Thanks to MDP, the TE-2 delivers an amazing new ambience effect that satisfies and inspires. Complex internal processing produces an incredibly deep and spacious sound, dramatically enhancing the straight guitar tone without overwhelming it. Through the TE-2's simple, familiar stompbox controls and incredible sensitivity to your playing dynamics, an extremely wide range of sounds can be achieved. And with the expressive Freeze function, you can hold the current effect sound to create rich soundscapes for lead playing and sonic exploration.

The 100th BOSS Compact Series Model!

The TE-2 Tera Echo represents a milestone as the 100th model in the long history of the BOSS compact series. Starting with the release of the OD-1 Overdrive in 1977, BOSS' legendary stompboxes have been integral tools of artistic expression for millions of players around the world. Fuelled by a spirit of dedication and innovation that began nearly four decades ago, the TE-2 carries on the BOSS legacy of bringing inspiring, leading-edge technologies to musicians everywhere.

Specifications:

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Controls: Pedal switch, E. LEVEL knob, TONE knob, FEEDBACK knob, S-TIME (Spread Time) knob
Indicator: CHECK indicator (Used for indication of HOLD, and to check battery)
Connectors:, INPUT-A (MONO) jack, INPUT-B jack, OUTPUT-A (MONO) jack, OUTPUT-B jack, AC adaptor jack (DC 9 V)
Power Supply: Alkaline battery (9V, 6LR61), AC adaptor (sold separately)
Current Draw: 90 mA

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

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

Options: (sold separately): AC adaptor (PSA series)

Size & weight (including battery)

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight: 435 g / 1 lb

Notes: SkipLog, a probability processor with sequence capturing and looping features, along a range of other versatile functions waiting to be explored.

SkipLog is a 3-channel rhythmic probability processor designed for inventive rhythmic exploration in modular setups. Introduce unpredictable rhythmic possibilitis to your creative flow.
SkipLog's basic operation is simple: when a trigger or gate is received at one of its three channels' inputs, the same channel’s Probability knob allows you to control the likelihood of these triggers or gates reaching the output. This inputs are internally connected .

SkipLog continuously captures the binary outcomes of its use, storing them for potential sequences. Activate the Loop function to break from pattern creation and loop the recorded sequences. Individual Loop Length knobs for each channel allow adjustment of the loop sizefrom 1 to 16 or 32 steps (as selected on the back), providing evolving rhythmic patterns.

To fine-tune your arrangement, SkipLog introduces functions like Mute for real-time channel silencing, Inv for signal inversion, and Choke for establishing channel priorities. Lastly, the G/T (Gate/Trigger) Mode enables users to specify whether the channel output is a gate or a trigger.

Dimensions
8 HP
33 mm deep

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

Notes: Journey to New Sonic Frontiers

With the SY-1, it's never been easier to infuse your creative arsenal with BOSS's legendary guitar synth technology. This amazingly expressive tool is filled with 121 ultra-responsive sounds, all distilled down into a BOSS compact pedal that slides easily into any setup. Best of all, it's as simple to use as a standard stompbox, so you don't need any background in synth programming to bring a new world of sonic textures to your music.

SY-1 SYNTHESIZER Sound Tryout

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

Expressive Synth Sounds, No Programming Needed

The SY-1 transforms any guitar or bass into a versatile synthesizer that's fun, inspiring, and ready to play. Backed by advanced tech first developed for the SY-300, this super-cool pedal delivers a huge selection of analogue-style synth sounds while occupying minimal space on your board. What's more, all the sounds are polyphonic, allowing you to play both single notes and chords.

Plug-and-Play and Latency-Free

The SY-1 can be used with any guitar or bass via a standard 1/4-inch cable, providing an easy, plug-and-play experience. Thanks to custom DSP and the latest BOSS innovations, the SY-1 offers latency-free performance that's a natural extension of your instrument, letting you to play freely and organically without altering your normal technique in any way.

A Universe of Synth Sounds Inside

With its 11 categories and 121 total sounds, the SY-1 puts an enormous array of synth colours at your fingertips. Expressive leads, sweeping pads, layered organs, fat basses, and more are all on tap, plus a variety of rhythmic synth patterns that are a blast to jam with. And with the grab-and-go Tone/Rate and Depth knobs, you're able to adjust any synth voice just how you like, including changing the pitch on some sounds.

At Home in Any Rig
As a standard BOSS compact, the SY-1 drops into a serial pedal chain like any other stomp. But with the send/return loop and dedicated mix controls, it's also possible to blend one or more pedals in parallel with the SY-1's synth voices. For example, you can patch drive pedals in the loop, and then send the combined output to mod, delay, and reverb pedals for overall processing. The send can be used as a direct out as well, enabling you to route synth and guitar sounds to separate destinations.

Enhance Performances with Real-Time Control
The SY-1 offers a numbers of ways to make your synth performances even more dynamic and expressive. Pressing and holding the pedal switch sustains the last-played synth sound, allowing you to jam with regular guitar over the top. You can also connect an external footswitch for tap tempo and octave-shift effects, or plug in an expression pedal for continuous Tone/Rate control.

SY-1 Sound Types

LEAD 1/2 - A wide range of sounds suitable for single-note soloing.
PAD - Full tones that work great with chords, from layered pads to synth brass and more.
BASS - Fat synth bass sounds, including filtered and sub-octave tones.
STR - Classic analogue-style strings, including layered voices and sweeping textures.
ORGAN - A large selection of organ sounds, including many with rotary-style modulation.
BELL - Percussive synth sounds with metallic resonance.
SFX 1/2 - A variety of synth sound effects, including explosive one-shot sounds, animated pitch/filter voices, and more.
SEQ 1/2 - Pulsating sounds with rhythmic pitch or filter changes.

Specifications

Nominal Input Level: INPUT, RETURN: -20 dBu
Input Impedance: INPUT, RETURN: 2.2 M ohms
Nominal Output Level: OUTPUT, SEND: -20 dBu
Output Impedance: OUTPUT, SEND: 1 k ohms
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass

Controls: Pedal switch, GUITAR/BASS switch, TYPE knob, VARIATION knob, TONE knob, DEPTH knob, EFFECT knob, DIRECT knob
Indicator: CHECK indicator (Serves also as battery check indicator)

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

Power Supply: Alkaline battery (9 V, 6LR61), AC adaptor (PSA series: sold separately)
Current Draw: 115 mA

Expected battery life under continuous use: Alkaline: Approx. 2 hours
*These figures will vary depending on the actual conditions of use.

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

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

Size & weight

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