Search dance music

Review: 1975's Black Sabbath album, Sabotage, was written at a time when the band were caught up in an ongoing legal battle with their former manager. That is what gave the album its title and no doubt fuelled some of the more abrasive and angry tracks. The newly remastered reissue is now paired with a complete live show that was recorded during the band's 1975 tour. Of the 16 tracks, 13 have never before been released. As well as a special new booklet with further fan delights, two extra tracks feature on a bonus 7" with artwork that replicates a rare Japanese version of the single.

Notes: The new Akai Professional Fire represents the first of its kind, a dedicated hardware controller for the FL Studio Digital Audio Workstation (DAW) platform. Created in close partnership with Image-Line, Fire is a high-performance tool designed to enhance the workflow and music-creating experience for all FL Studio producers.

Fire features a dedicated browser function to navigate, audition and load your audio samples, recall project files and open plugins. Simply select browser and use the Select rotary encoder to preview and load content and devices within FL Studio - The graphical OLED display makes for easy browsing and controlling the various files, menus and parameters within your session a breeze.

Featuring plug-and-play integration, within seconds you'll be creating patterns and building tracks using Fire's 4 x 16 velocity-sensitive RGB pad matrix, designed for immediate interaction with FL Studio's celebrated step sequencer. Get hands-on with your production with everything you need to control FL Studio's channels and patterns. With direct hardware control over your session, you can easily mute and solo channels, expand the grid matrix, select new channels, navigate through patterns and much more without touching a mouse.

Get hands-on with your production with everything you need to control FL Studio's channels and patterns. With direct hardware control over your session, you can easily mute and solo channels, expand the grid matrix, select new channels, navigate through patterns and much more without touching a mouse.

From searing synth leads to lush pads, Fire's Note mode provides the ultimate platform to add melody and harmony to your production. Simply push the Note button and Fire's RGB pads switch-up to a MIDI keyboard giving you three octaves of note data, perfect for playing all of your instruments hosted in FL Studio.

Fire's pad matrix features an MPC-style 16-pad layout for seamless integration with FPC and SliceX. This is great for FL Studio producers who want a traditional beat-making experience or want to use their finger-drumming chops on the track.

Whether you're a studio producer refining an arrangement or live performer looking to take your sessions to the stage, Fire's Performance mode provides the ideal platform to remix and reimagine your tracks. Simply select Performance mode and launch MIDI clips and audio directly from Fire's RGB pad matrix for a truly inspiring live production experience.

Fire also provides immediate access to transport controls straight from the hardware. Record, Stop, Play, as well as a button to instantly switch between Pattern and Song mode are intuitively placed for mouse-free control of FL Studio. Plus, these all double up with secondary controls providing access to Loop Record, Countdown, Wait and Metronome.

Bringing a tactile, mouse-free mixing solution to the FL Studio environment, Fire includes 4 banks of 4 touch-capacitive knobs that enable the user to instantly see and adjust parameter values. Providing control over channel, mixer and user-assignable parameters, this enables a more intuitive and enjoyable workflow. From tweaking volume and pan within FL Studio's mixer to adjusting filter controls within the selected channel and recording automation, you'll spend less time clicking and more time executing.

Speed is power. Up to four Fire devices can be connected at once, enabling unprecedented hardware control over the FL Studio mixing and production workflow. Expand channels or make more in the sequencer accessible by selecting Multi-Device Mode from the OLED display. Instantly expand the 4 x16 matrix of one Fire unit to an 8 x 32 workflow.

Pads: (64) Velocity-Sensitive RGB Backlit Pads

Knobs:
4 x 360 degree Assignable Touch-Capacitive Knobs
1 x 360 Encoder for Display Navigation

Buttons: 20 x Dedicated function buttons; Red, Amber or Green backlit
Display: OLED Display
Connections: 1 USB Type-B Port

SYSTEM REQUIREMENTS
Windows:
Windows 7, 8, 10 or later
4GB of RAM or higher recommended
4GB free disk space
FL Studio 20.0.5 or later

Mac OS:
10.11 or later
4GB of RAM or higher recommended
4GB free disk space
FL Studio 20.0.5 or later

Notes: Nice dual-module gate/envelope generator which can run off any audio signal. Feed it drums, synths, samples or a mic input and and generate CV modulation signals.

Supplier's Notes:
The Percussion Interface (PI) and PI Expander are a pair of Eurorack modules that generate gates and envelopes from acoustic drums, samplers, drum machines, and virtually any audio source.

Converting microphone, instrument, line and modular signals into CV and clock/gate signals, the PI and PI Expander are suited for synchronizing sequencers or other modules to the rhythm of an audio track or live percussion. The modules can simultaneously be used as a pre-amp for microphones or line-level signals, while generating inverted envelopes useful for side-chaining. The PI module contains all the core functionality and can be used without the Expander to conserve space. The Expander requires the main PI modules and adds three gain stage options, a modular-level audio output jack, a 1/4" (6.35mm) input jack, and envelope attenuation capabilities. The two modules are only sold together, they are not available separately.

Electrical and Mechanical Specifications:
Module size (PI):
4 HP Eurorack formal module
0.98" (25mm) maximum depth with power cable
10-pin Eurorack power header

Module size (PI EXP):
4 HP Eurorack formal module
0.98" (25mm) maximum depth with power cable
8-pin cable connects to PI

Power consumption:
with PI Expander
+12V: 104mA
-12V: 65mA
without PI Expander
+12V: 69mA
-12V: 56mA

Audio Inputs:
1/8" [3.5mm] on PI main module, and 1/4" [6.35mm] on PI Expander
100k input impedance, AC-coupled

Audio Outputs:
Voltage range: -10.4V to +10.8V, DC-coupled
1k output impedance
Gain Characteristics
Gain range: < -100dB to +54dB (500x)
Clip light turns blue when signal (post-gain) exceeds 2.5Vpp
Gate is triggered when signal (post-gain) exceeds 6.3Vpp
Clip light flashes red when signal clips on Audio Out jack (exceeds +10.8V)
Gate Out Jack
1k output impedance
+8V gate/trigger signal
6ms - 0.5s pulse width
+ Env Out jack (jack on PI main module)
1k output impedance
+9V peak (sustain), -60mV resting (off)
15ms attack time
70ms - 6s exponential decay time (1% of peak voltage)
- Env Out Jack (jack on PI main module)
1k output impedance
+9V resting (off), -150mV peak (sustain)
15ms attack time
70ms - 6s exponential decay time (1% of peak voltage)
Env. Out jack (attenuated jack on PI Expander)
1k to 26k variable output impedance
+9V maximum
-60mV minimum
Inv. Out jack (attenuated jack on PI Expander)
1k to 26k variable output impedance
+9V maximum
-150mV minimum
Included with the PI+EXP:
8-to-16 pin power cable
8-to-8 pin cable for connecting to the Expander
M3 Knurlie screws (4)

Notes: High-resolution sound at a low price thanks to Tascam's US-HR range, provided here in 2-in, 2-out format with integrated MIDI in and out. Simple, no-fuss solution for hooking up to your DAW.

Supplier's Notes:
High-Resolution USB Audio/MIDI Interface (2 in, 2 out)

The US-2x2HR is a member of the Tascam US-HR series of high-resolution USB audio interfaces. It provides two mic/line/instrument switchable inputs and two balanced line outputs as well as MIDI I/O to your Windows or Mac computer or your iPhone or iPad. This interface is ideal for music creation and home recording with high demands on simple operation and studio-quality sound. The included loopback function and support for Open Broadcaster Software (OBS Studio), however, makes it also an excellent choice for podcast creation and live streaming.

The compact US-2x2HR incorporates a wealth of features, including high audio resolution up to 24-bit/192 kHz, ultra-low latency with a Windows buffer size starting at four samples, Ultra-HDDA mic preamplifiers with 48-volt phantom power for superior sound quality with ultra-low noise, a robust USB Type C connector, and a rich assortment of included software to start producing audio right away. This interface can also be used for mobile production or live streaming using your iPhone or iPad with the included Cubasis LE. Simply put, the US-2x2HR helps you create and distribute great-sounding audio wherever you go.

All US-HR models offer a unique dye-cast aluminum honeycomb structure on the side panels with a slight upward tilt. This design not only results in a sleek, eye-catching design, it also provides just the right amount of weight so the interface won't move when cables are connected or disconnected. Equally important, the upward tilt offers the ergonomic benefit of being angled in such a way as to make the interface easy to work with.

If you're a musician, producer or home-recordist who needs a solid, uncluttered, easy-to-use audio interface with superb sound quality, the Tascam US-2x2HR can be your reliable partner for many years.

The Ultra-HDDA (High-Definition Discrete Architecture) mic preamps used on the US-HR series feature a discrete construction. They have a higher number of components and are far away from mass-produced preamps. Their EIN (equivalent input noise) rating, which measures the absence of noise, is truly low for the US-2x2HR and US-4x4HR. Combined with a newly improved audio circuit and support for sampling rates up to 192 kHz, our in-house developed microphone preamplifier delivers enhanced audio performance with the most transparent and low-noise sound, reflected in a signal-to-noise ratio of 110 dB.

One issue when recording using a computer is latency, which is when audio signals are delayed through digital circuitry. Another is setting up the driver software that is used when connecting an audio interface to a computer. In order to eliminate these problems, our driver software introduces only very little latency and is easy to install. Furthermore, by making the external structure of these interfaces as simple as possible, the Tascam US-2x2HR and US-4x4HR allow users who are not expert users of audio equipment to operate them without concern.

The Settings Panel, which is installed on your computer, comes with a variety of functions. You can choose whether direct monitoring is done in mono or stereo and adjust the balance between input and computer signals. You can also switch the hardware inputs on and off individually and set the Windows buffer size according to your working environment.

For online broadcasting, Internet communication and other live streaming applications, the US-HR series interfaces offer a Loopback function which can merge input signals 1/2 with signals 1/2 coming from the computer (each can be set to mono or stereo) and send that mix to the broadcasting or other software on the computer. A software slider allows to adjust the final "broadcast" volume independently from the unit's line output level setting.

Instead of a computer, you can also use an iPad or iPhone together with the US-2x2HR/US-4x4HR to make music. Performance has been tested with not only the bundled digital audio workstation (Cubasis LE3), but also with other popular recording software - you can continue to use them even if you change DAW software. Since these units include MIDI inputs and outputs, you can connect MIDI keyboards, drum computers etc. to play sounds on the iPad or computer and thus expand your personal orchestra.

Maximum input level (Mic/Line/Inst): +10 dBu / +20 dBu / +10 dBV
Maximum input gain: 56 dB
Maximum output level: +20 dBu
Mic preamp equivalent input noise: 128 dBu
S/N ratio: 108 dB / 110 dB
Distortion (THD+N, mic to computer): 0,0013 %
Crosstalk: 95 dB
Power supply: USB / DC 5 V, 700 mA
Power consumption: 1.75 W
Overall dimensions (W x H x D): 186 mm x 65 mm x 160 mm
Weight: 1.1 kg

Notes: Sindikat is made to be placed in the heart of every modular setup: copy, invert, attenuate, scale, get different polarity versions simultaneously of two pair of mixes, mix CV as well as audio (up to 8 sources in total), mute or switch to add desired source to a bigger unity mix, scale two separate mixes with chosen gain.. All circuits can preserve their independent use and/or be combined!

Details & use:

The module consists of circuits designed to group the most useful operations for signal mingling in modular synth setups -but in the more fun manner!

It is designed in the way that the circuits can function independently -be patched to the other modules- or to be combined inside the module at the same time!

On the top of the module there is a buffered multiple (the bi-color led is indicating signal input and its polarity) : Next to the input there are two outputs giving the exact copy of the incoming signal. On the third output you'll get the 'attenuverted" version of that signal which is controllable by the dedicated attenuator/inverter potentiometer.

This signal can be further added (or muted) via its switch, internally to a unity gain mixer situated on the bottom of the module via its SUMM OUT.

This mixer has its own 3 inputs who will accept CVs as well as audio signals with an output gain of 1/3.

Its bi-color led will indicate the polarity of the incoming signals.

In the center of the module there is a CV Processor consisting of two mixers each mixing two signals- in the way that:
The first one takes two signals (A and B) and outputs simultaneously the positive version of their mix (AB+ OUT) and the negative version (AB- OUT).
Their gain is scaled by the potentiometer: going on 1x in the middle position to 2x fully turned. (After middle position with a stronger signal and due to higher gain it will start to saturate producing an distortion-like effect)
Further, via their switch, those mixes also can be added to a unity gain mix (SUMM OUT) and therefore creating a larger mix.
You'll do that by choosing which polarity output you want to send to a summing mix.
In the middle position of the switch the signal is "off" so you can use this to mute/un-mute the signal in the unity mix. Also, even if it is in "off" position this only breaks the internal link to a unity mix but you can still use their distinctive outputs to send your positive and negative mixes elsewhere in your system.

Goes the same for the second one: C and D inputs giving positive (CD+) output result and negative (CD-) simultaneously , all with gain select and the switch choice for summ positive or negative (or none) to a bigger unity mix.

You can also choose to use those two circuits as a simple attenuators for ex. by patching only one signal so you'll get an attenuator and polarizer at once!

The module can process CV and audio as well in every circuit.

Therefore, by summing eventually all the signals to a final "SUMM OUT" output you can create up to 8 sources -in the module- large mix!

Made for more fun with a modular!

This module fits perfectly well with Modulaire Maritime "Decca" switch-based manual control module.

As these modules are developed from practicing recording in "one take" (same for a live performing), combining them you get an extended control over CVs, gates and audio going on in the system, allowing to switch- stop/mute, change polarity, introduce/mix more gates, drums,.. on the fly.

8hp
25mm deep
Reverse voltage protected

Review: RECOMMENDED
How can heavy metal-ers not get excited about this one? While sporting a pretty serious price tag, this Super Deluxe edition of Black Sabbath's seminal fourth album is certainly one for the collectors, who will delight in the 11 additional studio recordings featured in the huge amount of bonus material here, which include snippets of studio dialogue, false starts and more rough around the edges nuances that bring the work to life.

As for the LP itself, it was something of a landmark moment in the band's journey - shifting the intensity and ferocity up at least three gears and then sticking a brick on the throttle to hold it in place. Perhaps Mojo's take on things puts it best; ""If booze and dope had helped fuel Sabbath's earlier albums, Vol. 4 is their cocaine ... Despite their spiraling addictions, musically Vol. 4 is another ambitious outing". Enough said.

Notes: Module A-149-4 generates four triggered random voltages which meet the criteria choosen by several controls.

Manual controls for the criteria selection:

Octave range (manual control "Oct."): this parameter defines how many octaves are covered by the random voltages (0 ... +5V, with "Oct." control fully CCW only 0V are generated)

Grid (6 illuminated radio buttons): this parameter defines the grid of the random voltages:

Octaves (Oct)

Octaves + Quin (Quint)

Chords

Scale

Semitones

continuous (i.e. stepless)

Minor / Major (2 illuminated radio buttons): this parameter defines in case of chords or scales if they are minor or major. For all other grids this parameter has no meaning

Sixth / Seventh (2 illuminated separate buttons): these parameters defines if the sixth or seventh is added. Valid only if Oct, Quint, Chord or Scale is chosen as grid.

The output voltages follow the 1V/octave standard with exception of the Continuous mode. The voltages in this mode are totally random and do not follow the 1V/oct standard (i.e. not a multiple of 1/12V).
The generation of a new random voltage at the output (CV Out 1...4) is triggered by the corresponding trigger input (Trig. In 1...4). The trigger inputs are normalled top down. The minimum trigger level is +2.5V (up to max. +12V).

Applications:

random polyphonic structures (in combination with the polyphonic modules A-111-4, A-105-4, A-132-8, A-141-4 and e.g. A-157 as trigger source and A-173-1/2 for transposition of the polyphonic structures)

any application that requires several random voltages

Width: 4 HP / 20.0 mm
Depth: 45mm (measured from the rear side of the front panel)

Review: Song Cycle Records has put together a collector's edition box set of the Solaris original soundtrack as realised by Russian composer Edward Artemiev, who was once a member of the legendary Experimental Studio of Electronic Music in Moscow. Andrey Tarkovsky's masterpiece film from 1972 is a cosmic epic with a soundtrack to match thanks to its many eerie synthesiser sounds and lo-fi, alien ambient atmospheres. The pair also worked on Mirror (1975) and Stalker (1979), but Solaris might be their best, as this compelling box set proves.

Notes: Output Voltage : 7.5mV/1kHz (5cm/s)

Frequency Response: 20~20kHz

Channel Balance: <1.5dB

Separation: >25dB

Load Impeadance: 47kO / 200pF

Recommended Force: 2.5g

Cartridge Weight: 5.8g

Notes: The CTRL Case One is a super lightweight and compact carrying solution for your Rane One Controller. The case is crafted from lightweight Durashock molded EVA foam and water repellent polyester exterior. The lid is lined with high density egg-crate foam to protect the display, jog wheels, and controls.

Fits:

Rane One

Basics:

Lightweight Durashock molded 8 mm EVA foam and polyester exterior shell
Sturdy zipper
Incl. high density egg foam to protect knobs, faders, jog wheels and display
Comfortable, rivet reinforced carrying handles
Including detachable shoulder strap (metal buckles)

Specs:

Outer measures: 75 x 41 x 11 cm
Inner measures: 71 x 35 x 8 cm
Weight: 1,9 kg

Notes: Famous for its noiseless clean sustain, the Philosopher's Tone has staked its claim in the crowded world of compressor pedals. In addition to Volume and Sustain controls, the Philosopher's Tone features a parallel Blend knob that allows the musician to mix their instrument's original tone with the compressed sound effect. This technique restores natural pick-attack and allows more extreme sustain settings to remain musical. The Treble control provides up to a 6db cut or boost at 2kHz for fine-tuning the frequency response of the effect. The Philosopher's Tone features true-bypass switching and internal 18V power rails for maximum clean headroom, even when used with hot pickups and line level signals.

Knob-by-knob

Volume: Sets the overall output volume.
Sustain: Sets the amount of sustain.
Treble: Boosts or cuts treble at 2kHz.
Blend: Mixes your compressed effect with your clean signal.

Rare design

Generations of guitar players have sought noiseless clean sustain from a compressor, and this was the guiding goal of the research and design behind Philosopher's Tone, yielding a compressor with an internal 18 volts of headroom and naturally musical tone control.

Modern-day alchemy
Practitioners of the mystical and ancient art of alchemy long sought an element called the Philosopher's Stone. They believed, if found, it could turn lead into gold and bestow immortality upon the person who wielded it. Turns out it was waiting in the depths of space all along.

Specifications

Electronics

Voltage: 9VDC
Current draw: 100mA
Input impedance: High
Output impedance: 150ohms

Body

Length: 1.5"
Width: 3.75"
Height: 1.75"
Weight: 0.5 lbs

Notes: Octava is an all-analog octave fuzz / frequency doubler featuring an on-board low pass Filter control that allows you to achieve singing octave up tones anywhere on the neck, without adjusting your guitar's tone control. A front-end Drive and gushing Fuzz circuit add signal power and easily convert Octava to shoegazey fuzz pedal capable of producing devastating, full-wave rectified distortion. Use the Blend knob to mix the octave up effect on top of your dialed-in drive.

Knob-by-knob

Volume: Sets the overall output volume.
Blend: Mixes in the octave-up effect.
Filter: A low-pass filter tone knob. Sets the cutoff frequency of the low pass filter on the input of the Octave circuit.
Drive: Mixes in warm front-end overdrive by increasing the gain of the J-FET preamp stage.
Fuzz: Activates the fuzz circuit.

All analogue, still versatile

Built with the theory of "do one thing and do it well" paired with the flexibility of more diverse effects units, the Octava transitions seamlessly between a singing octave-up to an overflowing fuzz, and every blended tone between.

The Octavia ribbons

Parallel ribbons made up of complex patternwork wave ever-so-slightly in the blackness of space. It is from this mysterious place Octava was harvested. Pretty much sounded like a badass octave fuzz.

Specifications

Electronics

Voltage: 9-18VDC
Current draw: 100mA
Input impedance: 2.2M
Output impedance: 150 ohms

Body

Length: 1.5"
Width: 3.75"
Height: 1.75"
Weight: 0.5 lbs

Notes: Moon Pool is an analog phase shifter and tremolo with independent speed controls featuring the ability to change the rate of one or both of the effects in either direction, corresponding to how hard you play. The 4-stage, VCA-based phaser and variable bias tremolo found in the Moon Pool can each be run as standalone effects or they can be combined in series for a mesmerizing mashup of modulators. A global Depth knob determines overall wetness, while a Sensitivity knob allows you to dial in the responsiveness of these changes to accommodate different playing styles and colors. Runs on standard 9VDC.

Knob-by-knob

Phase Speed: Sets the rate of modulation for the phaser.
Trem Speed: Sets the rate of modulation for the tremolo.
Depth: Sets the intensity of both the phaser and tremolo.
Sens.: Determines how much signal is required to change the speed of both phaser and trem when dynamics processing is turned on.

Trem / Phase (Three-Way Toggle): Up = trem engaged, Center = both engaged, Down = phaser engaged

Phaser Dyn. (Three-Way Toggle): Up = phaser speed increases in response to playing dynamic, Middle = no change, Down = decreases

Trem Dyn. (Three-Way Toggle): Up = trem speed increases in response to playing dynamic, Middle = no change, Down = decreases

Dynamically-responsive, wide-range dual LFOs

Moon Pool features a pair of LFOs that can be independently modulated by the amplitude of your playing. Engaging the dynamics switches enables these LFOs to travel well beyond normal limits, creating wild FM tones at maximum speed and gradually evolving textures when slowed way down. Equal parts out-of-this-world and inherently musical.

Get lost in the slosh

Sometimes, you gotta kick off your moon boots, slip into a moon pool, pour yourself a moon juice, and get lost in the slosh.

Specifications

Electronics

Voltage: 9VDC
Current draw: 100mA
Input impedance: 2.2M
Output impedance: 150ohms

Body

Length: 1.5"
Width: 3.75"
Height: 1.75"
Weight: 0.5 lbs

Notes: Constellator is an all-analog delay pedal capable of producing up to 600ms of lush echo with adjustable modulation and a comprehensive sound palette. From percussive slapback and doubler sounds to chorused-out, long delays with endless repeats, the Constellator's MN3005 bucket brigade chips provide superior overall headroom and tape-like saturation when pushed to the limit. The Feel toggle switch adjusts several parameters simultaneously for an additional coloring of LFO modulation. With the Feedback control maxed out, the Constellator is capable of self-oscillation which can be pitched up or down by turning the Time knob. Runs on standard 9VDC.

Knob-by-knob

Time: Sets your delay time. Clockwise for slower, counter-clockwise for faster.
Mix: Controls your dry/wet balance.
Mod: Controls the modulation depth. Adds color and warp.
Repeats: Sets the amount of feedback in the delay line.
Feel: Selects between two distinct modulation types. When the switch is pushed in, a chorus effect is selected. When the switch is not pushed in, a vibrato effect is selected.

King of bucket brigades

The pair of analog delay chips used in the Constellator are new production replicas of the mighty Panasonic MN3005 Bucket Brigade Devices (BBD) found in some of the most iconic vintage delay pedals of all time. With 4096 individual "buckets" and +15V power rails, the MN3005 provides the longest possible delay time and most available headroom in an analog delay. Luscious.

Make your ow myth

Develop shimmering delay lines with crystalline overtones and watch them scatter across the canvas in your mind. Constellate your own myth into being.

Specifications

Electronics

Voltage: 9VDC
Current draw: 100mA
Input impedance: 10M
Output impedance: 150ohms

Body

Length: 1.5"
1.5
Width: 3.75"
Height: 1.75"
Weight: 0.5lbs

Notes: Hizumitas was designed for the one and only Wata from the legendary experimental band Boris, one of the heaviest bands ever to come out of Japan. The trio of guitar sorceress Wata, drummer and vocalist Atsuo, and double-neck bassist, guitarist and vocalist Takeshi has almost 100 releases filled with genre and brain-melting music.

In their nearly three decades together, Boris has infused doom, hardcore, thrash, noise-core, ambient, free improv, drone, psychedelia, and more into their extensive discography. Boris is also known for their unique collaborations with mutually adventurous artists, including American Doom mongers Sunn O))), noise legends Merzbow, Keiji Haino, and Ian Astbury of The Cult.

Wata, always seen and heard on stage wielding her black Les Paul Custom, mixes killer riffs with searing, fluid, or jaggedly melodic leads and controlled walls of feedback, often with help from an EBow. It's a connection of chaos and melody that has enchanted Boris fans worldwide and influenced many bands that have followed in their considerable wake. Simply stated, no other band sounds like Boris, and no other guitarist rocks like Wata.

But with EQD's Hizumitas fuzz on your pedalboard, you can carve out your own singular, mega-heavy tone.

Hizumitas is a faithful recreation of Wata's go-to distortion pedal, the Elk BM Sustainar. The Elk is a Japanese variant of the very well-known "Triangle" BMP. The designers at EQD tried several vintage BMP's during development, found that each pedal was wildly different and realized that to truly capture the magic they needed the original. Wata graciously sent her beloved pedal halfway around the world, and EQD discovered that it had something special the others didn't have: heavy saturation with a gritty edge and massive bottom while maintaining a clear and dynamic tone with enough mids and top end to cut through any sludge. The studious wizards at EQD have built all of those characteristics into the Hizumitas.

Notes: The SVF is a 4hp 2 pole 12dB State Variable Filter Eurorack Module available as a Eurorack DIY Kit, PCB and Panel, or Built Module.

It provides Low Pass, Band Pass, and High Pass outs inspired by WASP and Thomas Henry filter topologies. The filter has 2 audio inputs, but channel 2 is jumper selectable between standard audio in or Ping-able operation. The 2019 revision also adds improved cutoff and resonance response and attenuversion through the ACV IN using the above pot. CV IN provides another unattenuated voltage input to modulate the frequency.

At the CV in, +10v will open the filter completely if the cutoff pot is CCW(counter clockwise). With the cutoff knob at noon the filter can be opened with +5v or closed with -5v. CV input at the ACV in is dependent on the CV attenuverter knob.

There are also several jumper selectable modes for max resonance, self oscillation or no oscillation based on the setting of the resonance pot. According to the jumper configuration, the filter is capable of clinical and clean, to juicy and drippy, to low pass gate sounding plonks, to screaming chaotic resonance. When set to self oscillation mode, the filter can produce a sine like wave with no input and a trapezoid like wave in the max resonance jumper setting. In max resonance mode, the filter output can exceed 10Vpp. On the newest version, there is a trimmer on the top pcb to set the lowest cutoff frequency.

The new black and white pcb/panel is reversible meaning, one side is classic (first picture) and the other side is soulless (second picture).

Notes: Clever FM module that does digital-style through-zero FM using analogue circuits. Use any signals from other modules as your carrier and modulator, then phase modulate or wavefold in the FM Aid.

Supplier's Notes:
FM AID is a module designed to perform through-zero linear Frequency Modulation (FM) in the analog modular world. Any arbitrary signals can be used as a Carrier and Modulator. The module copies FM in how it is done in digital implementation, but in a completely analog circuit free of digital aliasing artifacts. Digital or software FM oscillators are mainly based on a ramp waveform which is then shaped to other waveforms. This is also represented in the FM AID module: sawtooth signal is expected on the Carrier input to give the indicated sine, triangle, sawtooth and square waveforms on the respective outputs. However the user is not limited to only use sawtooth for the Carrier and any other signal can be plugged giving many complex waveforms at the outputs.

All known FM tricks from digital implementation are also applied - you can endlessly experiment with the Carrier/Modulator frequency ratios, Modulation index (FM knob), Modulator's amplitude shaping (CV knob), feedback FM (output is fed back to the Modulator's input) and many other.
Carrier input has normalled connection to the Modulator's input. This internal routing is disconnected each time a plug is inserted in the Modulator's input. That is a handy option which allows the module to be used with only one signal source - this single signal will act as Carrier and Modulator at the same time. There won't be any frequency differences between Carrier and Modulator in this case, but many interesting wave folding sounds will be available anyway.

Technically speaking FM AID uses Phase Modulation, not Frequency Modulation. The sonic difference is that the produces sound is brighter.

SPECIFICATIONS

Carrier input level: -5V ... + 5V (can also accept inputs ranging from -1V ... +1V] to [-12V ...+12V] / [-15V ...+15V] using onboard trimmer)

Modulator input level: preferably -5V ... + 5V

CV input level: preferably -5V ... + 5V

outputs level: -5V ... + 5V

outputs impedance: 1 kOhm

module depth: 3 cm or 1,5 inches

power consumption: +45 /-45 mA at +/-12 Vdc, +50 /-50 mA at +/-15 Vdc

Notes: All channels support headphones with 16 - 600 Ohm impendances.

Superb sound with low distortion and great low end.

Linkable channels (B to A and C to A).

All inputs with multiples, ie feeding different mixer channels.

Mono input is normalized to stereo.

Protected with relais, assuring soft starts and DC protection for your headphones (> +/- 10V input)

Width: 12 HP

Notes: Plug-and-play mini mixer for portable DJ setups. About as simple as it gets, with two channels and three-band EQ in a compact format. Also available in plain black or plain silver.

Supplier's Notes:
Everyone thinks they are a DJ now, and the Pokket's revolutionary design gives everyone the chance to prove it! The set-up has been simplified to the extent it takes only 30 seconds to plug and play. Incredibly, there is no power supply required.

All of the inputs and outputs run off the standard 3.5mm jack, with two input sources and one output signal - your grandma could set it up. There's a smooth and responsive cross-fader and cue mix button so you can hear what's playing on the other channel though your headphones.

There are three EQ knobs to twist on each channel for the lows, mids and highs - perfect for pulling DJ-like concentration faces whilst your mates dance around your living room holding glow sticks.

It is light, fast to set-up, pocket-sized and looks as good as a sunrise in Ibiza. All you need are some massive headphones, some devices to provide the playlists (anything with a headphone output will work) and of course a banging sound system!

Music mixing is no longer just reserved for professional DJs. The Pokketmixer is the first mobile mini DJ mixer for everybody. It's easy to use and - since it needs no power supply - it's very versatile. The handy POKKETMIXER is easy to wire up and is ready in just 30 seconds. So anyone can easily and spontaneously be a DJ anywhere and at anytime.

MAIN FUNCTIONS:

Cross fading between two stereo audio signals (headphones signals), preview listen and EQ. With the crossfader you can fade from one song to the other. With the "Listen" switch the music can be heard from either device through your headphones. An equalizer can be switched on to change low, mid and high frequency of the left or right player.

FEATURES:

Set-up: Quick and Easy
Just plug in two players, connect the music system and the dance floor is ready.

Transport: Easy
The small, light unit weighs just 130 g; needs no power supply unit, no unnecessary multiple sockets or extra connection cables.

Use: extremely flexible
For example indoors or outdoors, just connect your Pokketmixer to a battery-operated boombox - at home, in a bar, in the park, at the beach, in the car, camper or on a boat.

Two in, one out - it couldn't be easier
Two signals go in, one signal comes out. With the standard 3.5 mm stereo plug, two players are docked (eg MP3 player, mobile phone, notebook, iPad, PC) and one system plays your music (eg, stereo system or active mobilespeaker).

Notes: Mighty oscillations, mini size.

An analog oscillator and LFO with pure waveforms and precise tracking in a compact package. Perfect as a utility modulation source but equally capable to be used as a primary sound source. Patch it up and let it rip!

Features
Four simultaneous pure waveforms: Sine, Triangle, Square and Sawtooth
Pitch input for 1V/Oct tracking and FM
SYNC input for Hard Sync. This input has a comparator so that you can use a variety of waveforms as triggers.
Switch to select VCO (audio) or LFO range of operation
Three position Octave switch to jump pitch up or down by two octaves
PITCH knob has three octave range in VCO mode (extended to seven with the octave switch) and seven octave range in LFO mode (extended to 11 with the octave switch).
Bicolor led indicates the state of the triangle core rate

Specs
Width 14HP
Depth 37.5mm
Power 19mA @ +12V
16mA @ -12V

Notes: Junction requires a +12V / -12v power supply with a 2x5 pin ribbon cable (included). The red line of the ribbon cable must be aligned with the -12V marking next to the module's power header and on your case's power distribution board. Junction draws 23mA from the +12 rail and 20mA from the -12 rail. Please ensure you have
enough power available before installing.

About Junction

Junction is a compact, 4 channel attenuverter, cascading mixer and multiple designed to fine tune the control voltages in your rack to the perfect range for their destinations. Junction can be used as a source of fixed voltage, offset another voltage, or mix multiple voltages together to create complex and dynamic modulation.

Features

Each channel on Junction has a knob (1) that acts as a manual control for the attenuverter. Center position (12 o clock) is 0V. The first channel input (2) is normalized to +5V when no cable is plugged into it.

A buffered copy of the input signal of the first channel is present on all of the other inputs from from the first (2) to the last (8). This duplication is "cascading" as shown by the arrow graphics on the panel - if a cable is patched into any input, it "breaks" the cascading multiple - all unpatched inputs carry the signal present at the uppermost patched input (or +5V if no inputs are patched). For example, if a signal is patched into the second channel's input (4) the third (6) and fourth (8) channel inputs would carry a copy of the second channel's input instead of the first channel input.

Junction's channels are mixed on the outputs. The output mixer is also "cascading" - when a cable is patched into an output, it carries a mix of it's own output and all unpatched channel outputs above it. For example, if only the last channel output (9) is patched, this output will carry a mix of all of the outputs. Patching the first channel output (3) would remove it from this mix.

Even though Junction's inputs cascade and outputs mix, Junction's output will clip at the Eurorack power rail voltages of +12 and -12V. It is not possible to output a voltage outside of this range, regardless of the signals patched into Junction.

23mA +12 / 20mA -12 4 HP / 25mm
Deep Reverse Power Protection

Notes: The Beautifier is a flexible OTA based filter, featuring a lowpass/bandpass switch and a selectable slope of 24db and 12dB. Two attenuated CV inputs for frequency cut-off and resonance. The filter self-oscillates at a given point and can be driven quite hard if you crank up the gain. All in all, a versatile analogue workhorse with a lot of character; from smooth and creamy to quite raw and screamy.

47 mA +12V
19 mA -12V
0 mA 5V
26 mm deep

Notes: Super-versatile dual digital delay in this all-round echo powerhouse. Analog, Tape, Digital, Modulation Delay and Verb modes give you all the options you need, plus a 40-second looper function for good measure.

Supplier's Notes:
Duo Time is a digital delay pedal with dual simultaneous delays, each with independent time and repeat settings. A choice of five very different sounding delay models include Analog, Tape, Digital, Modulation Delay and a unique shimmering Verb delay. A choice of fully independent stereo or mono signal paths are possible, with an option to process a mono input to separate stereo outputs with different delay settings. Controlled via an on/off foot switch and a Tap Tempo foot switch, which also functions as a toggle for the OLED display when held. Add to this versatility a full 40 second looper function and you may never need another delay pedal in your rig except this one.

Specifications:

Power supply: 9Vdc, 300mA (min) pin-negative (not included)
Controls: Level, Model, Parameter, Time 1+2, Repeat 1+2
Modes: Analog, Tape, Digital, Modulation, Verb
Delay time (seconds): Up to 1.8 seconds
Dimensions: 115 x 105 x 58mm
Weight: 440g

The box for this item contains :

Duo Time dual delay modeler pedal
Instruction manual

Notes: Expander module adds four more assignable CV inputs to Squid Salmple for advanced modulation and sample manipulation. A must for all Squid Salmple owners.

Supplier's Notes:
AXON-1 is a 4HP expander module for the SQUID SALMPLE that provides 4 additional freely assignable CV inputs.

The addition of AXON-1 brings Squid's total number of CV inputs to 7, greatly increasing the possibilities for vast modular sample manipulation.

Each modulation assignment includes digital attenuation and offset and behaves just like Squid's 3 built in CV inputs.

AXON-1 requires firmware 166 or later installed on the Squid Salmple to function!