Search dance music

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


ADSR is a four stage linear envelope with two expressive ranges. Each stage can be modified independently allowing for the creation of complex, multi-segment envelopes. Great for modulating filters, VCAs, and oscillators.

Notes: ***B-STOCK: Without original box, product has light surface marks but otherwise in perfect working condition.***


ADSR is a four stage linear envelope with two expressive ranges. Each stage can be modified independently allowing for the creation of complex, multi-segment envelopes. Great for modulating filters, VCAs, and oscillators.

Notes: Two channel USB module.

Standard Mode - Send two channels into your USB device and receive two channels from USB.

Insert Mode - Send two channels to your USB device and get a copy of the sent signal in the outputs.

Toggle between the modes via a pair of jumpers on the back. The USB-B to USB-A cable is provided with the module. Why use the cutting edge USB-B? I felt the jacks were way more sturdy than mounting USB-C jacks vertically.

Expandable - Bartender, Barbacks, DVCA, Cast Iron, Mingles, and USB-2CH can all be connected with Dupont cables (aka female to female breadboard cables) via pin headers on the back of the modules. Connecting the in and out pins will send/receive the audio into the next module.

Width: 4HP
12V: 10mA
-12V: 10mA

Notes: A simple VC panner with CV-controlled level. The left input normals to the right input to give an easy way to add panning to a mono signal.

Expandable

Bartender, Barbacks, DVCA, Cast Iron, Mingles, and USB-2CH can all be connected with Dupont cables (aka female to female breadboard cables) via pin headers on the back of the modules. Connecting the in and out pins will send/receive the audio into the next module.

Width: 4hp
12V: 40mA
-12V: 40mA

Notes: Engineered with a 40mm speaker diaphragm made from stiff bio-cellulose to reduce distortion and increase transparency. Tuned for a balanced, accurate sound. Balanced sound - Bio-diaphragm.

Notes: Dust cover designed for the ALM 84HP 9U modular synth case.

Review: Bassnectar goes deep into his own take on dubstep here with a new album The Golden Rule on Amorphous Music. It comes across a triple selection of coloured vinyl and wastes no time in getting heavy. 'The Golden Rule' rides on saw tooth synths and slapping synths with 'Unlocked' (feat Rye Rye & Jamalski) bringing some vocal energy and 'I Am Another Yourself' then gets all screwy on some mad bass mutations. Elsewhere Bassnectar collaborates with Rebelwise on the exotic sounds of 'Prayer Song' and Hyper is peak time and maximal jump up for rave times only.

Notes: Transport bag for Roland SH-4D

This carrying case from Analog Cases is specially designed for the Roland SH-4D synthesizer.

In contrast to conventional nylon bags, the cases of the PULSE line are made of sturdy EVA (a moulded polymer that has so far only been used for high-quality housings in consumer electronics). It retains its shape and provides excellent protection. The sturdy carrying strap and low weight make the PULSE Case the ideal companion for a variety of common mini controller keyboards, smaller electronic musical instruments or audio interfaces. Inside, the separate nylon mesh pocket brings order to the cable chaos.

Analog Cases stands for practical and stylish design. The robust and lightweight bags are designed for modern music creators whose equipment is as mobile as their lifestyle. About its name, the manufacturer says:

"The name Analog Cases reflects our design philosophy: Bags should be simple, cool and stylish. For us, analogue is more than just a kind of sound - it's a way of life. Analogue means timeless, creative and beautiful. That's what motivates us to make music, and it's what motivates us to create cases."

Review: Few could have predicted the impact Phil Collins would have when he decided to go solo following his first stint in Genesis, but then few were prepared for the iconic gated drums which would come to define the 80s. Opening with the ubiquitous air-drum anthem 'In The Air Tonight', it was an unintentional landmark like all the best ones are, written as a personal therapy after his first divorce and subsequently turned into one of the biggest sellers of 1981. With a huge sound that deserves only the finest treatment, Face Value now gets remastered and repressed as an audiophile double vinyl courtesy of those exacting folk at Analogue Productions.

Review: The prolific and influential John Coltrane comitted many a seminal recording to vinyl across his career. His 1961 work My Favourite Things is one such album and it now gets a special new pressing as part of the 75th anniversary celebrations of Atlantic Records. The landmark album came from the same sessions as Coltrane Plays The Blues (1962) and Coltrane's Sound (1964), but marked something of a shift in his career. His playing is exploratory and innovative, unforced and naturally stylistic across gems like 'Everytime We Say Goodbye' and more.

Review: Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim. Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind Of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers - who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated, replicating the alternate non-Bill Evans lineup featured on 'Freddie The Freeloader' on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.

Review: From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982. The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive - the details make a difference, as do the pastoral acoustics of the closing 'Seagull' - reducing their rock 'n' roll to a strong, heavy crunch; compare 'Ready For Love,' a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45rpm.

Review: On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with albeit some familiar patterns emerging, wrote Rolling Stone's John Milward; indulging a trend-bucking golden-oldie route, iridescing a rich luster of the classic rock old-school. This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, the label turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings and RTI, the album comes housed in tip-on old style gatefold double pocket jackets with film lamination.

Review: Arena rock heroes Foreigner crushed with their 1977 self-titled album debut, spawning some of the biggest FM hits of that year, including the anthemic 'Feels Like the First Time' and 'Cold as Ice,' both of which were anchored - like most of Foreigner's songs - by the muscular but traditional riffing of guitarist Mick Jones, the soaring vocals of Lou Gramm, and the state-of-the-art rock production values of the day. The architect behind Foreigner's extraordinary catalog, Jones has crafted some of rock music's most enduring songs. After starting his own rock band and opening for the Rolling Stones in pubs across South London, his first big break came in 1964 when he moved to Paris and was hired to play with French singer Sylvie Vartan. After a brief stint in England to reform the band Spooky Tooth, Jones moved to New York and formed Foreigner with Ian McDonald and Dennis Elliott and Americans Lou Gram, Alan Greenwood and Ed Gagliardi. Foreigner defined a generation of rock music to people across the globe; now on 180-gram 45 RPM double LP, you can hear Foreigner in all its phenomenal glory.

Review: Marc Leclair may have become best known for his Akufen work in the 00s, but his Horror Inc work is surely some of his finest. Taking the slinky micro house he pioneered and turning it to more cinematic purposes, his last album under the name was 2013's incredible Briefly Eternal on Perlon. Now he revives the project with this expansive suite for Ohm Hourani's Anoma label, which is appropriately tipped towards jazzy subtleties within machine music. With each release, Horror Inc becomes a deeper, subtler concern, and so it goes on this record where the springy, swung patterns are offset by half-hidden melodic murmurs and a generous dose of mystery as Leclair takes his conceptual project further into the realms of playfully spooky micro jazz.

Review: Another day, another reissue of the iconic/infamous Red Album compilation from the relatively well-known rock group dubbed The Beatles. This time delivered on a gatefold 180 gram vinyl 3xLP half-speed remaster, as the dates of 1962-1966 suggest, this collection pins down a plethora of classics penned by McCartney and Lennon, with a notable absence of any George Harrison material. Running from Please Please Me all the way up to Revolver, the compilation provides a sonic journey from the clean-cut pop-rock ditties of 'She Loves You' and 'Yesterday' to the more progressive and pioneering machinations taking shape on cuts such as 'Norwegian Wood' and the timelessly haunting 'Eleanor Rigby'. A crash course, in essence, of The Beatles' progression from witty boys with nice haircuts to modern music reformers.

Review: With the recently announced news of a final "new" track from The Beatles set to imminently drop, reissues of both the iconic/infamous Red and Blue compilations are set to be delivered on a gatefold 180 gram vinyl 3xLP half-speed remaster, with the blue spanning their output from 1967 to 1970, this version exclusively bears the highly anticipated last original recording 'Now & Then'. Running from The Magic Mystery Tour EP all the way up to Let It Be (with a bevvy of essential non-album cuts such as 'Hey Jude' and 'Don't Let Me Down'), the compilation offers a detailed insight into the artistic abandon the members felt during the final years of their tenure once touring, radioplay and listener expectation had become moot points.

Review: It was in 1998 that pioneering Canadian musician levin Key released his solo debut Music For Cats. Artoffact Records reissued it on vinyl back in 2014 and now they do so again but this time on gatefold pink and blue splattered vinyl double album. It's a unique work that blends classical, glitch, and noise-driven pieces, featuring collaborations with artists like Dwayne Goettel, Genesis P.Orridge, Philth, and Mark Spybey. 'Music Fur Cats' showcases Key's songwriting depth, followed by 'Wind On Small Paws' with its electro-industrial sci-fi vibe. 'Meteorite' offers glitchy beats. Familiar tracks like 'Bird', 'Blotter', and 'Greenhouse Gasses' provide accessible listening, albeit experimental. 'Music For Cats' is gritty and against the grain, yet melodic. While not mainstream, it's an intriguing, well-crafted release, appealing to experimental electronic enthusiasts and completists alike.

Notes: Limited-edition white version of Arturia's ever-popular MiniLab controller, now in its third iteration. Features 25 velocity-sensitive keys, eight RGB pads, eight rotary encoders and four faders.

Supplier's Notes:
MiniLab 3 Alpine White

Ice-cold music maker

MiniLab 3 Alpine White is a music-making controller keyboard with a fresh makeover. Control music software, create your own tracks with inspiring sounds & samples, and get playing with comfy keys & pads - all in dazzling white.

A MIDI controller with a minimalist aesthetic

Rediscover the keyboard controller of choice for today's production pros & beginner music makers alike, decorated with a lush modern aesthetic to elevate any setup.

A fresh all-white look

This mini keyboard controller is going for that ultra-clean, contemporary design vibe with a white exterior, white keys, and white controls.

A fresh all-white look

This mini keyboard controller is going for that ultra-clean, contemporary design vibe with a white exterior, white keys, and white controls.

Easy to use

Explore amazing synth & instrument sounds on your computer, make beats & musical ideas in minutes, and sharpen your production skills - great for beginners.

Everything you need

Play keys, punch in a drum loop, connect to MIDI gear, and get creative with premium musical software included as standard.

Be creative anywhere

MiniLab 3 Alpine White is tiny. It fits perfectly in your lap, in small spaces in your home studio, balanced on top of other gear, and even on an airline tray-table. Don't let a lack of space get in your way. Whenever you get the chance to live out your creativity, this little controller will be ready.

Pint-sized control freak

Small but mighty, MiniLab 3 Alpine White has an expressive, velocity sensitive keyboard, 8 RGB backlit pads, 8 rotary encoders, and 4 faders to put you in total control of your virtual instruments, DAW, and effects. 1 knob is even clickable, letting you navigate menus and select presets right on your controller!

Every sound you need included

What software & sounds do you get with MiniLab 3? From recording software to a library of over 4 million samples, you're totally kitted out for whatever music you want to make.

A Hands-on Experience

Explore the layout, features, and hidden talents of MiniLab 3 in detail, from its quality slim keyboard to its easy-to-use creative commands.

Main Features

Premium Keybed quality

25 high quality note velocity-sensitive slim keyboard

Pads & controls
2 banks of 8 velocity & pressure sensitive pads with RGB backlighting
8 rotary encoders
4 sliders
2 capacitive touch sensors for pitch bend and modulation wheel

Display control
Mini display & clickable browsing knob
real-time feedback on tweaks and controls

Smart features

Built-in arpeggiator
Chord mode
Hold function
Octave up and down buttons
Semitone transpose

Software integration

Seamless integration with all Arturia software instruments, including Analog Lab: select sounds, browse presets and smart-assigned controls
1 DAW preset for automatic integration with any major DAWs
DAW Transport Control with MCU protocol for every other DAWs
Up to 5 user presets for a totally customizable experience
Connectivity

USB-C connects to computers and iPad
MIDI 5-pin DIN output for connection to external instruments, gear
Control input for pedal: sustain, expression, or footswitch
USB powered

Size & weight

Instrument size: 14 x 8.7 x 2 inches (355 x 220 x 50mm)
Instrument weight: 3.3 lbs (1.5 Kg)

Platform specifications

Windows

Win 10+ (64bit)
4 GB RAM
4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost)
3GB free hard disk space
OpenGL 2.0 compatible GPU
ARM processors not supported on Windows

Apple

Mac OS 10.13+
4 GB RAM
4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost) or Apple Silicon CPU
3GB free hard disk space
OpenGL 2.0 compatible GPU

Required configuration

Works in Standalone, VST, AAX, Audio Unit, NKS (64-bit DAWs only).

Work with ASC

An elegant and simple solution to help you install, activate, and update your Arturia software instruments

Notes: Unleash your creativity

Designed for seamless pairing with MiCreator Studio, the Satellite microphone unlocks powerful creative flexibility. Link Satellite and MiCreator Studio via the in/out ports to track an additional sound source or even achieve true stereo recordings and capture the energy of the moment. Satellite even works as a standalone mic and offers a headphone jack. Start recording how you want, when you want with Satellite.

Custom Condenser Capsule - Record in top notch audio quality
Max SPL: 130 dB SPL - Record even very loud sources
FlexTilt mechanic - Easily position the mic head for optimal recording
Full metal housing - Longlasting and durable
Headphone jack
Exchangeable & customizable face plates for an individual and personalized look

Technical Specifications

Directional characteristic: Cardioid
Frequency range: 20 Hz - 20 kHz
Max. SPL: 130 dB SPL
Weight: 220g
Dimensions: 100 x 60 x 28 mm

Notes: Turn your MiCreator Studio into a mobile content creation powerhouse with Y-Lav. Record multiple speakers simultaneously by tethering Y-Lav to your MiCreator Studio. And hear your audio in real time with onboard direct monitoring output. No matter what you create, make sure it sounds as good as it looks with Y-Lav.

Pairs seamlessly with MiCreator Studio to unlock powerful creative flexibility
Connected via the Link Connection (In/Out jack on the MiCreator Studio)
Record high-quality audio for video projects and more
Connect a second pair of headphones via the built-in headphone jack

Technical Specifications

Polar pattern: Omni
Connections: 3.5 mm / 1/8" TRRS, 3.5 mm 1/8" TRS Klinke
Weight: 30 g
Dimensions: 35 x 17 x 17 mm

Review: Originally released in 2017, async was the 19th studio album from Japanese heavyweight Ryuichi Sakamoto, breaking a near-decade-long hiatus during which he was treated for throat cancer. And it's incredibly dense stuff to dive into, with genius on display both in terms of theoretical approach to recording, and avant-garde thinking behind what a record could and should be. Of course, that's hardly surprising for Sakamoto, whose legacy as one of Japan's foremost sonic adventurers may still not be stated enough, even after all the post-humous repressings and tributes. On this outing, then, we have strange, otherworldly interpretations of everyday instruments, a heavy focus on playing with textures of sound, bits of artists such as David Sylvian and Paul Bowles reading texts, found noises from city streets and themes of mortality, and our difficulty in accepting that truth.