100% Secure Shopping

Studio equipment

Our full range of studio equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices.

Visit Juno Studio

100% Secure Shopping

DJ equipment

Our full range of DJ equipment from all the leading equipment and software brands. Guaranteed fast delivery and low prices.Visit Juno DJ

Back Catalogue: Studio Equipment

View:
Options
Items 1,501 to 1,550 of 2,663 on page 31 of 54
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ALL
«  1  2  3  ...  30  31  32  ...  52  53  54  »
Cat: 689665 Rel: 14 Jun 18
 
VC addressable sequential switch & sequencer - 16HP
Notes: Muxlicer is a sequential signal processor designed for add a huge range of special functions to your modular setup in the minimum space.

Muxlicer is divided in three main blocks: Digital Step Controller, Gate Generator and Analog Switch (a.k.a. Mux/DeMux).

The module is designed with high "function to HP ratio" philosophy, to have maximum flexibility in minimum space.
Read more
 1 in stock $227.73
Cat: 668587 Rel: 09 Nov 17
 
6HP master output for your modular system
Notes: Befaco Output Module II is designed to be the master output for your modular system.

The module is capable of stereo or mono operation and converts synth level signals to pro line level (+4dBu).

It also features a 3.5mm jack to 6.5mm TRS jack for easy communication with the outside world.

Also featured on the module is a headphone amplifier with a 6dB/Oct High-pass filter (fixed on 60Hz) to avoid "pops" and undesired noises when connecting your modular directly to a P.A.

A switch is included to send a mono input to a left and right stereo output (particularly useful setting is useful when you connect the synth to a DJ mixer without mono inputs).

Last but not least, it features two 6.5mm to 3.5mm jack input converters.
Read more
 1 in stock $118.24
Cat: 668583 Rel: 09 Nov 17
 
Innovative multi-function synth module - 8HP
Notes: The Sampling Modulator is a multi-function module that lies somewhere between a VCO, a Sample & Hold, and an 8 step trigger sequencer.

This module can function as:

- Sequencer Clocked Sample & Hold
In this mode it acts like a regular Sample and Hold (S&H) but since it is "sequencer clocked", it is capable of much more interesting patterns than the usual S&H melodies.

The CLOCK input can work in two ways; 1) As a typical clock 2) In "positive going hard sync" mode allowing you to create shuffling and polyrhythmic effects.

The HOLD input can be used to keep certain notes playing.

- Analog Down-Sampling Effect
In this mode (with the clock running at audio rates) you can go from nasty and harsh sampling rate reduction to an almost clean signal. (The clock run up to 25Khz without external CV and up to 200Khz with CV on the input).

- Sampling Modulator/Shaper
Thanks to the V/Oct clock, by feeding a simple waveshape such as a sine wave to IN, and pitch CV to the VCO as well as to the Sampling Modulator CV input, their related frequencies and aliasing caused by the sampling rate reduction are capable of creating metallic sounds, 8 bit textures and much more.

The game becomes much more interesting when you try to destroy the wave by flipping on and off the switches of the sequencer (which at times can make it sound like three VCOs running in unison).

To understand how the Sampling Modulator works, keep in mind that we are working with a temperature compensated ramp core VCO with more than 4 octaves of tracking. This allows the timbre to stay the same while you move through the scale as the internal and external VCOs are synced in a fashion similar to "frequency related sampling rate modulation".

- 8 step trigger sequencer
A simple utility trigger generator which is also useful as clock divider. The switches have three positions: On, Off and Reset (which resets to the first step for non 4/4 signatures)

- Unusual V/oct VCO
You can use the trigger outputs as a pulse VCO. Flipping the switches on and off the switches can offer a lot of interesting timbral changes.

A veritable Swiss Army Knife in just 8HP!
Read more
 1 in stock $206.92
Cat: 668622 Rel: 09 Nov 17
 
Compact, well-equipped envelope module - 8HP
Notes: The VC ADSR is our take on the classic ADSR: now smaller, more powerful and user friendly.

The circuit is based in a dual transistor "Current Mirror" (a voltage controlled integrator) and switching logic

This compact unit features voltage control for each stage with manual faders to improve usability, feel and aesthetics.

A unique feature of the VC ADSR is the gate outputs for each stage of the envelope offering an extra level of control over your patch!

Envelope generation can be triggered and controlled with the use of the panel mounted push button or with the trigger/gate input.

Control of the response curve between each stage of the envelope (from linear to logarithmic/exponential) is provided by a potentiometer.

Phase Time Limits:

- Attack: Min 3.0ms (down to 200uS with negative CV) // Max 10s
- Decay: Min 2.8ms (down to 400uS with negative CV) // Max 10s
- Release: Min 2.8ms (with Sustain at maximum) // Max 10s
Read more
 1 in stock $168.60
Cat: 668607 Rel: 09 Nov 17
 
Slew Limiter/Lag Processor - 6HP
Notes: Voltage controlled slew limiter, AKA Lag Processor.

A Slew limiter is a device that smoothes an incoming signal, limiting the maximum rate of change of the output voltage over time.

It is widely used with pitch CV's to obtain portamento but is also very useful for converting a gate signal into a basic envelope.

The module has independent time controls for rising and falling voltages, each with it's own CV.

- Current needs: +12V: 10mA, -12V: 10mA
- Width: 6 HP
- Depth: 31 mm (inc power connector)
Read more
 1 in stock $98.52
Cat: 493510 Rel: 14 Jun 13
 
Single channel automatic feedback destroyer with integrated effects
Notes: Thanks to it's intelligent learn mode, the Behringer FBQ100 can automatically equalize your PA and protect your sound system from feedback. Behringer's search algorithm ensures feedback frequencies are attenuated within a fraction of a second, using narrow 1/60 octave single shot filters. The remaining filters automatically take action as required, adjusting only the specific frequencies causing the feedback, so your music stays powerful and alive.

The adjustable mic preamp, with switchable +48V phantom power and ultra low noise technology, guarantees noise free, ultra musical sound. You can choose professional studio (+4dB) or microphone output level, so the FBQ100 can be directly connected to the mic input of a recording device. Virtually any type of signal can be connected and converted.

Delay lines are required to compensate for time variations resulting from speaker positioning in large venues. The FBQ100's delay can be adjusted in meters, feet or milliseconds. The maximum delay time of 2.5 seconds corresponds to a distance of 850 meters. Combining several FBQ100s with the optional rack mount kit puts a complete professional loudspeaker management system at your fingertips.

Like a sonic Swiss army knife, you'll want the FBQ100 close at hand for all your gigs and studio engagements. In fact, you'll want several, which is why they are sized to fit five across your rack.
Read more
 1 in stock $98.35
Cat: 493489 Rel: 14 Jun 13
 
Multi engine effects processor for vocals, bass, guitar or keyboards
Notes: Get even more mind expanding power for your keyboard, bass, guitar or vocals with the Virtualizer 3D FX2000 Effects Processor. This amazing rack unit has 71 incredible new algorithms, including true studio grade stereo and 3D effects that will add a head spinning new dimension to your sound, both live and in the studio. The FX2000 employs Behringer RSM (Real Sound Modeling) technology to simulate acoustic environments with stunning accuracy. Effects options include powerful modulation, amp simulation, distortion and special effects, as well as effective dynamic and psychoacoustics processing. Performance is further enhanced through user addressable high and low EQ and wave adaptive virtual room reverb algorithms.

Because it is one of the most desired effects, the FX2000 provides 12 different reverb programs, so you always have the ideal reverb for your live performance or studio needs.

Reverbs include: Cathedral, gold plate, small hall, room concert, stage, spring reverb, ambience and early reflections.

Specialty reverbs: Gated reverb and reverse reverb

Delays include: Stereo delay, tape echo and ping pong

The Behringer FX2000 has some of the best sounding reverb and delay programs, but that's not all. It also provides excellent modulation effects (such as chorus, flanger and phaser), including special variations like musical pitch shifter, tremolo and even a leslie simulation.

Modulation and Pitch Shifter FX: Stereo flanger, vintage flanger, jet stream flanger, stereo chorus, analog chorus, vintage chorus, ultra chorus, stereo phaser, vintage phaser, dual phaser, leslie, pitch shifter, vibrato, tremolo and auto panning.

Dynamic FX: Compressor, expander, gate, analog compressor/limiter, ultramizer, denoiser, de-esser and wave designer.

Psychoacoustic FX: Exciter, enhancer, ultra bass, stereo imager, ultra wide and binauralizer.

Filter/EQ FX: Auto filter, LFO filter, parametric EQ and graphic EQ

The FX2000 is also equipped with distortion, amplifier and speaker simulation including: Vocal distortion, tube distortion, guitar amp,tri fuzz, speaker simulation, ring modulator, and lo-fi.

Special FX: Vinylizer, sampler, vocoder, voice canceler and resonator.

Sometimes you want to add a little (or a lot) of color to your reverb and delay patches. The FX2000 allows you to layer modulation effects like chorus, flanger, pitch or tremolo with your reverb or delay selections.

FX Combinations include: Chorus & reverb, flanger & reverb, leslie & reverb, pitch & reverb, delay & reverb, tremolo & reverb, phaser & reverb, chorus & delay, flanger & delay, pitch & delay and tremolo & delay

Logical grouping of parameters, along with the combination of encoders, buttons, LEDs and an easily readable LED display, make operating the FX2000 a breeze. You are free to edit up to seven parameters per preset, and then save them for future use in the 100 provided memory locations.
Read more
 2 in stock $101.92
Cat: 493505 Rel: 08 Jul 13
 
2 channel hum destroyer with unbalanced/balanced converter
Notes: Whether you're recording or performing, it's important to keep AC hum out of the mix. No matter the quality of the venue's wiring, the BEHRINGER HD400 Hum Destroyer eliminates AC hum quickly and reliably.

The HD400 features two channels that can eliminate hum in two mono signals or one stereo signal. Try putting it between a stereo mixer and your power amps for a squeaky clean sound free of AC hum. It breaks ground loops safely while maintaining the highest sound quality. It can even convert unbalanced signals into balanced without any signal degradation.
Read more
 2 in stock $21.88
Cat: 493508 Rel: 14 Jun 13
 
Sound enhancement processor with 25Hz-50KHz frequency response
Notes: The Behringer Sonic Ultramizer SU9920 stereo sound enhancement processor gives your music an added dimension that will make your performances pop! This processor is the ultimate sound improvement tool for home recording studios, DJ systems, keyboard racks and web casting, plus 5.1 and hi fi setups.

The SU9920 provides increased clarity and punchy bottom end to your sound system. It improves the natural brightness through harmonic enhancement and adds density to the low frequencies through phase compensation. Dedicated low contour and process controls for each channel enable fast and easy setup. Once you experience what the SU9920 can do, it will become your go to sound enhancement tool.

The SU9920 is ideally suited for use in all live sound applications, providing noticeable improvement to signal quality and bringing out the very best in your sound system, whether you're mixing a duo in a coffee house, or dialing a massive outdoor concert.

In a studio environment, the Sonic Ultramizer is ideal for enhancing the sound of your mastering recordings. The SU9920 can give your music the professional polish of high quality productions in just a few simple steps. Even if you primarily work with a digital audio workstation, you can perform final mastering with the SU9920 and an external recorder.

In addition to being great for use with stereo signals, the Sonic Ultramizer is also ideal for use with individual signals, such as guitar, keyboards or bass. Just connect the SU9920 into the signal path, or use your amp's effects loop, for sound with more presence, fullness and punch. Since the SU9920 can be run in stereo or dual mono, you can even use one side for the bass, the other for a keyboard or guitar.

All inputs and outputs accept balanced XLR as well as balanced and unbalanced 1/4" connections. Both the 1/4" and XLR outputs can be used in parallel, when two outputs are required.

The SU9920 boasts stellar frequency response from 25Hz to 50KHz. The Process control provides a boost of up to +12 dBu at 5 kHz. The Low Contour filter is capable of +12 dBu at 50 Hz.
Read more
 1 in stock $82.64
Cat: 638002 Rel: 30 Jan 17
 
Multi-purpose synth module in Eurorack format
Notes: The Power Midi is a multipurpose module designed for small Eurorack systems. It contains a MIDI-CV interface and a power supply. In detail, MIDI data can be fed to the circuit using a DIN / mini jack adapter. On the output side, there are connectors for pitch, modulation, velocity and gate signals. The power componentry is fed by an USB power supply. A Flying Bus Board is used to serve other modules with electricity.

The Power Midi employs converters with 16 Bit resolution to generate control voltages. An adapter from DIN to mini jack is included with the module.

The power supply delivers up to 400 mA at +12 V and 300 mA at -12 V.

The manufacturer recommends to use a USB power supply with at least 2 A to operate the module.

ATTENTION: Before you connect the Power Midi to the USB port of a computer, it is very important to check its specifications!
Read more
 1 in stock $108.39
Cat: 640527 Rel: 01 Mar 17
 
Speaker emulation for electric guitar, with 16 speaker cabinet models
Notes: Guitarists are a strange breed. They love modifications just as long as nothing actually changes. Never change a winning team is their approach: the favourite guitar, the good old amp and that particular speaker cabinet. The final link in the chain is the defining resonating body to capture the magical sound.

Electric guitarists looking for the perfect way to mike up for live or for recording now have one of the simplest and most workable solutions available - which also sets new standards in sound quality. Brought together in a compact, lightweight metal box are 16 legendary speaker cabinets. Recorded with the best microphones and digitally converted using today's cutting-edge Convolution Technologie, every detail is locked down. But why conserve the sounds digitally? Simply because analogue equipment cannot capture all the acoustic complexities and nuances the speakers produce. Convolution Technologie on the other hand is able to reproduce the complete array of tones and the uniqueness of each cabinet down to the last detail.

Virtual Speaker-Cabinet Collection:
Just pick your favourite cab, fine-tune the sound with the Mic-Position controller and away you go! 16 classic, world-renowned cabs are available in the BluBox: 5 legendary Marshall cabs with vintages from 1965 and 1980 but also the glorious, cult cabinets from Vox, Mesa-Boogie and Fender. Of course, Also included are the BluGuitar NANOCAB and FATCAB which have been rapturously received in music world for their huge sound.

BluBOX is the ideal partner for all eventualities. Whether on stage or in the studio - wherever you need striking sounds of the highest quality miked up or recorded. All this works with the BluBOX directly and even without a speaker cabinet!

BluBOX - The new Speaker Emulation with the most legendary cabinet / microphone combinations of the past 50 years music history, captured for the discerning professional. Great sounds, simple use, small package! The Sound of Tone Innovation.

Cabinets:

NANOCAB - BluGuitar 1x12"
FATCAB - BluGuitar 1x12"
STACK 1965 - Original Marshall 4x12" Celestion (Alnico 15Watts)
STACK 1967 - Original Park 4x12" Celestion (Greenback 25 watts)
STACK 1970 - Original Marshall 4x12" Celestion (Greenback 25 Watts 55 Hz)
STACK 1971 - Original Marshall 4x12" Celestion (G12h30)
STACK 1980 - Original Marshall 4x12" Celestion" (G12h75)
METAL V30 - Mesa/Boogie Rectifer Standard 4x12" Celestion V30
METAL CL80 - Celestion Classic Lead 80 in custom built 4x12" cabinet
JAZZ 120 - Roland Jazz Chorus 120
TWEED 1x12 - Vintage '57 Fender Tweed Deluxe
SILVER 1x12 - Fender Princeton Silverface 1x12"
BLACK 2x10 - Fender '64 Vibroverb 2x10"
BLACK 2x12 - Vintage Fender Twin Reverb 2x12" orange JBL mixed with Jensen C12K
BLACK 4x10 - Vintage 60s Fender Super Reverb 4x10"
BLUE 2x12 - Original Vox AC30 JMI 2x12" Celestion Blue Bulldog
Read more
 2 in stock $212.39
Cat: 665174 Rel: 12 Jan 18
 
Control voltage processor module - 14HP
Notes: The Model 156 Control Voltage Processor was developed as a "front end" for the dual oscillator of Buchla's 100 series. The module is composed of two circuits, which can mix, attenuate, offset and invert signals. Catalyst Audio's Model 156 M transfers the classic Buchla concept to the Eurorack world. Thanks to its overhauled design, the Model 156 M is fully compatible with the 1v/octave standard. An exact clone of Buchla's Control Voltage Processor is available under the name Model 156 V.
Read more
 2 in stock $163.13
Cat: 665170 Rel: 12 Jan 18
 
Dual envelope/function generator module - 14HP
Notes: The Model 180 Dual Attack Generator is composed of two ASR envelopes. The length of the sustain phases, here called note duration, can be determined by either trigger respectively gate signals or potentiometers. With the knobs turned completely counterclockwise, the envelopes feature an AD characteristic. While attack or note duration phases are active, the modulators can't be retriggered. Thanks to this, it is possible to use the Model 180 as an unconventional clock divider. The circuit produces linear voltage curves. Small time values lead to very punchy results.
Read more
 1 in stock $266.04
Cat: 607885 Rel: 14 Apr 16
 
Dual/stereo multi-band processor for enhancing dull sounding audio - rackmountable
Notes: The CE22 is a professional multi-band enhancer/exciter designed for various applications.

This unit combines 2 processors to align the phase and focus of bass frequencies, improve the response of mid-high frequencies and add harmonic content to any "dull" sounding audio.

The surround processor utilises the phase alignment engine to give a greater perceived width to the stereo field.
Read more
 1 in stock $74.44
Cat: 630005 Rel: 17 Nov 16
 
Eurorack tuned feedback module for modular synthesisers
Notes: More Modular Mojo from Dave Smith:
The DSM03 Feedback Module is Dave Smith's third offering for modular synths. At the heart of this unique module is a tuned feedback line for sound mangling; a newly-designed, resonant, low-pass filter for tone shaping; and a triggerable noise source for Karplus-Strong-type plucked string synthesis. Tuned feedback has been a part of the Dave Smith tonal palette since the ground-breaking Evolver, and is also a key sound-shaping component of the Pro 2 and Prophet 12 synths.

Plug It In and Tweak It:
The DSM03 is a 10HP wide, standard Eurorack-format device with interconnections made using 3.5 mm phone jacks. A set of inputs allow individual voltage control of feedback amount, tuning, low-pass filter frequency, and filter resonance. The module provides one audio input and one audio output as well as an audio trigger input for the noise source.

New Filter Design:
The 4-pole, resonant, lowpass filter is a new digital design, based partially on classic analog filters of the past. It features over-sampling and numerous refinements to the signal path, which is 24-bit, 96 kHz resolution for outstanding audio fidelity. It's a great-sounding design that works well both in the feedback context and as a stand-alone tone-shaping tool.

Creative Possibilities Abound:
So if you're looking for something esoteric, but still fundamental to the Dave Smith sound, add this secret weapon to your modular arsenal. From Karplus-Strong synthesis to metallic, industrial grit, the creative possibilities are wide open.
Read more
 3 in stock $224.44
Cat: 676107 Rel: 17 Nov 16
 
B-STOCK: Box opened, product in perfect working order
Notes: ***B-STOCK: Box opened, product in perfect working order***


More Modular Mojo from Dave Smith:
The DSM03 Feedback Module is Dave Smith's third offering for modular synths. At the heart of this unique module is a tuned feedback line for sound mangling; a newly-designed, resonant, low-pass filter for tone shaping; and a triggerable noise source for Karplus-Strong-type plucked string synthesis. Tuned feedback has been a part of the Dave Smith tonal palette since the ground-breaking Evolver, and is also a key sound-shaping component of the Pro 2 and Prophet 12 synths.

Plug It In and Tweak It:
The DSM03 is a 10HP wide, standard Eurorack-format device with interconnections made using 3.5 mm phone jacks. A set of inputs allow individual voltage control of feedback amount, tuning, low-pass filter frequency, and filter resonance. The module provides one audio input and one audio output as well as an audio trigger input for the noise source.

New Filter Design:
The 4-pole, resonant, lowpass filter is a new digital design, based partially on classic analog filters of the past. It features over-sampling and numerous refinements to the signal path, which is 24-bit, 96 kHz resolution for outstanding audio fidelity. It's a great-sounding design that works well both in the feedback context and as a stand-alone tone-shaping tool.

Creative Possibilities Abound:
So if you're looking for something esoteric, but still fundamental to the Dave Smith sound, add this secret weapon to your modular arsenal. From Karplus-Strong synthesis to metallic, industrial grit, the creative possibilities are wide open.
Read more
 1 in stock $219.84
Cat: 701539 Rel: 04 Sep 18
 
Delta Sound Labs Origami skiff-friendly Wavefolder Module based on the circuit found in the 1973 Buchla Easel - 8 Hp
Notes: Origami is our first eurorack module. This is a skiff-friendly Wavefolder based on the circuit found in the 1973 Buchla Easel but re-imagined for the eurorack standard.
Read more
 2 in stock $119.34
Cat: 701540 Rel: 20 Sep 18
 
Saber SEM classic audio filter module 8HP
Notes: Saber by Delta Sound Labs is a reimagined variation of the pioneering 1970's era SEM filter by Tom Oberheim.
This is a truly classic audio filter reworked as a compact and 100% skiff-friendly 8HP module.

The original SEM (Synthesizer Expander Module) was one of the world's first all-in-one synthesizers and it's unique 12dB/Octave multi-mode filter, imparted unique character to anything it touched.
Saber by Delta Sound Labs remains true to this design but features modern touches such as buffered low-pass, high-pass and band-pass outputs, each of which can be used at the same time.
All in all, this makes for a really flexible, great sounding addition to any Eurorack system.
Read more
 2 in stock $149.98
Cat: 682313 Rel: 26 Mar 18
 
Vactrol-based multimode filter based on a schematic by Nyle Steiner, featuring separate inputs for lowpass, bandpass & highpass
Notes: This filter's unique feature is that different filter types are realized by injecting the audio signal at different points of the circuit. For this reason, the A-101-1 has three inputs with level control: one lowpass input which is normalized to the bandpass input, which itself is normalized to the highpass input. The level controls make it possible to mix the filters and to generate new filter types. e.g. with all three filter levels turned to maximum level you get a notch filter.

Furthermore, the cutoff frequency influences which filter type is "monitored". This way you can blend from LP over BP to HP with increasing cutoff, known as "frequency scanning". Interesting effects happen when three different audio signals are used because they are both morphed and filtered at the same time.

Vintage edition with black faceplate and custom knobs.
Read more
 1 in stock $156.55
Cat: 682314 Rel: 26 Mar 18
 
Vactrol based combination of resonant 12dB lowpass filter and/or VCA - inspired by the Buchla 292
Notes: A Low Pass Gate (LPG) can be a low pass filter, a VCA or a combination of both. This means both the harmonic content and volume can be controlled simultaneously which resembles the behaviour of many instruments: the louder, the more harmonics.

The A-101-2's mode of operation is set with a switch: left position is low pass, right is VCA and the combo mode is in the centre. Alternatively, you can activate the modes with gate signals which is the reason for two gate inputs; this is very interesting in combination with clock dividers or trigger sequencers.

- Gate 1 high & gate 2 low = low pass mode
- Gate 1 low & gate 2 high = VCA mode
- Both Gate 1 & 2 high = combo mode

The A-101-2 has an aggressive sound, compared to other LPGs and its resonance goes up to self-oscillation which not many LPGs offer. The oscillation is rather dirty and far from being a sine wave.

3U Eurorack module, 8HP wide, 50mm deep.
Read more
 1 in stock $105.09
Cat: 682321 Rel: 30 Apr 18
 
Complex 12-stage phase shifter with separate in- and outputs for all phaser stages
Notes: Module A-101-3 is a 12-stage phase shifter with vactrols as phase shifting elements. Vactrols are known for their smooth sound behaviour. In contrast to other phaser designs, the A-101-3 is much more flexible and offering a lot of new features not available from other phasers on the market. The main difference is that the Doepfer design offers access to each of the 12 input and output stages leading to a lot of new filters that cannot be obtained in other ways. Especially the free patchable feedback loops (yes, not only one feedback loop is possible) between each of the 12 stages, the separate phase shift control for the stages 1-6 and 7-12, and the 2 polarizers intended to control the feedback loops lead to completely new filter types (a polarizer is a circuit that is able to generate positive and negative amplifications in the range -1...0...+1 with -1 = inversion, 0 = full attenuation, +1 = unchanged signal, for details concerning the polarizer function please look at the A-133 VC Polarizer or A-138c Polarizing Mixer module).

Internally, the module is made of 2 independent 6 stage phase shifters (1-6 reps. 7-12) with separate audio inputs (with attenuators), audio outputs (with mix control), and phase shift control units. The phase shift control units feature both manual and voltage-controlled phase shifting (e.g. from a LFO, ADSR, Random Voltage, Theremin CV, Foot Controller CV ...). For each sub-module a phase shift display (LED) is available. The LED shows the illumination state of the 6 vactrols of the sub-module in question as it is connected in series with the internal vactrol LEDs.

Each of the 12 phase shift states is equipped with an audio output socket and feedback input socket to obtain full flexibility to create a multitude of different filters. The audio input signal and the output signals of stage 6 resp. stage 12 are mixed with 2 manual controls to obtain effects at two audio outputs (for normal phase shifting effect this is 50% input signal and 50% phase shifted signal). The two submodules are internally connected via normalized sockets so that two 6 stage phase shifters can be obtained without external patches. Audio output of stage 6 is normalized to audio input of stage 7 and CV input 1-6 is normalized to CV input 7-12. But due to the open structure of the module even other stages than stage 6 and stage 12 can be used as outputs to generate different sounds (simply patch the desired stage output to the normalized mix input socket).
Read more
 1 in stock $280.27
Cat: 692505 Rel: 18 Jun 18
 
Quad resonance filter - 20HP
Notes: A-104 is a fourfold formant filter as used in the Mixtur Trautonium by Oskar Sala. It is made of four parallel resonance filters, each filter can be switched to low pass or band pass or off. Frequency, resonance and level are controlled for each filter separately (no voltage control). The frequency range for the filters is about 50Hz...5kHz. The filter audio inputs are very sensitive so that distortion may intentionally be used to create new sounds - if desired.

The A-104 is a versatile module for sound modification. In the first place it is used for reproduction of resonances (e.g. the vocal-like effects known from the Trautonium). In combination with the subharmonic generator A-113, the Trautonium Manual A-198 and some other A-100 modules, one obtains a Trautonium replica.
Read more
 1 in stock $132.46
Cat: 692506 Rel: 18 Jun 18
 
Voltage-controlled low-pass filter with 24dB/octave slope - 8HP
Notes: The A-105 is a 24dB low pass filter that bases on the SSM 2044 chip that was used amongst others in following units: Korg Polysix, Korg Mono/Poly, Fairlight II, PPG Wave 2.2 und 2.3, Emu SP-1200, Siel DK600, Siel Opera 6. The first Prophets used the SSM2040 - the precedessor of the 2044 - that generates a very similar sound. The filter convinces with a very powerful sound. The resonance starts quite early to colour the signal and makes a big range of sounds possible up to self-oscillation. The latter provides a very clean sine wave - no wonder, because the SEM2044 chip wasn't designed only as a filter core but also as a sine wave oscillator.

The A-105 is based on the patented so-called "true open loop design" which generates a very fat sound. The filter works with a slope of -24dB per octave and provides voltage controllable resonance up to self-oscillation. The audio input is sensitive so you can distort the audio signal at the input if desired. there's a volume control at the audio input, potentiometers for setting the cutoff frequency and resonance as well as attenuators at the CV inputs for cutoff and resonance.
Read more
 1 in stock $119.33
Cat: 676691 Rel: 21 Sep 18
 
Polyphonic filter with four identical 24dB Lowpass filters 8HP
Notes: A-105-4 is our first polyphonic filter and contains four
identical 24dB Lowpass filters (SSM2044 type). It has
available common manual controls and CV inputs with
attenuators for these parameters:

Frequency (F)

Frequency Modulation Intensity (FM)

Resonance (Q)

Audio Input Level (L)
Each filter has available a separate FM input as well as an Audio Input and Output. The FM input is typically connected to the output of the associated envelope generator (e.g. A-141-4).
The envelope amount for all four filters is controlled by the FM knob and the CVFM input by means of four built-in VCAs, which are controlled by the FM control and CVFM input. This allows also voltage control of the envelope amounts.

In addition common frequency modulation for all filters is possible (e.g. by an LFO). For this the CVF input with attenuator can be used. The range of the audio input level control (L) allows also clipping/distortion with typical A-100 audio levels
(e.g. from A-111-4) at the filter inputs. Even this parameter is voltage controllable as well as the resonance (Q).
Application: polyphonic patches (four VCFs with same parameters).
Read more
 5 in stock $201.44
Cat: 692507 Rel: 19 Jun 18
 
MS20 low/high-pass filter - 14HP
Notes: Module A-106-1 is a unique low/high pass filter and has its origin in Doepfer's experiments to build an MS20 filter clone. In contrast to other filter designs, it has different audio inputs for low and high pass, but only one audio output. The type of filter (12dB low pass, 6dB high pass or any mix) is defined by the shares of the audio signal fed to the corresponding inputs. Even two different audio signals can be used as low and high pass input. A special feature is the polarizer at the high pass input that allows to add/subtract the high pass to/from the low pass share, leading to pseudo band pass and notch responses.

Another special feature is the clipping controls, which allow independent adjustment of the positive and negative clipping level. The resonance goes up to self-oscillation, but with a clearly different behaviour than on other filters. At certain resonance and clipping settings the self-oscillation generates rectangle or short sawtooth shaped pulses.

In general, the A-106-1 is a very strange and awesome filter and far away from being perfect (e.g non-linear control scale, self-oscillation with all sorts of waveforms except sine, a lot of roaring, rattling, noise or other unpredictable sounds at high distortion and resonance settings, high distortion or audio level overrides the resonance, significant CV feedthrough). But the A-106-1 has a lot of character - probably much more than any other filter of the A-100 - and is able to generate filter sweeps which are not possible with any other filter.
Read more
 1 in stock $124.80
Cat: 671592 Rel: 29 Nov 17
 
12dB multi-mode filter based on classic SEM filter circuitry
Notes: Module A-106-5 is a 12dB multimode filter that is based on the filter circuit of the Oberheim SEM module. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self oscillation in contrast to most of the other filters of the A-100 system. The module generates a distorted audio signal if the level control is set to about 50% (i.e. centre position) or more with A-100 standard signals like VCOs.

Inputs: Audio In, CV1 In without attenuator, CV2 In with Polarizer
Outputs: Bandpass Out, Low/Highpass Mix-Out
Controls: Audio Attenuator, CV2 Polarizer, Frequency, Resonance, LP/HP Mix

The function and operation of this module is very similar to the Wasp filter module A-124. But the sound of both filters is very different! We will publish no separate user's manual for the A-106-5 but a combined manual for both A-106-5 and A-124. The only functional difference is the position of the sockets and controls, and the function of the controls CV2 (A-124: normal attenuator, A-106-5: polarizer)

Width: 8HP / 40.3mm
Depth: 55mm (Measured from the rear side of the front panel)
Current: +12V: +30mA, -12V: -20mA
Read more
 3 in stock $87.58
Cat: 692508 Rel: 19 Jun 18
 
Multimode filter based on the filter circuit of the Oberheim Xpander - 12HP
Notes: Module A-106-6 is a multimode filter that is based on the filter circuit of the Oberheim Xpander. The module features 15 different filter types (those filters of the A-107 that were available in the Xpander) with 8 filters available simultaneously. The toggle switch Filter Group is used to switch between 2 filter groups.

These filter types are available:

- 1L (6 dB low pass)
- 2L (12 dB low pass)
- 3L (18 dB low pass)
- 4L (24 dB low pass)
- 1H (6 dB high pass)
- 2H (12 dB high pass)
- 3H (18 dB high pass)
- 2B (6 dB band pass)
- 4B (12 dB bandpass)
- 2N (notch)
- 3A (allpass)
- 2H1L (asymmetrical band pass made of a 12 dB high pass and a 6 dB low pass)
- 3H1L (asymmetrical band pass made of a 18 dB high pass and a 6 dB low pass)
- 2N1L (combination of notch and 6 dB low pass)
- 3A1L (combination of allpass and 6 dB low pass)

The module features voltage-controlled resonance. For filter group 2 (2L, 4L, 2B ...) even self-oscillation is possible.

All standard VCF controls are available: manual filter frequency control Frq, one control voltage input with attenuator (FCV2) and one without attenuator (FCV1, ~ 1 V/octave). In addition, voltage-controlled resonance with manual control (Q) and a CV input with attenuator (QCV) are available.

The circuit is based on a 24dB lowpass filter. The outputs of the four internal filter stages (i.e. the 6, 12, 18 and 24dB outputs) are mixed together with different levels and polarities to obtain 15 different filters. Because of this special circuit the outputs have slightly different levels and noise floor. This is caused by the different internal amplifications and numbers of stages that are required to generate the filter in question. If e.g. a filter is derived by one stage only (e.g. the 6 dB, 12dB, 18dB and 24dB low pass) the noise floor is smaller compared to a filter that is derived by a combination of all four filter stages.
Read more
 1 in stock $143.41
Cat: 692509 Rel: 18 Jun 18
 
Voltage controlled filter with 36 filter types - 26HP
Notes: This module contains 26 very different filter types which can be combined each after the other. You can morph or switch between those filter chains manually, with control voltage or with a clock signal. 15 filter types are known from the Oberheim Matrix 12 and there additional 21 new filter types.

The filters are organized in two groups of 18 filters each. The transition between different filter types within one group can be soft (morphing) or hard (switching).

The transition between the different filter types is controlled by two parameters: Filter Step (marked Step at the front panel) and Morphing Time (marked Morph at the front panel). For both parameters manual control, one CV input with attenuator and one CV input without attenuator are available.

The 36 filter types can be arranged in filter chains (resp. filter sequencer or filter orders) so that this sequence of filters is passed through while the control voltage changes from 0V to +5V. Each chain consists of 32 steps. 64 filter chains can be programmed by the user and stored in the non-volatile memory of the module.

Of course, the standard VCF controls are available: cut-off frequency and resonance. Both are voltage controllable. For the filters of the first group (1-18) self-oscillation is possible, the filters of the second group (19-36) do not feature self-oscillation.

The filter design is 100% analogue (CEM filter chip). Only the morphing control and memory managing is carried out by a microcontroller.
Read more
 1 in stock $270.41
Cat: 692510 Rel: 19 Jun 18
 
Classic Moog voltage-controlled lowpass filter - 12HP
Notes: Module A-108 is a completely new voltage-controlled low pass filter based on the well-known transistor ladder (Moog ladder). The module has internally an 8-stage low pass filter with different slopes available: 6, 12, 18, 24, 30, 36, 42 and 48 dB per octave. In addition, it features a band pass output (i.e. band pass with transistor ladder). In the factory, the 4 low pass outputs of the A-108 are internally connected to the filter stages 6, 12, 24 and 48dB.

Resonance (Emphasis or Q) can be adjusted manually right up to self-oscillation, in which case the filter will behave like a sine wave oscillator. The A-108 features an external feedback input that enables the insertion of additional modules into the feedback path (e.g. VCA for voltage-controlled resonance or phaser/frequency shifter for phase/frequency shifting effects). The socket is normalized and internally connected to the 48dB low pass output if no cable is inserted into the feedback socket.

The frequency can be adjusted manually, or by voltage control. Three CV inputs (CV1, CV2, CV3) are available. CV2 and CV3 are equipped with attenuators.

The filter audio input is very sensitive so that distortion - if desired - is possible even with normal A-100 levels (e.g. VCO output). Self-oscillation will break off at high distortion levels as the internal feedback signal is drown out by the distorted audio signal. This feature may intentionally be used to create new sounds.

In combination with the Voltage Controlled Mixer A-135 and the Morphing Controller A-144 a filter with voltage-controlled slope can be realized (i.e. controlling the slope from 6dB to 48dB via CV).
Read more
 2 in stock $147.79
Cat: 577769 Rel: 29 Nov 17
 
Standard VCO providing two CV inputs for pitch, an octave switch, four waveforms with separate outputs, pulse width modulation & hard sync - 10HP
Notes: Module A-110-1 is a voltage-controlled oscillator. This VCO's frequency range is about eight octaves (ca. 15Hz ... 8kHz). It can produce four waveforms simultaneously: rectangle, sawtooth, triangle, and sine wave (triangle and sine shapes are not perfect, see remark below). The output levels are typically 8Vpp for saw and rectangle, and 10Vpp for triangle and sine. The frequency or pitch of the VCO is determined by the position of the octave (Range) switch and tuning (Tune) knob, and by the voltage present at the CV inputs. Frequency modulation (FM) of the VCO is therefore a possibility. Footage (the octave of the fundamental) is set by the Range control in five steps, and Fine tuning controlled by the Tune knob by about +/-1 one semitone (can be modified for a wider range).

You can control the pulse width of the square wave either by hand, or by voltage control - Pulse Width Modulation or PWM.

For more detailed information please look at the user's manual A110_man.pdf. In addition, the A-110 service manual is available as an example for the A-100 service manual that is available at extra charges. This document describes also how to modify the sensitivity of the tune control, how to re-adjust the 1V/octave scale and the frequency offset (i.e. the absolute pitch). Such modifications should be carried out by experienced users only!

The core of the A-110-1 is a sawtooth oscillator (in contrast to the A-111-1, which is based on a triangle oscillator). The other waveforms are derived from the sawtooth by internal waveform converters. As the sawtooth reset (i.e. the back-to-zero slope) is not infinite fast but takes a little bit of time the derived waveforms triangle and sine are not perfect! At the top of the waveform they have a small glitch or notch that is caused by the sawtooth reset and cannot be eliminated by the waveform converters. The sine is derived from the triangle by a simple diode-based converter and the sine shape is not perfect (only a rounded triangle).

If a perfect triangle is required, the A-111-1 is recommended. For a perfect sine wave the quadrature LFO/VCO A-143-9 is recommended.
Read more
 2 in stock $132.46
Cat: 692511 Rel: 19 Jun 18
 
Standard VCO providing two CV inputs for pitch, an octave switch, four waveforms with separate outputs, pulse width modulation & hard sync - 10HP
Notes: Module A-110-1 is a voltage-controlled oscillator. This VCO's frequency range is about eight octaves (ca. 15Hz ... 8kHz). It can produce four waveforms simultaneously: rectangle, sawtooth, triangle, and sine wave (triangle and sine shapes are not perfect, see remark below). The output levels are typically 8Vpp for saw and rectangle, and 10Vpp for triangle and sine. The frequency or pitch of the VCO is determined by the position of the octave (Range) switch and tuning (Tune) knob, and by the voltage present at the CV inputs. Frequency modulation (FM) of the VCO is therefore a possibility. Footage (the octave of the fundamental) is set by the Range control in five steps, and Fine tuning controlled by the Tune knob by about +/-1 one semitone (can be modified for a wider range).

You can control the pulse width of the square wave either by hand, or by voltage control - Pulse Width Modulation or PWM.

For more detailed information please look at the user's manual A110_man.pdf. In addition, the A-110 service manual is available as an example for the A-100 service manual that is available at extra charges. This document describes also how to modify the sensitivity of the tune control, how to re-adjust the 1V/octave scale and the frequency offset (i.e. the absolute pitch). Such modifications should be carried out by experienced users only!

The core of the A-110-1 is a sawtooth oscillator (in contrast to the A-111-1, which is based on a triangle oscillator). The other waveforms are derived from the sawtooth by internal waveform converters. As the sawtooth reset (i.e. the back-to-zero slope) is not infinite fast but takes a little bit of time the derived waveforms triangle and sine are not perfect! At the top of the waveform they have a small glitch or notch that is caused by the sawtooth reset and cannot be eliminated by the waveform converters. The sine is derived from the triangle by a simple diode-based converter and the sine shape is not perfect (only a rounded triangle).

If a perfect triangle is required, the A-111-1 is recommended. For a perfect sine wave the quadrature LFO/VCO A-143-9 is recommended.
Read more
 1 in stock $157.65
Cat: 692512 Rel: 18 Jun 18
 
Basic voltage-controlled oscillator for the A-100 modular system
Notes: Module A-110-2 is a low-cost voltage-controlled oscillator. It's a slightly reduced version of the standard VCO A-110-1. Compared to the A-110-1, the A-110-2 has no sine output and the (expensive) octave rotary switch is replaced by a 3-position toggle switch. In return, the A-110-2 is equipped with an additional linear FM input and a soft sync input. A jumper is used to select the range of the tune control between about 1/2 octave and about 4 octaves. The width of the module is only 8 HP compared to the 10 HP of the A-110-1.

All other features are essentially the same as for the A-110-1.

Explanation of the jumpers and trimming potentiometers:

- JP2: CV connection to A-100 bus
- JP3: range of Tune control (installed = about 4 octaves, not installed = about 1/2 octave)
- JP4: AC/DC coupling of the linear FM input (installed = DC coupling, not installed = AC coupling)
- P5: 1V/Oct scale
- P6: frequency offset
- P7: high-end trim
- P8: adjustment +1 Oct. range switch
- P9: adjustment -1 Oct. range switch
- P10: temperature VCO heater

The core of the A-110-2 is - like the A-110-1 - a sawtooth oscillator (in contrast to the A-111-1, which is based on a triangle oscillator). The other waveforms are derived from the sawtooth by waveform converters. As the sawtooth reset (i.e. the back-to-zero slope) is not infinitely fast but takes a little bit of time the triangle is not perfect! At the bottom of the waveform it has a small glitch or notch that is caused by the sawtooth reset and cannot be eliminated by the waveform converter. If a perfect triangle is required, the A-111-1 is recommended.

The sawtooth output of the A-110-21 has a falling (or negative) slope. The front panel shows erroneously a rising (or positive) slope. This has no influence on the sound but becomes important when the module is used as an LFO or is mixed with the sawtooth output of another VCO.

The control voltage applied to the socket 1V/Oct is added to the control voltage coming from the bus (interruptible by removing the jumper JP2). Connecting a cable to the socket 1V/Oct does not interrupt the bus CV connection!
Read more
 1 in stock $109.47
Cat: 692514 Rel: 18 Jun 18
 
Basic voltage-controlled oscillator for the A-100 modular system - black front panel
Notes: Module A-110-2 is a low-cost voltage-controlled oscillator. It's a slightly reduced version of the standard VCO A-110-1. Compared to the A-110-1, the A-110-2 has no sine output and the (expensive) octave rotary switch is replaced by a 3-position toggle switch. In return, the A-110-2 is equipped with an additional linear FM input and a soft sync input. A jumper is used to select the range of the tune control between about 1/2 octave and about 4 octaves. The width of the module is only 8 HP compared to the 10 HP of the A-110-1.

All other features are essentially the same as for the A-110-1.

Explanation of the jumpers and trimming potentiometers:

- JP2: CV connection to A-100 bus
- JP3: range of Tune control (installed = about 4 octaves, not installed = about 1/2 octave)
- JP4: AC/DC coupling of the linear FM input (installed = DC coupling, not installed = AC coupling)
- P5: 1V/Oct scale
- P6: frequency offset
- P7: high-end trim
- P8: adjustment +1 Oct. range switch
- P9: adjustment -1 Oct. range switch
- P10: temperature VCO heater

The core of the A-110-2 is - like the A-110-1 - a sawtooth oscillator (in contrast to the A-111-1, which is based on a triangle oscillator). The other waveforms are derived from the sawtooth by waveform converters. As the sawtooth reset (i.e. the back-to-zero slope) is not infinitely fast but takes a little bit of time the triangle is not perfect! At the bottom of the waveform it has a small glitch or notch that is caused by the sawtooth reset and cannot be eliminated by the waveform converter. If a perfect triangle is required, the A-111-1 is recommended.

The sawtooth output of the A-110-21 has a falling (or negative) slope. The front panel shows erroneously a rising (or positive) slope. This has no influence on the sound but becomes important when the module is used as an LFO or is mixed with the sawtooth output of another VCO.

The control voltage applied to the socket 1V/Oct is added to the control voltage coming from the bus (interruptible by removing the jumper JP2). Connecting a cable to the socket 1V/Oct does not interrupt the bus CV connection!
Read more
 1 in stock $115.03
Cat: 692515 Rel: 18 Jun 18
 
Thru-zero quadrature VCO with Sine/Cosine core - standard edition
Notes: This analogue VCO is well versed in the art of deep and beautiful thru-zero frequency modulation, allowing the frequency to stop when CVs with 0V are applied, and even to go backwards when modulated with negative CVs.

The term "quadrature" refers to simultaneously available sine and cosine waves at individual outputs. The VCO is sine based i.e. no waveshaping is used to derive the sine; for that reason, the sound is really clear and shows a minimum of distortion and overtones.

The module has two control sections:

The exponential section consists of the XTune control, the 1V/Oct input and the XFM input with the corresponding attenuator XFM.

The exponential control voltage is the sum of these three voltages. The linear section consists of the LTune control and the LFM input with the corresponding attenuator LFM. The linear control voltage is the sum of these two voltages.

The main advantage of the A-110-4 compared to other Thru Zero VCOs is that the design uses a sine/cosine core. The sine/cosine waves are not derived from other waveforms (e.g. sawtooth or triangle) by means of waveshaping. Rather the sine and cosine waves are the core of the VCO which results in very pure waves with a minimum of distortion and overtones.

With it's both control possibilities, linear and exponential, as well as it's thru-zero ability, the VCO is perfectly suited for all types of FM applications.
Read more
 1 in stock $139.03
Cat: 692516 Rel: 18 Jun 18
 
Thru-zero quadrature VCO with Sine/Cosine core - special edition
Notes: This analogue VCO is well versed in the art of deep and beautiful thru-zero frequency modulation, allowing the frequency to stop when CVs with 0V are applied, and even to go backwards when modulated with negative CVs.

The term "quadrature" refers to simultaneously available sine and cosine waves at individual outputs. The VCO is sine based i.e. no waveshaping is used to derive the sine; for that reason, the sound is really clear and shows a minimum of distortion and overtones.

The module has two control sections:

The exponential section consists of the XTune control, the 1V/Oct input and the XFM input with the corresponding attenuator XFM.

The exponential control voltage is the sum of these three voltages. The linear section consists of the LTune control and the LFM input with the corresponding attenuator LFM. The linear control voltage is the sum of these two voltages.

The main advantage of the A-110-4 compared to other Thru Zero VCOs is that the design uses a sine/cosine core. The sine/cosine waves are not derived from other waveforms (e.g. sawtooth or triangle) by means of waveshaping. Rather the sine and cosine waves are the core of the VCO which results in very pure waves with a minimum of distortion and overtones.

With it's both control possibilities, linear and exponential, as well as it's thru-zero ability, the VCO is perfectly suited for all types of FM applications.
Read more
 1 in stock $119.33
Cat: 692521 Rel: 19 Jun 18
 
Voltage controlled oscillator, switchable between LFO & VCO modes - 14HP
Notes: The successor of the good old A-111 High End oscillator is an utterly precise analogue VCO/LFO with an extremely big frequency range, immaculate tracking over at least ten octaves and nearly perfect waveforms. With linear and exponential FM, pulse width modulation, two simultaneous types of sync and attenuators on all CV inputs, the module is really well-appointed.

Not less than four frequency controls make tuning an ease:

- Switch for LFO or VCO range
- Octave rotary switch with six positions
- Fine tuning control (approximately one octave range)
- Coarse tune control (approximately one semitone range)

The oscillator has a frequency range of at least fifteen octaves (0.0001 - 40Hz in LFO mode, 0.5Hz - 20kHz in VCO mode) and has perfect Volt per octave tracking over at least ten octaves, typically in the range of 20Hz to 20kHz. Frequencies below 25Hz are visualized with a two-colour LED.

An 1V/octave input without attenuator is expanded by two scaleable FM inputs, one for linear and one for exponential frequency modulation. Using a jumper, you can decide whether the module obtains pitch CV via the internal bus.

The VCO has a triangle core from which sawtooth, pulse and sine are derived. The wave forms are almost perfect and sans glitches.

The pulse width can be set with a control from 0 to 100% and of course it can be modulated.

The A-111-2 features not only one but two inputs for oscillator synchronisation - one for hard and one for soft sync, which both differ in sound with the hard sync being more aggressive and richer in harmonics.
Read more
 1 in stock $228.81
Cat: 692522 Rel: 19 Jun 18
 
Voltage controlled oscillator, switchable between LFO & VCO modes - 14HP
Notes: The successor of the good old A-111 High End oscillator is an utterly precise analogue VCO/LFO with an extremely big frequency range, immaculate tracking over at least ten octaves and nearly perfect waveforms. With linear and exponential FM, pulse width modulation, two simultaneous types of sync and attenuators on all CV inputs, the module is really well-appointed.

Not less than four frequency controls make tuning an ease:

- Switch for LFO or VCO range
- Octave rotary switch with six positions
- Fine tuning control (approximately one octave range)
- Coarse tune control (approximately one semitone range)

The oscillator has a frequency range of at least fifteen octaves (0.0001 - 40Hz in LFO mode, 0.5Hz - 20kHz in VCO mode) and has perfect Volt per octave tracking over at least ten octaves, typically in the range of 20Hz to 20kHz. Frequencies below 25Hz are visualized with a two-colour LED.

An 1V/octave input without attenuator is expanded by two scaleable FM inputs, one for linear and one for exponential frequency modulation. Using a jumper, you can decide whether the module obtains pitch CV via the internal bus.

The VCO has a triangle core from which sawtooth, pulse and sine are derived. The wave forms are almost perfect and sans glitches.

The pulse width can be set with a control from 0 to 100% and of course it can be modulated.

The A-111-2 features not only one but two inputs for oscillator synchronisation - one for hard and one for soft sync, which both differ in sound with the hard sync being more aggressive and richer in harmonics.
Read more
 1 in stock $259.46
Cat: 671591 Rel: 29 Nov 17
 
Analog VCO/LFO module with wide frequency range - 4HP
Notes: The Micro Precision VCO is a space-saving and utterly precise analog VCO/LFO with a extremely wide frequency range, immaculate tracking over at least ten octaves and nearly perfect waveforms.

Basically, it's the same circuitry like the High-End VCO A-111-2 but with reduced functions and controls. It is suitable as a modulator for exact linear FM and much more.

The A-111-3 has two elements for setting the frequency: A switch selecting between LFO and VCO mode as well as a tune control with a jumper-selectable range:

- Jumper position 1: 16Hz to 20 kHz
- Jumper position 2: 16Hz to 70Hz
- Without jumper: 16Hz to 22Hz

The XM potentiometer can be used as a fine tune control as long as nothing is patched to the XM socket.

The oscillator has a frequency range of at least fifteen osctaves (0.0001 - 40 Hz in LFO mode; 0.5 Hz to 20 kHz in VCO mode) and offers perfect 1 V per octave tracking over ten octaves minimum, typically in the range of 20 Hz to 20 kHz. Frequencies below 25 Hz are visualized with a two-colour LED.

The 1V per octave input is accompanied by two FM inputs, one for linear and one for exponential frequency modulation. A jumper determines whether the module obtains pitch CV via the internal bus.

The VCO has a triangle core from which sawtooth, pulse and triangle are derived. The wave forms are almost perfect and sans glitches.

The pulse width can be set with a control from 0 to 100% and of course it can be modulated.

There is one input for oscillator synchronisation and its type, either hard or soft sync, is jumper-selected. Both types differ in sound with the hard sync being more aggressive and richer in harmonics.
Read more
 2 in stock $151.08
Cat: 692518 Rel: 18 Jun 18
 
Analog VCO/LFO module with wide frequency range - 4HP
Notes: The Micro Precision VCO is a space-saving and utterly precise analog VCO/LFO with a extremely wide frequency range, immaculate tracking over at least ten octaves and nearly perfect waveforms.

Basically, it's the same circuitry like the High-End VCO A-111-2 but with reduced functions and controls. It is suitable as a modulator for exact linear FM and much more.

The A-111-3 has two elements for setting the frequency: A switch selecting between LFO and VCO mode as well as a tune control with a jumper-selectable range:

- Jumper position 1: 16Hz to 20 kHz
- Jumper position 2: 16Hz to 70Hz
- Without jumper: 16Hz to 22Hz

The XM potentiometer can be used as a fine tune control as long as nothing is patched to the XM socket.

The oscillator has a frequency range of at least fifteen osctaves (0.0001 - 40 Hz in LFO mode; 0.5 Hz to 20 kHz in VCO mode) and offers perfect 1 V per octave tracking over ten octaves minimum, typically in the range of 20 Hz to 20 kHz. Frequencies below 25 Hz are visualized with a two-colour LED.

The 1V per octave input is accompanied by two FM inputs, one for linear and one for exponential frequency modulation. A jumper determines whether the module obtains pitch CV via the internal bus.

The VCO has a triangle core from which sawtooth, pulse and triangle are derived. The wave forms are almost perfect and sans glitches.

The pulse width can be set with a control from 0 to 100% and of course it can be modulated.

There is one input for oscillator synchronisation and its type, either hard or soft sync, is jumper-selected. Both types differ in sound with the hard sync being more aggressive and richer in harmonics.
Read more
 1 in stock $163.12
Cat: 671550 Rel: 29 Nov 17
 
VCO module featuring four precision oscillators - 18HP
Notes: A-111-4 contains four precision VCOs and has individual controls, inputs and outputs for each VCO available as well as a common control and output unit. After all the A-111-4 is very similar to four A-111-3 without LFO mode but built in output mixers for the three waveforms, and a master unit for all four VCOs.

Controls, inputs and outputs for each of the four VCOs:

- 1V/Octave CV input
- Octave switch (+1 / 0 / -1 octave)
- Tune control (range internally adjustable by jumpers: ~ 2 semitones / ~ 1 octave / ~ 4 octaves)
- Modulation CV input
- Modulation destination:
- Upper position: exponential frequency modulation (XM)lower position: linear frequency modulation (LM) or pulsewidth modulation of the rectangle (PM), selectable via internal jumper
- Frequency Modulation (FM) or Pulsewidth Modulation of the rectangle (PWM)
- Modulation intensity
- Triangle output
- Sawtooth output
- Rectangle output (about 50% without external PWM)
- Sync input (hard or soft sync internally selectable via jumper, CEM3340 hard sync type)
- Min. 10 octaves range (with appropriate external CV)
- CEM3340 based VCO (triangle core)
- Each VCO has it's own separate internal +/- power supply for each for best stability and the prevention of unwanted synchronisation of the VCOs

Controls, inputs and outputs of the master section:

- 1V/Octave CV input
- Octave switch (+1 / 0 / -1 octave)
- Tune control (range internally adjustable by jumpers: 2 semitones / 1 octave / 4 octaves)
- Frequency Modulation CV input (FM)
- FM intensity
- Triangle sum output
- Sawtooth sum output
- Rectangle sum output
- As soon as the single waveform output of a VCO is patched this waveform of the VCO in question is removed from the sum (this function can be turned off for each single output socket by means of solder bridges on the pc board, i.e. the sum contains then all signals independent of the patching of the single output)
- CV output (outputs the sum CV that is used to control all four VCOs)
- Bus CV (selectable via jumper)

Typical applications:

- Fat sounding monophonic VCO with the possibility to adjust any intervals
- Paraphonic patches in combination with the polyphonic CV interface A-190-5 (all four VCOs processed by one VCF/VCA)
- Full polyphonic patches in combination with the polyphonic CV interface A-190-5 and four complete VCF/VCA sections
- Complex VCO patches with up to four VCOs by means of the frequency modulation features (exponential an linear) and the sync functions
Read more
 2 in stock $382.09
Cat: 671610 Rel: 29 Nov 17
 
Combined module of voltage-controlled 8-bit sampler & wavetable oscillator - vintage edition, 10HP
Notes: Module A-112 is the combination of a voltage controlled 8 Bit Sampler and a wavetable oscillator. On top of it the module is able to generate some special effects. A-112 was designed as an additional sound source with the typical sounds of the early 8 bit samplers and is not comparable with the modern polyphonic MIDI samplers available on the market.

Sampling mode: 8 bit audio resolution, 128kB memory in 2 banks 64kB each (equivalent to 2 seconds of sampling time for each bank with 32 kHz sampling rate), audio input with attenuator, overload display in record mode (gate LED), possibility of MIDI Dump to store sounds in a computer via MIDI, non-volatile memory for the 2 samples in the module, manual tune control for adjustment of sampling rate for record and play, CV input (~ 1V/Oct), both manual tune and CV determine the sampling rate respectively the pitch (pitch range is 5 octaves), gate input (not a trigger: the sample starts at the positive edge of the gate signal and is played as long as gate is high or until the end of the sample is reached), manual Gate button, non-filtered audio output (thus quantizing noise can be used as an element of the sound intentionally).

Wavetable mode: special appearance of the sampling mode when playing a sample, the audio input is now used as a second control voltage input for moving through the sample in 256 byte wide loops (wavetables). The control voltage required to move through all wavetables applied to the input "Wave CV In" is in the range -2.5V (wavetable 1) ... 0V (wavetable 127) ... +2.5V (wavetable 256) when control "Atten." is set fully clockwise. To achieve the typical wavetable oscillator sounds the sampling memory must contain corresponding wavetable data (e.g. loaded via MIDI dump). These data contain a set of wavetables with different harmonic content (e.g. a filter sweep) to get the typical wavetable sound while moving through the tables via CV. But you may also use a "normal" sample and go through the sample with CV to obtain partially amazing sounds never heard before. You may use for example sampled speech and go with CV through the syllables or speech shreds to get really very extreme sounds. An ideal addition for this feature is the Offset/Attenuator module A-183-2 which can be used to adjust the position of the wavetable (Offset) and the modulation depth (Att.). The corresponding jumper of the A-183-2 has to be set to bipolar offset (as the A-112 requires -2.5V...+2.5V to pass through all 256 wavetables). As modulation source an LFO (A-145, A-146, A-147, A-143-3), ADSR (A-140, A-141, A-142, A-143-1/2) or a random voltage (A-118, A-149-1) may be used. Even a ribbon controller (A-198 or R2M), the Theremin module A-178, the Joystick A-174 or the Wheels module A-174-2 are useful to drive through the wavetables.

Effects: Additionally, the module offers - in a way free of charge - some effects like delay, reverse delay, pitch shifting or freeze. But it has to be pointed out that due to the 8 bit audio resolution these effects are not comparable to high quality effect units and should be understand as an extra for nothing. The A-112 is not an effects unit!

The sampling time of the A-112 is about 1...30 seconds corresponding to a sampling frequency range of about 60kHz...2kHz (64kB@60kHz ~ 1 s, 64kB@2kHz ~ 30 s).

Technical note: the module uses a battery for the non-volatile storage of the sampling data. Batteries have a limited lifespan and have to be inspected at least every two years. For details please refer to the FAQ page of our website: Lifespan of rechargeable batteries (used for memory backup).
Read more
 1 in stock $150.26
Cat: 698542 Rel: 14 Aug 18
 
Sound source deriving four subharmonics from an incoming square wave signal - 26HP
Notes: Module A-113 is a new sound source that derives four so-called subharmonics (German: Subharmonische) from an incoming pulse signal. The term subharmonics was introduced by Oskar Sala in connection with his so-called Mixtur-Trautonium. A subharmonic means in this context a sawtooth wave (German: Kippschwinger) whose frequency is derived from a master frequency and the master frequency is an integer multiple in the range of 1...24 of the subharmonic - in other words: the master frequency is divided by an integer 1...24 to obtain the subharmonic.

The output waveform of a subharmonic is sawtooth (as also used in the original Trautonium) and not sine. The term subharmonics is somewhat misleading. The master frequency comes e.g. from an A-110 or A-111 to the frequency input of the A-113. The frequency dividers of the 4 subharmonics is adjusted with up/down buttons as displayed with two character LED displays. The subharmonics are available as single outputs and as mix output with adjustable levels for the subharmonics.

Two gate type control inputs enable to select between 4 different mixtures, i.e. 4 different settings of the frequency dividers. In the original Trautonium these are controlled by foot switches to switch between 3 mixtures while playing (the original Trautonium has only 3 mixtures available but with the 2 gate inputs of the A-113 four different settings can be addressed).

Additionally, the A-113 features a mixture memory with 50 presets. Each preset consists of 4 mixtures that can be selected with the gate inputs, each mixture contains the values of the 4 frequency dividers.
Read more
 1 in stock $231.00
Cat: 577797 Rel: 15 Aug 18
 
Two identical ring modulators in one module - 4HP
Notes: Module A-114 contains two separate ring modulators. A ring modulator outputs the product (Multiplication X - Y) of the signals at inputs X and Y. It's similar to a VCA, but whereas a VCA only responds to positive voltages at the inputs (2-quadrant multiplication), the ring modulator responds to both positive and negative voltages (4-quadrant multiplication).

The ring modulator thus provides a refinement of amplitude modulation (AM). Ordinary amplitude modulation will output the original carrier frequency fC as well as the two side bands (fC - fM, fC + fM) for each of the spectral components of the carrier and modulation signals - but ring modulation cancels out the carrier frequencies, and just lets the side-bands pass to the output (see Fig. 1).

A ring modulator is used for the production of bell-like sounds, alien voices, or just to produce new timbres.
Read more
 1 in stock $92.29
Cat: 698544 Rel: 15 Aug 18
 
Two identical ring modulators in one module - 4HP
Notes: Module A-114 contains two separate ring modulators. A ring modulator outputs the product (Multiplication X - Y) of the signals at inputs X and Y. It's similar to a VCA, but whereas a VCA only responds to positive voltages at the inputs (2-quadrant multiplication), the ring modulator responds to both positive and negative voltages (4-quadrant multiplication).

The ring modulator thus provides a refinement of amplitude modulation (AM). Ordinary amplitude modulation will output the original carrier frequency fC as well as the two side bands (fC - fM, fC + fM) for each of the spectral components of the carrier and modulation signals - but ring modulation cancels out the carrier frequencies, and just lets the side-bands pass to the output (see Fig. 1).

A ring modulator is used for the production of bell-like sounds, alien voices, or just to produce new timbres.
Read more
 1 in stock $85.39
Cat: 698545 Rel: 15 Aug 18
 
Fourfold frequency divider for creating up to four sub-octaves - 8HP
Notes: Module A-115 is a four-way frequency divider. The frequency of a signal at the input is halved (half frequency = first sub-octave), quartered (1/4 frequency = second sub-octave), and so on. In this way, the DIVIDER produces four sub-octaves (F/2 down to F/16).

At the output, the A-115 produces a summed mix of the original and the four sub-octaves. There are attenuators to control the amount (i.e. Amplitude) of the original signal and each of the sub-octaves.

Bear in mind that the sub-octaves output by the A-115 are all true square waves. At the output there are always four square waves and the original signal available.
Read more
 1 in stock $72.25
Cat: 698547 Rel: 15 Aug 18
 
Voltage controlled waveform processor - 8HP
Notes: Module A-116 provides voltage-controlled dynamic waveform modification of audio signals. It can produce new waveforms from the standard VCO shapes, and modulate these changes in real time. The signal first of all goes through an input amplifier, which can attenuate the signal as well as amplify it by up to a factor of 2.

After the input amplifier, the signal goes through two parallel processors: a clipping circuit, and an asymmetrical amplifier. The processed signals are added together and sent to the output.

Clipping-Level and Symmetry amounts are not just manually controllable, but can also be modulated by control voltages, to produce complex, constantly changing waveforms.
Read more
 1 in stock $75.53
Cat: 698549 Rel: 15 Aug 18
 
Digital noise/random clock/808 sound source - 8HP
Notes: Module A-117 (DNG) is a combination module, including a digital noise generator and an 808 source.

The digital noise generator uses random sequences of square waves (18 step shift register with multiple feedback), whose rate can go from random clicks to noise. The colour of the noise is very different from the analogue noise produced by the A-118. The frequency range of the internal clock oscillator is about 100Hz - 100kHz.

In addition to a manual setting, the rate can be controlled by an external clock - eg. VCO, high speed VCO of A-188-1/2, LFO or MIDI clock.

The 808 Source aims to re-create the sort of multi-oscillator array that was used in Roland's TR-808 and 606 drum machines as the basis of the sound of the hi-hat, cymbals and cowbell. The cowbell mix uses two oscillators, and the cymbals mix six.
Read more
 1 in stock $74.44
Cat: 703566 Rel: 04 Oct 18
 
Voltage controlled low-pass filter - 8HP
Notes: Module A-120 is a voltage controlled low-pass filter, which filters out the higher parts of the sound spectrum, and lets lower frequencies pass through. The Cut-Off Frequency determines the point at which filtering takes effect. You can control this manually, or by voltage control (filter modulation, for instance by an LFO). Three CV inputs are available, and the sum of the voltages from these affects the filter cut-off.

The module is based on a so-called "transistor ladder" design, with a cut-off slope of -24 dB/octave, as in various Moog synthesizers. That's what gives it its classic, legendary Moog sound.

Resonance (or Emphasis) is adjustable all the way up to self-oscillation - in which case the filter behaves like a sine wave oscillator.
Read more
 1 in stock $109.47
Cat: 703567 Rel: 08 Oct 18
 
Voltage-controlled multi-mode filter - 8HP
Notes: Module A-121 is a voltage-controlled multi-mode filter with a cut-off slope of -12 dB / octave. Four simultaneous outputs are available, each with different characteristics: low-pass, band-pass, high-pass and notch (or band reject). The cut-off frequency determines the point at which the respective filter effects appear. The frequency can be adjusted manually, or by voltage control (Filter modulation, for instance by an LFO or ADSR). Two CV inputs are available, whose control voltages are summed. Resonance (Emphasis or Q) can be adjusted manually, or by voltage control, right up to self-oscillation, in which case it will behave like a sine wave oscillator.

Technical notes: Module A-121-2 is the successor of the obsolete module A-121. But the circuitry is totally different from the A-121 which used the obsolete CEM3320 filter circuit. The sound of the new module A-121-2 is identical to filter of the Dark Energy II but has been expanded by the voltage-controlled resonance feature.
Read more
 1 in stock $109.47
Cat: 703568 Rel: 08 Oct 18
 
Voltage-controlled multi-mode filter with black faceplate - 8HP
Notes: Module A-121 is a voltage-controlled multi-mode filter with a cut-off slope of -12 dB / octave. Four simultaneous outputs are available, each with different characteristics: low-pass, band-pass, high-pass and notch (or band reject). The cut-off frequency determines the point at which the respective filter effects appear. The frequency can be adjusted manually, or by voltage control (Filter modulation, for instance by an LFO or ADSR). Two CV inputs are available, whose control voltages are summed. Resonance (Emphasis or Q) can be adjusted manually, or by voltage control, right up to self-oscillation, in which case it will behave like a sine wave oscillator.

Technical notes: Module A-121-2 is the successor of the obsolete module A-121. But the circuitry is totally different from the A-121 which used the obsolete CEM3320 filter circuit. The sound of the new module A-121-2 is identical to filter of the Dark Energy II but has been expanded by the voltage-controlled resonance feature.
Read more
 1 in stock $110.32
Items 1,501 to 1,550 of 2,663 on page 31 of 54
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ALL
«  1  2  3  ...  30  31  32  ...  52  53  54  »

Filter

Back Catalogue: Studio Equipment
Release Date
Monthly payment
Number of monthly payments
Cash price
Deposit to pay
Loan amount
Loan repayment
Cost of loan
Total amount payable

Only available to UK residents over 18, subject to terms and conditions. More info here.

These rates of finance are based on this specific product and can be applied for once this item has been added to the cart. Adding other products to your cart may change the rate of finance or deposit required.

Checkout and apply for finance now
Close