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Eight Weeks: Studio Equipment

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Cat: 692477 Rel: 27 Jun 18
 
Blue 80cm Glow In The Dark Eurorack patch cable
Notes: Looks great in the light and dark.

For glowing results give the Eurorack patch cables about ten minutes of natural light. Alternatively you can hit them with a black light for a few minutes and achieve the same effect.

Price is per 1 cable.
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 7 in stock $3.17
Cat: 692490 Rel: 27 Jun 18
 
Green 125cm Glow In The Dark Eurorack patch cable
Notes: Looks great in the light and dark.

For glowing results give the Eurorack patch cables about ten minutes of natural light. Alternatively you can hit them with a black light for a few minutes and achieve the same effect.

Price is per 1 cable.
Read more
 9 in stock $3.71
Cat: 692485 Rel: 27 Jun 18
 
Green 25cm Glow In The Dark Eurorack patch cable
Notes: Looks great in the light and dark.

For glowing results give the Eurorack patch cables about ten minutes of natural light. Alternatively you can hit them with a black light for a few minutes and achieve the same effect.

Price is per 1 cable.
Read more
 8 in stock $2.11
Cat: 692487 Rel: 27 Jun 18
 
Green 50cm Glow In The Dark Eurorack patch cable
Notes: Looks great in the light and dark.

For glowing results give the Eurorack patch cables about ten minutes of natural light. Alternatively you can hit them with a black light for a few minutes and achieve the same effect.

Price is per 1 cable.
Read more
 6 in stock $2.65
Cat: 692489 Rel: 27 Jun 18
 
Green 80cm Glow In The Dark Eurorack patch cable
Notes: Looks great in the light and dark.

For glowing results give the Eurorack patch cables about ten minutes of natural light. Alternatively you can hit them with a black light for a few minutes and achieve the same effect.

Price is per 1 cable.
Read more
 4 in stock $3.17
Cat: 698440 Rel: 02 Aug 18
 
3.5mm To Stereo RCA, 1.5 metre length
Notes: Since its release, d+classB series has become a world-wide standard cable series for DJs and music producers due to its solid and reliable sound and build quality. In Summer 2018, with a newly-designed 3.5mm stereo angled plug, "d+MYR classB" was developed to meet the needs of existing d+cable users.

This new option is suitable for gadgets like synthesizers, or tablets/smart-phones, to LINE IN of a DJ mixer for real-time performance with gears, or an audio interface for recording sounds into your DAW sessions, or to powered speakers with RCA inputs.

The flat type cable of d+series analogue cables is designed and constructed by considering each combination of materials and simple structure by eliminating unnecessary objects. The classB series includes thick 18AWG hi-purity Oxygen-free copper for its conductors, which creates clear stereoscopic and well-balanced sound images. The flat type cable structure helps to avoid interferences between cables and its green and white colouring helps to distinguish LR channels in dark venues.
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 1 in stock $26.24
Cat: 698441 Rel: 02 Aug 18
 
3.5mm To Stereo RCA, 2.5 metre length
Notes: Since its release, d+classB series has become a world-wide standard cable series for DJs and music producers due to its solid and reliable sound and build quality. In Summer 2018, with a newly-designed 3.5mm stereo angled plug, "d+MYR classB" was developed to meet the needs of existing d+cable users.

This new option is suitable for gadgets like synthesizers, or tablets/smart-phones, to LINE IN of a DJ mixer for real-time performance with gears, or an audio interface for recording sounds into your DAW sessions, or to powered speakers with RCA inputs.

The flat type cable of d+series analogue cables is designed and constructed by considering each combination of materials and simple structure by eliminating unnecessary objects. The classB series includes thick 18AWG hi-purity Oxygen-free copper for its conductors, which creates clear stereoscopic and well-balanced sound images. The flat type cable structure helps to avoid interferences between cables and its green and white colouring helps to distinguish LR channels in dark venues.
Read more
 2 in stock $33.39
Cat: 698442 Rel: 02 Aug 18
 
3.5mm To Stereo 1/4" TS, 1.5 metre length
Notes: Since its release, d+classB series has become a world-wide standard cable series for DJs and music producers due to its solid and reliable sound and build quality. In Summer 2018, with a newly-designed 3.5mm stereo angled plug, "d+MYTS classB" was developed to meet the needs of existing d+cable users.

This new option is suitable for gadgets like synthesizers, or tablets/smart-phones, to LINE IN of a DJ mixer for real-time performance with gears, or an audio interface for recording sounds into your DAW sessions, or to powered speakers with 1/4" TS jack Inputs.

The flat type cable of d+series analogue cables is designed and constructed by considering each combination of materials and simple structure by eliminating unnecessary objects. The classB series includes thick 18AWG hi-purity Oxygen-free copper for its conductors, which creates clear stereoscopic and well-balanced sound images. The flat type cable structure helps to avoid interferences between cables and its green and white colouring helps to distinguish LR channels in dark venues.
Read more
 2 in stock $27.03
Cat: 698443 Rel: 02 Aug 18
 
3.5mm To Stereo 1/4" TS, 2.5 metre length
Notes: Since its release, d+classB series has become a world-wide standard cable series for DJs and music producers due to its solid and reliable sound and build quality. In Summer 2018, with a newly-designed 3.5mm stereo angled plug, "d+MYTS classB" was developed to meet the needs of existing d+cable users.

This new option is suitable for gadgets like synthesizers, or tablets/smart-phones, to LINE IN of a DJ mixer for real-time performance with gears, or an audio interface for recording sounds into your DAW sessions, or to powered speakers with 1/4" TS jack Inputs.

The flat type cable of d+series analogue cables is designed and constructed by considering each combination of materials and simple structure by eliminating unnecessary objects. The classB series includes thick 18AWG hi-purity Oxygen-free copper for its conductors, which creates clear stereoscopic and well-balanced sound images. The flat type cable structure helps to avoid interferences between cables and its green and white colouring helps to distinguish LR channels in dark venues.
Read more
 1 in stock $31.79
Cat: 696929 Rel: 02 Aug 18
 
Protective cover designed to fit the Pioneer DDJSX, DDJSX2, DDJSX3 & DDJRX
Notes: Custom moulded in the UK to fit the contours of the Pioneer DDJ-SX / DDJ-SX2 / DDJ-SX3 & DDJ-RX DJ Controllers. Designed for the Digital DJ, our super durable polycarbonate shell offers a high level of protection and slides straight into equipment bags, making it ideal for the travelling DJ. Shields faders and controls from dust, liquid and accidental impact whilst accommodating cables. At home, on the road or in the club, Decksaver has your controller covered.
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 1 in stock $43.46
Cat: 696933 Rel: 01 Aug 18
 
Protective cover designed to fit the Roland Boutique series
Notes: Fits Roland Boutique D-05, TR-08, SH-01A, SE-02, TR-09, TB-03, VP-03, A-01, JP-08, JU-06 & JX-03.

The tools we use to compose and produce music are dear to our hearts. The studio elements of dust, smoke and liquid have taken many a good synth down over the years. This is where Decksaver steps in. Precision trimmed for a perfect fit whilst accommodating cables, your Boutique can sit ready for operation. Slides straight into a flight or soft case for maximum protection during transportation. Shields delicate controls and internal components from damage at home, on the road and on stage.

Please note this cover is compatible with the VP-03 but obstructs the XLR microphone input.
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 6 in stock $29.15
Cat: 696934 Rel: 02 Aug 18
 
Protective cover designed to fit the Roland SP-404, SP-404A & SP-404SX
Notes: The tools we use to compose and produce music are dear to our hearts. The studio elements of dust, smoke and liquid have taken many a good sampler down over the years. This is where Decksaver steps in. Precision trimmed for perfect fit whilst accommodating cables, the SP-404 can sit ready for operation. Slides straight into a flight or soft case for maximum protection during transportation. Shields delicate controls and internal components from damage at home, on the road and on stage.
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 1 in stock $29.68
Cat: 696930 Rel: 01 Aug 18
 
Protective cover designed to fit the Roland TR8S Rhythm Performer
Notes: The tools we use to compose and produce music are dear to our hearts. The studio elements of dust, smoke and liquid have taken many a good groovebox down over the years. This is where Decksaver steps in. Precision trimmed for perfect fit whilst accommodating cables, the TR-8S can sit ready for operation. Slides straight into a flight or soft case for maximum protection during transportation. Shields delicate controls and internal components from damage at home, on the road and on stage.
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 More than 10 in stock $30.21
Cat: 697794 Rel: 27 Jul 18
 
Passive Stereo DI Box with MIDAS Transformers & Extended Dynamic Range
Notes: Building on KLARK TEKNIK's storied legacy of highest-quality direct injection devices, the DI 22P PRO DI AV 2 offers the same high headroom, dynamic response and sonic clarity you have come to expect. DI 22P combines many of the outstanding features of the DI 20P and DI 10P direct boxes into one powerful tool that should be in every audio engineers kit. The extremely versatile DI 22P accepts dual instrument, line and speaker levels, plus also accommodates MP3, CD players, keyboard or drum sub-mixers, and a variety of other stereo sources, and faithfully reproduces the character of electric and acoustic instruments, allowing far more of the detail of musical performances to be captured. A passive device, the DI 22P does not require any form of external power to complete its mission. Equipped with custom-built MIDAS transformers and switchable input Pads, the DI 22P is the perfect choice for premium-grade professional audio and multimedia applications.

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

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

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

The ultra-compact DI 22P is built to handle the rigours of life on the road via a thick and rugged aluminium extrusion that protects the electronics. The enclosures road worthiness is further enhanced through the implementation of sturdy rubber corner bumpers.

A custom instrumentation-grade input circuit was designed for the DI 22P using advanced analogue design techniques to create the ideal input impedance match. This innovative approach provides an ultra-low noise, low harmonic and phase distortion input stage with a ruler-flat frequency response that ranges from 20 Hz to 30 kHz (+/- 1 dB).

DI 22P PRO DI AV 2 Inputs are: 2 x 1/4" TS; 2 x RCA; and 1 x 1/8" TRS connectors, which can accommodate virtually any type of signal for the utmost in versatility. The genuine Neutrik Output XLR jacks send balanced versions of the input signals to your mixing board or other processing device.
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 1 in stock $61.47
Cat: 697795 Rel: 27 Jul 18
 
Passive DI Box with Stereo Input/Summed Mono Output, MIDAS Transformer & Extended Dynamic Range
Notes: Building on KLARK TEKNIK's storied legacy of highest-quality direct injection devices, the DI 10P PRO DI offers the same high headroom, dynamic response and sonic clarity you have come to expect. DI 10P is ideal for interfacing MP3, CD players, keyboard or drum submixers, and a variety of other stereo sources to mixing consoles. A passive device, the DI 10P does not require any form of external power to complete its mission. Equipped with a custom-built MIDAS transformer, fully adjustable independent level controls for the stereo input channels, DI 10P is the perfect stereo to mono XLR solution for professional audio and multimedia applications.

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

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

KLARK TEKNIK is proud to incorporate MIDAS designed transformers for the ultimate in high-quality audio reproduction in both live and studio environments. Find out more about MIDAS? amazing legacy by visiting their extensive website.

A custom instrumentation-grade input circuit was designed for the DI 10P using advanced analogue design techniques to create the ideal input impedance match. This innovative approach provides an ultra-low noise, low harmonic and phase distortion input stage with a ruler-flat frequency response that ranges from 10 Hz to 91 kHz (+/- 1 dB).

DI 10P PRO DI features unbalanced stereo Left & Right RCA and 1/8" TRS Input connectors, and a high quality Neutrik Output XLR jack that sends a balanced, summed mono version of the input to your mixing board or other processing device.

Featuring high-precision Left and Right Level controls, the DI 10P easily accommodates a wide range of input signals. The Earth Lift switch separates the input and output grounds, eliminating earth loops between equipment on different mains electricity supplies. DI 10P's fully transformer-isolated design further ensures pristine performance - even in large-scale production environments.
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 1 in stock $45.57
Cat: 697792 Rel: 27 Jul 18
 
Passive 1-In/5-Out Signal Splitter with Extended Dynamic Range
Notes: Building on KLARK TEKNIK's storied legacy of highest-quality signal processing devices, the DS 50 PRO SPLITTER 5 offers the same high headroom, dynamic response and sonic clarity you have come to expect. DS 50 is ideal for routing balanced XLR signals to as many as 5 discrete destinations, including FOH and monitor consoles, active monitor loudspeakers, broadcast mixers, and more. A passive device, the DS 50 does not require any form of external power, making it the perfect solution for a wide range of professional audio and multimedia applications.

A custom instrumentation-grade input circuit was designed for the DS 50 using advanced analogue design techniques to create the ideal input impedance match. This innovative approach provides an ultra-low noise and ultra-linear system with a ruler-flat frequency response that ranges from 20 Hz to 22 kHz (+/- 0.05 dB).

All of the Input and Output connections on the DS 50 feature genuine high quality Neutrik XLR jacks for the ultimate in signal integrity.

The ultra-compact DS 50 is built to handle the rigours of life on the road via a thick and rugged aluminium extrusion that protects the electronics. The enclosures road-worthiness is further enhanced through the implementation of sturdy rubber corner bumpers.

The DS 50 PRO SPLITTER 5 allows you to send identical copies of balanced input signals to up to 5 discrete destinations thanks to its incredible frequency response of 20 Hz to 22 kHz (+/- 0.05 dB) and highly intuitive design - all in a road-ready enclosure that stands ready for your input.
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 1 in stock $61.47
Cat: 677266 Rel: 29 Jun 18
 
DI box featuring active circuitry for ultra-low distortion & noise
Notes: From acoustic guitars to laptops, always sound your best with MDB Series Direct Boxes. Available in four different models, the MDB Series will give you the peace of mind that your sound will faithfully get to your audience the way that you hear it on stage.

Great for active instruments like guitars and basses with active pickups and preamps, the MDB-1A Active DI features increased headroom and distortion-free operation. Featuring a 1/4" high-impedance input and thru with -20db pad plus a Merge switch that turns the Thru jack into a second input, perfect for summing a stereo source to a mono output. The balanced XLR output features switches for Polarity, Low Cut, and Ground Lift. For maximum convenience, the MDB-1A is powered by 48v phantom power.

Premium - without the price tag:
Direct boxes are an essential tool for any stage or studio. They make it easy to get clean, low-noise audio to a mixer no matter what instrument you are using. Available in four versatile models, our ultra-affordable DI's offer the Mackie sound quality that you expect with 'Built-Like-A-Tank' construction for maximum reliability. From acoustic guitars to laptops, be ready for anything with MDB Series direct boxes.

The Perfect Match:
With four models to choose from, you can get the perfect match for your instruments. Acoustic guitars and keyboards are right at home with the MDB-1P and MDB-2P. High output instruments will appreciate the extra headroom in the MDB-1A.

Premium Analog Circuitry:
MDB Series direct boxes offer excellent noise performance and transparency. Whether you are in the studio or performing on stage, your instruments will always sound as good as they do at the source.

'Built-Like-A-Tank':
From the inside out, MDB Series direct boxes are built to last. Thick steel chassis, impact resistant corners, and long-wearing jacks will keep these in your bag for years to come.

Get the best sound from your laptop:
The MDB-USB is the ultimate way to get pristine digital audio from your laptop directly to a mixer or front-of-house in a venue.
Read more
 1 in stock $66.26
Cat: 677264 Rel: 29 Jun 18
 
Passive DI box - ideal for mono sound sources such as guitar & bass, plus many more stage & studio applications
Notes: From acoustic guitars to laptops, always sound your best with MDB Series Direct Boxes. Available in four different models, the MDB Series will give you the peace of mind that your sound will faithfully get to your audience the way that you hear it on stage.

An essential tool for every musician and engineer, the MDB-1P Passive DI has everything you need to adapt unbalanced, high-impedance audio to a balanced, low-impedance output with minimal noise. Featuring a 1/4" high-impedance input and thru with -15db pad and a balanced XLR output with ground lift.

Premium - without the price tag:
Direct boxes are an essential tool for any stage or studio. They make it easy to get clean, low-noise audio to a mixer no matter what instrument you are using. Available in four versatile models, our ultra-affordable DI's offer the Mackie sound quality that you expect with 'Built-Like-A-Tank' construction for maximum reliability. From acoustic guitars to laptops, be ready for anything with MDB Series direct boxes.

The Perfect Match:
With four models to choose from, you can get the perfect match for your instruments. Acoustic guitars and keyboards are right at home with the MDB-1P and MDB-2P. High output instruments will appreciate the extra headroom in the MDB-1A.

Premium Analog Circuitry:
MDB Series direct boxes offer excellent noise performance and transparency. Whether you are in the studio or performing on stage, your instruments will always sound as good as they do at the source.

'Built-Like-A-Tank':
From the inside out, MDB Series direct boxes are built to last. Thick steel chassis, impact resistant corners, and long-wearing jacks will keep these in your bag for years to come.

Get the best sound from your laptop:
The MDB-USB is the ultimate way to get pristine digital audio from your laptop directly to a mixer or front-of-house in a venue.
Read more
 1 in stock $49.81
Cat: 677265 Rel: 29 Jun 18
 
DI box with dual inputs & outputs for stereo sources
Notes: From acoustic guitars to laptops, always sound your best with MDB Series Direct Boxes. Available in four different models, the MDB Series will give you the peace of mind that your sound will faithfully get to your audience the way that you hear it on stage.

Great for stereo sources like keyboards and synthesizers, the MDB-2P is an essential tool for electronic musicians, live sound venues, and recording studios. The MDB-2P Stereo Passive DI features dual 1/4" high-impedance inputs with Thru outputs and -15db pads, and dual low-impedance XLR outputs with ground lift.

Premium - without the price tag:
Direct boxes are an essential tool for any stage or studio. They make it easy to get clean, low-noise audio to a mixer no matter what instrument you are using. Available in four versatile models, our ultra-affordable DI's offer the Mackie sound quality that you expect with 'Built-Like-A-Tank' construction for maximum reliability. From acoustic guitars to laptops, be ready for anything with MDB Series direct boxes.

The Perfect Match:
With four models to choose from, you can get the perfect match for your instruments. Acoustic guitars and keyboards are right at home with the MDB-1P and MDB-2P. High output instruments will appreciate the extra headroom in the MDB-1A.

Premium Analog Circuitry:
MDB Series direct boxes offer excellent noise performance and transparency. Whether you are in the studio or performing on stage, your instruments will always sound as good as they do at the source.

'Built-Like-A-Tank':
From the inside out, MDB Series direct boxes are built to last. Thick steel chassis, impact resistant corners, and long-wearing jacks will keep these in your bag for years to come.

Get the best sound from your laptop:
The MDB-USB is the ultimate way to get pristine digital audio from your laptop directly to a mixer or front-of-house in a venue.
Read more
 1 in stock $67.85
Cat: 677267 Rel: 29 Jun 18
 
Innovative bus-powered DI box
Notes: From acoustic guitars to laptops, always sound your best with MDB Series Direct Boxes. Available in four different models, the MDB Series will give you the peace of mind that your sound will faithfully get to your audience the way that you hear it on stage.

With the bus-powered MDB-USB Stereo DI, the days of relying on your headphone jack to get audio from a computer into analog gear are over. Combining a high-resolution audio interface with a noise and distortion-free stereo DI, MDB-USB converts your digital audio into clean, balanced, stereo output. The MDB-USB also features an output level control, headphone output, and mono sum for maximum versatility. Analog outputs are dual XLR with ground lift.

Premium - without the price tag:
Direct boxes are an essential tool for any stage or studio. They make it easy to get clean, low-noise audio to a mixer no matter what instrument you are using. Available in four versatile models, our ultra-affordable DI's offer the Mackie sound quality that you expect with 'Built-Like-A-Tank' construction for maximum reliability. From acoustic guitars to laptops, be ready for anything with MDB Series direct boxes.

The Perfect Match:
With four models to choose from, you can get the perfect match for your instruments. Acoustic guitars and keyboards are right at home with the MDB-1P and MDB-2P. High output instruments will appreciate the extra headroom in the MDB-1A.

Premium Analog Circuitry:
MDB Series direct boxes offer excellent noise performance and transparency. Whether you are in the studio or performing on stage, your instruments will always sound as good as they do at the source.

'Built-Like-A-Tank':
From the inside out, MDB Series direct boxes are built to last. Thick steel chassis, impact resistant corners, and long-wearing jacks will keep these in your bag for years to come.

Get the best sound from your laptop:
The MDB-USB is the ultimate way to get pristine digital audio from your laptop directly to a mixer or front-of-house in a venue.
Read more
 1 in stock $122.97
4ms Wav Recorder Module (synth module)
Cat: 648950 Rel: 29 Jun 18
 
6HP Eurorack module for recording high-fidelity, low-noise stereo WAV files
Notes: The WAV Recorder from 4ms Company is a high fidelity, two-channel stereo audio recorder with basic playback features. Accepting a wide range of input signals, from line-level to modular-level, the WAV Recorder stores audio onto a microSD card in lossless .wav format up to 96kHz/24-bit. The trigger jack can be used for capturing rhythmic loops or synchronizing multiple WAV Recorder modules for multi-track recording. In Playback mode, the trigger jack or button plays the most recent recording. A simple file/folder navigation system can be used to browse the folders on the card for playing back .wav files. A Gain knob allows for up to +20dB of boost, and an LED Signal Meter indicates clipping and the signal level.
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 3 in stock $238.52
ACL Kazu PSU Module (synth module/power supply)
Cat: 698457 Rel: 08 Aug 18
 
High quality power supply in slim 4 HP format
Notes: This PSU solution is of high quality and delivers a constant current without getting hot. Interferences and voltage spikes are minimal. As a direct result, modules connected to the KAZU feature very honest sound and an exceptionally low noise-floor. At most, you can draw 1000 mA from each the +12 V and -12 V rail as well as 500 mA from the +5 V rail. These numbers may appear to be low at first. However, thanks to high precision and great stability, operating the module at maximum capacity is not a problem. Calculating headroom? Heat problems? Not with the KAZU!
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 1 in stock $226.86
Cat: 698446 Rel: 09 Aug 18
 
Four-band equaliser, reverb/delay, maximiser & exciter in Eurorack modular format - silver faceplate
Notes: Perfect for adding that final touch to a modular patch, the AJHSynth Finaliser R-EQ module includes seven Mono / Stereo reverb types, along with a four band equaliser and a Sonic Maximiser / Enhancer.

The Reverb, EQ and Maximiser can be used in Mono IN, Mono OUT mode or Mono IN, Stereo OUT modes. The reverb alone can also be used in Stereo IN / Stereo OUT mode too.

The fully analogue four band Equaliser includes three parametric equalisers for Low, Low Mid and High Mid ranges, and the High EQ has switchable shelving of either 2kHz or 5kHz. The Low EQ also includes a shelving mode.

The Maximiser is a fully analogue circuit too, with low and high treatment bands which change the phase and amplitude relationships of the sound to add punch and harmonics and really bring the sound to life in the mix.

The Reverb engine is based on 20 year old DSP technology, harking back to the reverb units which were used extensively on many synth and EDM tracks a couple of decades ago. We have added full control of reverb wet / dry mix, either manually or under CV control.
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 1 in stock $364.67
Cat: 698444 Rel: 09 Aug 18
 
Dual vintage state variable filters - silver faceplate
Notes: The Gemini 2412 is a creamy, extremely fat sounding dual filter based on vintage Oberheim SEM circuits. In addition to high-pass, band-pass and low-pass, there is the infamous variable filter type, which allows you to blend between several characteristics. Thanks to its dual concept, serial and parallel modes of operation and an ingenious modulation system, the Gemini 2412 should not only be able to achieve classic, extremely bulbous results, but also wafting stereo effects and lively formant sounds.
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 1 in stock $364.67
Cat: 698445 Rel: 09 Aug 18
 
Analogue multi-tap phaser - silver faceplate
Notes: Mega-Phase 12 is an analogue stereo phaser with beefy, very vocal sound. The module is based on the effect pedal Small Stone developed by Electro Harmonix. In contrast to the classic, here you don't have four, but up to twelve stages at hand. The resonance can be picked up from different points in the signal path. Thanks to several inputs and outputs, it is possible to patch a second, external feedback loop with additional effects. Without a doubt the most flexible phaser module on the market.
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 1 in stock $364.67
Cat: 688825 Rel: 01 Aug 18
 
Wave twister/distortion module - black, 10HP
Notes: The V-Shape is two modules in one, a wave twister and a distortion/wavefolding module. Both sections of the module are all analogue in design, and both can be used independently, or they can be normalised together in series, so that a waveform can be twisted first and then distorted and wavefolded.

The wave twister can take (for example) a saw tooth waveform as an input and shape it, under manual or external voltage control, through to being a triangle waveform and on to being a ramp waveform, and produces a sound similar to PWM for sawtooths. It will also work with symmetrical waveforms such as triangle and sine waves, again producing PWM like tones.

It can produce a wave twisting effect from most waveforms (with the exception of square waves), whether they are symmetrical or asymmetric. Under many conditions the transfer function is not perfect, so different harmonics may be generated too. The offset control allows a bias to be added to the incoming waveform, either to bias it correctly around zero or offset it for more distortion and harmonics.

The second part of the V-Shape module is a distortion unit, with selectable Soft or Hard Clipping, and the clipping amount can be varied either by a front panel control or an external control voltage with the "Distort" control. The distortion offset control adds or subtracts a bias voltage to the CV signal, to give an extended range of control. There is also a single stage, switchable wavefolder, which can be used with either soft or hard clipped waveforms.
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 4 in stock $230.04
Cat: 688824 Rel: 01 Aug 18
 
Analogue waveform animator & dual channel device - black, 14HP
Notes: The WaveSwarm is a waveform animator and all analogue dual channel device.

Each channel simulates up to six VCO's beating in unison with a different beat frequency between each animation. The fixed beat frequencies are generated by twelve onboard LFO's, and the front panel pots control the level of each of the six animators, along with the level of the dry signal to the final mix. In addition to independent channel inputs and outputs it also has an A+B output, which sums the outputs of the two channels, creating an effect similar to twelve VCO's in unison! This is possible because channel B uses slightly different beat frequencies to channel A, they are not identical.

The input waveform can be saw, triangle, sine or wavetable/complex waveforms, in fact most waveforms with the exception of square or PWM waves will give some form of animation.

A soft clip circuit is built in so that at higher signal levels the signal magnitude is limited by rounding the top and bottom of the waveforms, thus slightly softening the sound. There are soft clip LED indicators for both channels.

It can produce huge, fat drones or supersaw type waveforms from a single sawtooth or triangle wave input.
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 2 in stock $284.10
Cat: 688779 Rel: 11 Jul 18
 
Stereo headphone driver output - 2HP
Notes: The 'HPO' is an affordable super slim and skiff friendly no frills stereo headphone driver output for your modular synthesiser. Includes a volume control and ability to double up a mono signal into stereo. A great use for that left over 2hp in a skiff or larger system.

Give loved ones, friends and acquaintances a break from your musical 'genius', the HPO offers a solitary cell for focused creativity impregnable from undeserving non-believers.
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 1 in stock $57.24
Cat: 692503 Rel: 18 Jun 18
 
Reproduction of the legendary British diode lowpass filter - 8HP
Notes: Module A-102 is a reproduction of the legendary low pass filter design that uses diodes in the filter stage as frequency controlling elements - resulting in "strange" resonance behaviour and frequency response, as resonance and frequency are not independent from another.

As for the rest, the A-102 is identical to the A-120 Moog low pass filter, the A-103 (18dB TB303 Filter) i.e. the same controls, inputs and outputs. Only the filter sound is different:

- Manual control of filter frequency
- 3 CV inputs (CV1, CV2, CV3), 2 of them with attenuator (CV2, CV3)
- Input level control
- Resonance control up to self-oscillation (depends upon the frequency setting for the A-102)
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 1 in stock $83.03
Cat: 692504 Rel: 18 Jun 18
 
18dB low pass filter based on a modified Moog cascade - 8HP
Notes: Module A-103 is a voltage controlled low pass filter with 18dB/octave slope. The circuit is based on a modified transistor ladder (Moog ladder) and is a reproduction of the legendary TB303 filter.

As for the rest the A-103 is identical to the A-120 Moog low pass filter (same controls, inputs/outputs) only the filter sound is different.
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 1 in stock $75.89
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.
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 1 in stock $127.21
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.
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 1 in stock $108.13
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.
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 1 in stock $117.69
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.
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 1 in stock $145.10
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.
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 1 in stock $267.62
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).
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 1 in stock $142.05
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.
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 1 in stock $153.71
Cat: 697021 Rel: 18 Jun 18
 
B-STOCK: Box opened, product in perfect working order
Notes: ***B-STOCK: Box opened, product in perfect working order***


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!
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 1 in stock $101.77
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!
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 1 in stock $122.97
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.
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 1 in stock $122.97
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.
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 1 in stock $117.22
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.
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 1 in stock $220.50
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.
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 1 in stock $249.12
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.
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 1 in stock $141.40
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.
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 1 in stock $214.14
Cat: 676692 Rel: 18 Jul 18
 
Octal VCA module containing four VCA pairs - 8HP
Notes: A-132-8 is an octal VCA and primarily planned for polyphonic applications. The module contains four VCA pairs. Each pair includes two daisy-chained VCAs. One VCA has a linear control scale, for the second VCA linear or exponential control scale can be chosen by means of jumpers. We decided to provide two VCAs for each voice because usually one VCA is required for loudness envelope and a second one for velocity (or other functions like individual voltage-controlled loudness of each voice, amplitude modulation and so on).

These controls and in/outputs are available:

- Default Gain 1 (GL)
- Default Gain 2 (GX)
- CV Input VCA 1
- CV Input VCA 2
- Audio Input
- Audio Output

In addition, an Audio Sum Output is also available.

The module features two Default Gain controls (GL, GX), that enable the opening of the first VCAs (L) and/or second VCAs (X). For this the controls GL and GX generate two internal control voltages 0...+10V which are connected to the switching contacts of the sockets 1L...4L (control GL) and 1X...4X (control GX). As long as no patch cable is inserted into the socket in question the internal default control voltage (GL or GX) is used to control the corresponding VCA. This is necessary when the VCA in question is not in use (i.e. no external CV available). Otherwise the VCA would close and there would be no output signal even if the other VCA in the chain is open. The controls GL and GX are also useful for testing polyphonic patches (e.g. for tuning the VCOs).

In the factory the CV inputs are adjusted for a CV range 0...+10V - matching to the polyphonic ADSR module A-141-4. But the sensitivity of each CV input can be adjusted by means of a trimming potentiometer to adapt the CVs even to other control voltage ranges.
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 5 in stock $164.31
Cat: 684450 Rel: 18 Jul 18
 
Dual ADSR envelope generator - 8HP
Notes: Module A-140-2 contains two ADSR type envelope generators behind a front panel with 8 HP only.

Each ADSR provides these controls and in/outputs:

- LED (displays the envelope output)
- A: manual Attack control
- D: manual Decay control
- S: manual Sustain control
- R: manual Release control
- Gate Input
- Retrigger Input
- CVT Input with attenuator (CVT = CV Time)
- Envelope Output 1
- Envelope Output 2

The output voltage range for each envelope is 0 - 10V. The time range of Attack/Decay/Release is about 1ms to 30s.

By means of internal jumpers one can select which time parameters are controlled by the CVT input (e.g. D only or D+R or A+D+R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question).

Socket CVT can be normalled to an internal fixed voltage (i.e. the switching contact is connected to an internal fixed voltage). That way it's possible to change all time parameters simultaneously by means of the CVT control.

Another jumper is used to set output 2 to normal or inverted envelope.

And another jumper is used for the normalling of Gate 2 to Gate 1 (i.e. ADSR#2 is also triggered by Gate 1).

Two more jumpers are used for the optional bus access to the gate signal of the bus for each ADSR. Changing the positions of the mentioned jumpers allows to modify the factory settings.
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 2 in stock $136.75
Cat: 694978 Rel: 09 Jul 18
 
Delay stage for clock signals featuring three modes of operation
Notes: The Swing module is simple, but an effective addition to analogue sequencers. Swing is a voltage-controlled clock delay with three modes, which can be used to provide step sequencers with a swing factor.

Swing features a clock and reset input to synchronize to an external clock, and four outputs that can be time delayed.
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 4 in stock $87.99
Cat: 698312 Rel: 08 Aug 18
 
Digital delay effects module for Eurorack - 16HP
Notes: A Digital Delay with an Analogue Soul for Eurorack:

Designed for performance, the EuroDDL features external control of every feature and function. It also has been designed to sound less digital than the average delay. Eventide's old school design strictly limits the amount of digital circuitry to only what's required for delay. Soft saturation clipping, low pass filter, feedback, insert loop, and +20 dB boost are all analogue. Once you hear it, you'll know why this is the ultimate, most musical, Eurorack delay. To be a true performance instrument, all the controls of the Eurorack module must be remote controllable. The EuroDDL does just that with jacks to accept control voltages and triggers. It's designed to be played as an instrument. And, it's designed to 'play nice' in the rack with Return/Send and Clock In/Clock Out.

Built on History from the Originators:

This Eurorack delay is well steeped in history. Its ancestry dates back to 1971 when we created the world's first 1745 Digital Delay Line. Back then, everything in audio was analogue except delay, which is why our original delay line was used to synch the audio feeds to the speaker towers at the legendary 1973 Watkins Glen concert. Now that history has been updated to breathe life into your Eurorack. It's the perfect companion for synthesis and any other instrument.
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 1 in stock $421.91
Cat: 679928 Rel: 13 Jul 18
 
All-analogue ADSR module - 4HP
Notes: CEMvelope is based on the legendary ADSR section of the Sequential Circuits Pro-One monosynth, with minor adaptations to integrate it into Euro format. Smooth and snappy! It has a gate input as well as a trigger input, the trigger input works in conjunction with the gate input for multiple triggering from a suitable controller device.
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 2 in stock $106.27
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