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Notes: No-nonsense analogue business here from JMT. Square wave VCO and sub-oscillators can be morphed and wave folded to create unique timbres.

Supplier's Notes:
The JMT Synth EWG is a desktop analog synthesiser with a wide-ranging VCO and two reconfigurable sub-oscillators that emit square waves, ideal for thick bass tones. Two adjacent knobs can control the pulse of the square waves, allowing for a wide range of tones and timbres. Two reduce knobs govern the leve of each sub-oscillator, allowing the user to blend the tones to their taste. The EWG-1 is powered by a DC9V center negative adapter or a single 9V battery.

Notes: Part of JMT's no-frills synth range, the SNB-2b offers a single voltage-controlled oscillator with three sub-oscillators, allowing you to blend and distort harmonics to create thick, juicy tones.

Supplier's Notes:
The SNB-2b is powered by a centre negative DC 9V adapter or a single 9V battery.

The SNB-2b is a noisy analogue synth oscillator with a distortion function that can emphasize HI, MID, and LO.

The oscillator can be input to the MAIN VCO with a wide range, and the three complex input SUB oscillators can be adjusted at LEVEL and input to the MAIN VCO.

Each of the three SUB oscillators is designed to affect each other, so a wide range of settings are possible with subtle knob position combinations.

The three oscillators are directly input to the waveform of the MAIN VCO, and different waveform changes can be added by adjusting the input level with the LEVEL knob.

It is a model that expands the variety of sounds by fine-tuning the knob and emphasizing the high, mid, and low frequencies of various tones such as noisy dense sounds and intermittent sounds.

From CV IN, you can input CV OUT (sequencer, analogue synth, modular synth) of other equipment and change the MAIN VCO. Since it is a 6.5mm jack, please use a conversion plug when using a 3.5mm cable.

Runs on DC9V negative centre or a 9V battery.

3 sub oscillator effect each other go to main VCO with LEVEL knob.

The main VCO goes to DISTORTION circuit with HI,MID,LO knobs.

The SNB-2b makes a variety of sounds.

CV IN is for VCO pitch. It accepts+-9V voltages.

Notes: Solid Blaze Vinyl Trolley

Tailored for dedicated vinyl DJs, the new Solid Blaze Vinyl-Trolley offers the ideal solution for transporting up to 60 x 12" records with ease and style.

Whether moving from one gig to the next, this trolley ensures both practicality and flair. Crafted from recycled plastic bottles, this eco-conscious design offers interchangeable wear & tear parts, including a replaceable trolley handle and precision inliner wheels, ensure long-lasting performance.

The spacious side and front pockets provide extra storage for headphones, needles, 45s, and essentials, making it the ideal companion for every DJ on the move.

Fits
60 x 12" Records
20 x 7" records (in both side pockets)
15" laptop (front pocket)
Headphones
Needle case

Basics
Fabrics made from 120 0,5 l recycled PET plastic bottles - Global Recycling Standard certified
2 precision PU Inliner wheels (interchangeable)
Outer material crafted from robust and water-repellent RPET 900D Polyester with eco-friendly water-based PU-coating
Main compartment includes internal PVC rain cover
One large front pocket with magnetic flap and two side pockets
Lining made from RPET TC Polyester
Lockable dual PVC-coated YKKr AquaGuardr zippers
Strong carry handle and detachable shoulder-strap
Extra-sturdy 3-stage trolley handle (interchangeable)

Specs

Outer dimensions (H/B/T):: 44 x 42 x 28 cm
Inner dimensions:: 32 x 33 x 20 cm (main compartment)
Weight: 4,5 kg / 9,9 lbs
Colour: black

Notes: THE SBG-PRO supports mono, stereo, balanced, and unbalanced input and output via 6.35mm jacks with level matching controls with clipping indication. The module features both direct and voltagecontrolled equal power crossfading between wet and dry sources.

Additionally, an expression input, along with the included 'floating ring' cable and conditioned output, ensures safe, voltage-limited CV control of external devices from your modular system.

The module extends its sibling, the original S.B.G, by adding full size stereo balanced jack connections and voltage control focusing more on connectivity with not just pedals but also pro audio equipment including rack effects, 500 Series modules and mixing consoles.

Notes: What does this do?

This is an analogue filter with a separate 3 channel mono mixer, and VCA combo. There is also an internal envelope generator with Decay. All this product needs is a VCO and a trigger signal to complete a mini voice.

The outputs on the filter are meant to be manually patched into one of the VCA audio inputs on the module to complete the mini voice. You can mix and match to create custom filter types.

The Feedback on the product 'Rez', is what makes this sound like an MS20 filter. There are diodes, used as a limiter, and also to wave shape when in self oscillation mode.

Features:

-2 audio inputs with 2 level control knobs.

-Bi-polar FM for the filter.

-Mod input with level knob for the filter.

-FCV Filter CV direct input for the filter.

All CV inputs for the Filter are 1V per octave, Exponential.

-REZ CV

-VOLT CUT output. +5v/5v output. Used to remote control another filter, with the master 'Cut' knob.

-Internal Envelope Generator, with Level Sends to VCA and Filter.

-Separate VCA circuit, with 3 channel mono mixer input.

-1 CV input for the VCA. 'VCV'.

-1 VCA output.

The filter will self oscillate into a sine wave and does track 1v per octave.

Width: 16HP

Current: +65mA,-65mA

PCB Stack: 1 Level, Skiff compatible.

Notes: Part of TipTop's exceptional series of Eurorack-format Buchla modules, the 264t provides four sample-and-hold circuits, plus a logic circuit designed to control polyphonic patches. Deceptively simple but surprisingly creative, like most Buchla modules.

Supplier's Notes:
Four independent sample-and-hold circuits, plus a specialized logic circuit for expediently implementing polyphonic patches.

Sample-and-hold's are essentially one-cell analog memories. They are useful for "remembering" the instantaneous value of a control voltage (a detected envelope, for example), for generating equally spaced steps from a constant slope input (as from a 281t envelope generator), and for converting any continuously changing voltage (a random voltage, for instance) into a series of discrete values.

The 264's sample-and-hold circuits have two operating modes: sample and track. In the sample mode, the value of the input is sampled and applied to the output whenever a pulse is received. The output remains at this value until the next pulse arrives. The track mode diers in that an input is applied to the output for the duration of the pulse. The output tracks the input until the end of the pulse and remains at a constant value until the next pulse.

To use the 264t as four independent channels set the separate/common switch to separate. A single CV can be set to all four channels by setting the operate/common to common and plug CV in the the back jack on the with right side.

The Model 264t includes a polyphonic adaptor, which performs the logic necessary to implement four-voice polyphony. Facilities are incorporated for fine tuning and f.m. modulating the oscillators; light emitters display the adaptor's operation.

Specifications:

Size: 18 HP - Depth: 45mm
Power: +12V 60mA / -12V 30mA

Notes: Beatsi is Omni-Tone's love letter to modular drums! Inspired by classic modular drum synthesis which uses the fundamental building blocks, Beatsi's timbres were created using the same methods, only digitally. Beatsi is not a sample player or a physical modeller, and it's meant to be that way.

Beatsi's interface allows for control over individual piece Timbre, Pitch, Decay, and Level. The timbres are organized into 3 kits: an orange (acoustic) kit, a blue (low-fi) kit, and a green (alien) kit. Within these kits the timbres blend smoothly into one another allowing for seamless modulation. Beatsi has two CV modulation inputs which are assignable to any and all parameters with individual attenuversion. Beatsi may be small, but it packs a serious punch.

Technical specs:

- Module Size: 3U X 8HP X 25 mm Deep.
- Current Draw: 160mA (180mA peak)@ 12V, 10mA@ -12V.

What's in the box:

1x Beatsi module
1x User Manual
1x Power cable
1x Jumper cable
4x Mounting screws

Notes: The Octovert is a CV processor capable of scaling, inverting, and offsetting up to eight polyphonic signals. It can also be externally controlled via CV! Its most obvious applications include inverting envelopes, reversing the direction of CV, and scaling plus offsetting any CV source to precisely fine-tune the modulation sweet spot of the target module. With the added feature of external control, it takes things even further by modulating the modulation signal itself for even deeper modulation motion.

Size: 6HP - Depth: 40mm

Power: +12V 18mA / -12V 15mA

Notes: This versatile dual-function Eurorack module offers both a Low Pass Gate (LPG) and a Voltage-Controlled Amplifier (VCA), inspired by two iconic designs in synthesiser history.

Low Pass Gate (LPG)

The LPG is modeled after the classic Buchla design, delivering a rich, organic sound that blends amplitude control with low-pass filtering. Ideal for producing natural-sounding dynamics, the LPG responds to control voltages to create plucky, percussive tones and smooth, woody textures. Its distinctive vactrol-based architecture provides a warm and unique character, adding depth and nuance to your patches.

Voltage-Controlled Amplifier (VCA)

The VCA draws its inspiration from the legendary Minimoog, ensuring a clean, dynamic, and responsive performance. Known for its iconic smoothness and headroom, this design is perfect for traditional amplitude shaping, allowing precise control over audio signals with minimal distortion. The VCA section excels in both subtle modulation and aggressive signal sculpting, making it a versatile choice for any patch.

Power consumption: 30mA at +12V and 47mA at -12V

Depth: 27mm

6 HP

Notes: PM DB25 MKII is an expander output for the MKII versions of the Performance Mixer and Channels.

Pre-fade and Post-fade connections are available for all channels. The DB25 has 16 outputs. All mixer channels are stereo, so one DB25 handles the main PM MKII (either pre or post), and the DB25 can handle 2x Channels (either pre or post).

Simply connect the cable to the Pre or Post headers on the back of the PM MKII or Channels MKII modules to choose pre/post.

The PM MKII has an additional header with both Aux Sends, Master Bus, and Submix Bus.

Connect a DB25 cable of your choice to the front connector and then straight to your DAW or recording interface.

For use with original WMD Performance Mixer, an adapter board can be added on. Please note that width behind panel is increased by 8mm when adapter board is added on. This may require some clever position in your case. The original Performance Mixer still only offers Pre Fader Outputs.

Notes: A fresh, original take on pitch shifting, the HammerOn generates hammer-on pitch shifts which alternate between two different intervals. Seven modes provide a range of effects, from simple hammer-ons to automatic techno guitar sequencing with trills.

Supplier's Notes:
Hands-free Hammer-Ons

Hammer-on notes in conjunction with your hands to create never-before-heard licks and riffs - the only limit is your imagination.

7 pedals in 1

Seven modes range from pitch jumps and harmony effects to pitch sequences and drop/capo tunings - HammerOn is like seven pedals in one.

Play the Impossible

Impossible Mode allows you to hammer-on pitch shifts that alternate between two selectable pitch amounts.

The DigiTech HammerOn is a versatile effects pedal with an amazing amount of flexibility and options to create and channel your musical ideas. Take the time to get to know the many options and see if it sparks new creative ideas.

The PITCH 1 footswitch is dedicated to always be a hammer-on selectable momentary pitch shift above or below what you are playing. PITCH 2 footswitch has 3 different modes of operation selectable using the MODE button. There is a button called DRY+ that can turn on the dry signal and a button called TRILL that can mimic rapid presses of the footswitches.

With all these options it's like having 7 pedals in one:

1. HAMMER-ON: An instantaneous momentary pitch shifter pedal
2. HAMMER-ON with TRILL: A rapid fire hammer-on action pedal
3. HARMONY-ON: An instantaneous harmony creation pedal
4. The IMPOSSIBLE Pedal: A dual alternating momentary pitch shift pedal
5. DROP/CAPO SEQUENCE: A multi-setting pitch transposition pedal
6. SEQUENCE with TRILL: An automatic guitar riff sequencer
7. SEQUENCE with DRY and TRILL: An automatic techno guitar sequencer

Specifications

Electronics
Sample Rate: 44.1 kHz in classic mode, 22 kHz in chords mode
Frequency Response: 20 Hz-16 kHz (classic mode), 20 Hz-11 kHz (chords mode)
Signal to Noise Ratio: > -106dB (A weighted); ref = max level, 22 kHz bandwidth
THD: 0.004% @ 1kHz; ref= 1 dBu w/ unity gain
A/D/A Conversion: 24-bit

Input / Output
Input Type: 1/4" Unbalanced TS
Max Input Level: +5 dBu
Input Impedance: 1MO
Output Type: 1/4" Unbalanced TS
Max Output Level: +10 dBu
Output Impedance: 1kO (Effect enabled or effect bypassed), True Bypass

Physical

Dimensions: 5.12"(13.00cm) x 3.57"(9.06cm) x 1.84"(4.67cm) (L x W x H)
Weight: 1.12 lbs. (508g)

Power

Power Consumption: 2.3 Watts (258 mA @ 9VDC) typical
Power Requirements: External Adapter (included), 9 VDC 1300 mA

Notes: Sometimes pedals can change. Parts drift, pots break, transistors go bad. They go to new homes; they get neglected and resold. Sometimes people get in there and try to revive them to their original state and sometimes they just throw whatever is laying around inside and hope it does the trick. In this case, EQD are pretty sure all the above happened to the fuzz pedal that made its way to James Murphy and ended up finding a forever home with LCD Soundsystem.

Chelsea really does have something special. It's heavy without being too heavy, clean but not too clean. A simple set of controls yet it has an expansive array of tones that makes it very versatile on a wide variety of instruments, has clarity when you need it and can blur all discernable lines when you don't. It still retains the familiar foundation of the classic fuzz it was intended to be, but something special happened to it over the years and it has very much grown into its own thing

Notes: The signature tones of a guitar legend on your pedalboard

Joe Satriani's TONEX ONE is the latest product of IK's ongoing relationship with one of the guitar world's most respected players. It is truly something special. Handmade in Italy in a custom chrome finish, this limited-edition pedal comes preloaded with 20 presets created by Joe. These exclusive presets feature Tone Models from his Amp Vault Signature Collection, also included, but go beyond that by incorporating Joe's choice of TONEX FX to recreate the great moments of his recording career.

"The TONEX ONE roars and shimmers like its full-size big brother, the mighty TONEX Pedal. You can use it as a standalone amp, a recording interface, or even a headphone practice amp. And it looks amazing!"
Joe Satriani

20 Custom presets with TONEX FX

Exclusively with TONEX ONE Joe Satriani, you'll immediately experience 20 presets custom-designed by the artist himself. All presets feature Tone Models from Joe's TONEX Amp Vault collection, plus the new TONEX FX blocks to recreate his essential tones in one compact pedal.

The preloaded tones range from the early years to new sounds featuring his latest Signature 3rd Power Dragon Amplifier. The presets are inspired by and named after classic songs, including "Time Machine," "The Extremist," "Summer Song," "Ice 9," "Crush of Love," "Love Thing," and many more.

Includes Joe's Amp Vault Signature Collection
This limited-edition pedal includes Joe's complete Amp Vault Signature Collection for TONEX, featuring 28 amplifiers from his private collection. Joe handpicked each amplifier, dialed in his favorite settings and captured them using IK's Advanced AI Machine Modeling at Sammy Hagar's Red Rocker Studios.

The 67 Tone Models are incredible and a testament to Joe's relentless pursuit of great tone and generosity in sharing them with the TONEX community.

Specs

TONEX ONE

20 customizable presets
Ultra-low noise, 24-bit/192 kHz converters.
5 Hz-24 kHz frequency response
Up to 123 dB dynamic range
USB connection/ 24-bit/44.1 kHz audio interface
Power Source: 9V DC, 120 mA (not included) or via USB-C
Size: 48 mm/1.89" (W) x 94 mm/3.7" (D) x 53 mm/2.09" (H)
Weight: 160 g/ 5.6 oz

Package includes

TONEX ONE
USB C-Type to USB C-Type connection cable (0.6 m/2 ft)

Notes: The legendary Strymon deliver quality goods once again with this analogue-inspired stereo delay. Single head sound gives a classic 60s vibe with modulation and subtle imperfections.

Supplier's Notes:
Experience the dreamy sound of a classic '60s tape echo complete with the harmonic richness of the accompanying tube preamp. Enjoy organic and ethereal modulation produced by countless subtle mechanical imperfections, and easily dial in anything from warm slapback to expansive echo feedback beds with a strikingly gorgeous stereo image. With beautifully-tuned low frequency response, lush tape saturation and sublime echo decay, EC-1 provides all the best of what a tube driven tape echo can deliver.

EC-1 offers impressive power and flexibility in a small and elegant form factor: Selectable tube-modeled preamp voices. Artifact-free tap tempo. Discrete stereo operation for independent processing of the left and right stereo inputs. Straightforward controls and expression pedal capability. High-impedance, ultra-low noise discrete Class A JFET stereo input preamp for exceptional touch sensitivity, dynamics and feel. MIDI control of tempo, patch save/recall and more. Premium components, rugged construction and a USB jack for performing firmware updates or controlling the pedal from a computer.

Featuring meticulous tube modeling techniques, EC-1 offers a choice of two authentically reproduced preamp circuits that lend a subtle vintage character to your input signal. One is based on the classic EP-2 tube preamp and features an enhanced high-end shelf perfect for brightening up darker humbuckers. The other preamp option (the default setting) produces a warm, balanced response based on the modded preamp circuit in the EP-2 unit that we studied during the development of EC-1. This option adds a pleasing sense of heft, especially to single-coils. Both preamp choices offer an optional boost of up to +6dB, or the preamp can be bypassed for an unprocessed dry signal if desired.

Strymon's unique dTape technology was first developed for El Capistan, and they have expanded on it to reproduce all the inspiring nuances weencountered while studying a recently-acquired tube Echoplex that was in uncommonly superb condition. Our dTape system allows precise replication of every aspect of every tape echo we've studied, and in EC1 this includes the effect of the moving head, the tape condition, the bias setting, the mechanical effects of motors, capstan slippage and all the irregularities that add up to create the unmistakable, inspiring sound of vintage tape echo repeats.

Whether you want the cleanest repeats, subtle fattening or even downright dirty echos, you can instantly dial in the desired amount of tape saturation with the flip of a switch. Providing pleasing tonal shifts from thinner to fatter, EC-1's three-way Record Level toggle switch selects the gain of the signal fed into the virtual record head. Choose the low position for unity gain with optimized bias for the cleanest repeats, medium for a 6dB input signal boost with increased bias for slightly saturated repeats, or high for a 12dB input signal boost with further increased bias for heavily saturated repeats. This control also gives you a fast and easy way to match EC-1's response to your input signal level to obtain the desired sound from any pickup type or pedalboard configuration.

For EC-1, fluctuations from motors and mechanical components were thoroughly studied to accurately capture their imperfections. At the lower end of the Mechanics control's range only slower motor-related wow and flutter are present, but at around one o'clock these fluctuations are reduced in favor of faster disturbances from crinkle, splices, and capstan slippage which accurately replicate the sound of our golden EP-2 unit.This setting can create uniquely reverberant and three-dimensionalechos that spread across the stereo spectrum. The slower fluctuations are mixed back in more prominently as you approach the maximum Mechanics setting, and the unique combination of multiple imperfections create truly gorgeous, organic stereo modulation effects unlike anything you've ever heard.

The frequency characteristics of tape echo repeats are determined in part by the bandwidth of the actual tape stock, so older tapes will have a lower bandwidth with a warmer top end. EC-1 allows you to faithfully reproduce these characteristics by turning up the Tape Age knob for warmer repeats, or turning it toward minimum for the full-bandwidth sound of fresh tape.

EC-1 is designed to allow high levels of repeats that are truly lush but that don't spiral into uncontrollable feedback. That wide sweet spot on the edge of runaway feedback can create intriguing sound beds under your lead or rhythm playing. Of course if you want to crank the Repeats control to maximum and play with the unique pitch effects that only a sliding record head tape echo can produce, those effects are all precisely replicated in sound and response.