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Notes: ***B-STOCK: Dent on the side, product in perfect working order***


This long-awaited FM voice module from Jomox is a self-contained synth in Eurorack format, patchable and compatible with other modules but capable of creating eight-voice polyphonic patches all on its own. Vastly powerful.

Supplier's Notes:
The Mod FM is a completely self-contained 8 voice FM synth in eurorack format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM, although the FM engine is digital of course.

Each voice has own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM has Midi in and out in TRS type A format and a USB C connector which handles Midi too.

Even without diving too much into complicated modular setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds.

Furthermore, the Mod FM offers a variety of external cv modulations in order to e.g. modulate each operator individually or control the FM envelopes.

The Mod FM is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but editings made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Modular is great but can be very complex, and you might be trapped in a system where you never reach again the desired sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

Because it gets pretty quickly uncontrollable if you turn all the knobs because of the feedbacks, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-VCA which is important for snappy sounds. The same transistor-VCA is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

Notes: Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.

Notes: Debut release from Pioneer parent company AlphaTheta, the Wave-Eight offers ultra-low-latency hi-fi sound over wireless SonicLink connection. Up to eight hours operation with built-in battery, waterproof design, and impressive portability thanks to 12.7 kg total weight per unit.

Supplier's Notes:
SonicLink ultra-low-latency wireless technology

Cable-free DJing is possible with the WAVE-EIGHT, thanks to SonicLink. This ultra-low-latency technology wirelessly transmits audio much faster than a Bluetooth connection so only a fraction of a second passes between pressing play on the decks and hearing the track through the speaker.

Switchable sound modes

The WAVE-EIGHT features several modes you can change between with a single switch to create the type of sound you need, including Mono, Stereo, and Subwoofer mode.

Combinable with the OMNIS-DUO

If you combine the WAVE-EIGHT with the OMNIS-DUO portable all-in-one DJ system, which also features battery power, you can play cable-free for total freedom.

Battery power and waterproof design

A full battery charge gives you 8 hours of music on the WAVE-EIGHT. The unit is also waterproof, with an IPX4 rating, so it's ideal for using outdoors.
And there's a USB Type-C port for
charging a phone or other device.

Professional sound quality
With a highly efficient Class D amplifier, a newly developed 8-inch driver, and a Vortex Bass Accelerator which delivers clear and powerful bass, the WAVE-EIGHT will bring the vibes and the punch to your party's sound, even in outdoor settings. To cover larger events and spaces, you can easily add more units to your setup with the SonicLink connection.

Easy portability

The extendable handle, casters, and additional grab handles make it easy to carry the WAVE-EIGHT to any location on your own. There's a pole socket built-in too, so you can mount the speaker on a stand for extra height.

SonicLink ultra-low-latency wireless technology
Combinable with the OMNIS-DUO
Professional sound quality
Switchable sound modes
Battery power
Waterproof design
Easy portability

Dimensions: (W × H × D) 300 × 554 × 337 mm / 11.8" × 21.8" × 13.3?"
Weight: 12.7 kg / 28.0 lbs.
Frequency range: 2.4 GHz (2.4000 GHz - 2.4835 GHz)
EQ modes: Music / Music (Low Cut) / Flat / Flat (Low Cut) / Vocal / Subwoofer (Low Cut mode is intended for use on units that are combined with a WAVE-EIGHT set to Subwoofer mode.)
Battery life / Battery spec: Approximately 8 hours
Internal battery charging time: Approx. 4 hours with power off / Approx. 6 hours with power on
Terminal
Input: XLR/TRS combo jack × 2, 1/4" TRS jack × 1, 3.5 mm stereo mini jack × 1
Output: XLR × 1

Notes: This long-awaited FM voice module from Jomox is a self-contained synth in Eurorack format, patchable and compatible with other modules but capable of creating eight-voice polyphonic patches all on its own. Vastly powerful.

Supplier's Notes:
The Mod FM is a completely self-contained 8 voice FM synth in eurorack format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM, although the FM engine is digital of course.

Each voice has own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM has Midi in and out in TRS type A format and a USB C connector which handles Midi too.

Even without diving too much into complicated modular setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds.

Furthermore, the Mod FM offers a variety of external cv modulations in order to e.g. modulate each operator individually or control the FM envelopes.

The Mod FM is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but editings made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Modular is great but can be very complex, and you might be trapped in a system where you never reach again the desired sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

Because it gets pretty quickly uncontrollable if you turn all the knobs because of the feedbacks, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-VCA which is important for snappy sounds. The same transistor-VCA is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

Notes: Genuine standalone all-in-one DJ system courtesy of Denon's battery-powered Prime Go. Up to four hours of battery life (you can plug it in too) in a two-deck setup with HD touchscreen, effects and lots more.

**** Update March 2024- Engine DJ 3.4 Performance Software for Hardware (OS) ***

New Features
Bluetooth Audio Input and Keyboard Connection for Supported Devices

Bluetooth Audio Input - Wirelessly play audio from a Bluetooth-capable device on your supported Engine DJ hardware

Assign to any individual hardware channel or main audio output
Assign to layer A or B on the Denon DJ SC6000 and SC6000M
Bluetooth transport controls allow you to play, pause, and track skip using the touch screen or hardware controls when connected to a capable Bluetooth device
Hardware screen displays Track Title, Artist, and track progress when connected to a capable Bluetooth device

Bluetooth Keyboard Support - Search for songs on your Engine DJ hardware more quickly and efficiently
Bluetooth menu option in the Control Center allows you to connect and manage Bluetooth keyboards and audio devices

Additional Bluetooth Compatibility Information

It is recommended that you confirm the Bluetooth connectivity and functionality of your computer, smartphone, or other device before using it in a live situation

Not all Bluetooth devices and audio applications provide support for Bluetooth Transport controls and track information

Track Progress is not updated on Engine OS when it is adjusted using the originating software/app

Engine DJ Preparation Software (Desktop)
Improvements and Fixes

Fixed an issue where sync manager export would take longer if SoundSwitch content is being packed

Fixed an issue where tracks would not pack via drag and drop if there are 2 drives with the same or similar names connected

Various other stability enhancements and improvements

Supplier's Notes:
With up to 4-hours of builtin, lithium-ion battery power, PRIME GO is the ultimate, backpackable, most portable standalone DJ console ever. Prepare DJ sets on a plane, train or car, use as a fully featured pro-grade back-up for larger events, or play outdoor, mobile, after-party or club gigs.

Powered by a dedicated, multi-core internal processor, the PRIME GO runs 'Engine OS.' A purpose-built embedded software platform built for DJs offering you super-fast track load times, intuitive navigation, management, and search, so you can be at your creative best. The mission for Engine OS is clear, to keep evolving, providing more creative features to enhance the DJ's performance and experience.

PRIME GO's, 7" HD Touchscreen gives DJs tactile control of digital media library navigation, waveform views plus track search and load. It offers familiar 'touch/swipe' control over WiFi streaming of premier music services and enables direct, onboard recording to connected USB/SD media.

Small in size but BIG in connectivity and DJ workflow features. PRIME GO has independent dual mic control, pro-grade I/O and 24-bit/44.1kHz audio quality. All critical pro-DJ features are at hand, including dual-FX engines, 2-deck mixing, auxiliary input plus bank switching performance pads.

7", HD multi-touch display for waveform views, music library navigation, track preview, search and load.

Assignable Beat FX module and in-line Sweep FX/Filter combine for creative audio contouring.

Dual-bank (2x4) ultra-responsive trigger pads for hot cue juggling, looping and beat rolls.

With built-in Wi-Fi and an Ethernet Link port for hardwired internet connections, the PRIME GO connects you with your favorite music streaming service or personal cloud storage without being tethered to a computer. Log in to your streaming account directly on the unit for instant access to the world's largest music collections. The PRIME GO offers a vast array of streaming service options including Beatport/Beatsource Streaming, SoundCloud GO+, and TIDAL, so whatever the genre the PRIME GO has you covered. If that's not enough, connect your Dropbox account to access your personal music collection remotely from anywhere in the world.

No sacrifice of line faders with 2 independent, level controlled mic channels plus 1/4" jack and mini-jack headphone monitoring.

Pristine 24-bit/44.1kHz audio quality with 2-channel mixer, crossfader and 3-band EQ control. Timestretch and Key Shift functions for creative 'Open-Format' DJing.

Audio
Frequency Response: 20 Hz - 20 kHz (+/- 1 dB)
Dynamic Range: > 109 dB (A-weighted)
Signal-to-Noise Ratio: > 92 dB (A-weighted)
Channel Separation: < -88 dB (1 kHz, unity)

Headroom:
Aux: > 15 dB
Mic Input: > 20 dB
Outputs: > 15 dB

T.H.D.
Aux: < 0.01% (1 kHz, unity)
Microphone: < 0.02% (1 kHz, unity)

Analog Input:
Aux: +15 dBV (maximum), 0 dBV (unity)
Microphone: -40 dBV (unity), -54 dBV (minimum)

Analog Output:
Master, Balanced: +18 dBu (maximum), +4 dBu (unity)
Master, Unbalanced: +15 dBu (maximum), 0 dBu (unity)
Booth: +18 dBu (maximum), +4 dBu (unity)
Headphone Output: < 40 mW

Connections:
(2) XLR outputs (master left/right, balanced)
(1) RCA output pair (master left/right, unbalanced)
(2) 1/4" (6.35mm) outputs (booth left/right, balanced)
(1) 1/4" (6.35mm) stereo output (headphones)
(1) 1/8" (3.5mm) stereo output (headphones)
(1) RCA input pair (line-level, unbalanced)
(2) XLR + 1/4" (6.35mm) inputs
(1) USB ports (for USB drives)
(1) USB port (to computer)
(1) SD card slot
(1) Ethernet port
(1) Power adapter input

Power:
Connection: DC, Center Positive
Voltage: 19V 3.42A
Consumption: 30W maximum
Dimensions (Width x Depth x Height): 411mm x 274mm x 53mm/16.2" x 10.8" x 2.1"

Weight (Without USB and Power Cable)
8.11 lbs./3.68 kg

Notes: ***Now featuring Assimil8or Software Version 2.0! Available to download here: http://www.rossum-electro.com/products/assimil8or/

The ASSIMIL8OR is a CV/Gate-controllable sampler with eight independent channels. Each channel is not only its own voice, but also has a separate audio output and a gate/trigger and three CV inputs. Given ever get two sample inputs and main outputs. Thus, Stereo Sampling and playback is possible. Mixed operation of stereo or mono is possible and is limited only by the maximum number of eight channels or parts.

The ASSIMIL8OR works with high-quality 24-bit AD and DA converters. Internally, however, sample and bit rate for lo-fi sound can be lowered, the latter is even CV-controllable. The samples can also be otherwise manipulated in many ways. Thus, the phase of a sample via CV or a different sample can be modulated. Likewise, the loop points can be controlled and the sample can be traversed with CV control (scrubbing), whereby wavetable similar effects could be achieved. The following parameters can be addressed via the gate / trigger and CV inputs:

- Pitch
- Level
- Bit Depth
- Phase Modulation
- Pan
- Scrub
- Sample Start
- Sample Length
- Loop Start
- Loop Length
- Release Decay

Samples and presets are stored on an SD card, which is easily accessible plugged into the module front.

Notes: The ISLA Instruments Caladan Is an expandable 8-part analogue/digital multi-timbral desktop synthesizer module boasting multiple synthesizer engines by way of voice cards. Sharing much of its DNA with Isla's S2400 desktop sampler and the Futuresonus Parva MPE Synthesizer, released in 2015.

Without any voice cards installed, the Caladan has its own internal digital synthesizer engine with playback capabilities of Soundfont (.sf2) and SFZ multisample formats, with the added benefit of being able to run a (possibly multiple) plugin based synthesizer (VST, LV2, CLAP formats). Isla's target for this is 32-Voices (subject to change).

Voice Cards

Caladan has internal slots for up-to 8 voice cards, accessible via an easy access 'trap door' underneath the unit. Said cards are able to be essentially any type of synthesizer, be that pure analogue, digital or a hybrid of both. The voice card API will be open sourced with development kits made available, allowing other designers and developers to create synthesizer cards for use in the Caladan.

At launch, an improved version of the original Parva voice card will be available, the specifications of which are as follows:

Oscillators
3 Digitally-controlled analogue oscillators per voice
Sawtooth, triangle, and PWM waveforms
Variable-width saw waves
Tunable +/- 5 octaves
Hard Syncable
Independent level controls
Envelopes
4 4-stage (ADSR) envelopes per voice
Exponential curves for punchy attack and natural decay
Linear mode also available
Loopable envelopes
Routable to >40 destinations
Modulation
4 LFOs per voice
Sine, sawtooth, triangle, and square waveforms
Random sample-and-hold
Stepped LFOs
Free-running or key-synced
Routable to >40 destinations
Polyphonic Aftertouch
Filters
2 configurable voltage-controlled filters per voice
24db or 12db low-pass or high-pass modes
12db bandpass mode
Self-oscillating
Filter FM

Further Cards
Additionally, Isla also have the intention of creating the following voice cards.

Dual OPL3 4op FM card with analogue filters/VCAs (already in development)
SEM / OB-X card (already in development)
Analogue Percussion card
Mini Moog card
SH-101 card
String machine card
TB-303 Card

More Specifications.
MPE Support
RGB led rings (yes, you can change colours) enabling simultaneous viewing of parameters across different voices/cards per knob.
USB Host and Device ports, both class compliant for MIDI controllers.
Standard MIDI DIN In/Out/Thru
4 x independent CV & Gate inputs
8 x Stereo output busses
Main & Sub Mix outputs
High quality steel/aluminium enclosure, comparable in build/looks to the S2400 (and compatible with the same side panels for wood lovers)
Universal mains powered (100-250v AC)

Notes: Redefine the beat: your control, your performance.

The MPS-10 is a game-changer in drum and percussion technology. Built with both durability and precision in mind, it's designed to meet the evolving needs of today's drummers and percussion performers.

Six versatile pads offer a rich array of sounds, while 4 ground-breaking CC pads give real-time control as never before. Expand the possibilities further with an intuitive sampler and powerful 4-track looper, alongside inputs for external triggers and footswitches.

MPS-10

6 instrument pads
4 CC pads
4-track looper
Intuitive sampler
Huge library of instruments and samples
Powerful effects
Smooth Sound Transition
External triggering capabilities

Take your performance on the road

Created to be an indispensable companion for drummers and percussionists, the MPS-10 is a powerful blend of sonic capability and performance control. It features a deep library of 2,350 assignable instruments and more than 3000 high-quality samples that range from dynamically expressive instrument tones with captivatingly nuanced variations based on your strike's intensity, to the essential electric instrument sounds that drive modern drumming today.

Powerful effects

MPS-10 has an incredible default master reverb and filter, further enhanced with two insert and one master effect slot. Effects can be easily toggled for each pad, making intricate tonal changes a breeze.

Seamless transitions

Experience uninterrupted creativity with the Smooth Sound Transition (SST), ensuring flawless kit transitions after striking a cymbal or repeating a sample. When you need guaranteed silence, a simple press of the "sound off" button has you covered.

Looping unleashed

MPS-10 features an incredibly flexible and powerful 4-track looper. With dedicated looper effects, crafting intricate looping phrases is easy. Synchronized settings ensure flawless playback across tracks, and each track can be exported as an audio file!

The CC pad revolution

At the top of the MPS-10 sits four CC pads. These give you a level of control never before seen on an instrument like this. Able to detect the strike position with incredible precision, these pads give you powerful control over parameters such as filtering, EDM-inspired drum rolls, and real-time tonal transformations through versatile MFX functions.

Unlock your creativity

The sampler function within MPS-10 liberates your creativity, allowing effortless importing of user samples. Seamlessly import sounds from a USB flash drive and assign them to any pad, and even replace portions of preset kits to build your own personal sound set.

See your sound

Take centre stage with confidence thanks to the vivid full-colour display - easy to read even under the brightest lights. Tailor the saturation to your preference, and with three-color LEDs illuminating each pad, MPS-10 ensures seamless performance on even the dimmest stages.

Craft your kit

Crafting your signature kit is a breeze with the MPS-10 Editor, a user-friendly web app. Simply connect the MPS-10 to your computer via USB, and dive into a realm of endless creative possibilities as you shape your own unique kits.

External triggering
Dual trigger-in terminals accommodate up to four triggers and pads via a Y shaped cable, giving a total of 15 sounds within one kit. MPS-10 even features a dedicated bass drum trigger (pad 11).

Built to perform

Developed by the team behind the WaveDrum and Pearl e/MERGE, the MPS-10 provides the ultimate drum pad experience. In pursuit of a combination of durability and performance, a high-quality rubber material was perfected through extensive consultation and trialling with the most demanding professional players. The perfect balance of feel and sensitivity enables drummers and percussionists to express themselves naturally. The pad layout is designed to ensure the ideal striking position when integrated into a drum kit, resulting in comfortable playing and superior strike detection.

Specifications

Kits

200 (including user KITs)
INST 2358
SAMPLE 3000

Effects: 77
Max Polyphony: 48

Audio outputs: Headphones (6.3mm TRS); MAIN OUT L, MAIN OUT R, SUB OUT 1, SUB OUT 2
Audio inputs: LINE IN L/R, MIC IN (6.3 mm TRS phone jacks)

Control inputs
CH A/B, C/D (6.3 mm stereo phone jacks)
Foot pedals: 1, 2 6.3 mm TRS phone jacks)
Expression pedal (6.3 mm TRS phone jack)

MIDI/USB
MIDI Out
USB-A (Type-A) USB standard ver. 2.0, Hi-Speed compliant (480 Mbps)
USB-B (Type-B) USB standard ver. 2.0, Hi-Speed compliant (480 Mbps)

Internal memory: 32gb (inc. preset data)

Audio playback WAV, 44.1 kHz/48 kHz, 16-bit (up to 60 minutes long)
AIFF, 44.1 kHz/48 kHz, 16-bit (up to 60 minutes long)

Display: 320 x 240 backlist colour LCD
Operating temp: 0 to +40oC
Power supply: AC adapter (DC 9V)
Dimensions: 424 x 264 x 75mm
Weight: 2.3kg
Included items: AC adapter

Notes: The legend is back. Updated and re-engineered for the 21st century, the classic Technics DJ turntable remains the industry standard. Top sound, top build quality.

Supplier notes:
The SL-1210MK7 is the newest model of the SL-1210 Series. For the development of this model, all that modern-day DJs need and want was reviewed from the ground up. At the drive section of the MK7 is a coreless direct drive motor. While achieving both stable rotation and powerful torque, this has successfully eliminated a rotation irregularity called cogging, which was the only drawback of the direct drive system. As a result, sound quality was further improved. The pitch control incorporates digital control to achieve improved tracking performance and accuracy. The buttons and tonearm are black to complete the all black design, and the LED light can be set to illuminate in red or blue. A reverse play function has been added to expand the breadth of DJ play style. With those features and functions, the MK7 aims to set a new standard for DJ turntables.

Notes: Silver version of the rebooted SL-1200, updated and refreshed in MK7 form. Still sounds great, still built like a tank and still the industry standard DJ deck.

Supplier's Notes:
Coreless Direct Drive Motor Achieving Stable Rotation

The direct drive system uses a slow-turning motor to directly drive the platter. This system has various advantages. It offers high performance, such as rotation accuracy and powerful torque, does not require replacement of parts and maintains high reliability over a long period of time. On the other hand, the direct drive system was said to produce a rotation irregularity called cogging. For the SL-1200MK7, a new coreless direct drive motor was developed. This motor employs a coreless stator. The removal of the core (iron core) from the stator eliminated the root cause of cogging. Furthermore, the magnetic force of the rotor magnets was improved to the highest possible level, and the gap between the coreless stator and rotor magnets was optimised, thus achieving high-torque-performance equalling that of the SL-1200MK5. Boasting smooth rotation and powerful torque, this motor reproduces sound accurately and faithfully from the groove on an analogue record.

Diverse New Functions Adapt to Various Playing Styles

The newest digital motor control technology, accumulated through the development of Blu-ray disc products, is applied to improve adjustment by allowing the torque and brake speed to be adjusted individually in four steps.

The pitch control function allows fine adjustment of the rotation speed within i8 % / i16 %. It does this through digital control, from positional detection of the slider to rotational control of the motor, eliminating the unnecessary DA conversion. This greatly improves tracking performance to achieve accurate and stable pitch adjustment.

Reverse Play Function

The reverse play function, which brings forth new possibilities of creative performance, makes its first appearance in the SL-1200 Series. In addition to 33-1/3 rpm and 45 rpm, a rotation speed of 78 rpm is supported.
*The torque / brake speed adjustment, rotation speed switch, and reverse play can be adjusted by switches on the main unit.

The tonearm, which has continued to support the leading edge of the DJ scene for many years, inherits the highly reliable static-balance universal S-shape tonearm. Using high-precision bearings, it achieves a higher initial-motion sensitivity than the SL-1200MK6. This accurately tracks the groove on the phonorecord to assure excellent tracking performance with minimum stylus jumping even in harsh playing conditions such as scratching.

The stylus illuminator features a new push-type structure for intuitive operation, and employs a high-brightness and long-life white LED. The illumination area and intensity were reviewed to provide improved visibility of the stylus tip even in a dark environment.

Power / Phono Cable Terminals

The power and phono cable terminals allow detachment of the cables. The phono terminals are gold-plated to minimise sound quality degradation. Since the terminals allow disconnection of the cables, maintenance of the cables is easier.

High-rigidity Cabinet and High-damping Insulator

The chassis, an essential part for reducing external vibrations, inherits the audio quality enhancement technology fostered through the development of high-end turntables. The aluminium die-cast chassis is rigidly integrated with a special material consisting of ABS mixed with glass fibre to achieve a two-layer construction. The combination of this special high-rigidity material and a metal chassis raised the rigidity and vibration-damping performance to higher levels, realising a robust cabinet for beautiful sound reproduction. The insulator is comprised of a spring and rubber to provide optimal frequency characteristics. This not only assures high sound quality and superb howling resistance, but also effectively shuts out external vibrations under high sound level conditions.

Specs:

Type: Direct Drive Manual Turntable
Turntable Speeds: 33-1/3, 45 rpm (with switch 78 rpm)
Starting Torque: 0.18 N .m / 1.8 kg . cm
Build-up Characteristics : 0.7 s. from standstill to 33 1/3 rpm
Wow And Flutter: 0.025 % W.R.M.S.
Turntable Platter: Aluminium diecast
Diameter: 332 mm (13-5/64 inch)
Weight: Approx. 1.8 kg (4.0 lbs) (including slipmat and slipsheet)

Tonearm
Type: Universal Static Balance
Effective Length: 230 mm (9-1/16")
Overhang: 15 mm (19/32")
Tracking Error Angle: Within 2- 32' (at the outer groove of 30 cm (12") record) - Within 0- 32' (at the inner groove of 30 cm (12") record)
Offset Angle: 22-
Arm-height Adjustment Range: 0 - 6 mm
Stylus Pressure Adjustment Range: 0 - 4 g (Direct Reading)
Head Shell Weight: Approx. 7.6 g
Applicable Cartridge Weight Range: (without auxiliary weight) 5.6 - 12.0 g, 14.3 - 20.7 g (including head shell)
Head Shell Terminal Lug: 1.2 mmf 4-pin terminal lug

Notes: 24-channel flagship version of Korg's hybrid mixer, combining analogue and digital features designed by mixer royalty Greg Mackie and Peter Watts. Supremely flexible with great sound.

Supplier notes:
A mixer should not only sound good. It should be very easy to use.

Korg has collaborated with the legendary mixer design team of Greg Mackie and Peter Watts to create hybrid/analog mixing consoles that make creative mixing easy. Both the 24- and 16-channel models give you instant analog control for live mixing with stunning sound quality and more musician-friendly features than the competition - paired with the power of high-quality digital where it counts.

Use a SoundLink and you discover all the typical Greg Mackie features that are unique to SoundLInk; hear your first live mix and discover why Peter Watts helped design legendary Trident consoles and then hundreds of high-end studio processors and preamps. Besides designing mixers, Greg Mackie has been mixing on them for over 40 years.

When you listen to the "White Album", Rhianna's "Rated R" and "Loud", "Goodbye Yellow Brick Road" and literally hundreds of other familiar albums, you're listening to the legendary Trident mixing console sound. Peter Watts had an important role in Trident technology; he brings the same rich, warm preamp, EQ and dynamics quality to the products he designs today. HiVolt mic preamps give you the most headroom of any comparably-priced analog or digital mixer (16.5V internal voltage, even on stereo channels where other mixers skimp). They sound warm and musical.

It is the only small mixer that has Mute Groups. They let you instantly call up different combinations of channels for various groups on stage, different songs, sound checks, a solo acoustic number, a drum solo or different parts of a church service (choir, praise band, pastor. You get four Group options, each easily programmable and recallable.

Some musicians want to hear more of their own instrument or voice in their in-ear or floor monitor, a process that is complicated to change on other mixers. SoundLink's Musician's Phone feature provides one-knob boost of the complete left/right mix into the musician's individual track. Instead of having to change main mix settings or take up a bus, you have dedicated knobs for two musician's "more me" monitor mixes.

Instead of a generic digital effects processor chip, SoundLink mixers use a high-quality proprietary Korg custom chip that builds on all of Korg's multi-decade expertise: twenty four ultra-realistic digital effects. For example, all six reverb effects include an alternate "WARM" version - a touch veteran Korg users will tell you is very useful. Parameters of all effects can be tweaked, saved and recalled, and activated by an optional footswitch. Plus, you get test tone generators for use with the built-in 24-band Spectrum Analyzer that's another SoundLink exclusive in a mixer in this price range.

Digital processing and effects are frustrating if they're buried in some long, scrolling menu inside a menu. For EQ and other control features, and a row of individual L/R, AUX 1 and Aux 2 assign buttons for both Equalization and Dynamics makes mixing easier. SoundLink's Limiter, Compressor, Noise Gate are both effective without being harsh or exaggerated. Each has tweakable, recallable parameters. Coupled with a 31-band Spectrum Analyzer, our super-practical 31-band/9-band ParaGraphic EQ solves acoustical problems other small mixers can't handle.

Notes: The S1 is a promotional bundle that Tiptop Audio is offering to users, providing a 33% savings to get you started with ART. With these bundles, this incredible voice is included: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by the beloved 4-pole Z2040 filter that has been with TipTop since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

ART QUAD QUANTIZER is a four channel CV to ART Quantizer to play ART oscillators from CV sequencers, LFOs and anything that outputs CV. This is Tiptop's second ART controller option and is designed for those of us playing ART without a computer or MIDI source. The inputs take in positive, negative, bipolar CV voltages. Scales include Major Minor and the five other modes (Dorian, Lydian, etc). The module is simple to set up with a simple menu and one knob with switch for navigation. The 4th channel can be set to generate Chords and polyphonic note streams for ART Polyphonic oscillators.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 38mA / -12V 4mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.

Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop's redesign of the most famous analogue filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colourful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: Make Noise's 208hp 7U 4 Zone CV Bus Case arrives ready to use. Just add modules, patch cables and inspiration. The powder coated metal construction offers excellent mechanical durability. The lid is removable and can be closed with the system fully patched. The sleek matte black finish was selected to match Make Noise's line of Black & Gold modules, and it looks great with just about any module installed. This finish will show the story of your modular synth's travels over the years.

The Make Noise 4 Zone Power Bus Board is a new approach to accommodating the ever-growing universe of Eurorack modules. The multi-zone solution is like having 4 independent bus boards in a convenient single bus board package. Each Zone features isolated +12 VDC and -12VDC supplies and a dedicated ground return path. The +5VDC supply is shared amongst all 4 zones.

The multiple section of the CV Bus was originally designed in 2013 for Alessandro Cortini's personal Make Noise system. It provides visual indication of level, rate and polarity for up to 4 control signals that will be shared throughout a patch. These 4 control signals are colour coded and distributed across the centre of the system allowing for quick, clean and intuitive patching. The distribution method is unlike the typical multiple since the control signals will appear beneath their possible destinations allowing for the use of shorter patch cables. The colour coding and visual indication makes navigating complex patches easier and more intuitive. Typically, the CV Bus would be used to share the most important control signals in a patch such as your Master Clock.

This new version of the CV Bus also includes useful modular utilities:

The Voltage Math is found at the left end of the CV Bus. Like the similar circuit on the 0-Coast, it is a small collection of universally useful modular utilities. The two inputs are summed at the output, one at unity and one adjusted by the input attenuverter. The attenuverted input is also normalled to a DC offset, for purposes of level shifting, voltage mirroring etc. The output strength and polarity is indicated by the Green and Red output LEDs.

A high quality Stereo Line Driver converts powerful modular synthesizer signal levels to the commonly used Line Level. There are mini-jack inputs for Left or Mono, and Right for Stereo sound, a single master volume control, as well as a stereo line output pair, and finally a TRS line/headphone out on a single jack. This output is capable of driving a long cable out to a PA System or a set of Headphones. It is AC coupled with a built-in limiting circuit (with visual indication) that prevents damage to ears and PA system when the patching gets experimental.

Includes

Two 104 hp 3U rows for Eurorack modules, One 104hp 1U row fitted w/ CV Bus
Hybrid switched/linear power solution for low noise and excellent load regulation
Multi-Zone, allowing isolation of noise-prone modules from noise-sensitive ones
Black powder coated metal w/ embossed logo on lid
Sealed to keep dust out during travel or storage
Lid offers space to close w/ your system patched
Recessed side mounted on/off switch and power inlet for safe travel
Locking power connector helps prevent on-stage power loss accidents
Solid carrying handle and rubber feet so the case travels w/ ease
Meets carry-on luggage size requirements for most airlines
Universal AC power adapter works world wide (Need IEC Cable for non-US outlets)
Blued Steel Stand sold separately

Specifications

Size: 7U
Total HP: 208 @ 3U, 104 @ 1U
Outer Dimensions:
22.25" x 14" x 7.25" w/ lid
Max Module Depth: 2.5"
Weight: 12.75 lbs. (w/ powered bus board, CV Bus installed)
Power: +12VDC @ 4A, -12VDC @ 2.4A and +5VDC @ 1A
Connectors: 32
Includes: CV Bus, Powered Bus Board, 120 Sliding M2.5 nuts w/ Black screws, AC Adapter

Notes: Five decades of sound processing expertise distilled into a compact multi-effects pedal. Huge processing power derived from the H9000 Harmonizer, featuring classic algorithms and new effects.

***H90 Control app announcement - February 2024 ***

Eventide Audio has announced the immediate availability of the H90 Control iPad app Release 1.7.6, which enables Bluetooth functionality. H90 Control provides remote control access and Program list management for the H90 Harmonizerr pedal. The app lets users manage Program and Preset settings, perform system updates, and import/export User Lists with an easy-to-use interface, all now with the convenience of Bluetooth connectivity.

The release also implements a new Bypass mode in System Settings - "AB Only" - which allows users to bypass just the onboard effects, leaving insert routings active. It also adds support for full user content
backup/restore and log retrieval in H90 Control.

H90 Control for iPad is available for free download from the Apple App Store.

For H90 users who have updated their H90 firmware to 1.7.4+, H90 Control Release 1.7.6 for MacOS and Windows adds Backup/Restore for user content (Programs, Lists, Presets) and system settings.

H90 Control for Mac and Windows is only available for H90 owners who have registered their H90 pedal.

Supplier's Notes:
Beyond the Effect Horizon

The H90 Harmonizer is Eventide's next-generation multi-effects pedal. Whether you want high-quality bread and butter effects or experimental sounds unheard, the H90 has everything you need to inspire your creativity with an intuitive UI designed with players in mind. Discover why top artists and producers have chosen Eventide through the years with 62 effect algorithms and hundreds of Program combinations curated for a variety of instruments and genres. With its comprehensive I/O and flexible routing options, the H90 is designed to be the heart of your rig.

New Technology, New Effects

H90 Harmonizer features modern ARM-based architecture derived from the world's most powerful effects processor, Eventide's flagship H9000 Harmonizer. This paves the way for the ongoing creation of more advanced effects processing techniques. As a result, the pedal not only offers the iconic reverbs, delays, modulation, and pitch shifting effects of the H9 Max but goes far beyond with 10 new powerful algorithms including state-of-the-art, fast-tracking, and warble-free Polyphonic Pitch Shifting. Eventide's proprietary SIFT (Spectral Instantaneous Frequency Tracking) technology clears the road ahead for next-gen effects both long imagined and unimaginable.

Live Performance Machine

The H90 Harmonizer is a live performance powerhouse! The front panel has been reimagined with five push knobs, seven LED buttons, and a hi-res OLED display for greater hands-on control and parameter feedback. Two large push knobs allow you to switch between SELECT, BANK, and PERFORM modes with ease. In PERFORM mode, you get six programmable footswitches. Map functions like tap tempo, preset, insert bypass or momentary states; use them to engage options like reverb freeze, pitch flex, or delay repeat; make multiple instantaneous parameter changes with three Hot Switches .The comprehensive UI allows you to control any parameter with ease. Adjust expression mappings by hand with the PERFORM HotKnob and engage up to six individual assignable parameters with the three push-button Quick Knobs. Get even more control with two inputs for expression pedals or auxiliary switches with up to three buttons. If that wasn't enough, take advantage of the pedal's extensive MIDI control. The H90 comes with hundreds of factory Programs which can be loaded using either SELECT or BANK mode. In SELECT mode, you can navigate your Playlist sequentially without ever missing a detail thanks to the OLED display. In BANK mode, you can quickly load from a bank of 3 Programs, perfect for cueing up a range of sounds for a song. Organizing your favourite sounds has never been easier, simply load a new Playlist and you're ready for the next gig!

Specifications

Inputs 1 - 4: 14 inch TS mono jack
Outputs 1-4: 14 inch TS mono jack
Exp/Ctl 1-2: 14 inch TRS / Expression pedal or Aux Switch
USB Type-C: Use USB 2.0 for control, updates, and MIDI
MIDI In: Five-pin DIN (Female)
MIDI Out/Thru: Five-pin DIN (Female)
DC Input Jack: 5.5/2.5mm plug / Center Positive (+)
Input Impedance (Inst. Level: >600k ohms
Input Impedance (Line Level): >80k ohms
Output Impedance: 220 ohms
Recommended Load Impedance: 10k ohms
Maximum Input Level (Inst): +4dBu
Maximum Input Level (Line): +14dBu

Power
12V DC @ 1A / Center Positive (+), 5.5/2.5mm jack

Dimensions (Product)
English: 6.5" (W) x 5.25" (D) x 2.5" (H)
Metric: 170 (W) x 136 (D) x 68 (H) mm

Dimensions (Package)
English: 10.5" (W) x 7" (D) x 3" (H)
Metric: 265 (W) x 180 (D) x 75 (H) mm
Weight (Product): 1.85 lbs / 0.84 kg
Weight (Package): 3 lbs / 1.36 kg
Shipping Contents: H90, Eventide Sticker, 4x Rubber feet, Guitar pick, Universal power supply with plugs (US, UK, EU, AUS), USB A to Type-C cable, Quick Reference Guide

Notes: A standalone alternative to the clip-and-scene production workflow of software like Ableton Live. Huge production and performance potential with built-in synths, effects and sampling power.

FORCE 3.2 is the MOST POWERFUL STANDALONE music production system for studio production and live performance. Now, FORCE 3.2 delivers even more inspiring plugin FX, sounds, creative editing, arranging and vocal effects processing as well as award-winning mixing and mastering plugins from world-renowned AIR Music Tech.

MPC Plugin Instruments
New Sounds Mode
New AIR Effects
Probability & Ratcheting
Automation Snapshots | Track Reorder
FORCE Tuner

Supplier's Notes:
Introducing Force, the ultimate in standalone end-to-end production workflows, complete with every tool you need to produce, remix, mashup and perform your tracks live. Fusing clip-launching, a linear arranger, MIDI Multi capability, step sequencing, sampling, synth engines, tactile touch screen control and much more, all in a singular standalone device, Force is primed for any setting, from the studio to the mainstage - no computer needed.

Launch Clips, browse your sounds, edit MIDI data, manipulate samples, arrange your composition, apply XYFX, sculpt synth sounds and much more, all from Force's 7-inch, full-color, capacitive multi-touch display.

Find your creative flow with Force's arsenal of tactile controls. Trigger scenes/clips, step sequence, finger drum and play note data with an expandable 8x8 clip launch matrix. Discover new ways to supercharge your performance via 360-degree rotary encoders with OLED feedback for immediate real-time access to all core controls or any assignable parameter. Fast-track your workflow with Force's collection of smart controls for navigation, playback/recording control, note expression, crossfading and much more.

Load your samples from a USB thumb drive or SD card, or expand Force's storage with the SATA drive bay. Capture audio with (2) XLR/14-inch combo inputs with phantom power, switchable to line/instrument level. Route your audio to two stereo 1/4-inch outputs, selectable per track within Force's UI. Use the headphone out as a cue bus to audition clips/scenes. Take control of your modular gear with four independent CV/Gate outputs and unite your peripheral MIDI equipment courtesy of MIDI In/Out/Through ports and USB via Force's unprecedented MIDI Multi capability. Connectivity and storage restrictions are things of the past!

From sparking that initial idea to arranging and final mixdown, everything your production demands is here. Record, program and sequence with multiple track types including Plugin Tracks with MPC-style Drum Tracks, Audio Tracks, Keygroup Tracks, MIDI tracks and CV tracks. Sketch out song sections in performance mode, then arrange these on Force's linear arranger. Add the final polish to your track using dozens of processors and effects from the AIR FX suite, all controllable via smart assignments on the rotary encoders or the displays on the touch user interface.

For the DJ, Force immediately connects to your live rig either as a feature-rich side-cart or a solo centerpiece. Remix and mashup tracks on Force's 8x8 clip matrix. Import multiple stems, then time-stretch and pitch-shift your content all in real-time. Assign tracks to Force's crossfader and load full tracks, stems or loops to Force's 8x8 matrix. Add an extra dimension to your performance with tactile XYFX. Connect Force to your wireless network and sync your project with any Ableton Link compatible application or hardware device. The creative possibilities are only as limited as your imagination - adding an extra dimension to your DJ performance has never been simpler.

KEY SPECS:

Pads:
(64) velocity- and pressure-sensitive pads, RGB-backlit

Knobs:
(8) 360- touch-sensitive Knobs
(1) 360- encoder for display navigation and selection via push
(5) 270- knobs for gain, mix & level adjustment

Buttons:
(56) dedicated function buttons; red-, amber-, or green-backlit

Display:
6.9" / 176 mm (diagonal)
5.9" x 3.7" / 150 x 93 mm (width x height)
Full-color LED-backlit display with touch interface

Connections:
(2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2)
(4) 1/4" (6.35 mm) TRS outputs (2 stereo pairs)
(1) 1/4" (6.35 mm) stereo headphone output
(1) 1/8" (3.5 mm) MIDI input
(1) 1/8" (3.5 mm) MIDI output
(1) 1/8" (3.5 mm) MIDI thru port
(4) 1/8" (3.5 mm) CV/Gate outputs
(1) Ethernet link port
(2) USB Type-A ports
(1) USB Type-B port
(1) SD card slot
(1) power adapter input

Power:
Via power adapter: 19 V, 3.42 A, center-positive, included

Dimensions (width x depth x height):
13.8" x 15.3" x 2.85"
350 x 389 x 72.5 mm

Weight: 8.53 lbs./3.87 kg

Notes: Designed for Serato and Algoriddim Djay, the long-awaited Mixon 8 Pro is a four-channel hybrid controller with detailed jogwheel displays. Standalone mixer and four FX paddles give versatility for creative mixing.

Supplier's Notes:
Enhanced jog wheels with real-time displays

Boasting sleek, touch-sensitive gun metal platters and high profile rims, the enhanced jog wheel design of the Mixon 8 Pro allows you to control your music precisely. And thanks to the new vivid on-jog displays, DJs are kept well informed with real-time track information, including virtual needle illumination, a playhead position indicator, and track time remaining or elapsed.

Four FX pedals for instant effects

As an industry first, the Mixon 8 Pro features 4 sturdy onboard FX Paddles, providing instant tactile control of all your effects. Each channel also has a 3-band EQ and dedicated sound colour filters to shape your music even more (LPF/HPF).

Stand-alone mixer inside

The powerful inbuilt standalone mixer with independent level meters for inputs and outputs gives you flexible connections to either turntables or media players so you can mix digital and analogue sources simultaneously (2x Phono/4x Line). For even more convenience, you can also route the dual Mic inputs (XLR/Jack) with dedicated talk-over functions into the mixer channels to perfectly EQ your live vocals with onboard controls.

Technical data

In- & outputs: XLR Master-Output, 6.3 mm jack Booth-Output (TRS), RCA Master-Output, 2x RCA-Input (Phono/Line), 2x RCA-Input (Line), 1x Combo-Mic-Input (XLR/jack (TRS)), 1x Mic-Input 6.3 mm jack (TRS), 1x USB-B, 1x USB-C/USB-B, 2x Headphones (6.3 mm/3.5 mm jack)
Dimensions: 657 x 68 x 391 mm
Dimensions docking station: 320 x 9 mm
Weight: 5,7 kg
Minimum system requirements: Please refer to the manufacturer's specifications for the system requirements of your DJ software.
Incl.: Controller, manual, USB cable (USB-A to USB-B), power supply (12V/3A)

Notes: Sampler legend Dave Rossum's ultra-powerful Assimil8or module gets a black makeover. Eight-channel multi-timbral design with extensive CV control and clever sound manipulation options.

Supplier's Notes:
Designed to provide a powerful, flexible sampling engine for modular synthesis, the ASSIMIL8OR Multi-Timbral Phase Modulation Sampler module is the latest incarnation of Dave Rossum's decades-long pioneering of affordable professional sampling technology.

ASSIMIL8OR provides eight independent channels of sampling with sound quality that can range from extremely hi-fi to low fi, all with extensive real-time CV control.

Assimil8or Specifications

Sample memory
2,300 seconds at 48kHz mono, freely allocatable between the 8 channels

Sample rates
48kHZ, 96kHZ, 192kHZ

A/D & D/A
24 Bits

Internal processing
32 Bits

Latency
100 microseconds at the Mix Outputs
180 microseconds at the Individual Outputs

Inputs

Sample L/R
2x 3.5mm mono socket
100kO Input Impedance

Gate/Trigger 1-8
8x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Control Voltage A 1-8
8x 3.5mm mono socket
100kO Input Impedance
96 kHz sample rate
Anti-alias filtered to 20kHz bandwidth

Control Voltage B&C 1-8
16x 3.5mm mono socket
100kO Input Impedance
48 kHz sample rate
No anti-alias filtering

Outputs

Mix Outputs L/R
2x 3.5mm mono socket
1kO Impedance

Individual Outputs
8x 3.5mm mono socket
1kO Impedance

Power requirements: +/-12V via 16-pin, Doepfer-style connector
Current draw: 220mA +12V, 30mA -12V
Dimensions: 28HP (W); Panel to power connector (with connector plugged in) 25mm (D)

Supplied accessories:
1x Micro SD card
1x 16-pin, Doepfer-style cable
4x M3 screws
4x M2.5 screws
4x Nylon washers
1x Quickstart Guide

Notes: Complete system built on Tangible Waves's AE modular format. Includes analogue sound sources, drum sampling, sequencing and everything needed to make music in a single unit.

Supplier's Notes:
The Synth Explorer "Ultimate" is a fully featured modular synthesizer which has been designed primarily for educational purposes. It offers a lot of synthesis features in a very small and portable package and includes the modules that invite for DIY modification and experimentation with code and circuits.

This system includes the following modules:

MASTER I/O (power, MIDI, CV/Gate, Audio in/out)
2OSC/d (two oscillators with sawtooth and square waveforms)
DRUMKIT 010 (lofi drum samples)
2LFO (two low frequency oscillators with various waveforms)
2ENV (two attack/decay envelopes with looping function)
WASPFILTER (an iconic filter with a lot of character)
SVFILTER (a state variable filter which can go into self oscillation)
2VCA (two voltage controlled amplifiers)
BRAEDBOARD (a blank canvas for circuit experiments)
2S&H (dual sample and hold)
2ATT/CV (dual attenuator and CV generator)
MM-DIV (multi mode clock divider)
SEQ8 (8 step CV and Gate sequencer with different run modes)
QUANTIZER (4 channel CV quantizer with many different scale modes)
METER (oscilloscope, frequency spectrum, tuner, voltmeter)
GRAINS (fully programmable module based on the Arduino)
MIXER 4-4 (two 4 channel mixers)
DELAY (analogue delay)
HPAMP (headphone amplifier with dual outputs and volume control)

Notes: Serious mastering-grade kit. Stereo interface with high-end converters and headphone amp circuit for pristine sound quality. Proper clarity for critical listening.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's notes:
The RME ADI-2 Pro FS is a two channel 24-bit / 768kHz AD/DA converter and USB 2 Digital Audio Converter, audio interface and high-end headphone amp with new jitter rejection SteadyClock FS technology.

The RME ADI-2 Pro FS is the most flexible converter available with balanced and unbalanced I/O, two headphone outputs, DSP-based signal processing and RME's latest Steady Clock FS jitter rejection technology. It offers Class Compliant USB compatibility, sample rates up to 768kHz as well as DSD record and Direct DSD playback.

It boasts a raft of analogue and digital I/O, including two servo-balanced analogue XLR/TRS Jack inputs, two separate balanced and unbalanced outputs on XLR and TS as well as two headphone outputs. Digital I/O include optical ADAT, Optical and coaxial SPDIF and AES accessible via a breakout cable.

Furthermore, its Class Compliant UAC 2 USB 2.0 port offers iOS compatibility and is necessary for firmware updates. It can also work as a 6-in / 8-out audio on Mac OSX and Windows via WDM and ASIO.

Using the latest in A-to-D technology the ADI-2 Pro FS offers best possible sound with highest signal-to-noise ratio, super low THD and noise. It supports sample rates up to 786kHz PCM and DSD recording in dual mono design, with 3dB improved signal to noise ratio. Two digital-to-analogue converters are used for the separate stereo outputs. The latest Integrated Sample Rate converter takes care of clocking issues between S/PDIF and AES thanks to RME's latest SteadyClock FS technology.

A high-resolution display shows controls for the ADI-2 Pro FS unique features including DSP effects like 5-band parametric EQ, binaural crossfeed, adjustable loudness filter, selectable AD/DA filters and four analogue reference levels. Furthermore, M/S processing is provided with stereo width control as well as phase loop. The display also shows RME's famous Spectral Analyser and 30-band bi-quad filtered analysis tool.

Notes: A serious bargain for anyone putting together a modular system, TipTop bundle three VCOs and the Octopus controller with their mixer, filter, dual envelopes and VCA. Great value.

Supplier's Notes:
The S2 is a promotional bundle that TipTop is offering to users, providing a 33% savings to get you started with ART. With these bundles, TipTop have included an incredible voice: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by TipTop's beloved 4-pole Z2040 filter that has been with them since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing. OCTOPUS is TipTop's first ART controller with more to follow, please select between Octopus or ART V/Oct Quantizer to get started with ART. Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.
Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop#s redesign of the most famous analog filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colorful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: Simple and straight to the point, ARS's five-band EQ allows you to tweak and adjust the balance of frequencies to get the most from your system. Pristine audiophile sound quality.

Supplier's Notes:
The MODEL-5000 5 Band Equalizer is designed to adjust to all genres of music, and various sound sources such as vinyl, CD and PC.

Source sounds remains lively, while 5 Band Equalizer allowing effective and precise equalization that is not possible with isolators.
Wide Q filter gives instantaneous adjustment.
ARS MODEL-5000 will become your essential item on the site.

* 5 bandwidth of frequencies, HI / HI MID / MID / MID LOW / LOW, are finely level-controlled.
* For the input sources, either RCA unbalanced jacks or XLR balanced jacks (2HOT) can be connected.
* For the output sources, both RCA unbalanced jacks and XLR balanced jacks can be connected simultaneously since both jacks has independent output circuits.
* Knobs have brims on the centre point to easily identified the centre with a little light in the clubs.
* 50 mm width intervals between knobs give smooth operation to improve DJ performance.
* No power switch avoiding accidentally turning power off while playing.
* Minimizing the power noise by designing the main circuit board and the power circuit board independently and setting them apart.

Specs

Frequency Response: +-1dB 20Hz-20Khz (With no EQ)
Input: RCA Unbalanced Impedance 20K Ohm/ XLR Balanced Impedance 40K Ohm
Output: RCA Unbalanced Impedance 600 Ohm/ XLR Balanced Impedance 50 Ohm
Maximum Output Level: +20 dB
Equalizer Control: 75Hz, 300Hz, 1Khz, 3Khz, 10Khz, 5 Bands
Adjustable Range: i12dB
EQ In/Out Switch: Selector switch on the right side of the front panel.
Power Requirement: US-115V/EU-230V(Selectable)
Power Consumption: 10w
Dimensions: Front Panel 1U (W)482 x (H)44 x (D)195 mm
Front Panel Colour: Black

Notes: One of the most trustworthy brands in the industry delivers another winner. Proper high-end business, with 12 analogue inputs and 12 outputs, plus an extensive array of digital connections. Great value at this price point.

Supplier's Notes:
Next-gen 28 x 32 USB3 audio interface - Builds on 22 years of proven success as an industry-leading audio interface brand.

New 3.9-inch TFT display - The bright, 24-bit RGB LCD provides 480 x 128 pixel high-resolution metering for all analogue and digital I/O, plus detailed status info and access to hardware settings from a simple and convenient menu.

Superb analogue audio quality and high-end converters - Renowned ESS Sabre32 DAC technology delivers 125 dB dynamic range. Support for all standard sample rates up to 192 kHz.

Ultra-low latency and proven, high-performance MOTU drivers - Round-trip latency (RTL) performance as low as 2 ms at 96kHz with high-performance DAW hosts.

Universal connectivity - Connects to your computer with 5 Gbps USB3 (compatible with USB2) for up to 60 audio channels. Class-compliant firmware and industry standard drivers work with any audio apps. Connects to an iPad™ with USB-C or a Lightning adapter kit (sold separately).

60 simultaneous audio channels - 28 inputs and 32 outputs, including two combo XLR/TRS mic/line/hi-Z guitar inputs with send/return inserts, 8 TRS analogue (line-level) in/out, separate main outs on XLR jacks, two banks of 8-channel optical I/O, stereo RCA S/PDIF digital I/O, and two front-panel headphone outputs.

Advanced mic channels - Cutting-edge components deliver ultra-transparent sound with -114 dB THD+N, 118 dB dynamic range and -129 dBu EIN. Each mic channel provides individual controls for +74 dB of preamp gain, -20 dB pad, 48V phantom power, and phase invert. All settings can be controlled remotely from a computer or iOS device. Each mic channel includes a dedicated send/return insert for outboard gear processing.

Flexible insert returns - When nothing is connected to the front-panel mic inputs, the two rear-panel returns function as additional line inputs with identical signal path characteristics as the other eight line inputs.

DSP mixing and effects processing - Flexible 24-input digital mixer with 8 stereo busses and DSP effects, including reverb, 4-band EQ, gate and compression.

Wi-Fi control - If the 828 is connected to a computer on your Wi-Fi network, you can control everything wirelessly from the CueMix 5 app running on mobile devices or other computers on the same network - even multiple devices at the same time. Manage access to the 828 with network discovery and password protection.

Precision boost/trim for analogue I/O - Calibrate analogue input and output signals in precise 1 dB increments. Apply phase invert individually to analogue inputs.

Control room features - Control your sessions with front-panel "talk" button and "A/B" speaker select buttons to quickly compare your mixes on two sets of studio monitors.

Two flexible headphone outputs - With independent volume control, each headphone output can mirror each other, the Main Outs, any other analogue output pair, any CueMix bus, or any USB output channels. Or you can create a completely customized mix for each headphone that includes live 828 inputs and built-in reverb.

Two banks of optical I/O - Connect outboard digital processors, digital mixers or other gear with 16 channels of ADAT at 44.1/48 kHz or 8 channels of SMUX at 88.2/96 kHz. Bank A can optionally provide stereo TOSLink (optical S/PDIF) I/O up to 96 kHz.

Foot switch input - Connect a standard foot pedal switch (sold separately) for hands-free punch-in and punch-out while recording. Or map the pedal to any keystroke function in your host software.

MIDI in/out/thru - connect MIDI gear without the need for a separate MIDI interface.

Word clock in/out/thru - Supports all sample rates up to 192 kHz.

DC-coupled TRS outputs - Use the 828 to manipulate and sequence voltage-controlled modular synthesizers from a host DAW.

Loopback for live streaming and podcasting - Easily route computer output back to the computer, where you can mix it with live mics and/or guitar inputs from the 828 in your host software for live streaming or podcasting.

Guitar re-amping - Connect your guitar to the front-panel input, use CueMix's near-zero latency to loop to any output (with a re-amp adapter, if needed), and record both the dry signal and your mic'd up amp simultaneously. Then re-amp the dry signal later with different amps and cabs - or amp modelling plug-ins - to experiment with different tones.

CueMix 5 app - Control mixing and settings from your Mac, PC or iOS device.

Performer Lite - Workstation software with over 100 included instruments, dozens of effects and 6 GB of included loops to make music right away. Also includes Ableton Live Lite.

Next-gen 28 x 32 USB3 audio interface with DSP, mixing and effects
New 3.9-inch 24-bit RGB LCD with precision metering for all I/O
Superb analogue audio performance driven by ESS Sabre32 Ultra™ DAC Technology
Ultra-low latency and proven, high-performance MOTU drivers (~2 ms RTL with a 32 sample buffer @ 96 kHz)
Universal connectivity with 5 Gbps USB

Technical Specifications
Sample rates: 44.1, 48, 88.2, 96, 176.4, 192 kHz

Mic/line/instr inputs
2 x XLR/TRS "combo" jacks
Individual -20 dB pad and 48V phantom power
Preamp gain: +74 dB in 1 dB increments
1 MO impedance on the line/instr inputs
Independent balanced send/return inserts

Analogue inputs
8 x 1/4-inch TRS line in (balanced/unbalanced)
2 x 1/4-inch insert returns function as balanced TRS line inputs (with no mic inputs connected)
Max level: +21 dBu
+20 dB digital gain on each input

Analogue outputs
8 x 1/4-inch TRS line out (balanced, DC coupled)
2 x male XLR out
Max level: +21 dBu
2 x 1/4-inch TRS stereo headphone
2 x 1/4-inch TRS sends (balanced, pre-converter)

Digital I/O
2 banks (16 ch) of ADAT optical I/O at 1x sample rates
2 banks (8 ch) of S/MUX optical I/O at 2x sample rates
Bank A switchable to stereo TOSLink I/O (optical S/PDIF)
1 x stereo S/PDIF I/O on RCA (up to 96 kHz)

Computer I/O
1 x USB-C 3.2 Gen 1 (5 Gbps) Type C - USB2 compatible USB audio class compliant (no driver needed)
1 x IF-certified USB 3.2 Gen 1 Type C-to-C cable included
Compatible with USB Type A (with a C-to-A cable, sold separately)
Total USB audio channels: see "Total Audio I/O" below
Round Trip Latency (RTL): ~2 ms (32 sample buffer at 96K)

Total audio I/O
28 in / 32 out (60 total channels) at 1x sample rates
20 in / 24 out (44 total channels) at 2x sample rates
10 in / 14 out (24 total channels) at 4x sample rates

MIDI I/O
1 x MIDI In
1 x MIDI Out/Thru
16 MIDI channels to/from computer host

Headphone
2 x 1/4-inch TRS stereo headphones
Output impedance: <1O
Max output: 14.4 dBu

Phantom power: 2 x individual +48V

Foot Switch
1 x 1/4-inch foot switch input
Mapping: pedal up/down to any host keystrokes

Sync I/O
1 x BNC Word Clock In
1 x BNC Word Clock Out/Thru
Sample rates: all (from 44.1 to 192 kHz)

Front panel
2 x XLR/TRS combo inputs
2 x 1/4" TRS headphone outputs
2 x potentiometer - headphone volume
2 x potentiometer - mic/instr input gain
1 x potentiometer - menu navigation
1 x large potentiometer - main volume
12 x switches - (2) 48V, (2) pad, (6) control room, (2) nav
1 x 3.9-inch 480 x 128 pixel 24-bit RGB TFT display
1 x latching power button

Power
Internal 100-240V autoswitching supply
50-60 Hz - 0.5A max

Dimensions and weight
(width x depth x height, enclosure only)
19 x 12.25 x 1.75 inches / 48.26 x 31.1 x 4.44 cm
11 lbs / 5 kgs