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Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod34X is 34HP wide and has extra room to fit even the deepest modules (2.16" / 55mm of available module depth). The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

This Pod requires a power brick (not included).

Or, if you already have a Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain power supplies.

Pods are a perfect way to get started in Eurorack, or add a couple more modules to your monster system!

Made from 100% anodized aluminum, Pods are light, tough and perfect for on-the-go set ups. The power supply can handle up to 1.4A of +12V, which is plenty of juice for even the most modern digital modules. (Or if you prefer to DIY your power supply, Pods are also available unpowered)

Each Pod typically will house one or two modules, but three or more can be accommodated using a multi-power cable accessory.

Mix and match your Pods with desktop synths, effect pedals, drum machines or any musical gear for a flexible modular system. Pods can even daisy- chain with the 4ms Row Power system making them a convenient outboard mini-skiff. Need to add another module? Just add a Pod! Need to pack light for a live set? Just grab the Pods you need and go!

Basic Features:

34 HP Eurorack modular space
Standard M3 threaded holes
100% lightweight anodized aluminum
Built-in Power supply
Red, White, and Blue LED power indicators

Includes:
34HP Pod, black anodized aluminum
Extra deep (2.16"/55mm) fits virtually every Eurorack module
Built-in power supply with four Eurorack power headers
M3 x 8mm pan-head screws, stainless steel (10)
Adhesive rubber feet (4)
Does not include barrel cable or power brick
Power Supply:
Four 16-pin Eurorack power shrouded headers
+12V max 1.4A
-12V max 0.65A
+5V max 1.0A
Power input: Two barrel jacks for daisy-chaining
15V-20VDC, 2.1mm positive tip
Exterior dimensions:
Width: 177.3mm (6.98")
Height: 159.5mm (6.28")
Depth: 57mm (2.24")
Interior dimensions:
Max module depth: 55mm (2.16")
Module width: 34HP
Weight:
0.3 kg = 10 oz

Notes: For the Fundamental Series, Walrus Audio challenged themselves to design a set of pedals with the tonal integrity that's required to live on a professional's pedalboard, but with simplified controls friendly enough for even the newest effect pedal users. Each Fundamental pedal has three faders for tweaking the sound and a three-way switch for changing pedal modes. The result is a line of pedals that will keep you covered from your first band practice all the way to a sold-out arena. Designed and assembled at Walrus Audio headquarters in OKC, OK.

Because vast ambient sounds shouldn't just be for larger pedals with vast price points, the Fundamental Ambient brings expansive pillowy reverb to the Fundamental Series with three atmospheric modes in a compact size. The Fundamental Ambient offers a great entry point into ambient exploration with the tonal integrity to live on a professional's pedalboard but with simplified controls friendly enough for even the newest effect pedal users. With Ambient's three reverb algorithms, you can experiment with deep, dark pad-like sounds to AM Radio-like lo-fi sounds with the flip of a switch.

The Fundamental Ambient provides three different atmospheric reverb algorithms to explore beautifully vast and lush soundscapes with plenty of decay time for pillowy soft pad-like decay.

Modes:

Deep - A dark ambient reverb with an added low octave, perfect for creating murky, cavernous sustain or adding a touch of moody atmosphere.
Lush - A breathy, expansive reverb featuring ultra-long sustain. Perfect for generating silky pads and immersive soundscapes with every note.
Haze - A textured, lo-fi reverb featuring distortion, sample rate reduction, and a resonant bandpass tone control, great for vintage or experimental tones.
Decay: Control the amount of reverb decay time. Left is the minimum and right is the maximum amount of time.
Tone: Shapes the overall tonality of the reverb. On Deep and Lush this controls the cutoff of a synth-style lowpass filter. On Haze this controls the width of a resonant bandpass filter, filtering both high and low end at the right, and allowing more high and low to pass through at the left.
Mix: Control the mix of the effect and the original clean signal. All the way to the left outputs only the fully clean signal, and all the way to the right outputs only the affected Reverb signal.
Slide Switch - The slide switch allows you to change between three distinct Reverb algorithms.

Trails Mode - The Fundamental Ambient Reverb comes with trails mode active by default, to disengage trails mode hold down the bypass stomp switch when applying power to the pedal. Once the LED flashes it indicates that trails mode is turned off. To re-engage trails mode, repeat the process, and wait for the LED to turn dark, indicating that trails mode is back on. With trails mode active, your reverb decay will fade off naturally after turning the pedal off. With trails mode inactive, the decay abruptly cuts off when you turn off the pedal.

Review: The vast array of Depeche Mode originals cover plenty of ground and many years of hard and critically acclaimed work. As such they're a gold mine for artists looking to add their own spin and plenty of the most ear-grabbing of those radio, dub and club mixes are collected together here on a rather epic seven slabs of wax in one bumper box set with a poster and digital download. Works by contemporary artists like Trentemoller and Justus Kohncke sit next to techno titans like Ben Klock, trance mainstays such as Sander Van Doorn and even EDM stars like Laidback Luke. A varied mix with something for everyone.

Notes: MMF is an analogue, multimode filter with a 12dB per octave slope. Its sonic character swings all the way from classic low pass to squelchy acid lines. Simultaneous outputs of low pass, high pass, and band pass filter types are provided allowing for many variations of the input signal. Whether you're looking for smooth and creamy, or resonant and wild, MMF can go there.

Notes: Loop is a high fidelity looper with four unique recording modes and an intuitive user interface. It can capture up to five minutes of audio with reverse, and half-speed playback accessible. Each recording can use one of four modes: Sound on Sound, Dub, Replace, and Infinite (i.e. Frippertronics). Whether you're looking for minimal part layering, or full blown ambient soundscapes, Loop will take your patch for a ride.

High fidelity audio - 24-bit, 48kHz with five minutes of recording time
Four recording modes: Sound on sound, Dub, Replace, and Frippertronics
Intuitive interface
Half speed and reverse playback

Tech Specs:
Width: 2HP
Depth: 42mm

Notes: Celebrating the classic, shimmering flanger sounds of Andy Summers, the EHX Walking on the Moon is a tribute to the tones Andy employed while carving his niche in the early days of playing with the Police. Liquid flange effects that hint toward chorus with extra depth and nuance make Andy's sound one of the most coveted in all of the guitar universe.

"This beautiful shimmering which sort of made the sound more bigger and more glamourous - became a sort of characteristic of my guitar sound - A big part of my guitar sound at that time in The Police was the flange sound which we have here today in this great new pedal." - Andy Summers

The Andy Summers Walking on the Moon is an analogue flanger with a simple but powerful control set of RATE, RANGE, and COLOR. RATE sets the speed of modulation which ranges from slow, smooth filter sweeps to jittering vibrato. RANGE controls how narrow or wide the effect sweeps into the bass frequency range. The COLOR control effects the intensity of the flanger effect from subtle chorusing effects to classic jet woosh sounds. These three controls interact to create a wide breath of modulation effects.

Additionally, the Walking on the Moon includes a FILTER MATRIX which disengages the LFO from the flanger circuit, freezing the flanger giving a fixed filter effect, which can add chime or metallic overtones to your sound without the movement of a traditional modulation pedal. A DRY output allows you to split your dry signal from the effected signal.

Special Artist Edition graphics featuring Andy's signature adorn the chassis and a tribute Walking on the Moon poster with art by Laura Josephson is included with each pedal.

Analogue Flanger / Filter Matrix sounds of Andy Summers
RATE sets modulation speed
RANGE adjusts lower limit of flanger sweep
COLOR controls intensity of flanger effect
Dedicated DRY output
Special Artist Edition Graphics
Includes Walking on the Moon poster design by Laura Josephson
True Bypass
9V Power Supply included (optional 9V battery not included)

Specifications
Circuit: Analogue
Bypass: True Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included (optional 9V battery not included)
Dimensions (in): 4.75 x 4 x 2.25
Current Draw: 40mA
Year Released: 2023

Notes: The WHITELABEL is SHURE's Flagship DJ Phono Cartridge that has redefined and set a new standard in the DJ Industry.

With the N-WHLB NUDE, JICO provides a replacement stylus manufactured for the legendary SHURE WHITELABEL Cartridge.

Additional information

Manufacturer: SHURE
Cantilever: Aluminium
Cartridge number: WHITELABEL
Colour: DK / BLUE
Tip: NUDE Conical Stylus
Tracking Force: 1.5 - 3.0 g
Type: Moving Magnet

Notes: Compact, affordable DJ mixer that focuses on the basics with minimal fuss. Includes a lot of professional-level features like three-band EQ, balanced outputs, separate booth output and adjustable crossfader.

Supplier's Notes:
Whether you're a beginner or a professional, this Gemini MXR-01BT 2 Channel Professional DJ Mixer with Bluetooth Input will meet your needs. Beginners will find its simple and user-friendly layout easy to understand while professionals will value its all metal construction as a durable and reliable back up mobile DJ mixer. It's packed with the features you want including Bluetooth input, 3-band EQs per channel, crossfader curve and reverse controls, and complete output section.

Notes: Great value from this versatile six-channel function generator, suitable for LFOs, envelopes, slew limiting and much more. A versatile module at a good price.

Supplier's Notes:
This modules is a 6 channels function generator, each channel has an attenuverter to set the output gain, there are 2 extra outputs with mixed signals (channels 1+2+3 and 4+5+6) for complex CV

-With no signal plugged in the input, channel will self-oscillate generating an LFO of i4,8V

-With gate/trigger signals in the input, channel is an AR envelope generator

-With an stepped CV signal plugged in the input, the channel acts as a slew limiter

min attack/decay time:
0,3 milliseconds in fast mode
13 milliseconds in slow mode

max LFO length:
1" in fast mode
1'20" in slow mode

max attack/decay length:
13" in fast mode
3'00" in slow mode (approx)

18 HP
159 mA +12V
153 mA -12V

Notes: HN VCF is a state variable filter having 12 db Low Pass, 12 dB High Pass, 6 dB Band Pass plus 18 db Low Pass marked as "LP!", because it has extra drive. All three parameters: "Freq", "Resonance" and "Drive" have dual knobs with outer knobs controlling bipolar CV amount. These affected CVs are then shown by the relative green/blue LEDs.

The possibility to have CV over "Resonance" and "Drives" makes it a very capable 6 HP filter.

"LP!" output has 6 dB steeper slope (18 dB) compared to ordinary 12 dB "LP" output. Plus it has much more drive.

Dimensions
6 HP
35 mm deep

Current Draw
55 mA +12V
65 mA -12V

Notes: The Looper X2 is the culmination of over a decade of experience developing easy-to-use standalone and combination pedals. The Looper X2 supercharges practice sessions as well as live performances by empowering the player to start jamming as soon as possible.

The Looper X2 is a dual-footswitch operated looper pedal aimed at providing fast loop creation with no shortage of space to save your favorite tracks and samples. With 11 song banks, each bank featuring 7 save slots, the Looper X2 provides a total of 300 minutes recording time (2.5 mins per slot in bank 1-9, 10 min each in bank 10, 11). Each slot also corresponds to common song structures as to make organizing sections and tracks easier, as indicated on the front of the pedal. Save slots and recorded tracks can also be managed using the specialized editor software that can be downloaded for free, and compatible with Mac and Windows PCs.

Additional features of the Looper X2 include a FADE knob for controlling and toggling the Fade out function for each loop. Users can also toggle an Auto Rec function to start recording a loop every time a guitar signal input is detected by employing the THRESHOLD knob. Additional knobs include separate volume level controls for Recording and Playback, as well as an 11-option knob for scrolling through the song banks. The dual footswitch setup offers familiar Looper controls and for users desiring more control, the Looper X2 also supports an external footswitch that can perform a variety of operations like cycling through different parts of the current selected song bank. See the manual for more information on compatibility.

The Looper X2, like with other X2 devices, includes Stereo I/O and a 14" External Control out for connecting a footswitch as well as True Bypass to stay quiet when not in use.

Specifications:

Input: 2*1/4" mono audio input jack (impedance value 1Mohm)
Output: 2*1/4" mono audio output jack (impedance value 510ohm)
Num. of saving slot: 77
Recording capacity: Approximate 300 minutes (stereo)
Sample rate/sample depth: 44.1kHz/24bit
Import audio file format: MP3/WAV/FLAC/APE
Export audio file format: WAV
Power requirements: 9V 300mA, center negative (Original power supply is recommended, to avoid unexpected noise)
Dimension: 75mm(D) * 115mm(W) * 33mm(H)
Accessories: Power supply, USB-C to USB-A cable, Quick Guide, LOGO Sticker

Notes: Theremin module for generating a variable control voltage by approaching/removing hand to/from an antenna. The distance range is about 30-40 cm. Additionally the module is equipped with a Gate output with adjustable threshold level. Controls/Inputs/Outputs: antenna input, offset (knob for zero adjust), 2 x CV out, 2 x LED (for CV control positive/negative and zero offset adjust).

To simulate the original Theremin two A-178, a VCO (e.g. A-110) and a linear VCA (e.g. A-130 or A-132) are required. But of course the A-178 can be used to control other functions in the A-100 (e.g. filter frequency, modulation depth and/or speed, tempo, attack/decay time and so on).

The CV output voltage of the A-178 can range - according to the setting of the front panel controls - from -10V...+10V. The gate output switches from 0V to about +10V.

Applications:

- Controlling any voltage controlled parameter of the A-100, e.g. pitch or pulsewidth (VCO A-110), loudness (VCA A-130/131/132), panorama (A-134), filter frequency or resonance (A-120/121/122/123), phasing (A-125), frequency shift (A-126), resonance peaks (A-127), envelope parameters (A-141/142), tempo (A-147)

- Triggering of A-100 activities via gate with adjustable threshold, e.g. starting an envelope (A-140/141/142), Start/Stop of a sequence (A-155), any switching function (A-150/151)

- Conversion into MIDI control change messages is possible with the A-192.

If two or more A-178 are used the distance between the modules/antennas should be at least 40-50 cm. Otherwise the antennas may affect each other.

Notes: A-180-9 is another simple but useful tool. It can be used to connect up to 14 signals between different cases by means of standard network cables (RJ45). These cables are available all over world smoothly in different lengths and colours. From the factory two black network cables with 0.5 m length are enclosed.

The upper network connector is wired to the eight sockets 1-8, the lower to the six sockets A-F. That way it's possible to pre-patch different cases and connect signals, that are required in all cases (e.g. clock, start/stop, master CV) by means of one or two cables only instead of 14 individual patch cables. When only eight signals are required only the upper network connector is required and the sockets 1-8 are used. When more than eight signals have to be patched both network connectors have to be used. It's also possible to wire the upper and lower network to different cases (i.e. signals 1-8 to external case #1 and signals A-F to external case#2).

The module is fully passive (no power supply required) and simply wires the 14 sockets to 14 pins of the network connectors.

The A-180-9 comes in pairs for combining two modular systems.

Notes: Module A-147-2 is the successor of the VCLFO A-147 but offers much more features than the predecessor. The module is made of these sub-units:

- VCLFO: voltage controlled low frequency oscillator
- VCA: voltage controlled amplifier, switchable to voltage controlled polarizer
- VC delay unit: voltage controlled linear attack envelope (only one parameter: attack) for delayed LFO operation in combination with the VCA (e.g. delayed vibrato/tremolo)

LFO: The voltage controlled LFO has the waveforms Triangle, Sine, Sawtooth and Rectangle available and features a Reset/Sync input. Triangle/Sine and Rectangle are displayed by means of dual-colour LEDs (probably red/green), Sawtooth has a unicolor LED available (probably blue). The output levels are about -4V...+4V for Triangle, Sine and Rectangle. The Sawtooth level is about 0...+8V.

The CV control can be switched to attenuator or polarizer ("CV Mode" switch). In polarizer mode the CV inputs affects the frequency in the reverse manner when the CV control is left from the centre position. In the centre position CV has no effect and right from the centre the control works like a normal attenuator. The frequency range (without external CV) is from about 0,005 Hz (i.e. about 3 minutes per period) to 200 Hz (with external CV max. frequency about 1kHz). In addition a ultra-low mode can be activated by means of an internal jumper. When the ultra-low jumper is set a fixed voltage is connected to the switching contact of the "LFO CV" socket. In polarizer mode of the CV control that way extremely low frequencies (up to one hour period and more) are possible. For this a jumper has to be installed on the pin header JP6. In the factory a dummy jumper is installed on the pin header JP7 "Dummy". JP7 has no function and is used only for "parking" of the jumper. Simply remove the jumper from JP7 and plug it on JP6. JP6 is located behind the CV control.

VCA: This is a linear VCA that can be switched to "normal" VCA (i.e. kind of a voltage controlled attenuator) or voltage controlled polarizer ("VCA Mode" switch). In the "normal" VCA mode amplification +1 is achieved with about +5V control voltage. In polarizer mode the amplification ranges from about -0.5 (i.e. inverted signal with about 50% level) with 0V CV to +0.5 (i.e. non-inverted signal with about 50% level) with +5V CV. With about +2.5V CV the signal is suppressed. Details about the functioning of a voltage controlled polarizer can be found in the description of the module A-133. In this mode the VCA can be treated also a DC coupled ring modulator (similar to A-114).

The VCA of the A-147-2 has three sockets available: "In" (signal input), "Out" (signal output) and "CV" (control voltage input).

The Triangle Output of the LFO is normalled to the VCA signal input by means of the switching contact of the "VCA In" socket. If another LFO waveform (or any other signal) should be processed by the VCA the corresponding signal has to be patched to the "VCA In" socket. The VCA can be used also independently from the LFO and the Delay CV. In this case the VCA sockets In, Out and CV have to be patched accordingly. The VCA can be used also as waveshaper for the LFO signals (e.g. by patching VCA In and VCA CV to different LFO signals, if necessary via attenuator A-183-1 or offset generator/attenuator A-183-2).

Attack/Delay: The third sub-unit of the module is a simple, voltage controlled envelope generator that has only the parameter "Delay" (or Attack) available. This unit generates a linear increasing voltage that starts from 0V after each Delay Reset until it reaches about +5V. Then the voltage remains at +5V until the next Delay Reset occurs. The inclination or gradient is controlled by the manual Delay control and the Delay control voltage ("Delay CV" input). The waveform is linear, the control scale is exponential. The output voltage is displayed by a green LED and available at the "Delay Out" socket.

The manual Delay control ranges - without external "Delay CV" - from about 5ms (fully CW) up to 2 minutes (fully CCW). By means of an external voltage applied to the "Delay CV" socket this range can be extended. A rising CV shortens the delay time (behaviour like a VCO)!

The Delay output voltage ranges from about 0V to +5V. The rising edge of the gate, clock or trigger signal applied to the "Delay Reset" sockets resets the Delay output voltage to 0 V.

"Delay Out" is normalled to the VCA CV input by means of the switching contact of the "VCA CV" socket and consequently controls the Triangle level provided that no other patch is made. A typical example is the usage of a Gate signal (e.g. from a USB/Midi-to-CV/Gate interface) as Delay Reset. That way a delayed vibrato or tremolo can be realized if the VCA output is patched to the frequency CV input of a VCO (or VCF), or the CV input of a VCA.

Notes: Nagaoka MP-110 the successor to the highly acclaimed and classic Nagaoka MP11 phono cartridge, the new Nagaoka MP-110 phono cartridge extends and strengthens its predecessor's prowess and talents to a new level of radiance. You'll hear more music, more detailed refinement to enjoy and savor. The Nagaoka MP-110 is the cartridge to start with and to keep for a long time.

Features:
-Superfine polished eliptical diamond bonded stylus
-Powerfull samarium cobalt magnet
-Lightweight aluminum alloy cantilever for high fidelity
-Carbon fibre reinforced plastic shoe
-Anti ferro magnetic permalloy shield casing

Stylus replacement: Nagaoka JN-P110

The stylus replacement interval varies depending on the using conditions. But for general use at home, the reference time is between 150-200 hours in which the stylus begin to wear and the tone quality deteriorates. Recommend replacing the stylus as aerly as possible to enjoy clear tone for a long time and not to damge the disc grooves.

Notes: A-135-2 is a miniature version of the A-135-1. Behind a front panel with 8 HP only four linear VCAs (voltage controlled amplifiers) and a voltage controlled mixer based on the VCAs are available.

Controls, In/Outputs and Functions of each VCA:

- Level (manual control of the VCA amplification), small rubberized knob (L1...L4)
- Control voltage input with associated attenuator (CV1...CV4), for the full VCA control range about 0...+5V control voltage are required (attenuator fully clockwise), for higher control voltages the attenuator is used, the attenuators are without knobs, just plastic shafts with white marker
- Signal Input
- Signal Output
- All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. to control the level of LFOs or envelopes)
- The signal input is not equipped with an attenuator. But the VCAs can process all signals up to 15Vpp / -7.5...+7.5V without clipping. In case of higher levels an external attenuator is required (e.g. A-183-1).
- The available amplification range is 0...1, the maximal amplification is 1 (i.e. it "clips" and remains at 1 even if the control voltage goes beyond the value that corresponds to amplification 1)

Functions of the voltage controlled mixers:

- Two outputs ("Selected" and "All")
- Selected output: the ouput if a VCA is removed from this sum signal when a plug is inserted into the corresponding VCA output.
- All output: sum of all VCA outputs, regardless of inserted plugs into the VCA outputs
- The maximal amplification is about 0.6 to avoid clipping at the mixer outputs (otherwise the outputs may distort with 15Vpp signals at each signal input and full amplifications)

Special functions of the voltage controlled mixers (selectable by internal jumpers):

- Dual Stereo VCA: In this case the control unit of VCA1 (L1 + CV1) affects also VCA3 and the control unit of VCA2 (L2 + CV2) affects also VCA4, the control units of VCA2 and VCA4 are out of operation
- Quad VCA: In this case the control unit of VCA1 (L1 + CV1) affects all four VCAs. The control units of VCA2, VCA3 and VCA4 are out of operation. In this mode the module has the same function as module A-132-2. That's why module A-132-2 will be discontinued.
- Normalling of the signal inputs: by means of internal jumpers signal input 1 can be normalled to signal input 2, signal input 2 to signal input 3 and signal input 3 to signal input In 4. That way the same input signal can be distributed to four different channels by means of control voltages (e.g. quadrophonic distribution of audio signals). Suitable control voltage sources are e.g. A-144 (Morphing Controller) or A-143-9 (Quadrature LFO).

Notes: Module A-140-2 contains two ADSR type envelope generators behind a front panel with 8 HP only.

Each ADSR provides these controls and in/outputs:

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

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

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

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

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

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

Two more jumpers are used for the optional bus access to the gate signal of the bus for each ADSR. Changing the positions of the mentioned jumpers allows to modify the factory settings.

Notes: The Korg Volca Keys is an ideal introductory synthesizer, with a simple, yet powerful polyphonic analog sound engine and loop sequencer.

The Volca Keys is a long awaited synthesizer that adds a new chapter to the long and storied history of Korg's analog synthesizers. This 27 key analog lead synth delivers unbelievably powerful sound in a compact body. Starting with a filter section that uses the circuitry of the legendary miniKORG700S (1974), it delivers astonishing sound that takes full advantage of Korg's half-century of know-how in circuit design.

With a simple structure that includes delay effect and a sequencer, it's also an ideal choice for a first analog synth. It offers the richly expressive sounds that are distinctive of analog, providing the enjoyment of simple yet deep sound-creation. The possibilities are endless; you can use the three oscillators to play chords, use them in unison with detune to produce solid lead lines, or apply ring modulation to create far-out metallic sounds.

The Voicing function makes it easy to specify how the three oscillators will be combined. Choose between poly, unison, octave, fifth, unison ring or poly ring simply by turning a dial. Easy for those taking thier first steps into synthesisers, the Volca's simple design makes it easy to obtain a wide variety of sounds.

Record phrases as you play them with the Volca Keys using the loop sequencer. With up to 16 steps, it's easy to create phrases as they come to mind. Use the overdub recording function to produce complex loops, with up to 8 sequence patterns able to be stored in internal memory. Craft your loops with the motion seqence function, apply time varying changes to your sound to enhance loops and add originality to your life performances.

Skip a step during sequence playback with active step, a function that creates effects similar to a short loop or unexpectedly irregular rhythms. This allows you to create a dynamic performance just as though you were performing the sequence itself. Flux function lets you play back the phrase without quantizing the steps, producing a loop with a distinctive sense of groove.

A useful self-tuning function constantly tunes the oscillators, so you never need to tune during a performance or wait for the pitch to stabilise after turning the power on.

Connect the Volca Keys with the rest of the Volca Series or a Monotribe using the sync jack. A MIDI in connector lets you synchronise with other devices, play the Volca from any MIDI keyboard and send note messages from your DAW.

The Volca Keys analogue loop synth has a compact size and a built-in speaker, easily playable anytime, anywhere. The ideal starter-synth.

http://www.youtube.com/watch?feature=player_embedded&v=7rbcYJ326EI

Notes: Module A152 is a very useful switching and T&H module. It combines a voltage addressed 1-to-8 multiplexer and 8 fold T&H that can be used as kind of an analogue shift register too. The active in/output is displayed by a LED. The digital output of the currently addressed step outputs "high". The remaining digital outputs are low.

Instead of voltage control even clock/reset controlled addressing of the active step is possible. The rising edge of each clock signal causes an advance to the next state. The rising edge of the reset signal resets to step 1.

The sum of the voltages coming from the manual Address control and the CV input define the currently addressed step of the 3 sub-devices. If the module is controlled by clock and reset the control voltage has to remain unchanged as the CV control has priority over the clock/reset control (e.g. simply turn the CV control fully counter-clockwise and do not touch the Address control knob).

Sub-device #1 is the bidirectional 8-fold multiplexer (kind of an electronical 8-fold rotary switch). Bidirectional means that it works into both directions like a mechanical rotary switch: the common socket may work as an output that is connected to one of the 8 inputs that are e.g. connected to modulation or audio sources. But the common socket may even function as input. In this case the signal applied to the common socket is output to the currently addressed single socket. The voltage range of the in/outputs to be switched is the full A-100 voltage range -12V....+12V. All A-100 signals can be switched without any restrictions.

Sub-device #2 is the addressed 8-fold T&H. The signal at the common T&H input is connected to the addressed T&H output. As soon as a new output is addressed the last voltage is stored at the output (Track&Hold function). The T&H section of the A-152 allows the emulation of the "toggling T&H" function of the Buchla module 266 "Source of Uncertainty". Only the first two T&H outputs of the A-152 are required for this application. This unit can be used also as kind of an analogue (shift) register. The difference to a "real" analogue shift register is that the sampled output voltages are not shifted to the next output but remain allocated to the same output. But in some cases (e.g. controlling the pitch of 3 VCOs by 3 output voltages of the A-152) the result is the same.

Sub-device #3 is the digital output section. The digital output of the currently addressed turns to "high". All other digital outputs are low. The digital outputs can be used to trigger e.g. envelope generators or to control the reset input in the clocked mode to reduce the number of addressed stages.

Notes: WarpEx is an expander module that adds polyphony and MIDI to Warp.

- 4-Voice polyphony
- MIDI input and MIDI Thru
- MPE compatibility (MIDI polyphonic expression)
- Dedicated trigger and V/Oct inputs for each voice
- Illuminated pushbutton to quickly toggle between the MIDI voice modes: Mono, Poly and MPE.

Inputs:

- +/- 8 Volts (V/OCT)
- 0.0 Volts to +5.0 Volts (TRIG and MIDI)
- Overvoltage protection on all jacks.
- 4 TRIG Inputs: Gate inputs for Voices 1-4
- 4 V/Oct Inputs: CV input for pitch of voices 1-4 (i 8V, up to low audio rate ~100Hz)
- 1 MIDI In: Input Type-A for Midi signals. Use provided MIDI-to-DIN adapters.
- Button Toggles between MIDI voice modes: Red = Mono, Blue = Poly, Purple = MPE (Poly)

Outputs:

- Midi-Thru, 5v signal

WarpEx is fully managed by the Warp master

Scope of delivery:

Module, 3mm screws, ribbon cable for connection to Warp, 2 Midi-to-Din adapters Type A

Power consumption: Warp powers this expander via the included grey bus cable
Depth: 30mm
HP : 4

Notes: The module contains two ADSR type voltage controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor) behind a front panel with 8 HP only.

Each ADSR provides these controls and in/outputs:

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

The output voltage range for each envelope is 0 - 10V (10V = attack peak).

The time range of Attack/Decay/Release is about 1ms to 30s.

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

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

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

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

Two more jumpers are used for the optional bus access to the gate signal of the bus for each ADSR.

Notes: As one of the most popular drum machines ever made, the Alesis SR-16 has been used by everyone from songwriters to live performers to remix engineers as their drum machine of choice. The reason is simple, it features a great selection of 233 realistic, natural drum sounds, offered both in dry form and sampled with our incomparable digital reverbs.

The Alesis's exclusive Dynamic Articulation features enables a drum sound to change its tonal content as it's played harder for truly realistic performances. The SR-16 features 50 preset patterns that were actually played in by top studio drummers, not just programmed and quantized. You'll find enough built-in rhythmic variations (with A, B and 2 x fill sections) for composing complete arrangements, and you can create and save your own customized patterns and songs.

Plus, the SR-16 also provides complete MIDI implementation, a footswitch input, flexible programming and editing features and velocity-sensitive pad buttons. Plus, it's so easy to use that you'll be up-and-running and composing new music in minutes. Whether you need a songwriting partner or an accompanist for live performance, turn to the all-time world standard in drum machines: the SR-16.

Notes: Excellent quality at an affordable price courtesy of Arturia's MiniFuse range. Two-in, two-out design with front panel volume control and MIDI in/out to help control hardware synths and drum machines.

Supplier's Notes:
Arturia MiniFuse 2 is an easy-to-use audio & MIDI interface that gives you pro-grade sound quality, smart connectivity, and a curated selection of the industry's best creative software. From guitar tracking to podcast recording, this is your solution for every type of audio creation.

MiniFuse comes from the award winning Arturia AudioFuse line of studio audio interfaces. Class-compliant & Bus-powered means you can plug in and go, and you won't need an additional power supply as it's USB powered. Recording has never been easier.

Creativity connected

MiniFuse 2's inputs and outputs bridge the gap between your ideas and the finished product. Record 2 instrument or mic sources simultaneously with dual combo inputs, sync and record your MIDI devices with 5-pin DIN connections, and connect extra devices with the additional USB hub socket - all via universal USB-C computer connectivity.

Simply the best sound

On paper, MiniFuse 2 gives you a 110db dynamic range and a top-tier equivalent input noise of -129dB. Put more simply, that means unbelievably great sound that can compete with even the finest studios. Enjoy responsive dynamics, a clear noise-free signal, and quality that you can really feel. Tough, portable design MiniFuse 2 is designed to accompany you for those last-minute sessions, quick deadlines, and spontaneous musical moments. It's not only compact and lightweight; its rugged aluminium ca-ing can handle the mobile producer's lifestyle. Take your sound with you, wherever you go. Fully operational Whether you're using a laptop or desktop, MiniFuse can work for you. PC or Mac, connect it and enjoy total recording freedom. Better still, with the MiniFuse Control Center app, you can control its inputs, outputs, settings, and firmware updates in one place. Inspiration on the house Keep your creativity fresh and your inspiration flowing with step-by-step music production tutorials, mixing hacks, and Ableton project templates designed by artists, producers, and beatmakers, featuring the software that's included with MiniFuse. Updated frequently, no subscription re-quired, and free with your MiniFuse. MiniFuse comes with an exclusive selection of software titles offering everything you need to give your sound the professional edge. Arturia FX Color your sound with 4 premium FX plugin recreations of studio classics; a lush plate reverb, a gritty analogue preamp, a classic tape echo, and a rich stereo chorus. Ableton Live Lite Compose, record, perform, and produce anything with an introduction to one of the most widely-used musical software titles in the business - yours with MiniFuse. Analog Lab Intro Instantly add inspiring sounds from our award-winning keyboard emulations to your mix with hundreds of presets to explore, from vintage '80s synths to fat modern sounds. Auto-Tune Unlimited 3-months free subscription Refine your vocal parts for perfect harmony or go full trap-style autotune with a 3-month sub-scription to the industry's favourite voice tuning plugin.

GUITAR RIG LE

An inspiring selection of amps, cabs, delays, reverbs, stompboxes and compressors, so you can build your own processing chains and customize your perfect guitar tones. Splice Creator Plan 3-months free subscription Access millions of hi-def royalty-free samples and plugin presets, from lo-fi drum loops to punchy vocal one-shots, and add them to your personal collection for life.

Review: New age fans and Celtic music aficionados unite, for high priestess Enya is presenting an authoritative, long awaited vinyl edition of her 1997 greatest hits box set A Box Of Dreams. Enya's enduring popularity since her debut in the mid 80s remains a beacon of hope for humanity - a shout out for optimism and serenity in a world where such qualities feel indulgent if they're to be found at all. Gathering together the best of her work from her 1986 debut up to 1997's Paint The Sky With Stars best of, the music has been arranged around three thematic collections, Oceans, Clouds and Stars, moving from the upbeat via piano instrumentals on to choral and meditative ballads. Sleeve notes and some additional poetry from Roma Ryan make this a special edition which fans will rejoice at.

Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod20 is 20HP with 1.34" (34mm) of available module depth. The built-in power supply has two power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod20 includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: Play is a high-fidelity sample player with a full feature set.

Up to 32 samples can be loaded at a time and dynamically switched between using the file knob and associated CV input. Playback modes include one-shot, looping, or gated playback; all with extremely low latency. Transform your samples by pitching them up two octaves or down three octaves, all with a pitch knob that can be free running or quantized to semitones. The pitch CV input tracks volt per octave across its entire range and allows for musical sequencing of samples. Play ships with a pre-loaded SD card packed with loops, drum hits, and field recordings to get you up and running immediately.

Notes: With 11 reverb types and a ton of "hidden" functionality, the Electro-Harmonix Oceans 11 reverb pedal could be your new go-to reverb pedal. You can tap into classic tones like hall, plate, and spring reverbs, including a brand-new spring reverb algorithm that sounds gloriously complex and rich - you can even double-tap the footswitch to "crash" the spring reverb. And you'll be able to cover a huge range of modern tones with a variety of modulated reverbs, shimmer reverb, reverse reverb, and more. A mode switch offers access to variations on many of the 11 reverb types. Complete with an infinite reverb mode for freeze-style effects, there is vast creative potential in the Electro-Harmonix Oceans 11 reverb pedal.

Reverb types:

Hall - rich and full sound of a grand concert hall
Spring - brand-new tube spring reverb emulation
Plate - lush and warm plate reverb
Reverse - each note fades in backwards
Echo - recirculates echoes through the plate reverb algorithm
Trem - hall reverb plus tremolo
Mod - modulated reverb
Dyna - swells, gates, and ducks in response to your playing dynamics
Auto-Inf - auto-infinite reverb, triggers a wash of reverb with each new note or strum
Shim - shimmer reverb with an octave-shifted wash that blooms behind your core tone
Poly - polyphonic reverb with two pitch shifts operating on your pre-reverb guitar tone

Notes: The AT-XP7 is specially designed for the needs of DJs. This cartridge features a highly-rigid polyphenylene sulphide (PPS)/glass fibre body and a tracking force of 2 to 4 grams. It also offers a powerful output level of 6.0 mV, and its 0.3 x 0.7 mil elliptical bonded stylus tracks the record groove with high accuracy for outstanding audio reproduction. Plus, the cartridge is specifically designed to provide maximum visibility of the stylus tip.

Notes: Multi Delay and Reverb effect pedal with inside routing and secondary reverb effects. One of the best Delay and Reverb algorithms in a metal box. Special select 3 classic Delays & 3 classic Reverbs . . . and we added a bonus "Shimmer" and "Freeze" effects which let you create a dreamy waterfall shimmer~ especially handy for intros, interludes, and endings. And now, because of NUX's latest Core Image Technology, the new Verdugo Series effect pedals offer pro-level sound enhancement.

Notes: - Elliptical bonded stylus
- Tapered aluminium cantilever
- Durable design for DJ application
- Tracking Force Range: 2.0 to 4.0 g

Notes: Stmix is a compact 4 channel stereo mixer with an Auxilliar input. This input will allow us to chain a few of them or to insert an extra fifth input.

This module is compatible with Befaco's Hexmix system, and can be internally connected to hexmix module to add the output of STMIX to your main mix.

Specs

Current needs: +12V: 8mA, -12V: 10mA
Width: 6 HP
Depth: 20mm (including power connector)
Aluminiun, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona

Notes: The Listen IO is a simple module which gets signals in and out of a Eurorack system by converting to and from normal modular levels. The top section converts any external signal to modular levels by providing up to 30x gain (+30dB), allowing you to use table-top synthesizers, keyboards, phones/tablets, computers, toys, microphones, etc. in your patches. The bottom section does the opposite: modular signals are converted to normal line level signals. The bottom two jacks can be used as line outs or as headphone jacks, so you and a friend can listen in stereo at the same time.

Each section has two inputs and outputs for use with a stereo signal or two mono signals. An LED bar graph for each output shows the signal level and clipping.

Notes: The EHX Bass Mono Synth transforms your bass into eleven great sounding synthesizers... from vintage synth emulations to thick, stacked voices to deep pulsing sounds and more.

Its intuitive layout makes it easy to use and easy to dial in good sounds quickly. DRY controls the volume of your dry bass signal at the Synth Output. SYNTH controls the volume of the Synthesizer sound at the Synth Output. Used together they let you create just the right mix. The SENS control, short for sensitivity, adjusts how your playing dynamics trigger the synthesizer and allows you to fine tune the way the pedal responds to your bass rig and playing style.

With the CTRL knob you can adjust a key parameter for each of the eleven synth types. It varies depending on the preset and provides more tweakability for customizing your sound. There’s also an EXP input which lets you control an entirely different parameter in real-time with an expression pedal!

Using the built-in Preset footswitch, a user customizable preset for each of the eleven synth sounds can be created, saved and recalled. The factory presets are also easy to restore should you wish to.

From lush, warm sounds to sharp, percussive stabs, the Bass Mono Synth puts a collection of cool bass synths at your fingertips.

Notes: Great for recording studios, mobile musicians, guitarists, podcasters, and live streaming, the bus-powered Studio 24c 2-in, 2-out audio interface features 2 front-panel combo mic/line/instrument inputs with PreSonus XMAX-L solid-state mic preamps, 2 rear-panel line outputs, MIDI I/O, and onboard direct monitoring control. A complete, all-in-one home recording studio, the Studio 24c comes with PreSonus' award-winning Studio One Artist music production software for macOS and Windows.

World-class recording software included:

Seamlessly integrated with the included PreSonus Studio One Artist music production software, the Studio 24c interface works with virtually all macOS and Windows recording software. Easy to learn, Studio One enables you to compose, record, and produce without getting distracted by the tools. Need a new loop or sample for your latest production? Studio One lets you shop, audition, and purchase new content right from your production environment.

Take the tour:

The 2-in, 2-out Studio 24c audio interface features USB-C computer connectivity and includes combo mic/instrument/line inputs with +48V phantom power for condenser mics; balanced, 1/4-inch TRS, line-level main outputs; and an output level control. Its built-in MIDI interface enables connection to a keyboard, sound module, or control surface. A Mixer knob blends analogue input and computer playback for low-latency monitoring.

Superior sound:

The Studio 24c operates at up to 192 kHz for ultra-high-definition recording and mixing. High-quality converters on every input and output and PreSonus' professional-grade XMAX-L mic preamps enable you to capture complex musical harmonics smoothly and naturally, with no audible distortion.

Designed for the home recording studio. Built for the road:

Whether you're just getting into recording or are a veteran producer who wants to go mobile, the Studio 24c will give you clear, clean, ultra-high-def sound in a bus-powered, rugged unit. While it's a perfect companion for any recording software, the Studio 24c and included Studio One Artist provide you with a complete, affordable, home and mobile recording solution.

Includes Studio Magic Plug-in Suite:

This suite of plug-ins adds a wealth of fresh sounds and effects to Studio One. Cherry-picked from the first names in virtual instruments and effects, each plug-in brings a different flavour of practical magic to your songs. These plug-ins aren't gimmicky one-trick ponies - these are real-deal workhorses that you'll rely on for countless mixes.

Notes: Produces volume and reverse swells, backward tape sounds, artificially short staccato notes and bowed instrument effects!

The circa-1980 Electro-Harmonix Attack Decay is a sought after prize among vintage pedal aficionados. Originally called a Tape Reverse Simulator, it's known for producing volume and reverse swells, backward tape sounds, artificially short staccato notes and bowed instrument effects. The freshly designed EHX Attack Decay reinterprets the classic and keeps its cool factor, but adds some modern features for convenience and enhanced functionality.

It can produce a single volume envelope like the original, or, with Poly engaged, put separate volume envelopes on each note you play. The built-in Harmonix fuzz is now a fully controllable distortion with gain, tone and volume controls. The effects loop allows the musician or sound designer to place the volume envelope onto whatever signal is present at the Return jack. Expression pedal/CV input and three user presets give the user total control over their Attack Decay!

Volume envelope manipulation with adjustable Attack and Decay times
Mono mode: one volume envelope at a time, the envelope resets when you play a new note
Poly mode: gives each note you play its own envelope
Built-in, fully adjustable, Harmonix fuzz enhances the volume envelope effect and produces bowed instrument sounds
Built-in effects loop allows for your own pedals to be inserted onto the volume envelope
Expression pedal or CV control over every knob on the Attack Decay
Save and recall up to three presets
Power adapter included

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Effects Loop: Yes
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.75 x 4.13 x 2.25
Current Draw: 140mA
Year Released: 2019

Notes: Stereo effects processing for Tangible's affordable AE modular system. Offers a total of 15 digital effect programs with CV control over three parameters each. Can run in Eurorack via an optional adaptor frame.

Supplier notes:
The MULTIFX module offers 15 different stereo audio FX programs, a wide variety from common FX like reverb and delay to unique effects like Ring Crusher or Glitch delay. Also a nice shimmer effect is onboard.

Each program has 3 parameters that can be adjusted and additionally be CV-controlled.

With a switch the sample rate can be reduced to half the normal rate, resulting in doubling the effect times (with reverb, delay...) and introducing a nice portion of aliasing.

It is based on the FV-1 DSP chip that is well-known from other FX-modules in the Eurorack world; the MULTIFX module offers the 7 factory programs of the chip plus 8 new and unique ones created by Tangible Waves.

Notes: The Mini Case offers 40 HP for mounting modules. A power supply is built-in.

208 mm long x 45mm deep.

PLEASE NOTE: Comes with EU 2 pin plug only - UK adapter may be required.

Notes: Sine is a harmonically pure VCO with two distinct outputs.

The primary output contains a perfect sine wave with a wide frequency range and pristine volt per octave tracking. The Sub output features two sine tones that can be blended together to achieve a mix of one octave below, or a fifth above the primary output's frequency.

In addition, both outputs have an internal wavefolder that adds harmonic content to the signal allowing for spectrally complex tones within a single module. Keep your tones pure (or not!) with Sine.

Notes: The Switchblade Pro is our deluxe switching box featuring true mechanical bypass, soft switching, high quality and low noise buffers, volume controls for all input signals, high headroom and a multitude of possible configurations for all your signal routing needs. This compact pedal is a versatile and indispensable tool!

Notes: The updated Komplete Audio 6 is one of our favourite interfaces, packing six-in, six-out audio connectivity and MIDI into a neatly designed, stylish box with handy level control.

Supplier's notes:
Connect, create, and collaborate with our six-in, six-out audio interface. Featuring high-definition recording, ultra-low latency, and flexible connectivity, AUDIO 6 brings your whole setup together. You can plug in mics, guitars, and synths, create send and return loops with effects, and control synths and drum machines. Plus, you get all the software you need to capture performances, build songs, and polish recordings - bring any idea to life.

Whether recording your next album or gigging your latest release, your focus should be on creating at your best. With pro-grade sound, gig-ready portability, and plug-and-play simplicity, AUDIO 6 lets you do just that.

AUDIO 6 works with all your mics, instruments, and headphones. You've got a choice of connections and features: 48V phantom power, MIDI in/out, and four analogue outputs with additional CV/gate control for your analogue gear. Plus, easy-to-see top panel LED VU-meters for all four analogue inputs and the main stereo output.

Whether you're a solo performer, duo, or a full band, the AUDIO 6's pristine audio quality lets you sound as good on stage as in the studio. Turn your laptop into a live rig or vocal processor, with flexible connections to fit any performance. USB bus-power means fewer cables and power supplies, plus a big volume knob on top lets you make easy level adjustments while on stage.

Two high-power headphone outputs, with individual level controls, make it easy to collaborate. Hear exactly what you're recording, in real-time, with latency-free direct monitoring that lets you blend playback and monitored audio to your liking. We've also doubled their output power - great for stage use or high-impedance headphones.

Whether at a small band session or a freewheeling modular synth jam, having a flexible set of connections lets you bring your ideas together and capture music in the moment. XLR, TRS, S/PDIF, and MIDI aren't just letters, they're ways to make music happen - and we've put these connections right where you need them.

Notes: Erica Synths Pico VCO 2 - powerful, full analogue VCO with great tracking over 8 octaves just in 3HP! Combine two of those, add some PWM and have a sound of real analogue beast!

Features:

Manual TUNE and PWM controls
+-1 octave switch
1V/oct input with good tracking across 8 octaves
PWM CV input
Pulse and triangle waveform outputs
Input protection against overvoltage
Protection against reverse PSU connection

Technical specification:

Output signal amplitude: -5V - +5
PWM CV input (full span): -5V - +5V
Power consumption: +21mA, -19mA
Module width: 3HP
Module depth: 35mm

Notes: Your quest for an ultra pedalboard-friendly stompbox that includes plate reverb is fulfilled!

The EHX Neo Holy Grail is an update to our wildly popular compact digital reverb, the Holy Grail. It contains three reverb algorithms: SPRING, HALL, and PLATE. All three algorithms were designed and tailored for the electric guitar, but they work equally well on most instruments and voices.

The SPRING algorithm is a re-creation of the classic spring reverbs that are found in many guitar amplifiers. The HALL algorithm simulates the reverberations heard in large spaces such as a concert hall or cathedral. The PLATE algorithm is an emulation of a metal plate reverb commonly found in high end recording studios during the 1960s and '70s. The PLATE reverb is a very smooth, tonally balanced sounding reverb that sounds great on many different instruments, especially vocals. True bypass switching ensures your tone won't be affected when the pedal is bypassed.

Three super reverb styles in one compact pedal
Features Spring, Plate and Hall Reverbs
True Bypass
Compact, rugged chassis
Power adapter included

Specifications

Circuit: Digital
Bypass: True Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.5 x 2.75 x 2.1
Current Draw: 75mA
Year Released: 2015

Notes: The UDG Ultimate DIGI Backpack Black/Orange Inside is specially designed to cater for the laptop-based generation DJ affording them maximum functionality with performance orientated style.

Fits: Pioneer DJM-S5, DDJ-XP2, DDJ-200, Akai MPC Live II, NI Maschine MK3/ Jam, Numark Scratch, PT01 Scratch, or similar size controllers.

Ultimate DIGI Backpack specially designed for the laptop DJ. Constructed from high quality water resistant Nylon, it contains a cleverly designed side entry compartment for a laptop up to 15.4" without having the hassle of going through the main body of the bag. The bag main compartment can hold an extra laptop and it can also hold a Native Instruments MASCHINE MK2 size MIDI controller. There is a detachable interface pouch and on top of the bag there is a padded, quick access headphone pocket. There are 5 zipped compartments to securely store USB sticks, SD cards, wires and cables, AC power adapters, compact camera's, MP3 player, and other accessories.

Specifications

Colour: Black, Orange inside
Weight: 1,80 kg / 3.96 lbs
Outer Dimensions (W x H x D): 43.0 x 31.0 x 28.0 cm | 16.9 x 12.2 x 11.0 inch
Inner Dimensions (W x H x D): 42.0 x 30.0 x 13.0 cm | 16.5 x 11.8 x 5.1 inch
Material: Water Resistant Nylon 450D
Protection: Various padding used

Extras

Front compartment with organization panel and detachable pouch for audio interface
5 exterior pockets for personal essentials, including one with earbud pass-through for Mp3 players
S-curved shoulder straps for ultimate comfort.

Fits:

Up to 15.4" laptop, LP's
Pioneer DJM-S5, DDJ-XP2, DDJ-200, DDJ-XP1, DDJ-SP1, DDJ-WeGO 3/ 4, Toraiz Squid
NI Maschine MK3/ Jam/ MK2
Denon DJ MC2000, SC2000
Akai MPC Live/ II, MPD226, MPD232, MPD32, MPD26, MPK Mini MK II, MPC Element, MPC 500, APC 20, APC Key 25
Ableton Push/ 2
Allen & Heath Xone 23/ C, Xone 43C
Novation Launch Control XL, LaunchPad Pro, Circuit, Twitch, Numark Scratch, Omni Control, Stealth Control, Party Mix, iDJ Live II, Mixtrack Edge
Reloop Beatmix, Digital Jockey III/ II, Mixage IE, Neon
Roland Aira MX-1, TR-707, MC-202, TR-8, TR-8S
Korg MicroKey 25
M-Audio Oxygen 25, Trigger Finger Pro,
Arturia Drumbrute
Gemini FirstMix Pro, Slate2, Slate4, CDJ-700,
Hercules P32 DJ Controller, Universal DJ, DJ Consule 4-MX, DJ Control Air S, DJ Control Wave, DJ Control Instinct
Livid CNTRL:R
Stanton DJC.4
Vestax Spin 2, VCI-300/MK2, VCI-100/MK2
Audio interface or MP3/MP4 player, books and magazines

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

Notes: Div is a 2 channel, voltage controlled clock divider and multiplier. Incoming clock signals can be multiplied or divided by a factor of 16 with a multitude of values in between.

CV inputs provide external control of the current clock rate, allowing for the creation of dynamic rhythms from a single clock signal.

Notes: Mix is a 4 channel mixer that is great for audio or control voltage signals. Up to four inputs can be combined to a single output each with its own level control.