The AQA Elektrix Qudrature LFO's rate is determined by the Rate potentiometer and the three position switch (slow, mid, fast). Two CV inputs allow for external control - one has a fixed characteristic of one volt per octave and the other is equipped with a polarizer for setting modulation intensity and polarity.
Four sine waves are available simultaneously, each is 90 degree phase shifted. To be correct you have to say a sine, a cosine and their inverted counterparts are generated.
MPK mini includes all the essentials for quickly laying down and expanding upon your musical ideas. Dedicated Octave Up and Down buttons increase the keyboard to the full melodic range, and a sustain pedal input is built in for expressive playing and recording. An onboard arpeggiator with adjustable resolution, range, and modes makes it easy to create intricate melodic lines with little effort. Plus, MPC Note Repeat and Full Level allow users to access genuine technologies from Akai Professional's line of MPC workstations.
For maximum portability, MPK mini requires no software drivers or external power adapter for operation. It supports plug-and-play connectivity, features USB-MIDI, and powers up with a single USB connection to your Mac or PC. Four memory banks enable you to store hardware/software presets for quick and easy setting up of your computer and MPK mini.
MPK mini comes bundled with professional production software and virtual instruments for immediate music creation. Hybrid 3, by AIR Music Tech, is a high-definition synthesizer that can create anything from fat, retro synth sounds to edgy modern leads and everything in between. SONiVOX's Wobble is an electronic music grime synthesizer that features two independent channels of spectral morphing synthesis with harmonic controls, individual filtering, and discrete LFO controls. MPC Essentials, a groove/beat production and sample-triggering software, lets producers and musicians incorporate genuine MPC workflow into their DAW of choice and extends the power of MPK mini by adding up to 8 pad banks and 4 samples and insert effects per pad. MPC Essentials also runs in standalone mode, so you can start making music without a DAW.
Unlock the true potential of your MPK mini with the MPK mini MIDI Editor software. This MIDI editor is a powerful preset management software that lets MPK Mini users customize their hardware and software setup on their Mac or PC. Create and tweak presets for your favorite virtual instruments, plugins, and DAWs, then store them on your MPK mini. You'll spend less time setting up your gear and more time doing what you love - making great music.
***NOW INCLUDES VIP 3.0 - The ground-breaking, award-winning music software platform that provides musicians and composers with a powerful hands-on control solution for their virtual instrument and virtual effect collection***
Experience expanded control of your VST instrument and effect collection with MPK Mini Mk2 and VIP3.0 (Free Download Included).
VIP3.0 provides you with unparalleled access to your virtual instrument and effect collection, seamlessly integrating the hardware / software experience and grants the unrestricted freedom to create in a user-friendly, intuitive format. The combination of VIP and MPK Mini Mk2 maximizes workflow and ensures a playing experience that feels natural and enhances creativity - the natural, tactile feel of hardware fused with the unrivalled processing capability of virtual Instruments.
Quickly find sounds based on instrument type, timbre, style or articulation from your entire VST library; sculpt immersive, expressive sounds and textures layering up to 8 separate instruments and patches per VIP instance; load up to 4 different VST effects per instrument channel to sculpt the perfect sound; put power into your performance with Pad Chord Progressions and user-friendly Key Control processors; and much more. From live performance to studio production, VIP's user-friendly functionality coupled with a diverse feature set guarantees simple, seamless integration into your existing setup and provides the ultimate platform for unrestricted creative expression.
A separate cue source input with its own outputs and level control allows a separate headphone mix to run in parallel to the main mix. The headphone output can easily switch between the cue source and the main input source with the touch of a single button on the front panel.
Additional controls on the SCC include a master mute switch, and a mono switch allowing you to sum the stereo inputs to mono to check phase in any mix.
In a typical studio setup, one set of inputs on the SCC would connect to the main output of your DAW workstation or computer audio card. Secondary outputs or headphone output would be connected to the SCC's Cue Mix input allowing for a second, completely separate headphone mix. Other sources (keyboard, iPod, analog sub mixer etc) can connect to the additional stereo inputs.
Outputs would be connected to nearfield and midfield monitors or monitors and subwoofer. Multiple inputs and outputs can be used at the same time.
The NR300 actually functions as two pedals in one. In Reduction mode, you can adjust the dedicated Threshold and Decay dials to keep all your tone and dynamics intact, but effectively eliminate hum from the picture. In Mute mode, the NR300 becomes a super-quiet on/off switch for your instrument.
Operation couldn't be easier. The NR300 features two LEDs, one to indicate when it's activated, another to indicate when it's suppressing noise. You can power this pedal with either a 9 V battery or the PSU-SB DC power supply (not included). And the top-quality on/off switch maintains absolutely noise-free operation.
It also features a Randomizer mode where the modes change randomly at a selectable rate.
To operate: Connect it to a television, projector or video rig and connect a sound source to the 14" audio jack. Select one of the 16 patterns and, using the gain knob, adjust the sensitivity to the audio input.
Use the Black & White Video Scope with a projector for live performance, TV in your living room, or as part of a larger video mix.
The studio elements of dust, smoke and liquid have taken many a good synth down over the years - this is where Decksaver steps in.
Precision trimmed for perfect fit whilst accommodating cables, the MiniBrute can sit ready for operation.
Slides straight into a flight or soft case for maximum protection during transportation. Shields delicate keys, controls and internal components from damage at home, on the road and on stage.
The Audio/CV Split Cable Kit makes the studio work run smooth. It is suitable for a wide range of applications and especially ideal for:
- Analog Rytm users wanting to connect the dual mono separate voice out jacks to a mixer or sound card.
- Analog Four users wanting to sequence external analog gear with the dual CV/Gate outputs.
- Octatrack users wanting to sample from consumer electronic devices featuring a 3.5mm headphone jack.
In the box:
1 × cable adapter module, featuring a 3.5mm stereo plug and 2 × 3.5mm and
2 × 1/4" mono jacks
1 × 3.5mm to 1/4" headphone plug adapter
2 × 3.5mm to 1/4" TS cables
Parametric bassdrum synthesis offers creative control of the core sound:
- The primary analog VCO offers classic 909-esque sinusoidal bassdrums, but can also be switched to generate a square wave bassdrum
- The PITCH of the VCO spans several octaves, from about 30Hz to 240Hz, and can be modulated with voltage control
- A novel PITCH DECAY circuit allows you to adjust the duration and AMOUNT of the pitch-modulation envelope applied to the bassdrum, from short blips to exaggerated tom-like sweeps
- The AMPLITUDE DECAY allows adjustment of the length of the bassdrum, from short punchy kicks to massive booms. This parameter is voltage-controlled with a snappy CV response time, allowing you to modulate the duration of your kicks per step.
- The CLICK generator is responsible for the attack intensity of the BD9. A fair amount of circuitry goes into creating this subtle punch at the beginning of the kick. The level of this effect is adjustable up to a fairly dramatic extremity.
- The overall timbre of the BD9 varies with the DRIVE control from warm, analog bassdrums at low settings to speaker-shattering overdriven sounds at high settings. Output levels are modular-level signals, unlike many classic line-level percussive devices.
Still not heavy enough? Try the sub-oscillator:
- A square wave sub-oscillator derived from the primary oscillator's pitch can be mixed in (manually and with voltage control) to the BD9. The effect can be subtle deepness or extreme timbre changes.
- A jumper on the back of the module allows you to select between the sub-osc being a raw square wave or having some of the high frequency components removed with a lowpass filter.
- At high OUTPUT DRIVE and SUB LVL combinations, the sub-oscillator can be modulated with CV to saturate the BD9 output in evolving ways.
- The SUB OCT can be set to 0, -1 or -2 octaves down from the primary oscillator. A drop of 0 means that you can mix an equal-pitch square wave with a sinusoidal primary wave.
Designed for the contemporary modular synthesizer:
- Plenty of Eurorack-compatible control voltage inputs with bipolar attenuverters allow synthesis of dynamic percussion
- A practical analog trigger circuit allows activation of the BD9 from many signal sources (anything with a positive-going edge lasting 2ms or longer). Most electronic drum pads can also directly trigger the Mutant BD9.
- An accent input accepts analog voltage control (0 to 5V will fully modulate the volume from low to high)
- Analogue hihat circuitry capable of synthesising vanilla TR-808 open and closed hihat sounds (simultaneously)
- External audio input lets you synthesise hihats from virtually any sound source (Jupiter Storm, vcNOIZ, etc.)
- Lo-fidelity original VCAs replaced by OTA-based modern VCAs
- VCA DRIVE control for each hihat allows you to dial in anything from soft metallic hihats to extremely overdriven, crunchy hihats
- Exclusive switch lets you select how the two hihats (open/closed) interact with each other when triggered at the same time
- Cutoff frequency control for internal resonant bandpass filter
- Resonant filter can be switched on/off
- Modular level mutual accent input (0-5V CV)
- Trigger input accepts almost anything as a trigger signal
- Non-invasive analogue optocouplers used for voltage control, thus, completely vintage sounds can still be had if that's what you're after!
- Completely redesigned, hi-fi signal chain spares no expense by replacing cheap transistor amplifiers with low noise op-amp and OTA equivalents
- You can dial in super hot, modular level output levels (up to 20Vp-p!)
By default, the 4 channel mixer's output conveniently feeds into the compressor's input, giving access to easy New York style parallel compression by way of the compressor blend control. The dedicated output and mixer bypass switch for channel A allow you to easily use it as a sidechain source for the compressor. An effects send and return allow you to create complex effects routings within your modular system. With the number of excellent DSP and other effects modules on the market today, this makes it easy to combine modules to great effect, all within the Eurorack modular domain.
Seize control of your productions with the Icon Platform M+ DAW Controller, adding true tactile control via USB 2.0 to your Digital Audio Workstation (DAW) and production system. The all-new Platform M+ is a MIDI control surface designed for producers, engineers and musicians who want the hands on control of a mixing console and the flexibility of modern "in the box" digital music production within a smaller physical workspace.
With nine (9) full sized motorized faders, eight (8) rotary dual-function encoder knobs, backlit buttons for Mute, Solo, Automation and Transport control, a jog wheel, and access to your entire mix by banking across tracks in groups of 8 or 1 channel at a time, all the primary functions of your DAW are now at your fingertips.
Control any Digital Audio Workstation:
The Platform M+ integrates with most popular Digital Audio Workstations. Mapping presets for Cubase, Nuendo, Ableton Live, ProTools, Logic, Reason, Studio One, Bitwig, Samplitude and Reaper are loaded at our factory. Mackie Control or HUI protocols provide seamless interfacing with your DAW's functions. But even if your preferred DAW is not on this list, you can still map its functions with our intuitive MIDI learn mode.
Customise your setup:
The compact size (40cm x 20cm x 4.5cm) of this DAW controller means it should fit comfortably into any studio setup. But, the Platform M+ is also designed to be the nerve centre of your very own scalable, customizable, modular audio production system. Add the Icon Platform D2 Backlit LCD Display Module to keep track of every parameter, channel and control value in your mix.
A variety of additional expansion modules are also planned for future release, adding more faders, knobs and pads; providing even greater power, versatility and creativity. With the Icon Platform M, you can build the control surface that suits your needs.
In the Box:
- Icon Pro Audio Platform M+ Audio and MIDI Control Surface for DAWs and Plug-Ins
- Software CD
- USB 2.0 Cable
- AC Adapter
- Limited 1-Year Warranty
iKlip Xpand features a patented expandable holding bracket with a soft rubber contact surface that adjusts to the width of your device providing a safe and secure way to hold your tablet firmly. With iKlip Xpand, you can position your device exactly where you want it and rest assured it will stay in place.
iKlip Xpand features several breakthrough technologies that allow it to hold virtually any tablet with a screen size from 7" to 12.1". You can even use it without removing the protective case of many of your favorite devices. First, iKlip Xpand features a patented expandable holding bracket that utilizes an expansion "memory" bracket which allows you to quickly and easily mount an iPad - or similarly sized tablets - to a microphone stand. Its rubberized "Gorilla Grip" backing ensures a firm grip of the device that neither scratches nor mars your tablet's surface. Its ball joint global positioning system lets you precisely position your device at any angle for optimum viewing in both landscape and portrait modes.
iKlip Xpand features a universal mounting bracket for microphone stand poles - it can be attached to any pole with a diameter of up to 1.2" (30mm). Now you have the flexibility to attach your device to either the vertical pole or horizontal boom of most microphone stands.
iKlip Xpand makes it easy to use your iPad or other tablet (like a Samsung Galaxy Tab, Nexus 7, HTC Flyer or other, similarly sized device) on stage, even if it has a case on it. Now you can bring your favorite apps to the stage: Guitarists can use powerful real-time effects processors.
Keyboard players can play with a whole galaxy of virtual instruments and synthesizers. DJs can enjoy mixing and other groove making apps. And musicians and performers of all kinds can have a clear view of their favorite lyric and chart apps. You can do all this and more, and iKlip Xpand's ball joint positioning system makes it easy to precisely adjust the device for optimum viewing in both landscape and portrait orientations.
When an iPad or other tablet is mounted in the iKlip Xpand, all the device ports and controls are unobstructed. Now you can easily connect all your cables and make adjustments on the fly.
Like all IK products, iKlip Xpand has been designed and manufactured in Modena, Italy - a city famous for high-performance Italian industrial design. Each product goes through rigorous quality testing to ensure the utmost in dependability and quality - iKlip Xpand is designed to last performance after performance and night after night. We use only the highest quality components and materials so that you can do what you love and perform with confidence.
With iKlip Xpand, you'll be on-stage performing in no time at all thanks to its included iKlip Stage app. It's a streamlined music file management and page turning app with intuitive controls that make it easy to organize and perform with your favorite music scores, lyrics, tabs and more. Pair iKlip Xpand and iKlip Stage together and you have a powerful, easy-to-use tool that will make your live performances a whole lot easier.
iRig Keys 37 is easy to use. It's fully MIDI and USB class compliant which means you just need to plug it in, fire up your favourite program, and you'll be ready to go. No additional apps, software or drivers are necessary to get it up and running.
iRig Keys 37 doesn't require a power cable because it gets all of its juice from the USB port of the connected Mac or PC.
Keyboard player? Producer? Something in between? You're going to find a lot to like in iRig Keys 37. Now you can be ready anytime and anywhere that inspiration strikes. iRig Keys 37 will help you turn the musical ideas and melodies of your mind into songs and compositions you can hear with your ears.
You can also use iRig Keys 37 for live performance and other creative uses. It comes with a complete spread of powerful software from IK Multimedia that will help you get started immediately.
How portable is iRig Keys 37? Extremely portable. It small footprint and compact enclosure makes for one of the smallest keyboards on the market.
Pair that with it's almost featherlight weight and you have a MIDI keyboard controller that offers an unbeatable combination of compactness, convenience and full-featured functionality.
iRIg Keys 37 might be small, but don't let its size deceive you. This little keyboard offers a playing experience that's effortlessly expressive and comfortable. Its 37 mini-keys gives you a full 3 octaves (plus 1), which is the widest octave range available on a mobile keyboard of its size.
And, for maximum playing comfort and versatility, iRig Keys 37 includes all the controls you need to play at your best: Modulation and pitch-bend wheels, velocity sensitivity, an optional input for sustain or expression pedal, octave up/down buttons, 5 soft-touch backlit buttons and a volume/data knob.
You can even change and save the keyboards settings (things like MIDI channel, button reassignments, keyboard transposition) with the "Set" button. You can store up to 4 different configurations, which is pretty handy. It allows for quick sound switching and easy control of various instruments or apps on the fly.
To get you started right away, iRig Keys 37 comes with some pretty powerful software. This software can be downloaded and played with immediately, making for a true plug-and-play experience straight out of the box. You get:
SampleTank for Mac/PC - SampleTank 3 SE, a special version of the ultimate sound and groove workstation for Mac/PC that includes an expandable 6.5 GB sample library that includes instruments in categories that cover everything from acoustic to electronic and beyond (to be downloaded from the IK Multimedia online User Area). It works as a stand-alone program or as a plug-in for all major DAWs, like GarageBand, Logic, Pro Tools, Cubase, Live, Sonar and more.
When you register your iRig Keys 37, you'll also get a bundle of free instrument collections that you can use to expand your creativity even further. You get The Grid, a collection of cutting-edge electronic construction kit and drum kit sounds plus 5 instrument collections of your choosing from our Beats and Elektronika electronic music series (choose and download from IK User Area).
*Photographed laptop is not included*
Just like the 101 it is quick to dial in beautifully rich bass and lead sounds. However this module uses triangle core VCOs (based on the Dixie core) instead of Saw core which respond much more musically to FM. The modulation oscillator can be used as an LFO or VCO (audio rate) and both track very precisely over 8 or more octaves.
In the mixer section you can adjust the balance of the primary oscillators waveforms including a sinewave which is normalled to the EXT IN jack. You could also patch in one of the modulation oscillators waveforms into this channel and be able to operate the Atlantis as a proper two oscillator synth. There is a switch labelled "LINK" which enables the modulation vco pitch to be based as an offset of the primary VCO. This is useful when using it as a stacked dual vco or when you have the mod VCO acting as the linear FM source for the primary vco and wish to maintain the ratio.
The filter section is a Roland style cascaded 4 pole multimode filter with LP, BP and HP modes. The LP Boost switch engages a special mode useful for the LP that produces a much fatter and prominent sound that is not drowned out by resonance (unlike the original SH-101). The filter self-oscillates to produce a very clean sine wave which also tracks 1V/Oct. Between the Mod VCO, Primary VCO, Sub Oscillator and resonating filter it is possible to layer up to four different pitches at one time.
The envelope section is an ADSR with a dual range switch. It also can be set to a looping mode which can be gated on/off externally.
The output VCA feeds into a two level output clipping circuit that you can use to get a much ballsier/dirtier sound.
This module allows you to interface your Eurorack modular system to the pro balanced line level world (+4 dBu). You can send and return to rack mount/desktop FX units, patch to external line-level instruments like synths and drum machines, interface to a DAW, and much more.
This module connects to the Audio I/O JACKS module via ribbon cable. The same ribbon cable can be used to connect to the rear-mounted audio jacks of the 7U performance cases
The output of the first mult is normalled to the input of the second mult to create a 1×8 buffered mult.
this makes a perfect modulation source to pair with the rubicon. add a ufold, uvca and ufade and you have all the ingredients for a powerful and highly flexible complex timbre generator.
The four handy knobs can act as active attenuators (unipolar) or attenuverters (bipolar) depending on the setting of the two-position switches above each one.
Each input is normalled to a precision +5V DC voltage source. With nothing plugged into the jacks, each knob controls a voltage range of 0 to +5 v or -5 to +5 v depending on the position of the mode switch.
- 2 modes for each channel
- 5v normalled to each input
- With external signals it acts as active/buffered attenuator/attenuverter/mixer
- Each output normalled to mix into the adjacent channel on the right making it possible to do sub mixes in groups of 2, 3 or all four channels.
This is the version II of the original uFold.
We looked very closely at how some of the most loved timbre shaping circuits worked in classic synth modules; Not just in how they were implemented electronically but how they sounded and how efficient they were to get great sounds. it was important that their design was very versatile in range of timbres but still easy to use and with well thought out control ranges.
When combining the Dixie, uVCA, uFade and uFold you can achieve extremely complex palette of sounds with just a few modules!
The headphone amp is low noise and capable of driving low impedance studio headphones.
This module was adapted from a design by David G. Dixon
The Image Control Waveguide was developed for JBL's new flagship M2 Master Reference Monitor and with the introduction of the JBL 3 Series, is now included for the first time in an affordable, compact reference monitor. The patent pending design of the Image Control Waveguide precisely controls the sound emanating from the speaker in the vertical and horizontal planes ensuring the presentation at the listening position is neutral and accurate.
JBL Transducers are legendary for their performance.The 3 Series long throw woofer and its damped woven composite Neodymium tweeter are designed from the ground up to reproduce the powerful transients and micro dynamics of your mix. These drivers deliver impressive deep bass and smooth high frequency response beyond the range of human hearing.
JBL's patented Slip Stream low frequency port design works in concert with the woofer to produce deep bass response at all playback levels. The double-flared shape of the port is precisely engineered for greater low-frequency extension and reduced turbulence.
The 3 Series efficient Class D Amplifiers provide abundant power to deliver the output and dynamic headroom needed for the most demanding production styles.
Balanced XLR and 6 mm TRS inputs give you the options you need to connect your 3 Series to any signal source while maintaining professional signal quality.
The -10 dB/+4 dB sensitivity switch ensures compatibility with a broad range of signal sources, allowing you to connect the 3 Series to high output professional gear without any danger of input overload.
Low frequency trim and high frequency trim switches for both the Low and High Frequencies give you excellent control over the 3 Series sound in "your" room. Use these to fine-tune the amount of bass and treble you hear to compensate for room acoustics, program material and your personal taste.
Prior to becoming a production ready design, each 3 Series model is subjected to JBL's tough 100 hour power test, in which the speaker is required to play continually at full output for 100 hours without failure. This demanding test ensures your 3 Series speakers will deliver years of reliable performance.
With a serious sound, ubiquitous design, and superior build quality, the microKORG analog modeling synthesizer became an instant world standard when it was released in 2002. Since then, the microKORG has found its way into the hands of musicians far and wide, and now, receives an update to ensure it will remain one of the world's most beloved synthesizers for years to come.
The new microKORG S features a built-in 2+1 speaker system with power that far exceeds its size. Its body sports an elegant white motif, and features new presets that represent the sounds of a new generation. Beneath the microKORG S's sophisticated exterior hides a sound engine both brutal in strength and universal in application.
Built-in 2+1 speaker system ensures a rich and full sound at any volume:
Inside that compact body of the microKORG, we've included a carefully constructed speaker system consisting of stereo speakers with clear imaging, plus a woofer that emanates a startling amount of low frequency. The chassis uses a new box structure, and the combination of ample box volume and a bass reflex port takes full advantage of the speakers, thereby delivering a rich sense of volume that exceeds the size of the speakers, a clear sense of positioning, and a rich low-frequency range. In addition to the battery-powered operation of the existing model, the inclusion of the built-in speakers allows an easy yet full-fledged performance experience even in an environment where there is no power supply or PA.
Since the speaker box is contained within the chassis of the instrument, the vibrations from the speaker can be felt through your fingertips. This tactile feedback allows you to experience the same subtle and dynamic response as when playing an acoustic instrument or electric piano.
Increased memory, new programs, and additional user programs:
The memory capacity has been increased from the original microKORG. Mainly centered on simple and present sounds that shine on stage, we've added 64 powerful preset programs that meet the needs of the changing music scene, including clearly defined and punchy leads, electric pianos that sound great in an ensemble, and powerful and solid basses. In addition, we've also newly provided 64 additional slots for user programs, so you can save your own original sounds without overwriting the presets. This encourages a sound design process that's ideal for this instrument: select a sound that you like, and edit it.
Elegant new design retains the spirit of the original:
The microKORG's distinctive form has been beloved worldwide for more than ten years. The microKORG S adds speakers, yet carries on the looks and compactness of the original. In addition, the front panel features an elegant white reboot, updated with maple wood for the side panels.
Favorite Select function:
There's a new Favorite Select function that lets you assign up to eight of your favorite programs. Since this lets you instantly recall the sound you need, it makes live performance even more convenient.
All of the functionality of the original microKORG, plus so much more:
This new instrument carries on all of the original microKORG's functionality, including the ease of selecting a program of a desired musical genre and then editing the selected sound, a vocoder with an included miniature microphone, and battery operation that allows you to perform anywhere. As a beginner's first synthesizer that's easy to use, as a supplementary live synth for the stage, or as a sound module for production, the microKORG S will continue to play a role in every music scene around for many years to come.
Both envelopes work independently but can be triggered over Gate Input 1 with Gate 2 unpatched. The unit also offers Gate-Inputs from the system-bus allowing you to trigger the envelopes from an appropriate MIDI/CV-interface without front patching.
Typically, both envelopes work with logarithmic characteristics. However, a switch allows to change the character of one selectable envelope to linear.
Both envelopes offer two parallel outputs each. In many case this makes the use of multiples superfluous.
The module has a width of 60 mm (12 TE).
OSC-03 offers a variety of notable functions: Beside a common CV-control voltage for all VCOs, all oscillators can be individually controlled by CV-sources, e.g. by different tracks of a CV-sequencer like Doepfers MAQ-16/3 or the AS Oberkorn. VCO 1 can be synchronized to VCO 3, individually or paired with VCO 2. The same goes for external hard-sync. The additional CV-inputs allow for common and individual modulations.
Three outputs allow for summed and individual audio outputs. A separate outputs carries a digital ring-modulated signal of OSC 1 and 2 (configurable to OSC 1-3 by jumper).
The difference between OSC-02 and 03 is, that the OSC-03 has a digital noisegenerator and an audiomixer.
The module has a width of 80mm (21 TE).
Mode Machines brought again the ADX 1, a powerful 5 channel Analogue Drum Expander with individual outputs, MIDI control and infinite amount of sound tones thanks to its generous amount of knobs to control its parameters.
The 5 Channels provide different sound palettes.
Metal: Metal is used to create cymbal sounds and consists of two different metallic-sounding Generators. Two filters, Envelope/modulation options, Decay and Release.
HiHat: HiHat consists of one metallic-sounding noise generator and one "clean" signal, Pitch control, mix, modulation, filter, Envelope modulation, Decay and Release.
Snare: The sound of Snare is created by one metallic-sounding noise generator through two band pass filters connected in parallel, Decay and Release.
Synth: Is used to create sounds like bells or synthesizers and consists of 3 sinus Oscillators. FM and Bend for a wide palette of sounds, Attack and Release.
Bass: Consists of one sinus oscillator, with pitch control. Additional Overtones can be created by frequency modulation. Attack simulates the "Pluck" of a bass string, Release to control the length and Distortion available for dirtier sounds.
It has the same functions as the Roland PG-200.
The Roland pg200 is 25+ years old,hard to get and not cheap at all. The DT200 has the latest in technology, is easy to use and looks great with your MKS30 or JX3p.
It features high quality switches and potmeters. The DT-200 V2 uses high quality retro looking switches. On the bottom there are magnetic strips just like the original PG-200.
6pin DIN cable included.
"d+USB series" is the high quality USB cable for the next-gen sound tools such as digital DJ gears which is boosting its share in the scene, USB audio I/O and USB DAC. Under the digital audio environment, it provides all users beyond the wall between artists and listeners the direct sound reproduction.
Now a number of club DJs are performing with their laptop computers using such as Serato Scratch Live or Native Instruments Traktor. For live performance, needless to say, the stability and sound quality is very important. And a poor-quality cable causes some fatal trouble such as the sound interruption or even the complete sound stop.
Even though there might be perception that there is no sound difference by cable change under data transmission, we present there is definite difference by hi-quality cable and connector with "d+ USB".
Especially, when an interface is driven by bus-powered, the significance of USB cable affects the stability of power supply and the accuracy of the audio clock.
We designed "d+ USB" aiming at providing the best environment to the DJs and artists who pursue the higher sound quality of their performance. With its excellent sound quality and stylish industrial design, "d+ USB" will be the masterpiece for all professional creators such as DJs, musicians and sound engineers.
The world of PC audio is rapidly expanding as the next-gen listening style. "d+ USB" which is originally designed for sound professionals also functions as the core of the digital data transmission of the PC audio. Due to the fact that there are no change of the frequency balance by cable in the data transmission, "d+ USB" delivers the clean and stable data for an USB-DAC.
The most important factor for digital is lossless, speedy and accurate data transmission. And a cable has many factors which affect sound quality and cause the errors of data transmission such as noise by electro-magnetic wave, impedance matching, and attenuation of electric signal.
Based on the basic concept of the data transmission, we put noise protection and excellent electric characteristic to the cable into practice applying our long-time experience of the cable production. "d+ USB " was produced as a result of considering the best combination of structure, conductor, diameter, insulator, shielding, sheath and even the contact pin of the connector.
Furthermore, we especially considered the industrial design to provide the stylish appearance on your desktop.
Modular synthesizers are highly prized by musicians for their ability to make totally unique and interesting sounds. But they can demand a real investment of both time and money to create a fully functional instrument. The SYSTEM-1m takes the guesswork out of getting into modular with great sounds and the freedom to experiment right out of the box. The fully self-contained module can be placed in a rack or on a table and can be powered by standard AC power. And it can be played from any standard MIDI keyboard or receive MIDI messages from your DAW - just like you'd expect.
But the SYSTEM-1m goes way beyond standard synthesizer modules. WIth fully-lit, color coded patch points, you can experiment with reconfiguring its architecture and easily connect to a wide world of available synthesizer modules. In addition to functioning as a rackmount or tabletop unit, the SYSTEM-1m can be mounted in a standard Eurorack case and can be powered via integrated case power with the included adapter cable. Its versatile synth architecture integrates beautifully with existing modular setups - or it can be the heart of a burgeoning modular synthesizer rig.
The SYSTEM-1m is a stunningly powerful instrument based on our more than 40 years of experience in designing synthesizers. It's capable of an astonishing range of synth tones, from glistening arps to thunderous basses. But we're also known for our lineage of iconic vintage instruments, sought after by musicians the world over. These include a long list of classic synths renowned for their identifiable character and genre-defining tone. And this is why we developed PLUG-OUT technology.
PLUG-OUT synthesizers use our Analog Circuit Behavior technology to perfectly replicate some of our most revered classics. They work like regular VST or AU compatible plugins in a DAW, with the SYSTEM-1m's array of high-resolution knobs and sliders creating an elegant, one-to-one control surface that works seamlessly. But you can also load PLUG-OUT synths directly into the SYSTEM-1m and switch between the internal synthesizer architecture and one of a growing number of PLUG-OUT Roland classics, like the SH-101, SH-2 and PROMARS - with no computer required.
While it provides a huge amount of synthesis power on its own, interconnecting the SYSTEM-1m with other modular gear creates a vast range of sonic possibilities. Its impressive oscillator section, sweet filters and snappy envelopes are sure to be welcome in any modular setup, no matter how big or small. But it's the SYSTEM-1m's combination of CV/Gate modularity, PLUG-OUT, and DAW integration that takes things into completely uncharted territory.
For example, load the SH-101 PLUG-OUT into the SYSTEM-1m and you essentially have a hardware SH-101 with modular capabilities - something that has never existed before. You can process external sources through the SH-101's acclaimed filters, or load the SH-2 PLUG-OUT and use its formidable oscillator section to drive any number of available Eurorack filters and envelopes. The potential is staggering.
Features and Routing:
Each filter section of twinVCFilter works as low- or highpass-filter with a slope of 12 dB/octave or as bandpass-filter with 6 db/octave. Signals can be directed in three ways through the module:
- Serial: The incoming signal passes both filter sections in a row.
- Dual: The filter sections act completely separated of each other. As if they were two individual filter modules.
- Parallel: The incoming signal passes both filters at the same time.
With these routings you can i.e. generate bandpasses or notches with variable slopes and different resonance settings or doubling the filter's slope. These are the more obvious combinations but there is a lot more to discover.
The convenient link-feature allows to couple cutoff- and resonance of both filter sections for straightforward stereo use in dual mode.
The flexible signal-routing is supplemented by the mix-section. Here you can crossfade both filter sections manually or by control voltages. Seamless movements from low- to highpass-filter, is as easy as crossfading from half to doubled slope. Of course you can mix two completely individual signals or toggle between them by using a rectangle-LFO-modulation.
Resonance is a key factor in the context of sound-shaping and sound-generation using a filter. Therefore we carefully trimmed twinVCFilter's resonance to be as musically and stable as possible. You can apply subtle frequency-dependent emphasis to signals and tear them up to self-oscillation. The latter generates a solid sine-wave which is an excellent base for percussive sounds. Possible cross-modulations significantly enhance the sound-generator features. By the way: If you are missing a vibrato-LFO in a patch, twinVCFilter can do the job.
twinVCFilter offers a huge set of features to form impressive soundscapes. It can take subtle influence to signals or massively truncate frequencies. It leaves nothing to be desired. Despite, for those who need additional possibilities we especially designed the tVCF-Extension module.
Triad knob and CV input set different combinations so your chord can be completely unique, while still in key with your arpeggio. Inversion switch and CV input allow you to select three different chord voicings easily.
- Triad Knob: Selects the 3-note combination sent via CV. Becomes an offset with CV.
- Inversion Switch: Selects which inversion of the chord the Triad will play. Set at 0 for use with CV as it will "take over".
- Note 1,2,3: CV outputs for use with 1V/Oct inputs on 3 oscillators
- New: This output sends a trigger each time a new chord is made/selected
- Inv: CV input for the inversion selection. Accepts 0V to +5V
- Thresholds for 1st and 2nd inversions are 1.25V and 2.5V respectively
- Triad: CV input for Triad selection. Accepts 0V to +5V.
- Size: 4HP
- Connector: 20 pin ribbon cable
Just like many of the famous OTA-based phasers of the 1970s, Kamieniec sports four tuneable stages. However, there are two additional fixed stages included so as to increase the number of notches, and ultimately offer two versions of the mixed signal (that may be used as a stereo pair) at the two outputs of the unit. While the general topology is similar to a certain very classic phaser pedal, the circuitry has been redesigned with modern components and low noise op-amps to bring down the noise floor, improve the bandwidth, and offer a wider range of tuning. The feedback control can be set extremely deep, which results in a very high resonance that is capable of self-oscillation. This produces a unique sound otherwise unreachable for typical phasers, which can vary from subtle and creamy to utterly brutal and grinding. On top of that we've included switchable feedback paths, individual stage group outputs, CV inputs, built-in LFO, and daisy chaining ability to provide a comprehensive integration with a modular synthesizer system.
Unlike any other phaser module, multiple Kamieniec units can be chained together to achieve a more radical response with many notches. The general idea of chaining is to pass along the phase shifted signal to subsequent units before it is mixed with the original version in the last unit of the chain. This approach has a very different effect than plain cascading (connecting multiple phaser units in series), because a long chain of allpass sections yields a dense and uniform pattern of multiple notches, exactly like in a long phaser.
- Eurorack synth compatible
- 9hp, skiff friendly
- Current draw: +40mA / -40mA
- Reverse power protection
The Yamaha MG Series of mixers feature a design and construction that will handle the standard wear and tear of the active musician. Featuring the steel chassis that is impact resistant and powder coated, this mixer will take any bumps and scratches without it getting damaged or looking old. The sleek design does not compromise any part of the finished product. A state of the art design allows for convection cooling, meaning your power unit will not overheat your unit after continuous use. Separating the power supply from the analog circuitry inside the mixer allows for near silent background noise, allowing for a serious and high quality output sound. As well as this, the knob placement has been put above the chassis of the console, thus not damaging circuitry underneath should the device ever be dropped or mishandled.
The MG10 includes a number of features that make it stand out above the rest of compact mixers on the market. It has phantom power on the first four channel's class A preamps for any condenser microphones..These four channels also include a 3 band EQ and a high pass filter, allowing a lot of frequency control on such a small mixer. As well as this, three stereo channels for jack devices make up channels 5 through to 10. Outputs are aplenty on the MG10, featuring stereo jack and XLR outputs, as well as a stereo jack monitor and phones output for monitoring purposes.
On top of the smaller MG06, this mixer includes full adjustable panning on all channels, making it easy to give a fully stereo image when gigging. As well as this, the mixer also has an effects out/return function, allowing an external effects board to be added, and with full individual control of the FX level on each channel. As well as this, a compression knob has been added to channels 1 and 2, allowing for easy control over instruments or vocals with fluctuating volumes.