New releases last eight weeks: Studio Equipment

Notes: Reboot of the classic Megacity sequencer, the AS500 follows the same unique approach with up to 64 steps presented in two banks, each split into groups of eight cascading steps.

Supplier's Notes:
New Analogue Sequencer!

Almost identical re-boot of Analogue Solutions' legendary Megacity sequencer.

Smaller form factor

Desktop design

Some general over enhancements, internal improvements.

Note: This version is pure analogue and does not feature a quantizer or MIDI.

Standalone 64 step analogue step sequencer with a host of unique features that sets it apart from others

What's so special about this sequencer?

AS500 is formatted differently and operates differently than other step sequencer.

Traditionally step sequencers run horizontally from left to right then loop back to step one. You can make the pattern shorter, but generally that's it.

AS500 patterns run vertically downwards in columns. As the end of each column is played, the next to the right is played.

AS500 has a unique Jump system. When a Jump switch is on, the rest of the column's steps are bypassed and the sequencer jumps straight to the start of the next column

These two features in particular as familiar enough ways of working to be intuitive, but different enough to force you to work and think in a slightly different way. The end result is you will get sequences and patterns that you might not have created otherwise.

More Variation

Many step sequencers can start to sound repetitive since it's usually the same single pattern looping endlessly.

AS500 allows you to split the sequencer in half and use the right half as a Fill-In pattern to add variation, much like vintage drum machines.

These Fills are activated via a Push Button, or via a trigger pulse from an external modular.

AS500's format and Jump switches, combined with excellent features like Fill-In, Split sequencers and other features makes AS500 a great sequencer package.

Use

If you are familiar with analogue sequencers in general, then most features of AS500 should be fairly self-explanatory, but it would still be worth having a read through the manual.

The sequencer is laid out in vertical columns, eight in total.

The sequencer runs from top to bottom, and left to right.

The Difference Between Reset and Jump

If a Reset is initiated the sequencer returns to step one, the first step of the sequencer.

Use Reset to shorten the sequence.

If a Jump is initiated the sequencer will advance (jump) to step one of the next column to the right.

Notes: The AudioFuse X8 OUT is an essential tool for recording producers and sound engineers who are looking for additional high-quality analogue outputs. By improving integration with external gear and supporting complex signal routing for live setups, AudioFuse X8 OUT ensures studios can manage intricate audio workflows without the added complexity or cost.

More specifically, an 8 ADAT-to-Analogue output expander enables you to send audio to outboard gear (hardware FX, mixing console...), add additional speakers and control an array of synths via DC-coupled output.

Efficient expansion

AudioFuse X8 OUT provides 8 outputs via ADAT, enhancing the connectivity of your existing audio setup without the unnecessary cost and clutter of a fully-featured audio interface.

Professional audio quality

AudioFuse X8 OUT supports 8 channels of premium ADAT-to-analogue conversion up to 96 kHz and utilizes the best components available, ensuring your recordings and outputs maintain the highest fidelity.

Versatile installation

Designed as half-sized rack units, X8 OUT comes with removable rack ears for flexible installation. This allows them to be used as desktop units or mounted in a standard rack setup, accommodating up to two units side by side for expanded setups.

Ease of use

Front-panel controls offer direct access to channel management, making setup and adjustments straightforward. Colourful VU meters provide clear visual feedback for monitoring levels.

Notes: KeyLab mk3 is a fully-featured MIDI controller that offers unparalleled control of software and hardware instruments.

Engineered for intermediate and advanced producers and experienced music makers alike, it fits perfectly into any setup with comprehensive DAW integration, advanced performance features and an enhanced keybed and interface; all integrated seamlessly within a robust wood and aluminum casing.

Whether sculpting a studio masterpiece or channeling the raw energy of a live performance, KeyLab mk3 removes every creative obstacle and offers intuitive, comprehensive controls that ensure musicians can find their expression.

Deep integration

The most advanced DAW integration of any controller. KeyLab mk3 can use MCU and HUI protocols as well as smart mapping technology. This, coupled with the seamless integration with Arturia software, and advanced user programs, makes KeyLab mk3 a must have tool for demanding musicians and producers.

Superior playability and finish

KeyLab mk3 combines excellent design with high-quality wood and aluminium components. The enhanced keyboard and robust construction ensures reliability and durability - meeting the demands of professional use.

Full creative control

Alongside its high quality, touch-sensitive controls, KeyLab mk3 is also fully customizable and easy to navigate with its full colour display. Adjust settings directly on the unit, or via the included software, for a personalized experience that adapts to all creative processes and performance styles.

Advanced creative features

KeyLab mk3 includes innovative tools like Scale, Arpeggiator, and Chord modes, enhancing your creative capabilities. These features allow musicians to explore new musical ideas and create advanced compositions effortlessly, making it a powerful ally in both the studio and live performances.

NEW enhanced keybed - Have greater control of synth and piano sounds with a full rework of keyboard balance, weighting and spring tension.

NEW visual interface - Have full control of settings, parameters and custom mappings with a 480x320px screen controllable with 8 contextual buttons.

NEW touch-sensitive potentiometers and faders - Have a greater degree of control with nine 360- rotary potentiometers and nine faders.

NEW creative features - Take your expression further with inspiring creative tools including a new Scale, Arpeggiator and Chord mode.

NEW pad capabilities - You can now harness a total of 4 Pad Banks of 12 pads for finger drumming, clip launching and endless mapping possibilities.

NEW software bundle - Kick-start your creative journey with pro software included: Analog Lab Pro, Mini V, Piano V, Augmented Strings, Rev PLATE-140, Ableton Live Lite, NI The Gentleman, Loopcloud & Melodics.

Included Software

Analog Lab Pro (2000+ sounds)
Mini V
Piano V
Augmented Strings
Rev PLATE-140
Ableton Live Lite
NI The Gentleman
2-month Loopcloud subscription
Melodics subscription with dozens of lessons

Box content

Quick Start
Registration card
USB Cable (C/A)

KeyLab 61 mk3

Dimensions

Weight/Size

Gift Box: 8.5 kg / 17.41lb
968 x 369 x 148 mm / 38.11x14.52x5.8 in

Product: 6.8 kg / 14.99 lb

873x278x74 mm
34.37x10.94x2.91 in

Notes: The top dog of the Hydrasynth range, presented here in anniversary silver edition, featuring a dual synth engine offering 16 voices (double the standard model) and a larger six-octave keyboard. Serious synth power with great wavetable sound.

Supplier's Notes:
The HYDRASYNTH DELUXE is ASM's flagship Hydrasynth, offering a dual sound engine setup and the largest ASM Polytouchr polyphonic aftertouch keybed to date. The user interface is designed with the utmost attention to detail and offers a rapid workflow.

The Hydrasynth Deluxe can operate as a single 16-voice Hydrasynth or it can be split or layered, with a dedicated 8-voice Hydrasynth engine for each part. Each engine also has its own set of balanced analog audio outputs.

The sound engines feature advanced wavetable synthesis with 3 Oscillators, dual Wave Mutants, and 2 filters that can be configured in series or parallel. The tone generating capabilities are simply unmatched.

As for performance capabilities, the Hydrasynth Deluxe has a proprietary 73-note Polytouch keybed with polyphonic aftertouch. This provides a level of expressive, per-note control found only in certain vintage synths.

Add to this a 4-octave ribbon controller and ergonomically-designed pitch and mod wheels, and you have expression and control that are unequalled by any other hardware synthesizer on the market.

Dual Sound Engines

The Hydrasynth Deluxe contains an impressive dual sound engine architecture, and as a result it provides a massive 16 voices of polyphony. You can play one 16-voice patch in Single mode, or use two simultaneous patches in Multi mode.

In Multi mode the Deluxe unleashes two completely independent, full-fledged 8-voice Hydrasynth sound engines. The keyboard can either be split, with one engine for the Lower part and another for the Upper part, or it can layer the two parts across the entire keyboard.


The top panel has a dedicated balance knob for adjusting the relative levels of the Lower and Upper parts. The Hydrasynth Deluxe also has separate stereo audio outputs for each part and independent MIDI channel assignments for true bi-timbral operation.

Polytouch Keybed

The perennial pursuit of musical instrument manufacturers is to find better ways for musicians to express themselves. Options have been limited for keyboard players; we've had to settle for a velocity-only approach to emphasize one note over another. Pressure-sensitive keyboards could only change all of the notes at the same time.

Not any more!

Enter ASM, with patented Polytouch technology. The 73-note semi-weighted keybed on the Hydrasynth Deluxe provides fully polyphonic aftertouch, as well as Note On / Note Off velocity sensitivity and the monophonic aftertouch found on other keybeds. Finally, variations in key pressure can affect notes individually.

It feels great, too: the 73-note Polytouch keybed features high quality, standard sized keys, so you will feel right at home, right away. It's like putting your hands in a glove that fits perfectly.

The revolutionary Hydrasynth Deluxe Polytouch keyboard helps you be more in touch with the music you are making. Now every note you play can ebb and flow like the tide.

Ribbon Controller

Add powerful expression to any patch using the 4-octave Ribbon Controller, which is perfectly situated above the keyboard for easy access by either hand. It can be used as a freely assignable modulation source, a pitch bend control, or even as a monophonic instrument!

This is possible thanks to the Theremin mode, which uses the ribbon to trigger a note. You can choose continuous pitch operation or quantize the ribbon to one of 60 scales, including microtonal scales. And if that's not enough, the ribbon can also be used as a CV source to control a Eurorack system!

Laptop shelf

The included, detachable laptop shelf can be home to a lot of different types of instruments or processors. It helps take even greater advantage of the generous space above the upper two octaves of the 73-note Polytouch keyboard.

Oscillators

The tone generation capability is the heart of any synthesizer, and the 3 Hydrasynth oscillators are alive with potential.

Each of the oscillators lets you choose from a selection of 219 single-cycle waveforms. And on top of that, two of the oscillators have powerful wavemorphing capabilities.

Wavemorphing is a feature usually found on synths with preset wavetables. But creating user wavetables on those products is arduous or downright impossible. Unlike most wavetable synths, the oscillators 1 & 2 have an easy-to-use WAVELIST mode.

This mode lets you select any 8 waves from a diverse collection of 219 waves, arrange them in the order you want, and then morph from one wave to another. This can be done automatically with any modulation source, such as an LFO or an envelope, or manually with a physical control such as polyphonic aftertouch or a Macro.

And now in version 2.0 you can choose the bit depth of each oscillator, which puts those sought-after vintage or grungy sounds at your fingertips.

Mutants

Oscillators 1 & 2 are routed into MUTANTS. The Mutants allow you to modulate, bend and sculpt the sound in new (and old) ways.

Notes: Extremely high-quality wavetable synth engine with great expressive features like a CS80-style ribbon controller and polyphonic aftertouch. Here in its limited edition 5th anniversary silver colourway.

Supplier's Notes:
The HYDRASYNTH Keyboard is both a sound designer's dream synth and a performing musician's ideal. The sound engine is designed for maximum flexibility and power, while the user interface was crafted for simplicity and instant access. Its many workflow shortcuts let you edit a patch quickly with a minimal amount of paging.

With an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutants, and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched.

As for performance capabilities, the Hydrasynth Keyboard has the proprietary Polytouch keybed with polyphonic aftertouch. This provides a level of expressive, per-note control found only in certain vintage synths.

Add to this a 4-octave ribbon controller and ergonomically-designed pitch and mod wheels, and you have expression and control that are unequalled by any other hardware synthesizer on the market.

Polytouch Keybed

The perennial pursuit of musical instrument manufacturers is to find better ways for musicians to express themselves. Options have been limited for keyboard players; we've had to settle for a velocity-only approach to emphasize one note over another. Pressure-sensitive keyboards could only change all of the notes at the same time.

Not any more!

Enter ASM, with the patented Polytouch technology. This semi-weighted keybed provides fully polyphonic aftertouch, in addition to the standard velocity and aftertouch found on other keybeds. Finally, variations in key pressure can affect notes individually.

It feels great, too: the Polytouch keybed features high quality, standard sized keys, so you will feel right at home, right away. It's like putting your hands in a glove that fits perfectly.
The revolutionary Hydrasynth Polytouch keyboard helps you be more in touch with the music you are making. Now every note you play can ebb and flow like the tide.

Ribbon Controller

Add powerful expression to any patch using the 4-octave Ribbon Controller, which is perfectly situated above the keyboard. It can be used as a freely assignable modulation source, a pitch bend control, or even as a monophonic instrument!

This is possible thanks to Theremin mode, which uses the ribbon to trigger a note. You can choose continuous pitch operation or quantize the ribbon to one of 60 scales, including microtonal scales. And if that's not enough, the ribbon can also be used as a CV source to control a Eurorack system!

Oscillators

The tone generation capability is the heart of any synthesizer, and the 3 Hydrasynth oscillators are alive with potential.

Each of the oscillators lets you choose from a selection of 219 single-cycle waveforms. And on top of that, two of the oscillators have powerful wavemorphing capabilities.

Wavemorphing is a feature usually found on synths with preset wavetables. But creating user wavetables on those products is arduous or downright impossible. Unlike most wavetable synths, oscillators 1 & 2 have the easy-to-use WAVELIST mode.

This mode lets you select any 8 waves from ASM's diverse collection of 219 waves, arrange them in the order you want, and then morph from one wave to another. This can be done automatically with any modulation source, such as an LFO or an envelope, or manually with a physical control such as polyphonic aftertouch or a Macro.

And now in version 2.0 you can choose the bit depth of each oscillator, which puts th ose sought-after vintage or grungy sounds at your fingertips.

Mutants

Oscillators 1 & 2 are routed into ASM's MUTANTS. The Mutants allow you to modulate, bend and sculpt the sound in new (and old) ways.
Each Mutant lets you choose from the following processes:
FM-Linear: This is for making classic FM sounds. Choose multiple FM sources, including external inputs.
WavStack: Creates 5 copies of the input source and allows you to set a detune amount.
Osc Sync: This gives you those classic hard sync sounds. Try hard-syncing a morphing wavetable for some fun.
Pulse Width Modulation (PW-Orig): Performs the classic pulse width modulation on any waveform.
PW-Squeeze: Compresses the center section of the waveform, for a unique type of PWM.
PW-ASM: Divides the incoming wave into 8 slices and lets you set the amount of FM that is applied to each segment. This is FM unleashed.
Harmonic Sweep: This will sweep the harmonics of the input source.
PhazDiff: Generates the difference of the incoming wave and a version that is inverted and phase-shifted.

The Mutants can also generate their own waveforms in both FM and Sync modes so you don't have use another oscillator. Of course the routing is flexible so you can choose the other oscillators as mod sources if you like.

Mixer / Filter Routing

The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator.

The mixer gives you independent control over the levels and stereo positions of those 5 sources.

Notes: Limited Edition ATH-M50x

The LAB M50x Has Landed!

In January 2024, Audio Technica launched the LAB M50x website, inviting fans to participate in the creation of the latest limited edition M50x models.

From thousands of submissions, Sergio Gamarra Melgar, a DJ from Bolivia was selected by the fans from 3 finalists as creating the winning design.

The ATH-M50xBT2 is the second generation of the critically acclaimed M-Series wireless over-ear headphones. These headphones feature 45 mm large aperture drivers in a wireless design, so listeners will enjoy the same sonic signature of the legendary ATH-M50x studio headphones. With this update, Audio Technica have also introduced several noticeable enhancements, such as an updated USB-C connection, and multipoint pairing mode.

So, whether you're looking for high-fidelity audio for your commute to work or just relaxing and enjoying the music, the ATH-M50xBT2 lets you go wireless whenever you need it.

The ATH-M50xBT2 headphones deliver the legendary M50x studio sound - with exceptional clarity and deep, accurate bass response - for an exhilarating wireless listening experience.

With the ATH-M50xBT2 there's nothing to hold you back. You get up to 50 hours of continuous use on a full charge.

Download the A-T Connect app to gain greater control of your headphones. Easily activate low latency mode, adjust EQ, change L/R volume balance, select desired voice assistant, locate misplaced headphones, change codecs, and more.

Specifications

Headphones

Type: Closed-back dynamic
Driver Diameter: 45 mm
Frequency Response: 15 - 28,000 Hz
Sensitivity: 99 dB/mW
Impedance: 38 ohms
Battery: DC 3.7V lithium polymer battery
Battery Life: Approx. 50 hours continuous use
Weight: Approx. 307g
Charging Time: Approx. 3.5 hours
Microphone Type: MEMS type
Microphone Sensitivity: -38 dB (1V/Pa at 1 kHz)
Microphone Frequency Response: 85 -15,000 Hz
Microphone Polar Pattern: Omnidirectional
Accessories Included: USB charging cable(30cm?USB Type-A / USB Type-C), Audio cable (1.2m/ f3.5mm stereo mini-plug), Pouch

Bluetooth

Bluetoothr Version: Bluetooth Ver.5.0
Operating Range: Line of sight - approx. 10 m (33')
Compatible Bluetooth Profiles: A2DP, AVRCP, HFP, HSP
Support Codec: LDAC / AAC, SBC

Notes: Limited Edition ATH-M50x

The LAB M50x Has Landed!

In January 2024, Audio Technica launched the LAB M50x website, inviting fans to participate in the creation of the latest limited edition M50x models.

From thousands of submissions, Sergio Gamarra Melgar, a DJ from Bolivia was selected by the fans from 3 finalists as creating the winning design.

ATH-M50x: Most Popular Studio & Everyday Headphones

The M50x are one of Audio Technica's most acclaimed audio solutions and their best-selling headphones. Based on the ATH-M50, the M50x include an upgraded detachable cable for convenience and versatility, perfect for the studio or when you're out on the move.

Enjoy passive noise isolation through the comfortable ear cups designed to keep you in the zone, while their large aperture drivers deliver the industry-loved sound signature.

Engineered to deliver a superior sound experience at an affordable price, the M50x have been widely acclaimed online by professionals and casual listeners. From everyday listening and commuting to studio recording, you're in great hands with the M50x, with build quality and coveted sound engineering that's praised by audio experts and professionals year after year.

With 60 years of Japanese audio design, Audio-Technica is loved by many of the world's biggest artists, vocalists and musicians and the M50x headphones remain one of Audio Technica's most popular innovations to date. Whether you're a music industry veteran or you're looking to start recording at home, the ATH-M50x are an excellent choice of headphones for listening back to or monitoring your audio performance. Either from your computer/audio receiver or plugged directly into your microphone for monitoring (as with the AT2020 or AT2020USB+ microphones), the ATH-M50x headphones deliver stunning sound design.

Rated highly for their professional-grade comfort, foldable versatility, strong construction and excellent sound design, the ATH-M50x are an exquisite choice as your audio daily drivers. Whether it's travel, your daily commute or working and studying at home, you'll love their all-day comfort and immersive sound design. Offering passive noise isolation through circumaural design contours, these M50x headphones provide a high-quality audio experience, helping you to boost your concentration and productivity at work and allowing you to meditatively switch off on your commute.

Specifications

Headphones

Type: Closed-back dynamic
Driver Diameter: 45mm
Frequency Response: 15 - 28,000 Hz
Maximum Input Power: 1,600 mW @ 1KHz
Sensitivity: 99 dB
Impedance: 38 ohms
Weight : 285g without cable/connector
Cable: 1.2m-3m coiled, 3m straight, 1.2m straight cables
Cable - Detachable: Yes
Connector: Gold-plated stereo 1/8" (3.5 mm) connector with strain relief
Magnet: Neodymium
Voice Coil: CCAW (Copper-clad aluminium wire)
Folding/collapsible: Yes

Accessories Included:

Screw-on 1/4" adapter, pouch

Notes: Compact format audio mixer with 2, 4 or 6 mono input channels, a stereo line input and a further minijack stereo input. Each mono mic/line channel has a combo XLR/jack input with +48V phantom power switchable in pairs for the XLR inputs. Each mic/line channel has a Gain control for matching the input source and a low-cut switch to filter out rumble or handling noise from microphones. Each mono channel also has High/Low EQ controls and an FX level control. Pairs of mono channels can be linked to act as a stereo left + right pair as required. The onboard foot-switchable DSP effects engine has 99 presets for delay, reverb and modulation effects, each of which can be adjusted using two parameter controls. An onboard Bluetooth receiver has an illuminated pairing button and independent volume control. The USB type-A port on the top panel is for playback of audio files or can be used to record the main outputs to a USB storage device or as an external audio device when connected to a laptop. Output is delivered to a pair of balanced XLR connectors to provide low noise operation for high quality studio or live performances.

DSP effect section with 99 adjustable presets
USB mp3 audio player/recorder
Bluetooth receiver with independent volume control
PC/Mac audio device and aux power via USB A connection
Switchable +48V phantom power
Mono mic line inputs can be paired to stereo
Balanced XLR/Jack mono inputs
Stereo line input jacks and stereo minijack input
Supplied in a padded transit bag
USB type-C power supply

Weight: 1.395kg
Dimensions: 282 x 183 x 60mm
Inputs: 6 x combo XLR/jack + stereo L+R 6.3mm + stereo 3.5mm
Power supply: 5Vdc 1A min. (USB-C adaptor included)
Power consumption max.: 5W
Effects: 99 program DSP (2 parameter controls)
DSP sample rate: 48khz (24-bit)
Audio source: Bluetooth receiver, USB mp3 player/recorder
Bluetooth version: v5.1 (+BR+EDR+BLE)
USB version: v1.1 audio (mp3/wav/ape/flac)
EQ: low: +/-15dB @ 80Hz
EQ: high: +/-15dB @ 12kHz
Phantom power: +48V switchable in pairs (XLR inputs only)
Frequency response: 20Hz - 22kHz (i1dB)
Input level: Mic +10dBu max. / Line +22dBu max.
Input impedance: Balanced XLR 2k Ohm, Balanced TRS jack 10k Ohm
THD +N: <0.05% @ 1kHz
Noise: EIN -122dBu (22Hz - 22kHz)
CMRR: >75dB (Mic 1kHz)
Sensitivity: XLR -60 to +10dBu, TRS jack -20 to +20dBu, Stereo -20 to +14dBu
Crosstalk : stereo: >80dB (1kHz fader shutoff)
Outputs: Left + Right balanced XLR, Headphones 6.3mm jack
Max. output level: XLR +22dBu, TRS +20dBu

In the Box

CMA-series compact mixer
In-line UK mains to USB type-C power supply
Padded transit bag

Notes: Compact format audio mixer with 2, 4 or 6 mono input channels, a stereo line input and a further minijack stereo input. Each mono mic/line channel has a combo XLR/jack input with +48V phantom power switchable in pairs for the XLR inputs. Each mic/line channel has a Gain control for matching the input source and a low-cut switch to filter out rumble or handling noise from microphones. Each mono channel also has High/Low EQ controls and an FX level control. Pairs of mono channels can be linked to act as a stereo left + right pair as required. The onboard foot-switchable DSP effects engine has 99 presets for delay, reverb and modulation effects, each of which can be adjusted using two parameter controls. An onboard Bluetooth receiver has an illuminated pairing button and independent volume control. The USB type-A port on the top panel is for playback of audio files or can be used to record the main outputs to a USB storage deviceor as an external audio device when connected to a laptop. Output is delivered to a pair of balanced XLR connectors to provide low noise operation for high quality studio or live performances.

DSP effect section with 99 adjustable presets
USB mp3 audio player/recorder
Bluetooth receiver with independent volume control
PC/Mac audio device and aux power via USB A connection
Switchable +48V phantom power
Mono mic line inputs can be paired to stereo
Balanced XLR/Jack mono inputs
Stereo line input jacks and stereo minijack input
Supplied in a padded transit bag
USB type-C power supply

Weight: 0.875kg
Dimensions: 183 x 182 x 60mm
Inputs: 2 x combo XLR/jack + stereo L+R 6.3mm + stereo 3.5mm
Power supply: 5Vdc 1A min. (USB-C adaptor included)
Power consumption max.: 5W
Effects: 99 program DSP (2 parameter controls)
DSP sample rate: 48khz (24-bit)
Audio source
Bluetooth receiver, USB mp3 player/recorder
Bluetooth version: v5.1 (+BR+EDR+BLE)
USB version: v1.1 audio (mp3/wav/ape/flac)
EQ: low: +/-15dB @ 80Hz
EQ: high: +/-15dB @ 12kHz
Phantom power: +48V switchable in pairs (XLR inputs only)
Frequency response: 20Hz - 22kHz (+/-1dB)
Input level: Mic +10dBu max. / Line +22dBu max.
Input impedance: Balanced XLR 2k Ohm, Balanced TRS jack 10k Ohm
THD +N: <0.05% @ 1kHz
Noise: EIN -122dBu (22Hz - 22kHz)
CMRR: >75dB (Mic 1kHz)
Sensitivity: XLR -60 to +10dBu, TRS jack -20 to +20dBu, Stereo -20 to +14dBu
Crosstalk: stereo; >80dB (1kHz fader shutoff)
Outputs: Left + Right balanced XLR, Headphones 6.3mm jack
Max. output level: XLR +22dBu, TRS +20dBu

In the Box

CMA-series compact mixer
In-line UK mains to USB type-C power supply
Padded transit bag

Notes: Compact format audio mixer with 2, 4 or 6 mono input channels, a stereo line input and a further minijack stereo input. Each mono mic/line channel has a combo XLR/jack input with +48V phantom power switchable in pairs for the XLR inputs. Each mic/line channel has a Gain control for matching the input source and a low-cut switch to filter out rumble or handling noise from microphones. Each mono channel also has High/Low EQ controls and an FX level control. Pairs of mono channels can be linked to act as a stereo left + right pair as required. The onboard foot-switchable DSP effects engine has 99 presets for delay, reverb and modulation effects, each of which can be adjusted using two parameter controls. An onboard Bluetooth receiver has an illuminated pairing button and independent volume control. The USB type-A port on the top panel is for playback of audio files or can be used to record the main outputs to a USB storage device or as an external audio device when connected to a laptop. Output is delivered to a pair of balanced XLR connectors to provide low noise operation for high quality studio or live performances.

DSP effect section with 99 adjustable presets
USB mp3 audio player/recorder
Bluetooth receiver with independent volume control
PC/Mac audio device and aux power via USB A connection
Switchable +48V phantom power
Mono mic line inputs can be paired to stereo
Balanced XLR/Jack mono inputs
Stereo line input jacks and stereo minijack input
Supplied in a padded transit bag
USB type-C power supply

Weight: 1.125kg
Dimensions: 232 x 183 x 60mm
Inputs: 4 x combo XLR/jack + stereo L+R 6.3mm + stereo 3.5mm
Power supply: 5Vdc 1A min. (USB-C adaptor included)
Power consumption max.: 5W
Effects: 99 program DSP (2 parameter controls)
DSP sample rate: 48khz (24-bit)
Audio source: Bluetooth receiver, USB mp3 player/recorder
Bluetooth version: v5.1 (+BR+EDR+BLE)
USB version: v1.1 audio (mp3/wav/ape/flac)
EQ: low: +/-15dB @ 80Hz
EQ: high: +/-15dB @ 12kHz
Phantom power: +48V switchable in pairs (XLR inputs only)
Frequency response: 20Hz - 22kHz (+/-1dB)
Input level: Mic +10dBu max. / Line +22dBu max.
Input impedance: Balanced XLR 2k Ohm, Balanced TRS jack 10k Ohm
THD +N: <0.05% @ 1kHz
Noise: EIN -122dBu (22Hz - 22kHz)
CMRR: >75dB (Mic 1kHz)
Sensitivity: XLR -60 to +10dBu, TRS jack -20 to +20dBu, Stereo -20 to +14dBu
Crosstalk: stereo: >80dB (1kHz fader shutoff)
Outputs: Left + Right balanced XLR, Headphones 6.3mm jack
Max. output level: XLR +22dBu, TRS +20dBu

In the Box

CMA-series compact mixer
In-line UK mains to USB type-C power supply
Padded transit bag

Notes: A creative approach to video synthesis courtesy of Critter & Guitari, the Eyesy generates real-time visuals to accompany a musical sound source. Deeper programming options allow you to control the graphics, trigger changes via MIDI or even code your own patterns.

Supplier's Notes:
Welcome to the world of the EYESY - Critter & Guitari's video synthesizer! The EYESY reacts to your music to create endlessly mesmerizing visuals. Simply plug it in and start creating. But don't be fooled by the simplicity of the EYESY, there are many features and goodies hidden inside. Whether you are creating live visuals, working on a music video, or want to program your own graphics, the EYESY will become an indispensable tool.

Modes

The EYESY comes with numerous pattern generators called modes.

Navigate the modes using buttons, and then tweak their visual appearance using five knobs. The modes respond to audio input in various ways; from smooth undulating patterns to rapid fire animations. The controls allow you to effect various elements of the patterns and colours. There is also a setting that allows the graphics to pile up in vibrant collages.

Save and Load

Store your current settings and screen grabs.

When you happen upon a setting that you like, press the scene save button to save it. This scene can now be recalled at a future time.

You can press the screen grab button to take a picture of the current frame, providing a quick way to generate interesting still images from your moving videos. Access all of your screen grabs from the browser-based interface.

MIDI Input

The EYESY's USB-MIDI & TRS-MIDI inputs offer a wide range of controllability.

Incoming MIDI Notes and Clock can change a mode's behaviour. The knobs can automated by sending MIDI controller messages from a sequencer or your favourite performance software. Program Change messages may also be sent to select your saved scenes.

Customise

Curate your EYESY for you.

You can add and remove the pattern generating modes to make the device as simple or complex as you like. The saved scenes are stored in a single file that can be saved and edited. All of the resources are managed through a simple-to-use web browser-based interface.

Coding

If you really want to go deep, you can also program your own modes for the EYESY.

Edit and create your own modes! The modes are all open source and based on an open platform. You can make changes to the modes and create new modes using the browser-based editor. Modes are written in the Python programming language.

Included items:

Power Supply:
Input: 100-240VAC @ 50/60Hz. Output: 9VDC, 1.3A, Center-positive polarity.
USB-WiFi Adapter (Ralink 5370 Chipset, 2.4GHz)

Included storage:
A microSD card holds the operating system and modes. There is ~4GB for available for mode storage.

Notes: EtherCON connectors that you can use to make your own etherCON CAT5 cables. There are two variants - one for pre-assembled CAT5 cables (with the RJ45 already on), and another to use when making your own ethernet cables.

Note: RJ45 not included.

Notes: A user-friendly, straightforward drum machine designed for finger drumming or to accompany guitarists and other musicians. Dial in a preset pattern or create your own beats from scratch.

Supplier's Notes:
The perfect practice partner

The Korg KR-11 offers a comprehensive rhythm experience, perfect for musicians refining their skills. It boasts a wide range of patterns, 14 user programs, and 16 velocity-sensitive pads for custom beats and finger drumming. Its optional pedal switch allows hands-free control, essential for guitarists and ukulele players.

Compact and battery-powered, the KR-11 is ideal for both indoor and outdoor practice. Equipped with a built-in speaker system, it ensures quality sound in any setting, making it a valuable tool for musicians of all levels.

Rhythms at your fingertips

Immerse yourself in a diverse range of rhythm patterns, suitable for various musical styles from Blues/R&B to Country and Island tunes. The KR-11 also includes 3-, 5-, and 7-beat patterns, ensuring the right rhythm for any piece. With 14 user programs and 16 velocity-sensitive pads, the KR-11 invites you to customize and save your own rhythms, adding a personal touch to your practice sessions.

Finger drumming fun

Elevate your rhythm practice and performance with the KR-11's finger drumming feature. The 16 pads, assigned with a variety of drum sounds, respond to your touch, allowing you to create dynamic and authentic drum patterns. This feature is perfect for developing your rhythm skills and adding a hands-on, interactive element to your practice.

Portable simplicity

The KR-11, designed for the mobile musician, offers unparalleled ease of use and portability. Its lightweight, battery-powered design allows you to easily transport it to various practice locations, whether indoors or outdoors. The built-in speaker system ensures your rhythms are heard loud and clear in any setting. Enhanced with Korg's innovative Acoustage Bass technology, the KR-11 delivers depth and richness in bass tones that are impressive for its size. This works by virtually expanding the sound field, creating a fuller, more resonant bass experience. The headphone/line-out jack is a practical addition, offering connectivity for private practice or linking to external amplification systems during group sessions or performances.

Hands-free control
With the optional pedal switch, the KR-11 becomes even more versatile, especially for stringed instrument players. This feature allows for hands-free control over rhythm changes, perfect for integrating the KR-11 seamlessly into your practice routine.

Specifications

Jacks: Headphones/line out jack, FOOT SW 1 jack, FOOT SW 2 jack, DC 9V jack
Power supply: Four AA-size alkaline batteries (sold separately) or AC adapter (DC 9 V, sold separately)
Battery life: Approx. 18 hours (varies depending on the batteries used and on the conditions of use)
Consumption: 1300 mA (peak value)
Dimensions (W × D × H): 160 × 115 × 44 mm
Weight: 279 g (not including batteries)

Included items
Quick Start Guide
Accessories (sold separately)
AC adapter (DC 9V, Centre Plus), pedal switch (PS-1, PS-3)

Notes: Reinventing the virtual analogue synth for the 21st century, the Vibes is a digital demon. True stereo signal path, resonant oscillators, Serum-compatible wavetables and heaps of creative potential.

Supplier's Notes:
Small form, big heart

True Stereophonic Digital Synthesiser with 24 Stereo Voices

With its 24 stereo voices, powerful XVA Engine, full Audio Mixer, improved Clip Launcher, comprehensive Drum Engine and the new Resonator Oscillator, Vibes becomes a new class of synthesizer, that helps you to reach your full creative potential.

True stereo

The true stereo signal path allows for sounds, that have never been possible before.

Oscillators that resonate

The new Resonator Oscillator together with the existing Wavetable Oscillator open up a new world of sonic potential.

Sketching, writing performing

The only synthesiser you need for writing and performing your compositions.

Mix it all together!

Mix internal sounds and stereo input with the Digital Audio Mixer integrated into the Vibes!

One preset, eight different flavours

Store your ideas and recall them in an instant with Variants

Engine specs

Based on Mayer EMI's powerful XVA Audio Engine the Vibes is preset compatible with the MD900 and comes with the following feature set:

24 shared Stereo Voices
4 Synth-Parts + 14 Drum Instruments

Stereo structure per voice

2x Oscillator with 3 different models

Algorithm Oscillator

8 different Waveforms (PD_SIN, VA_SWEEP, and more)
Morphing and Modulation capabilities

Wavetable Oscillator

More than 50 preset wavetables
Wavetables consisting of up to 256 single-cycle waveforms with 2048 samples per cycle (Serum format compatible)
Spectral effects (spectral morph, harmonic shift, ... and more)
Up to 4x stereo unison

Resonator (physical modelling)

64 bands
Attack/Decay based exciter
Different Algorithms to define Band Profile

1x Sample / Noise Oscillator
Configurable loop modes and loop points
Single- or Multi-Samples

2x Stereo Multimode Filter with more than 10 different Models
4x ADSR Envelopes
3x LFOs (MIDI synchronized, standard & user defined shapes)
1x Waveform Shaper with different Algorithms
Modulation Matrix with 24 slots (25 source and 40 destination options)
Oscillator Mix and Filter Routing

ARPEGGIATOR and STEP SEQUENCER per Synth Part

Clip launcher

7 tracks (4 Synth-Parts, Drum Track, 2 Midi Tracks for external Instruments) with up to 8 clips per track
Polyphonic MIDI Sequencer with recording and quantization capabilities
Drum Pattern and Sequence Editor
Support of external Performance Controllers (e.g. Launchpad, APKmini) via USB

Synth and live effect stacks

4x Stereo Multi Effect Stack (1x for each Synth Part)
2x Stereo Live Multi Effect Stack in the Audio Mixer
Reverb, Stereo Delay (midi synchronized), Compressor, JChorus6, ... and more)

Digital audio mixer

19 Stereo Input Channels, 2 Stereo Output Channels
Bus, Headphone and Effect Send
Balance, Pan, Limiter functionality

MIDI connectivity

MIDI Control, Note On-Off, Pitchwheel, Polyphonic Aftertouch
Transport Send/Receive
Clock Send/Receive

Webinterface

Up-/ Download of user defined Presets, Performances, Wavetables, Samples, Sequences
Accessible via Wi-Fi or Ethernet

Others

14 GB internal Memory available for Presets, Wavetables, Samples, Performances and MIDI Sequences

Hardware specs

Control elements

5" Colour capacitive Touch-Screen (Resolution 800×480 pixel)
4 display related and 1 Main Encoder
20 Navigation and Menu Buttons
One Knob Section (morphing of multiple parameters together)
3 Synth-Part related Macro Encoder (Multicolour LED Rings)
3 Filter related Encoder (Multicolour LED Rings for Filter CutOff, Resonance and Amount)

Housing

Size (W x D x H): 322mm x 174mm x 76mm
Weight: 2kg
Metal Housing with walnut wood front and back
75mm x 75mm VESA Mount

Inputs/outputs

Power Switch
Power In 12VDC, 2.5A
3x USB-A Port (max. 500mA)
Ethernet (100Mbit)
Sustain Pedal-In: 6,3 mm TR Jack
Expression Pedal In: 6,3 mm TR Jack
DIN MIDI In / Through / Out
Stereo Line-In: 6,3 mm TRS Jack (24bit, 48Khz)
Stereo Line-Out: 6,3mm TRS Jack (24bit, 48Khz)
Stereo Headphone Out: 6,3 mm TRS Jack (16bit, 48Khz)
2,4/5GHz Wifi

Package contents

Vibes MD850
Power Supply 12VDC (including Plugs for EU, UK, US, AUS)
Quick Start Manual

Notes: A daisy-chain cable with a DC5521 jack socket to 4 DC5521 jack plugs, allowing a single power adapter to drive up to 4 effect pedals.

Plug: 5.5 x 2.1mm DC jack + 4 plugs
Distance between plugs: 270mm
Overall length: 1100mm
Weight: 45g

In the Box

1 to 4 DC daisy chain cable

Notes: Following on from the success of the Zeus pedal power supply, NU-X have developed the Zeus Jr. for multi-pedal users with more compact effect setups. Zeus Jr. retains the same double isolated power circuit to help eliminate noise and keep the power chain clean. 3 outputs deliver 9Vdc up to 500mA each and a fourth can provide 9Vdc at 300mA. 2 additional outputs have selectable 9/12/18V outputs for pedals that require or can handle different voltages. Supplied with 6 x DC5521 angle power leads and a further reverse polarity and DC minijack lead. Powered from the mains via its in-line DC switching power supply, this is the ideal solution for players that use multi-pedal rigs where noise issues could otherwise be problematic.

Power supply: 100-240Vac, 50/60Hz (IEC with 15Vdc in-line adaptor)
Outputs: 4 x 9Vdc, 2 x 9/12/18Vdc (DC5521 jack)
Power output: 21.6W max
Dimensions: 90 x 88 x 24mm
Weight: 184g

In the Box

Zeus Jr. guitar pedal power supply
In-line 24V power adaptor & IEC lead
3 x 50cm DC5521 link leads
3 x 30cm DC5521 link leads
1 x 50cm reverse polarity DC5521 link lead
1 x 50cm DC5521 to minijack link lead

Notes: Old Blood Noise Endeavors Split | Meld 2023

Passive Stereo-Routing Utility Device

A discovery born out of necessity, the Old Blood Noise Endeavors Split | Meld is a practical non-destructive way to manage parallel dual-mono and stereo signal paths and adds to the OBNE line of pedalboard friendly utility devices.

The 2024 updated design features a smaller even more pedalboard-friendly layout in a mini-sized enclosure and artwork created by the OKC art duo Holey Kids, one half of which also works at the brand's Oklahoma headquarters, to perfectly fit in with the latest pedals in the OBNE's Utility series.

As a routing solution that splits stereo TRS to dual mono TS signal paths (and vice versa), this little passive box of tricks is an ideal route for parallel signal paths in a myriad of creative ways.

Especially useful for stereo pedalboards and setups with devices that have TRS stereo inputs & dual-mono outputs, Split | Meld can also be used to make use of a pedal's TRS effects loop, without the need to fiddle with TRS splitter cables that often can be poor quality and get in the way.

No power supply is needed here - simply connect and go.

Notes: Typically creative stuff from Pittsburgh Modular, the updated Voltage Lab is the pinnacle of the brand's synth output. Dual oscillator design with a 16-note touch controller, built-in sequencer and MIDI control.

Supplier's Notes:
The Pittsburgh Modular Voltage Lab 2 is a cutting edge synthesis laboratory that offers a new palette of analogue textures and waveforms to sonic researchers. Newly developed wave shaping capabilities paired with powerful synthesis tools, and a deep, performance oriented controller join together to create a complete sound design laboratory. This instrument has a very physical sound. The tones it creates feel natural and alive, with traditional waveforms becoming the seeds of unique new shapes and sounds that shift between analogue physical modeling and more unfamiliar, abstract timbres.

Laboratory Oscillator 1

Voltage Lab 2 includes a pair of Laboratory Oscillators. Each with a unique set of newly invented waveshaping tools designed to expand the sonic potential of analogue synthesis. Laboratory Oscillator 1 introduces Center Clipping to analogue synthesis. Center clipping unlocks independent control over the top and bottom of the waveform, allowing for detailed manipulation of harmonics and timbre without affecting pitch. It does this by processing waveforms from the center out as opposed to traditional methods which work from the peaks inwards.

Laboratory Oscillator 2

Laboratory Oscillator 2 introduces a host of new sonic possibilities with two new waveshapers. Pulse Symmetry and Reflection. Pulse Symmetry creates a new species of pulse wave that adds a step between the top and bottom of the waveform. The resulting wave looks like a set of stairs where the depth of the center step can be adjusted in addition to the pulse width. Wave Reflection takes the bottom half of the waveform and reflects it onto the top half. Each waveshape responds to this differently. For example, a saw wave morphs into a triangle while triangle and sine waves lose their fundamental harmonic and jump up an octave.

Pittsburgh Dynamics Controllers

The new Dynamics technology imparts Voltage Lab 2 with a uniquely organic depth and presence. By simultaneously managing both amplitude and harmonic content, the Pittsburgh Dynamics Controller expands beyond the one dimensional VCA found in other synthesizers. It does this by utilizing new advancements from traditional low pass gates to add additional definition and dimension to the voices of the Voltage Lab 2.

When used in low pass gate mode, sounds shed harmonic content and become warmer as they decrease in volume. This mimics how sound waves react to their environment. Because of this connection, the Voltage Lab 2 sounds more natural or complex compared to other instruments.

Touch Controller 2

The Touch Controller 2 enables artists to blend traditional pitched performances with the freedom to openly experiment, creating a flexible playground for music creation. Two independent channels offer a combination of real time, expressive playing and in-depth sequencing. Assignable scales, step conditions, jumps, chance effects, generative sequencing, and a host of other tools, come together allowing musicians to both create and interact with complex systems.

A Florist and Echos

The Voltage Lab 2 includes a set of analogue time based effects, Florist and Echos. The Florist is a flanger/chorus hybrid that focuses on brighter, short time shifts with highly controlled feedback allowing for maximum ringing before self oscillation. Echos is a more traditional, darker analogue BBD delay that also utilizes highly controlled feedback to provide a larger number of repeats before falling into self oscillation. Both effects are perfect for traditional workflows and unconventional experimentation.

Complete Set of Modular Tools

The Voltage Lab 2 includes a host of fully modular, analogue and digital synthesis tools to support and enhance it's core functionality. Analog tools include flexible mixers, a pair of complex function generators, noise, sample and hold, and an LFO. Digital tools cover external MIDI, arpeggiator, and a robust chance sequencer. The Voltage Lab 2 toolset is deep enough for all types of sonic experiments.

Notes: Wacky fun on tap. Any objects which conduct electricity can become a controller with this unique device. Fruit and veg become a keyboard, any sound becomes an instrument with the free Koala app.

Supplier's Notes:
Use the contents of your fruit bowl as a piano keyboard with Playtron!

Connect up to 16 objects with alligator clips, pick a different sound for each, and have fun!

Ready to get started! You need a computer, tablet, or smartphone, as well as a Playtron device and up to 16 objects that can conduct electricity.

Just open any online synth, and you're ready to play! No noticeable latency, Playtron reacts just as any other midi controller.

What can you do
- Play on fruits and veggies as on a piano keyboard
- Play alone or with a friend
- No musical skill needed

How to use
- Connect Playtron to a PC, phone or tablet
- Use Google Chrome to open synth.playtronica.com and choose any synth you like
- Connect one end of the alligator clip to Playtron and the other to object (do this with up to 16 objects)
- Touch the ground connection (sharp gold corner) and start playing on objects

Additional info:
- Playtron is not waterproof
- Playtron is absolutely safe, but we don't recommend using it for people with pacemakers (just in case)
- Playtron can be used only with conductive objects.

Kit includes
- Playtron MIDI controller, USB cable, 18 alligator clips, a storage envelope

Notes: Co-developed by the late Chris Huggett, the Mantis is PWM's flagship synth, a duophonic hybrid design with high-performance digital oscillators and state-variable analogue filters. A fitting tribute to a legendary synth designer.

Supplier's Notes:
Mantis is a unique, duophonic hybrid synthesizer that was co-developed by the late Chris Huggett (of EDP Wasp, OScar & more fame) and is dubbed as a spiritual successor to the OSCar, sporting precision digital oscillators, dual state variable filters and more.

Mantis is a premium synthesizer, sporting a high quality 37-note velocity and pressure sensitive keybed, SSI2164 IC's for the VCF's and VCA's, custom high performance processors for the oscillators coupled with a pristine analogue signal path, which features a twice amplified gain structure for maximum clipping capabilities plus lush stereo digital FX.

The modulation capabilities are vast with:
Two unique ADSR's that feature "sustain fall" that allows you to create a drop before release...even while a key is held for greater sound design possibilities. The envelopes can also be set to cycle.
Two tempo-syncable LFO's with four waves, fade in and fade out parameters and a seriously wide operating range.
Ring modulation available at the mixer
And a unique modulation routing controller with 6 choices of modulation parameters, 6 choices of modulation sources and scale control, which used to scale the effect of the modulation.

In development over the last period of his life Chris threw everything into Mantis. Although incomplete when he sadly passed away in 2020, he handed the project over to Paul of PWM to carry on and continue the project.

PWM, with the support of Chris' estate, think this synthesiser deserves to be born into the world for everyone to enjoy!

PWM MANTIS Key Features:
Hybrid-Analogue Synthesiser, powerful digital oscillators with dual analogue filters
With Mathematically Generated Oscillators with a Pure Analogue Signal Path
A Modernised Design Architecture based on the WASP with an OSCar style filter designed by the late, great Chris Huggett
Duophonic - Two Fully Independent Voices each with 2 Oscillators plus Sub-Oscillator per voice
Dual Filters - Multi-Mode State Variable VCF's with Overdrive per voice that can be combined in Series or Parallel with Width Control
Keyboard - 37-Note Full-Size Semi-Weighted Keybed with Aftertouch plus Joystick
Fully featured Keyboard, Joystick and USB-MIDI Control for Easy Integration with any Studio or Live Environment

Specifications

200 Patches
All patches in RAM so can be overwritten
Bank A: 100 Factory presets
Bank B: 100 User presets (all set to initial patch)
Compare function
Initialise patch function

Duophonic with 2 analogue signal paths
Mathematically generated oscillators designed by Chris Huggett
Analogue signal path designed by Chris Huggett

2 Oscillators plus sub-oscillator per voice
Sine / Triangle / Saw / Pulse plus additional wave types
Shape control and shape modulation input
Will create pulse width modulation on the pulse waveform with perfect square at the centre
Pitch modulation control
Octave selects per oscillator
OSC 1 SUB follows oscillator 1 parameters

Oscillator Drift
Creates random pitch variations between oscillators

Multi-mode state variable VCA filters with overdrive
2 Analogue filters - 1 per signal path
Low Pass / Band Pass / High Pass in 12dB and 24dB configurations
Additional WBAND (series) and WSTOP (parallel) types
Filter Cutoff
Filter Cutoff Modulation
Filter Resonance
Filter Width
Filter Width Modulation
Filter Keytrack

LFO (Low Frequency Oscillator)
2 LFOs
4 waveshapes per oscillator
Fade In / Fade Out parameter
SYNCable
Rate control

Envelopes
2 Independent envelopes
ENV 1 normalised to amplitude
ADSR
+ Sustain Fall parameter for shaping during key-down
+ Repeat which can be used to create looping envelopes
Velocity positive and negative control

Ring modulation

Mixer
First mix: OSC1 and OSC2
Second mix: OSCillators and noise
Third mix: OSCillators + noise and Ring modulator

VCA (Voltage Controlled Amplifier)
All amplification is done in the analogue domain in multi-stage VCAs

Modulation Routes
Control - 6 choices of modulation parameters
Source - 6 choices of effectors from envelopes and LFOs
Scale - choices of controls used to scale the effect of the modulation

Glide
Glide amount
Auto-glide mode

Indicator LEDs
Two LEDs for Voice
LED for Keyboard activity

Master tune

Master volume

Triggering
ENV 1 Legato
ENV 2 Legato
LFO Keytrig
LFO Keytrig

Connections
Master power switch
DC 9V input
USBC
MIDI IN / OUT / THRU
Sustain pedal input (switch)
Pedal input (continuous)
Stereo 1/4" line Outs: L/Mono and R
Stereo 1/4" headphone out

Multi-function Joystick control
Left / right for pitch bend
Performable vibrato
Latching hold mode

Arpeggiator
6 arpeggiator types
- Up, Down, Up/Down 1, Up/Down 2, Played & Random
Sync rates control from 2nds to 32nds
Tap tempo button
Swing including positive and negative swing
Auto clock sync
- Detects MIDI or USB-MIDI clock and synchronises the arpeggiator automatically
Latch via joystick HOLD
6 Octave range

Dedicated tempo control

Duophonic mode control
Duo mode
Duo mode with simple filter
Pan control for duophonic voicing

Digital Effects
Reverb time
Reverb level
Reverb High Pass Filter
Reverb Low Pass Filter
Chorus level
Chorus type

Keyboard Control
37 Full-size semi-weighted velocity-sensitive keys
Channel aftertouch
Octave shift

Weights and Dimensions (product unboxed)
620 x 320 x 110 mm
5.3 kg

Includes:
Power Supply (9V 600mA)
USB C lead
Getting Started Guide

Notes: Carrying case for HD 490 PRO

Notes: Mixing ear pad set for HD 490 PRO.

Notes: Producing ear pad set for HD 490 PRO

Notes: 3m cable for HD 490 PRO.

Notes: Seamlessly integrate your N32B MIDI controller with standard MIDI devices using our MIDI TRS-DIN5 Adapter. This compact adapter bridges the 3.5mm TRS and 5 pin DIN connections, conforming to the Type A MIDI 2.0 standard for universal compatibility.

This MIDI adapter features a male 3.5mm TRS mini-jack at one end and a female 5 pin DIN MIDI connector on the other. Designed to bridge the gap between conventional MIDI devices and those utilizing the Type A standard - synonymous with MIDI 2.0 - this adapter is an essential tool for modern music production.

It's specifically compatible with the N32B MIDI controller, facilitating seamless connections between standard MIDI cables and any 3.5mm TRS MIDI device adhering to the Type A standard. Notably, Type A is the preferred choice for leading manufacturers such as Korg, Make Noise, Akai, and IK Multimedia, making this adapter a versatile accessory in your MIDI toolkit.

Notes: Ultra-flexible, programmable MIDI control here, with the ability to assign macro functions to each knob, controlling multiple parameters with the twist of a single control. Versatile.

Supplier's Notes:
Programmable Macro MIDI Controller

Simplify Your Workflow, Manage Multiple Parameters with a Single Knob.

Get more from your studio with the N32B V3. This game-changer allows you to control multiple settings with just one knob, making music creation smoother and quicker. It simplifies complex tasks, letting you focus more on your music.

32-Knob Controller with Macro Customisation

Every knob on this controller is all about flexibility. It lets you manage multiple sound settings with a single twist, simplifying detailed adjustments. For each knob, or macro, you can:

Set minimum and maximum values.
Invert the value direction.
Choose a specific MIDI channel.
Enjoy unmatched customization for your sound.

MIDI Thru & Flexible Outputs

This controller now includes MIDI Thru functionality and options for MIDI-USB, TRS, or both outputs simultaneously, enabling seamless integration and connectivity in any setup.

High-Resolution Mode

With 1023 steps available, our controller goes beyond the standard 127 steps offered by other controllers, providing enhanced precision for detailed sound adjustments.

Versatile MIDI Message Support

Designed for diverse musical expressions and functionalities, the N32B v3 supports an extensive array of MIDI messages for enhanced precision and control:

Control Change
Program Change
RPN
NRPN
Aftertouch
High-Resolution MIDI

Web Editor for Preset Management

Easily switch among 3 customizable presets and manage them with Shik's web editor, enabling export and import of presets to your computer for enhanced control and setup flexibility.

Compact and Portable

The N32B v3, at just 20.9 cm x 13.5 cm (8.2" x 5.3"), offers a sleek design ideal for mobile musicians. Easily fitting into bags, it ensures your production setup travels with you.

Stylish and Strong

Upgraded with a sturdy metal frame, it combines elegance with resilience, ensuring it looks good and withstands the test of time.

Specs
MIDI I/O: IN/OUT/THRU/USB
MIDI Messages: Control Change, RPN, NRPN, Program Change, Aftertouch
Resolution: High resolution - up to 1023 steps
Channels: 16 Global channels. Supports custom channel assignment for each knob/macro
Presets: 3 quick presets, easily managed via Shik' web editor with the ability to import/export unlimited settings.
IN/OUT/THRU: TRS 3.5mm (1/8")
USB: 1 x USB Type C
Compatibility: Mac, Windows

Inside the box

Device: 1 x N32B pre-assembled with black aluminium case
Power: 1 x USB C to USB A cable
Connectors: 1 x TRS to MIDI DIN5 Adapter

Notes: Bassy microphone to be used with The Pipe - heavy bass frequencies.

Notes: Flat Microphone designed to be used with The Pipe - neutral balanced sound.

Notes: Standard microphone for The Pipe - warm sound with emphasised mids.

Notes: The 1-row QUICKSWAP CASE for AE Modular is the high-end case for AE Modular. It is based on a sturdy metal chassis with a beautiful matte black powder coating and - allows to plug in AE modules without any screws, which is a key feature of this case! The design makes sure that the modules sit firmly inside the case and the bus connection is established automatically by the integrated bus board, so need for the separate bus cable known from the standard AE cases. Rearranging your modular system can't be easier!

This case is developed by Kyaa, a 3rd party AE module developer; Tangible Waves is producing the case.

With a connector kit, another QUICKSWAP CASE of same width can be attached at certain angles, depending on the connector - and the power supply is linked between the cases, also via the connector.

Other utilities, like a handle for carrying a folded case, are coming soon.

Please note: This rack does not include the Master or Power module.

To connect the case to power you have the following options:

Install the Master Module
Install the Power Module
Connect to another, already powered QUICKSWAP CASE
Connect to another AE case via the RACKLINK module kit

*** Please note: the modules are not included, they are shown for demonstration purposes only. ***

Notes: Cutting-edge tech meets ancient sounds in this truly original 'instrumentalis electronicum'. Create beats using genuinely old-school drum sounds, lutes, lyres and more, then load or record your own samples to expand your sonic options.

Supplier's Notes:
EP-1320 Medieval

The world's first medieval electronic instrument

Hurdy gurdys, lutes, Gregorian chants, thundering drums and punishing percussive foley FX. The EP-1320 is the first of its kind: featuring a large library of phrases, play ready instruments and one-shot samples from an age where darkness reigned supreme, the instrumentali electronicum is the ultimate, and only, medieval beat machine.

Unlock the magic of medieval sounds

The EP-1320 comes with hundreds of medieval sounds and samples, a redesigned set of send effects and punch-in FX, a brand new arpeggiator and a collection of craftily captured multi-sampled instruments. The line input and the internal microphone allow you to sample your own sounds in just seconds. Whether you're into making sultry serenades or bubonic beats, the EP-1320 has you covered.

Become your own bard

Alongside a bucketful of one-shot samples the instrumentalis electronicum features a number of readily playable medieval instruments - play them on the pads or on an external MIDI keyboard.

Summon your inner troubadour

In Demus mode, choose any of the 9 medieval songs and jam along using the sounds and instruments on the four banks. Add some punch-in FX and you're ready to send any tavern floor into a frenzy! (Also perfect for banquets and fetes).

An unrivalled medieval experience; EP-1320 features a hundreds of built-in medieval sounds for your nostalgic pleasure. Go back in time and play along with the built-in magical melodies, sultry serenades and bubonic beats. Included in the box are 4 knobs, a sticker pack and a quick start guide for you to hit the ground running.

Packaging: 262x262x28mm
Product weight: 0.625 kg
Total weight: 0.750 kg
Power: USB-C (cable not included)
Battery: 4 x AAA (not included)
Start up guide included
Exclusive medieval sticker pack included
Knobs to be affixed by customer (supplied separately, in same box)

Specifications

Sampling frequency: 46 kHz / 16-bit
Internal signal chain: 32-bit
128 MB total memory
96MB ROM SOUNDS
32MB user sample memory
9 built-in demo songs
High resolution sequencer
Built-in pocus
Fader
Pressure sensitive pads
Six stereo voices, or twelve mono
Runs on 4x AAA batteries with the option to be powered via USB-C

inputs and outputs

Stereo output
SYNC IN/OUT
TRS-A MIDI IN/OUT
USB-C

Dimensions and weight
240 mm x 176 mm x 16 mm
9.45 in x 6.93 in x 0.63 in
620 g / 22 oz

Electronic specifications

3.5 mm TRRS jacks
Stereo input: 24 bit
SNR: 96 dBA
Impedance: 6.5 kOhm
Analogue gain: 0 - 12 dBmax level: 8 dBu, 2.0 Vrms
Stereo Headphone/Line Output: 24 bit
SNR: 98 dBA
Max level: 5 dBu, 1.4 Vrms

MIDI input
MMA compliant pinout (type A)
opto-coupled

MIDI output:
MMA compliant pinout (type A)
Voltage: 3.3 V

Sync output
TIP: Sync 8th, 16th, 24 PPQN
RING: Start/Stop
Voltage: 3.3 V

Sync input
TIP: Sync 8th, 16th, 24 PPQN
Ring: Start/Stop
Voltage: 3.3 V
Max level: 10 V

Notes: Medieval quilt bag

Hard case quilted bag to carry and protect your EP-1320 medieval. the quilted and padded cotton fabric covers a custom moulded hard casing to prevent any outside forces, magical or otherwise, from damaging the device. tie it around your waist or over the shoulder with the long detachable cotton strap. inside you'll also find a zip pocket for storing any accessories and cables.

Colour: olive green
Shell and lining: 100% organic cotton
Strap: 100% organic cotton
Dimensions: 26 cm x 21 cm x 5.5 cm | 10.2 in x 8.3 in x 2.2 in

Notes: A Digital DJ looking for a professional, durable case solution for your Akai APC 64 controllers? Then look no further, UDG have developed a super-light EVA hardcase designed for life on the road. Constructed from durable, lightweight compression moulded EVA material with a laminated durable fabric exterior, this case provides protection against drops, scratches & liquids. Skillfully designed & moulded to fit the Akai APC 64 controllers, these cases are perfect for the travelling DJ that needs to protect their equipment.

Specifications
Colour: Black
Weight: 0.95 kg / 2.09 lb
Outer Dimensions (W x H x D): 42.0 x 33.0 x 7.0 cm | 16.5 x 12.9 x 2.7 inch
Material: Durashock moulded EVA foam

Protection

Cover main material 600D polyester with 5 mm EVA durashock molded body
Water repellent durable fabric exterior
Black soft fleece interior
Protective egg-crate foam prevent damage from vibrations & shocks

Extras

Extra space for cables
Convenient carry handles
Easy grip zipper pulls

Fits
Akai APC 64 Controller

*** Please note: the APC64 is not included, it is shown for demonstration purposes only. ***

Notes: Express Yourself with Yamaha

By incorporating decades of expertise in developing musical technologies, the YDM Series of dynamic microphones provides an exciting new addition to the Yamaha audio line-up that spans the entire input to output signal chain.

Custom-designed Cardioid Capsule

Encased in a sleek metal body, the YDM Series microphones feature a custom-designed cardioid capsule that flawlessly captures your sound so you hear crystal-clear audio on the other end.

Insulator that Reduces Handling Noise

YDM Series microphones are equipped with an advanced insulator Yamaha's proprietary materials that reduce vibrations from handling noise and other external sources, allowing you to concentrate on your performance.

A Refined Grip that's Instrumental

Taking cues from our experts in musical instrument design, the YDM Series microphones follow a refined design that incorporates the flowing curves of a wind instrument. The top of the grip is accented with a silver ring, giving it a distinctive design. The grip is not only beautifully designed; it has also been optimized through repeated prototype tests to ensure a comfortable fit.

Optimized through repeated prototype tests to ensure a comfortable fit.

Switch Lock
The YDM505S model offers an On/Off switch for solo gigs, but includes a switch lock so you can run shows and not worry about users accidentally turning the mic off.

YDM Series Grille

For some performers, mic drop moments are unavoidable. Whether from epic monologues or mishaps, replacement grilles are sold separately so you can keep your microphone looking like new.

Accessories

In addition to the microphone holder, a 5/8" to 3/8" inch threaded adapter and a microphone pouch are also included.

Microphone: Dynamic
Polar Pattern: Cardioid
Frequency Response: 60 Hz - 15 kHz
Sensitivity: 2.5 mV/Pa (-52 dB)
Output Impedance: 600 Ohm
Connector: XLR
Dimensions (Microphone Only): 51 x 184 mm
Weight (Microphone Only): 293 g
Included Accessories: Microphone Holder, 5/8" to 3/8" threaded adapter, Microphone pouch

Notes: The hands-on control of hardware meets the versatility of software. Bridging the gap between Eurorack and VCV Rack, the MetaModule includes over 160 built-in modules plus access to over 200 third-party options.

Supplier's Notes:
The MetaModule puts real knobs and jacks on virtual software modules. Step back from the computer and make music with hardware, while keeping the flexibility and expandability of software.

The MetaModule comes with over 160 built-in modules from 4ms Company, Befaco, HetrickCV, NonlinearCircuits, and Scanner Darkly, plus clones of popular classics such as the Mutable Instruments eurorack modules, fun physical modeling algorithms, and lots of handy utilities.

All of the included modules are also available on the computer using the free program VCV Rack. Whether you make patches on VCV Rack and transfer them to the MetaModule, or if you just create patches directly on the MetaModule, there are plenty of creative modules to inspire new ways to make music.

MetaModule Plugins

If the 160+ built-in module aren't enough, you can load more modules as plugins. Already there are over 200 modules in third-party plugins from Bogaudio, Valley, ChowDSP, NANO Modular, and the list is growing. 4ms have an SDK available to make it easy for VCV Rack plugin developers to convert their plugin to a MetaModule plugin. 4ms' licensing terms are non-restrictive: developers are welcome to distribute their plugin in any way they wish, commercially or not.

Mapping Knobs and Jacks

The MetaModule has 12 knobs that can be mapped to virtual knobs. Each knob can be mapped to up eight virtual knobs, and each mapping can have a different range and offset. You also can save a group of mappings as a Knob Set and switch between Knob Sets with the encoder. You also can map the 8 inputs and 8 outputs to virtual module jacks. Also, the MetaModule is a USB MIDI host, so you also can map MIDI CC, note, gate, and other parameters to knobs and jacks.

Expanders

There are lots of ways to customize your MetaModule. A Wifi expander allows you to wirelessly transfer patches from your computer. Add eight more knobs with the Knob expander, or buttons with the Button expander. A CV/Audio expander adds more high-resolution inputs and outputs, and the Gate In/Out expander adds not only gate jacks but also TRS MIDI and I2C.

Under the Hood

There are six CV/Audio inputs, two gate inputs, and six CV/Audio outputs. The CV/Audio jacks are all 24-bit, 48kHz DC-coupled, -10V to +10V. A USB-C jack accepts MIDI devices and thumb drives. Patches and plugins can be loaded via a USB drive or microSD Card, and internal flash memory lets you save patches you always want to come back to.

The processor is more advanced than anything 4ms has used in the past, and is among the most powerful processors found in Eurorack. Startup time and latency are blazingly fast.

Modules

160 built-in modules
Over 200 3rd-party module plugins available so far, and the ecosystem is growing
Create patches using VCV Rack or directly on MetaModule

Patches

Patches are loaded from microSD Card, USB drive, or via the Wifi expander
Patches can be optionally saved onto internal flash memory
Create patches using VCV Rack or directly on MetaModule
Patches can be given a name and description

Mappings

Map each physical knob to up to 8 virtual knobs
Set range and offset for each mapping, including inverted control
Knob mappings are grouped into Knob Sets, and changing Knob Sets can be done quickly without menu-diving
Map physical jacks to virtual jacks, seamlessly making splits/mults
Add or edit modules, cables, and mappings in real-time while the patch is playing
Create alias names for mappings like "Kick Drum Level"

Interface

Simple, intuitive graphical interface lets you zoom in on details, or zoom out to get a big picture
Patch View displays the patch as faceplates and cables, with knobs, buttons, and lights animating in real-time
Knob Set View simplifies the display, showing only the mapped knobs for the current Knob Set
Module View shows just one module and lists the names of each jack, knob, and control legibly
Mapping View lets you adjust details of a knob mapping
Adjust styles and visual preferences to your liking
Save, rename, duplicate, and delete patches
Firmware updater and plugin loader read from microSD Card or USB drive

Hardware

12 Knobs
8 CV/Audio outputs, 24-bit 48kHz, -10V to +10V, DC-coupled
6 CV/Audio inputs, 24-bit 48kHz, -10V to +10V, DC-coupled
2 Gate inputs
USB-C jack: MIDI Host or MSC (External drive) Host
microSD Card slot
Internal Flash RAM for additional patch storage
Dual-core 800MHz Cortex-A7 plus Cortex-M4 co-processor
512MB DDR3 533MHz RAM
Bare-metal operation for fast startup and low latency

26hp

Notes: Third-gen version of Benidub's 'plug and play' spring reverb is better than ever. Lush, vintage spring reverb now with adjustable filter routing and built-in soft clipping circuits to add saturation.

Supplier's Notes:
Spring reverb preamplifier combined with a LP-HP filter

SPRING AMP III marks the third iteration in the renowned "Spring Amp" series: desktop effects designed to bridge the gap between audio mixers and spring reverb tank, offering dynamic filtering options in an intuitive and ready-to-play package. A culmination of Benidub's expertise and your feedback, combined to create the ultimate Spring Amp.

This new all-in-one dub reverb and filter machine features a full suite of powerful and intuitive controls, making it easy to dial in your favourite spring reverb tones in the studio or on stage.

Everything you loved about its predecessor it's still there, enriched with new features and even more playability than before.

Benidub added a push-button switch for routing settings, allowing you to place the filter before or after the spring tank for more mellow or dramatic swings. SAIII now features an in-built soft clip circuit on both input and filter which lets you push your sound even further without damaging your performance and get that classic, warm, musically pleasing saturation which adds rich complexity to your swells. Every feature is clickless and the circuit has an in-built low noise filter alongside Class-A discrete components.

The Spring Amp III is designed to be a plug-and-play dub reverb effect, delivering the classic dub sound instantly upon connection.

Features

Extra low noise reverb pick up amplifier and innovative power amplifier

Discrete transistors front end amplifier for the best achievable noise figure, and a 7.5W constant current amplifier drives 8ohm input reverb tanks for maximum volume and best treble response.

Inbuilt 12db/oct resonant HP-LP VCF

The Spring Amp III has an inbuilt analogue filter with controls on its cutoff, resonance, and modulation. It features a crossfader between low-pass and high-pass filters outputs and a click-less switch to place the filter before or after the spring tank.

Independent volume controls

Filter and preamplifier have independent volume controls, enabling the unit to function as a standalone filter or directly after an instrument with a line output.

Specifications

1. Power input: 12VDC,1A, centre positive, 2.1mm x 5.5mm barrel connector.
2. Audio input/output: 1/4" bal. or unbal. mono jack. Balanced connection improves the signal-to-noise ratio
3. Gain: sets the input amplifier gain, from unity gain to overdrive.
4. Cutoff: sets the filter's cutoff frequency.
5. Resonance: sets the amount of filter's resonance.
6. LFO wave: switches between 6 different LFO waveforms.
7. Spring tank connections: 1/4" unbal. mono jack to RCA.
8. Reverb volume: sets the spring reverb volume.
9. Dry to filter: sets the amount of dry signal that, after being filtered, is added to the unit's output.
10. Pre/post springs: click-less switch to change the spring signal routing, allowing for the filter to be placed before or after the spring tank.
11. LPF/HPF: crossfade between HP and LP filter outputs.
12. LFO rate/depth: dedicated controls to set the filter's cutoff modulation speed and amount.

Compatible spring tanks:

The Spring Amp III needs to be connected to a compatible spring-tank in order to work correctly. Please never connect the Spring Amp III to a tank without making sure that it is a compatible one.

Notes: Module A-121d is a special dual multimode filter which can be used for parallel or serial organized dual mono filters. Even stereo applications are imaginable. The filters are based on two special circuits: one with highpass and bandpass outputs, the other with lowpass and bandpass outputs. It's a new filter design that is not used so far in any other A-100 filter module.

We attached great importance to the usability of the manual controls and CV inputs for dual filter applications: for the filter frequencies of both filters a common control (Frequ.) and a difference control (Delta, filter spread) are available. For both parameters even CV inputs are available (FCV, DCV). The resonance (Q1, Q2), the sensitivity of the individual frequency control input (FCV1, FCV2) and the level of the audio input (In1, In2) are adjusted by means of the individual controls for each filter.

The module has a simple audio mixing unit available with the inputs Mx1 and Mx2, and the output MxO. Provided that the mixer inputs are open bandpass 1 and bandpass 2 are normalised to the sockets Mx1 and Mx2. All other filter types are realized by connecting the other filter outputs (H1 = highpass 1, L2 = lowpass 2) to the mixer inputs.

Controls:
Frequ.: master frequency control for both filters
Delta: controls the difference between the frequencies of the two filters manually (frequency spread), at centre position the frequencies are about the same
Q1 / Q2: resonance controls for filter 1 and 2
FCV1 / FCV2: attenuators for the individual frequency control inputs FCV1 (filter 1) and FCV2 (filter 2)
In 1 / In 2: attenuators for the audio inputs of filter 1 and 2

Sockets:
Mx1 / Mx2: audio inputs of the mixer, Mx1 is normalised to bandpass 1 (B1), Mx2 is normalised to bandpass 2 (B2)
MxO: audio output of the mixer
In1 / In2: audio input of filter 1 and 2 (In2 is normalised to In1)
H1: highpass output filter 1
L2: lowpass output filter 2
B2: bandpass output filter 2
DCV: control voltage input for frequency spread (Delta)
FCV1 / FCV2: individual frequency control inputs, processed by the attenuators FCV1 and FCV2, socket FCV2 is normalised to socket FCV1
FCV: common frequency control input for both filters (~ 1V/oct)

Triangle symbols indicate the normalising of sockets (B1>Mx1, B2>Mx2, In1>In2, FCV>FCV2). The four outputs are inverse labelled.

Technical note:
Ex factory the module is adjusted so that the resonance of the two filters does not reach self-oscillation. If desired the filters can be modified by the user by means of two trimming potentiometers so that self-oscillation is possible.

Dimensions:
8 HP
41 mm deep

Notes: Module A-121d is a special dual multimode filter which can be used for parallel or serial organized dual mono filters. Even stereo applications are imaginable. The filters are based on two special circuits: one with highpass and bandpass outputs, the other with lowpass and bandpass outputs. It's a new filter design that is not used so far in any other A-100 filter module.

We attached great importance to the usability of the manual controls and CV inputs for dual filter applications: for the filter frequencies of both filters a common control (Frequ.) and a difference control (Delta, filter spread) are available. For both parameters even CV inputs are available (FCV, DCV). The resonance (Q1, Q2), the sensitivity of the individual frequency control input (FCV1, FCV2) and the level of the audio input (In1, In2) are adjusted by means of the individual controls for each filter.

The module has a simple audio mixing unit available with the inputs Mx1 and Mx2, and the output MxO. Provided that the mixer inputs are open bandpass 1 and bandpass 2 are normalised to the sockets Mx1 and Mx2. All other filter types are realized by connecting the other filter outputs (H1 = highpass 1, L2 = lowpass 2) to the mixer inputs.

Controls:
Frequ.: master frequency control for both filters
Delta: controls the difference between the frequencies of the two filters manually (frequency spread), at centre position the frequencies are about the same
Q1 / Q2: resonance controls for filter 1 and 2
FCV1 / FCV2: attenuators for the individual frequency control inputs FCV1 (filter 1) and FCV2 (filter 2)
In 1 / In 2: attenuators for the audio inputs of filter 1 and 2

Sockets:
Mx1 / Mx2: audio inputs of the mixer, Mx1 is normalised to bandpass 1 (B1), Mx2 is normalised to bandpass 2 (B2)
MxO: audio output of the mixer
In1 / In2: audio input of filter 1 and 2 (In2 is normalised to In1)
H1: highpass output filter 1
L2: lowpass output filter 2
B2: bandpass output filter 2
DCV: control voltage input for frequency spread (Delta)
FCV1 / FCV2: individual frequency control inputs, processed by the attenuators FCV1 and FCV2, socket FCV2 is normalised to socket FCV1
FCV: common frequency control input for both filters (~ 1V/oct)

Triangle symbols indicate the normalising of sockets (B1>Mx1, B2>Mx2, In1>In2, FCV>FCV2). The four outputs are inverse labelled.

Technical note:
Ex factory the module is adjusted so that the resonance of the two filters does not reach self-oscillation. If desired the filters can be modified by the user by means of two trimming potentiometers so that self-oscillation is possible.

Dimensions
8 HP
41 mm deep

Notes: Module A-124-2 is the slim version of the Wasp filter module A-124.

The main difference compared to the A-124 are the small controls for Mix and Input Level because for lack of space. And the lowpass or highpass signal is available at a separate socket. A jumper is used to determine if lowpass or highpass appears at the socket.

All other features are the same as the A-124.

Dimensions:
4 HP
20 mm deep

Notes: Module A-124-2 is a special 12dB multimode filter using the "strange" filter circuit of the "EDP Wasp" (an analog synthesizer with black/yellow case built end of the seventies, manufactured by the UK company "Electronic Dream Plant").

The A-124-2 is the Slim Line version, which is only 4hp wide.

This design "abuses" digital inverters as analog operational amplifiers leading to distortions and other "dirty" effects that generate the specific sound of this filter. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self oscillation in contrast to most of the other filters of the A-100 system.

Dimensions:
4 HP
20 mm deep

Notes: Excellent modular take on 909 drum sounds here, featuring analogue kick, snare and clap combined with sample-based hi-hats and cymbals, plus the option to load your own custom samples. Super versatile.

Supplier's Notes:
909 inspired drum module with 3 analogue sound sources & 4 sample based sound sources - 30HP

3 Analogue-based discrete analogue TR-909 drums: bass drum, snare drum and hand clap circuits with advanced noise spectrum animation

4 sample-based drums (e.g. hi-hats, ride and crash cymbal - or simply use your own samples via SD card) - including a set of freshly recorded samples for modern electronic music using handcrafted Paiste 602 15" and 18" cymbals

Zero-latency sample playback directly from SD card

Hybrid analogue sound generation: 3x band-limited LSRF binary noise generators with spectrum animation, injected into discrete analogue circuits

On-board effect processor with 2 banks consisting of 16 effects in total, including additional auxiliary input and firmware update over audio

Master isolator-style LP/HP filter with VCA control and saturator booster

Drums that make you dance: Fit all music styles of music - specifically tuned for EDM and Techno

Factory sample banks by Nicolas Bougaieff (Mute, Novamute) including processed custom sampled Paiste 602 cymbals

wide-palette sample library available from Nero Bellum, Maman Kusters

Effect processor as found in famous Grand Terminal / Milky Way / Blck_Noir

Power consumption:
350 mA +12V
90 mA -12V
0 mA 5V

Dimensions:
30 HP
26 mm deep with inserted power cable

Notes: 2-track trigger sequencer/euclidean generator module - 6HP

Running Order is a two track trigger sequencer. It can be a precise master clock or manipulate incoming clock signal and works great in use as a sub-sequencer/divider in your Eurorack environment.

Zero-jitter clock generation: less than 50 microseconds internal clock jitter
101 style 1/16th note input mode (step/rest) with manual or CV controllable amount of triggers repeats when the active trigger step happens
Euclidean mode enabled for each track where we set Euclidean total steps amount in the circle and then amount of triggers happening in that circle.
Per step trigger probability in 101 mode and global probability in Euclidean mode.
Separate synchronization (reset) inputs, sync for track 1 is normalled to sync track 2
Clock divider for incoming external clock allows to quickly obtain various musical divisions on the fly incl. triplets of course, but more importantly tuplets mode allows you to stretch desired amount of triggers happening into a single bar
Separate mute buttons for each track
8 patterns of triggers sequences stored in the module and recalled on the next power up
also available in 1U / 22HP version

Power consumption:
30 mA +12V
10 mA -12V
0 mA 5V

Dimensions
6 HP
30 mm deep

Notes: Developed in conjunction with Dutch software masters 112dB, Erica's stereo reverb is the best of both worlds: deep DSP power with plenty of hands-on control. Designed for musicality, ideal for synths, drum machines and more.

Supplier's Notes:
A stereo reverb with a unique and musical algorithms developed by 112db, save/recall functions for all parameters, all in sleek aluminum case to aesthetically match our lineup of compact desktop units.

Erica Synths focused on the musical aspect of the effect - extremely long decay tails are possible without losing harmonic integrity and since multiple parameters can be adjusted at once, notes can be played individually and held in chords, pitch-shifted at a whim or used to create massive, ambient textures.

Notes: Chris Huggett, chief designer at EDP came up with a novel little circuit for the filter envelope of the Wasp, based around half a CD4013, half a CD4066 and half a LM3900. It was an A/R generator with looping option which would proceed through its whole cycle from only a trigger input. He further developed the circuit for the filter envelope in the Gnat to use just one knob to provide a range of attack envelopes when anti-clockwise (from 12 o'clock), and a range of release envelopes when clockwise (from 12 o'clock). 12 o'clock gives a very short symmetrical blip. As you can build two of these with a CD4013, CD4066 and LM3900, Frequency Central have provided both a two knob version and a one knob version, each has its own place.

Both envelope outputs are 0V to 5V.
All Q and not-Q outputs are 0V to 8V
Upper section cycle times: 23Hz to 20 seconds
Lower section cycle times: 8Hz to 10 seconds

Product Specifications:

Depth: 39mm
Width: 8HP
12V draw: 30mA
-12V draw: 0mA
5V draw: 0mA

Notes: The Mutant Rimshot is a fully analogue rimshot and clave generator inspired by the rimshot found in the legendary 909 drum machine; a triple bridged-T oscillator coupled with a state variable filter. The clave sound (not a feature of the original 909 rimshot) is achieved by using just one of the oscillators.

Features

Three oscillator modes

Rimshot HI mode brings classic rimshot sounds
Rimshot LO gives a lower pitch range; try playing with the filter on this setting to get low tom and kickdrum sounds.
CLV (Clave) mode uses just one of the oscillators to give you a brighter, higher percussive sound.
A switch on the back lets you select between original and extended pitch modes. Original mode can give you rimshots exactly modelling that of classic machines (in Hi mode), whereas extended mode gives a wider range of pitch, at the expense of classic accuracy.

Three filter modes

Use the lowpass or highpass filter modes for classic sounding rimshots
Highpass and bandpass can give a wider range of clave and rimshot sounds, as well as completely different percussive elements (especially when turning the resonance up!)
VCF IN lets you blend the clave or rimshot with other sounds. Try adding some filtered noise for a more acoustic sounding rimshot, or for pseudo-snare type sounds.

Novel decay and filter mod controls

The MOD DECAY envelope controls the decay of the VCA envelope
The VCF MOD attenuverter allows you to modulate the filter cutoff with the MOD DECAY envelope
Alternatively, a switch on the back lets you modulate the filter cutoff with the pitch-controlled internal VCO, for filter FM style percussive hits.

Technical specifications

Width: 8HP | Depth: 30mm
Current draw: +45mA, -50mA @ 12V

Notes: An unusual but enticing form of generative music in Eurorack, Kaona's Zazou module offers MIDI or CV sequencing based on a series of algorithms, allowing you to define parameters and generate melodies and patterns of up to four tracks.

Supplier's Notes:
Zazou is a generative music module based on numerous configurable algorithms. It acts as both an accompanist capable of syncing to a regular sequence and an improviser within a given framework. Its function is to produce notes: no sound comes directly from Zazou, as it's intended to be connected to one or more synthesizers or other Eurorack modules.

It features both a multitimbral MIDI output and Eurorack-compatible CV outputs.

To generate notes, Zazou requires "gate" signals to trigger each note. Therefore, it follows the rhythm imposed by a sequencer or any generator producing gate output. It pairs ideally with Skippy, Kaona's algorithmic rhythm generator.

Zazou produces music based on the equal temperament scale and follows the note division corresponding to keyboard instruments (piano, organ, etc.). Thus, in Zazou, as in a piano, a C sharp corresponds to a D flat.

Zazou produces notes on four independent channels that can nevertheless be tuned together.

Interface

Seven CV inputs:
One gate per channel: red, yellow, green, blue

One "Reset" input: realigns the tracks, resets the sequence, interrupts all MIDI notes currently playing.

One "Change" input: allows external sequence control.

One "Play/Stop" input: stops (or restarts) all produced notes and pauses the current sequence. This input also measures an external beat to determine the quarter note value (BPM) that Zazou will use (this value can also be set manually). The input can be a clock (set to one beat per quarter note) or a sequencer.

Seven buttons:
One per channel, matching its colour: they function differently depending on the displayed screen. (Selection, Pause, or Manual Gate).

One Play/Stop button: stops or starts all tracks simultaneously.

One "Change" button: manually advances the sequence.

One "Reset" button: realigns the tracks, resets the sequence, interrupts all MIDI notes currently playing.

Three encoders:
Their functions vary depending on the displayed screens.

One MIDI output:
The output is in TRS format. It's possible to choose between cable A or B using a switch on the back of the card.

Twelve CV outputs:
Four "gate" outputs: mirror the input signals but add ornamentation notes.

Four CV outputs: export velocity (selectable between 5V or 8V).

Four Note outputs: in 1V/octave format, across 10 octaves.

Basic Functions
All functions are identical for each channel but can be synchronized according to your composition criteria.

Root Note: determines the key each track plays in.

Scale: constrains Zazou to adhere to a given scale (22 scales available).

Sequence: dictates that the composition follows a given sequence.

Algorithm: allows the selection of melodic behaviour.

Sequences
It's possible to instruct Zazou to follow a sequence track by track, but it's often more musical to let the four tracks follow a single sequence. For example, you can choose the common II-V-I progression or the circle of fifths, but also use less common sequences. The sequence behaviour can be customized by selecting the number of notes in the sequence, passing notes, alternating major and minor chords, etc.

Algorithms
The algorithms determine the note behaviour for each track.

It's possible to freely mix algorithms track by track, choose the same algorithm for all tracks, or the same algorithm for all tracks but with different behaviours.

Depending on the chosen parameters, they will generate more or less repetitive, varied, or complex melodies. Even though each note depends on an external gate, some algorithms additionally produce ornamentation notes like triplets or appoggiaturas.

Random:
Allows for completely random and unpredictable operation. However, one can influence how randomness occurs by changing event frequency or velocity, for example.

Walkingbass:
Walkingbass precisely follows the sequence in a classic Jazz walking bass manner, with one quarter note per beat. Numerous forms are offered, and it's possible to enrich the progression with ornaments or emphasize strong or weak beats, for example.

Arpeggiator:
Several types of arpeggios are available, and it's possible to choose direction (including random), chords used, ornaments, and their frequency, etc.

Intervals:
Starting from a reference note chosen within the scale, Zazou will traverse a selected number of octaves and notes according to a given interval.

Serial:
Zazou will generate note sequences respecting the rules and principles of serial music. All theoretical parameters are available to practice the specific genre of dodecaphonic composition (inverse sequence, retrogrades, etc.).

Cantor:
The Cantor set starts with a segment (the complete range of available notes) and repetitively divides it, eliminating central segments. This creates a more or less detailed repetitive pattern depending on the chosen parameters.

Fibonacci:
The Fibonacci sequence is used to calculate note heights within a scale starting from a chosen note and modifying it according to selected Fibonacci numbers. Interval modulation allows staying within a playable range while exploring rhythmic and melodic patterns generated by the sequence.

Sierpinski:
The approach divides an octave into three equal parts (triads) and selects two for repetition, imitating how the Sierpinski Triangle is drawn by removing the central triangle and repeating the process on the remaining triangles. This divides the musical space according to the specified depth and plays notes based on this division, simulating the repetitive structure of the Sierpinski Triangle.

Mandelbrot:
The Mandelbrot set is one of the most famous fractal objects. Zazou maps this set into a musical representation to offer unique and varied sound structures. Since calculations are done in real-time, parameters can vary the melody's behaviour infinitely.

Julia:
Like the Mandelbrot set, the Julia set offers fertile ground for musical experimentation, with opportunities to explore fractal complexity through sound. Julia sets are defined in the complex plane and produce complex fractal patterns. Here too, real-time calculations allow parameters to vary the melody's behaviour infinitely.

System Functions
It is possible to choose a corresponding MIDI port for each track. Depending on your setup, you can use Zazou in polyphonic mode (same MIDI number), multitimbral mode (one port per channel), or multichannel mode (multiple synthesizers).

The quarter note duration (BPM) can be adjusted manually or automatically (clock signal, sequencer, etc.).

For all algorithms, you can choose the note duration proportionally to the quarter note value or match this duration to the incoming "gate" duration for each track. Thus, it is possible to play very dynamically with a variety of connected instruments as long as they provide a "gate" signal.

The velocity value can be selected within the range of 0V -> 5V or 0V -> 8V depending on your modular equipment.

Zazou operates across 10 octaves, in MIDI or CV (1V/oct) for modular use. However, it is possible to limit the number of octaves, either to accommodate synthesizers that poorly support very high notes or to limit the voltage in a modular environment.

Two settings allow adjustment of the overall pitch and fine interval between notes (only for modular use).

Saving
The internal SD card allows you to save, within its capacity limit, either track parameters (and load them for another track, for example), sequence parameters, or the entire composition.

Technical Specifications
18 HP

Depth: 32 mm

Power consumption:
+12 V 200 mA
-12 V 0 mA
+5 V 0 mA

Supplied with power cable and Knurlies.

Notes: Inspired by vintage tape echoes and spring reverbs, the Echo Cinematic combines EQ, delay, reverb, filtering and extensive automation options to create a highly playable echo module. From dub madness to more subtle ambience, this one's a real beauty.

Supplier's Notes:
Echo Cinematic is a practical stereo effects device inspired by the dub music culture that emerged from Jamaica and landed in London during the early 1980s. Analogue tape delays were routinely patched into the mixing desk through a channel strip, to be EQ'd and fed back to themselves via the FX send bus. The engineer could manipulate the EQ and FX send controls to create a constantly evolving rhythmic texture, a feedback loop teetering on the edge of self-oscillation. Echo Cinematic does away with the need for a sophisticated mixing desk and expands on this principle with a versatile resonant filter and five independent sources of automation built into the module; two LFOs for both EQ and delay modulation, a 30 second knob recorder capable of simultaneously controlling every knob on the front panel, and two external CV inputs, instantly assignable to any control as you insert a patch cable.

The EQ section features three filter types: a high/low-pass filter, a peak/notch filter, and a classic comb filter. Each of these can be patched into either the feedback loop (Dub Mode), the delay output, or the entire signal path, including the dry signal. The delay section offers up to two seconds of delay with a tap delay facility that also applies grid snapping, allowing your delay settings to be constantly locked to your beat or to a clock signal. Reverb duties are taken care of by the lush 24-bit stereo reverb, as featured on Knobula's other cinematic modules.

Notes: The perfect pairing of a virtual analogue kick drum and side chain compressor. Designed as a single, easy-to-control module, Kickain revolutionizes your kick drum workflow by managing low-frequency artifacts and transients. The result? A cleaner, tighter mastering-standard mix featuring a truly powerful kick drum.

Spectral Compression

Kickain offers two spectral compressor modes that intelligently EQ the mix to fit around the triggered drum sound, adjusting continuously thousands of times a second. This optimizes the kick's loudness without intrusive 'pumping,' ensuring tracks sound tighter and richer in the low end.

Reverb

A 24-bit stereo drum room simulator, linked to the decay envelope, provides ambient reflections or explosive bass drops.

Notes: A super simple, yet highly innovative way to automate expression control, letting you conjure sounds you never thought possible from any pedal with an expression input. It's time to release your Inner-Ramper!

A ramper is a device that creates motion on your expression-enabled devices. Simply put, the Expression Ramper HK allows you to pick two expression settings (point A and point B) and the way it moves between.

Following the success of the Expression Ramper X3 released in early 2024, OBNE are yet again expanding on the concept of expression ramping and present to you the Expression Ramper HK, an enhanced version of the expression movement shaper capable of manipulating expression-controlled devices with even more copious control and options.

With the Expression Ramper HK, Old Blood Noise Endeavors not only clads their top-selling utility device into a new graphical design originated by OKC art duo Holey Kids that makes it perfectly fit in with the rest of OBNE's latest utility series releases. Additionally, the familiar Expression ramper gets a Tap Tempo switch that can be used to tap in the desired LFO speed, overriding the knob setting for Rate.

It can either change settings in one motion or as a continuous LFO activated by a single footswitch. Just hook up the Expression Ramper HK to your expression-enabled effects pedal, simply pick your first expression setting in the A position, then your second in the B position and you're good to go. It's utilitarian, but opens up a number of sounds from your existing pedals.

Then, set Expression Ramper HK to move between A and B in one of six different ways. In Triangle mode, it glides in a linear Triangle wave sweep from A to B, while in Square mode it will make instant Square Wave jumps. Both Triangle and Square are LFO modes- you start the LFO when you hit the footswitch once, then stop it as you press the switch again. Alternatively, 1 Shot mode triggers a cool one-off sweep, where every press of the footswitch jumps from one position to the other. The speed of the LFO or 1 Shot movement can be set via the Rate knob or Tap Tempo button.

To access the hidden three alternative shapes the Expression Ramper HK provides, simply hold down the tap button while switching the shape toggle. Now the Triangle shape changes to Smooth Random, which repeatedly moves to a random spot between A & B in a linear fashion, Square becomes Sharp Random, which immediately moves to a new random spot between A & B at the start of each cycle and the 1 Shot setting becomes 1 Shot Random, where each press of the footswitch snaps to a new random spot between A & B.

These simple and intuitive features can unlock worlds of sound. For instance, if you have Expression Ramper HK hooked up to a pitch shifter, you can create classic Whammy-like octave glides in one-shot mode, stretchy modulation in Triangle wave mode or hypnotic pitch sequences in Square wave mode. Got an expression-enabled phaser? Turn it into a step-filter with Expression Ramper HK's square wave. Or maybe an expression-enabled delay pedal? Use Expression Ramper to create swelling Feedback waves in Triangle mode or jump between two preset delay times in one-shot mode. The list goes on and on and the possibilities are basically endless.

While it should suit most effects pedals right out the box, Expression Ramper HK can easily be configured for different polarity or types of expression pedal simulation by using the internal jumpers.

All of this goodness is packed into a highly compact enclosure, ensuring that you can fit the Expression Ramper HK (or several Rampers) into any setup.

Notes: T-formant takes the concept of merging modulation sources and destinations into a single module.

Collecting the heritage of our discontinued module RB1robotto, T-formant is a comprehensive formant filter and synthesizer. Its capability to filter external signals is layered with the possibility, when the user applies a CV signal to the relevant input, to generate its own base tone. Adding to the base parameters of formant-type and peak resonance, you can also add flanging and distortion to the output, creating a wide palette of vocal based sounds.

Maximum automation recording length of 20s for each parameter.

Vowel based filter with bypass, formant selection and peak resonance knob.

Process external audio, with formant filtering, flanger or distortion effects, from subtle to heavy sound mangling.

If nothing is patched on its input, T- formant can be used an oscillator following V/Oct standard.

The integrated touch lightstrip controllers can drive four parameters with looping or one-shot recording playback mode on each track with global RESET input.

Current draw: 150 mA (+12 V) / 20 mA (-12 V)
Width: 8 HP
Depth: 34 mm