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Notes: Another iconic Buchla module gets the Eurorack reissue treatment courtesy of TipTop. The 242t is the brand's unique voltage-controlled clock and trigger module, generating pulses based on a 4x12 matrix.

Supplier's Notes:
The Buchla and Tiptop Audio 242t Programmable Pulser is a reissue of the time-event-based generator from the 1970s 200 series. At its center is the Pulser, a voltage-controlled clock oscillator with a wide frequency range, extending up to audio frequencies, numerous outputs, and start/stop controls. The Pulser drives a programmable matrix with three rows of up to 12 stages: (A), (B), and (C). Stages are activated using the X/Y coordinate controls, and the total number of stages can be set using the (n) row. Clock and Reset inputs allow the 242t to sync with other devices, while the Reset input can also be used to control the number of stages with external pulses.

Notes: Pro quality PA/DJ amp at a reasonable price. 3000w of power and under 10kg weight make the XGA-3000 reliable and effective.

Supplier's Notes:
Light and extremely powerful, always a low price.

Clean, reliable power in a durable 18lb enclosure. If you demand professional amplification performance, the XGA-3000 is perfect for delivering pure, consistent wattage night after night, year in and year out! This system brings 3,000 watts of Instant Peak Power making it ideal for PA systems and DJ rigs. Gemini have designed this with patented front to rear airflow technology powered by a variable speed thermal stabilizer to guarantee seamless, reliable performance every single night! The XGA-3000 offers clean, dependable power in a lightweight body at an unmatched value.

Notes: Stereo Strip takes the idea of a channel strip and makes it modular. By bringing this long-established component of the audio engineering world into the Eurorack environment and by adding CV control over its key parameters, you will find new, creative ways to use it in your patches!

It features stereo inputs and outputs for audio or CV with EQ, voltage controlled panning, stereo VCA, performable mute and input/output level switching for Eurorack or line level uses. Abusing the input level switching allows for some musical, modulate-able and highly shapeable distortion sounds too.

Stereo Strip was designed to be a creative part of a modular patch. Creating stereo images from mono sources, shaping and modulating existing stereo images, synthesising stereo pseudo ring modulation, sweetening FX with EQ or drastically wave shaping your oscillators, creating send FX routings with benefits or it can simply be used as a channel strip at the end of chain in a patch.

The addition of line level gain boosting (for the input) or reduction (for the output) allow it to work as a stereo input or output interface for external gear with the advantage of the VCA, panning and the EQ to shape the sound. Experiment with bringing external gear into the Eurorack format and then shape and modulate those sounds them on the way in!

Try patching Stereo Strip anywhere you would place a VCA in a system and/or explore its EQ and voltage controlled panning, which are rarer additions to the sound sculpting options for the Eurorack format.

Specs

Current Draw: +12: 63mA -12: 63mA 5v:0
Width: 6HP
Depth: 33mm including power connector
Aluminium, heat-treated front panel.
Designed and assembled in Barcelona.

Notes: The Listen Four Quarters is a four channel stereo mixer with 1/4" (6.35mm) TRS balanced outputs and 1/8" (3.5mm) headphones output. Two mono channels with Pan knobs and two stereo channels with dual inputs provide optimal compatibility with both stereo and mono signals. The Listen Four Quarters can be daisy-chained to other Listen modules to create a larger mixer with sub-mix outputs.

Notes: Clep Diaz is a handy and small step CV and LFO generator. In step and random modes, use the encoder to control the number of steps in the sequence; in LFO mode, the encoder controls the amplitude of the wave. Toggle the directionality of the sequence: up, down, or up/down to customize the CVs further. CD also gives CV control over the number of steps in the sequence and an end-of-cycle trigger output. Unipolar and bipolar outputs allow maximal control.

Dimensions
4 HP
26 mm deep

Current Draw
44 mA +12V
10 mA -12V
0 mA 5V

Notes: Solid Blaze Vinyl Trolley

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

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

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

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

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

Specs

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

Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)

Notes: Module A-147-4 is a dual voltage controlled LFO (Low Frequency Oscillator). Each LFO has the five waveforms triangle, sine, rising and falling sawtooth, as well as rectangle available. The rectangle output features manually adjustable pulsewidth and pulsewidth modulation by means of an external control voltage. The core waveform is triangle. The other waveforms are derived from triangle by means of waveform converters. The frequency of each LFO can be adjusted manually and modulated by means of an external control voltage with associated attenuator and polarity switch. By means of a jumper the basic frequency range of each LFO can selected: about 0.02 Hz (~ 50 seconds) ... 2.5kHz or about 0.0017 Hz(~ 600 seconds) ... 220Hz. That way each LFO can be used also as a VCO with a max. frequency of about 2.5kHz. Each LFO features a reset input which can be used to reset the triangle signal.

The module has these controls and in/outputs available:

Control F : manual control of the frequency, for each LFO the frequency range can be selected by means of a jumper from two values (see technical notes)

frequency coverage of control F in the high frequency range: about 0.075 Hz (~ 13 seconds) ... 1,4kHz

frequency coverage of control F in the low frequency range: about 0.007 Hz (~ 140 seconds) ... 125Hz

Control CV: attenuator for the signal applied to the CV socket, by means of a jumper a small positive voltage can be applied to the switching contact of the /CV/ socket, as long as no patch cable is connected to /CV/ socket the CV control then works as fine control for the frequency

Switch CV Pol.: polarity switch for the signal applied to the socket /CV/

Control PW/PM: combined control for manual and CV control of the rectangle pulsewidth:

when no patch cable is connected to socket /P/ the control is used to adjust the pulsewidth (PW) manually

when a patch cable is connected to socket /P/ the control works as attenuator for the external CV signal with a basic pulsewidth of 50:50.

Socket /CV/: frequency control voltage input, in the factory the module is adjusted so that the sensitivity of this input is exactly 1V/octave when the CV control is fully CW.

Socket /R/: reset input, according to the associated jumper the reset input is edge triggered or level controlled (see technical notes for details)

Socket /P/: pulsewidth control voltage input

Sockets with waveform symbol: output of the waveform in question (triangle, sine, rising and falling sawtooth, rectangle)

The output voltage ranges are about -5V ... +5V (10Vpp), except the rectangle output

For the rectangle output one can choose by means of a jumper if the range is about -5V ... +5V or 0...+10V.

LED: visual control of the LFO (triangle)

The inputs of the module are labelled with white characters on black background (in the text included into two slashes). The outputs are labelled with black characters.
Technical notes and special features:

The basic frequency range of each LFO can be selected by means of a jumper. The settings correspond to two different capacitor values for the VCO circuit. The relation between the two ranges is about 1:11. When the upper range is selected frequencies from about 0.02 Hz up to 2.5kHz can be generated. For the lower range the values are about 0.0017 Hz ... 220Hz. To obtain these full frequency ranges external control voltages are required. With the frequency control F only the frequencies mentioned above are possible.

Apart from that the range for the manual control F can be reduced to obtain a finer resolutuion. For this a jumper has to be removed. The range of control F is then reduced to about 1:4.5 only.

In the factory the starting voltage of the triangle output after a reset is adjusted to 0V, i.e. the triangle starts from 0V with the rising slope after a reset. By means of a trimming potentiometer the starting voltage can be adjusted to another value (e.g. to -5V).

Another jumper is used to set the reset behaviour to edge triggered or level controlled. When set to edge triggered the rising edge of reset signal is used for the reset (independent of the duration of the "high" state of the reset signal). When set to level controlled the triangle output remains at the starting voltage as long as the reset signal is "high". Only when the reset signal turns "low" the triangle starts.

Dimensions
8 HP
45 mm deep

Current Draw
80 mA +12V
70 mA -12V

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 - the key feature of this case - allows to plug in AE modules without any screws! The design makes sure that the modules sit really firm in 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. This means, rearranging your modular system can't be easier!

This case is developed by Kyaa, a great 3rd party AE module developer; tangible waves is producing the case. We are happy about this great cooperation and this marvellous addition to our product range!

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

Notes: Instantly create matching harmonies to what you play.

The EHX Intelligent Harmony Machine instantly creates matching harmonies to what you play. It's like having one - or even two - guitarists jamming with you at the same time and always in perfect sync. The Intelligent Harmony Machine opens a door to the music of great multi-lead guitar bands and multi-part harmonized solos. Plus, its ability to apply harmonies ranging from simple to sophisticated will totally transform what you play. Of course, it also boasts EHX's renowned impeccable tracking and genuine musical tone.

Select your key and the Intelligent Harmony Machines will generate single note, diatonic harmonies* with a huge range of choices that includes both two- and three-part harmonies. Here are your choices:

1: 6th Down
2: Perfect 4th Down
3: 3rd Down
4: 3rd Up
5: Perfect 4th Up
6: Perfect 5th Up
7: 6th Up
8: 7th Up
9: 3rd Up + 5th Up
10: 3rd Up + 7th Up
11: Perfect 5th Up + Octave Up

These sound so cool that EHX have included them as extra options for the multi-harmony parts (selections 9, 10 and 11) to give you even more choices:

9 optional: 4th Down + 3rd Up
10 optional: 3rd Up + 6th Up
11 optional: Octave Down + 5th Up
9 optional: 6th Down + 4th Down
10 optional: 3rd Down + 3rd Up
11 optional: Octave Down + 4th Down
The Intelligent Harmony Machine also performs perfect polyphonic pitch shifts so the pitch shifts you dial up are applied to chords as well as single notes. We've even included a Major/Minor switch so you can select whether 2nds and 3rds will be major or minor. Here are the interval selections that are available:

1: Doubler
2: Perfect 4th Down
3: 3rd Down (minor on major)
4: 3rd Up (minor or major)
5: Perfect 4th Up
6: Perfect 5th Up
7: 2nd Down (minor or major)
8: 2nd Up (minor or major)
9: Octave Down
10: Octave Up
11: Perfect 5th Up + Octave Up

The Intelligent Harmony Machine's Moment Mode lets you instantly change pitch by simply depressing the pedal's footswitch. The pitch shift is engaged as long as you hold down the F/S. There's also an option so you can apply a user-set sweep time between dry and effect. Choose instant pitch changes or control the time it takes for the Intelligent Harmony Machine to sweep up and down between the set interval and the dry signal!

EHX Founder, Mike Matthews said: "We designed the Intelligent Harmony Machine for the player who craves maximum power, but in a minimal footprint. You'll dig its sweet, musical tone and spotless tracking!"

*Diatonic harmony means notes within a specific key that relate to each other.

Compact harmony generating, pitch-shifting powerhouse
Impeccable tracking and superb musical tone
Two distinct modes: Intelligent Harmony and Polyphonic.
Intelligent Harmony Mode generates diatonic harmonies in a set key based on the single notes you play. Key Selector and #/- switches provide access to all 12 keys.
In Polyphonic Override Mode you can play single notes and chords. The IHM's 11-position Interval Selector switch lets you select the harmony.
In Momentary Mode the effect is only active when the footswitch is depressed. Choose from instant shifts or set the time it takes the signal to sweep up and down.
Mix control sets the mix between your dry and shifted signals. Dry output adds signal routing and control options and flexibility
Comes equipped with an EHX 9 Volt power supply, can also run on 9 Volt battery

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included (optional 9V battery not included)
Dimensions (in): 4.5 x 2.75 x 2.1
Current Draw: 26mA
Year Released: 2021

Notes: The current G module is an updated version of the now-discontinued 2016 G. Its functions are the same as the old one, but it features significant design upgrades that improve its usability: the selectors for the group output's behavior are now on the front panel, and the knob is now 12 mm in diameter, like the new SC and QSC.

The G (Group) is a stereo module that blends the signals coming from the channels linked to it (up to eight) and manages their signal routing.

The G "puts into practice" all the information defined by the channels' controls: volume, effect send volume, stereo panning.

It consists of three sections: the amplitude controls (white) and the two effect sends and returns (yellow and green).

A switch lets you define the group outputs' behavior: it can be either the sum of all the channels and their effect return or just the wet signal.

The first option is great for smaller setups, where you can use the group as your system's output without a master module.

Should you have a master, the second option allows for more advanced effects parallel processing or multitrack recording.

As of today, the Group is the only module that does not require power, as a Channel powers it through its IDC cable.

Ships with a 1-group-to-2-channels Link System.

Notes: Transit has two stereo (dual mono) channel lanes of audio with an all-analog signal path. Each stereo channel lane has its own input gain control, mute button and ducking input. The Ducking input on each channel operates like traditional side-chaining on a compressor where an input signal, CV or Trigger input (i.e. LFO, Clock, Gate) modulates the gain reduction of the audio.

Transit offers a main stereo output controlled by the master volume control knob and an independent 3.5mm headphone output controlled by its own headphone level control knob.

Digitally controlled LEDs for master indicates level via white and pink illumination while each channel lane illuminates the LEDs with the color red when engaging mutes.

All in all, Transit is a rather full features compact 6hp dual stereo channel lane eurorack formatted mixer that offers easy signal mixing, gain staging, ducking, and performance-oriented mutes. Transit is just as at home in a small eurorack system as one Transit or several would be in a larger system.

Transit pairs perfectly with Per4mer and a Modbap20 compact powered Eurorack case. It also pairs well with Osiris and any other module that could benefit from a compact analog dual channel stereo ducking mixer, sub mixer or final output mixer.

Features
All analog audio signal path
2 stereo channels
mutes per channel
gain control per channel
ducking input per channel
left/right output
master volume control
3.5mm headphones output with dedicated volume control knob

Tech Specs
Width: 6HP
Depth: 30mm
Power: 50mA +12V, 50mA -12V

Notes: *** Update February 2025- NKS Integration available with this product ***

Native Kontrol Standard (NKS) is a technical standard that connects plugins to hardware controllers with no setup required. The NKS ecosystem includes over 2,000 virtual instruments and plugin effects by over 250 acclaimed developers.

NKS enables users to load instruments and effects, tweak parameters, browse and manage presets with tangible controls, keeping creators' minds and hands on the music. No time is wasted creating, saving, and resetting controller parameter mappings.

Key features include:
Unified Control: NKS maps plugin parameters directly to hardware controls, allowing for hands-on adjustments without navigating computer menus.
Efficient Workflow: It streamlines browsing, loading, and editing presets, enabling producers to stay focused on creativity.
Broad Compatibility: Many third-party developers support NKS, offering a wide range of compatible sounds and effects.
For Our Products: This integration allows Akai and M-Audio compatible devices to fully utilize all NKS workflow features.

Here are some key points to take note of:

Current users will receive the software bundle once they register their device.

Both existing and new owners will receive the software bundle once their hardware is registered.


NKS Software Partnerships

For years, Native Instruments has partnered with world-class software manufacturers, including Arturia, Heavyocity, Korg, Output, Spitfire Audio, and many more, to bring thousands of instruments and effects plugins into the NKS ecosystem. Together with Native Instruments' own instruments and effects, this creates the most extensive database of any auto-mapped hardware controller ecosystem.

Until now, NKS hardware controllers were only available from Native Instruments, such as the Kontrol S-Series and Komplete Kontrol A-Series keyboard controllers.

NKS Hardware Partner Program [New]

At NAMM 2025, NI announced opening up NKS compatibility for third-party, non-NI hardware, allowing millions of performers and producers worldwide to enter the NKS ecosystem.

Supplier's notes:

The Oxygen Pro 61 is a powerful, 61-key USB powered MIDI controller that allows you to create the music you want to make even easier! The new Oxygen Pro controllers open up worlds of expression and creativity and make bringing your production ideas to life more seamless than ever. Taking feedback from users and artists alike, these controllers are the ultimate studio and live performance tools, allowing you to keep your focus on creating music- not programming your software. It doesn't matter if you want to create music on the go or in the studio, the M-Audio Oxygen Pro series is perfectly flexible for your workflow.

It's simple to use the Oxygen Pro 61 controller with any DAW with the Oxygen Pro 61's automatically mapped controls such as Transport, Faders, Channel controls (Record Arm, Solo, Mute, and Select), Pan controls and more. Whether you use Ableton, Pro Tools, MPC Beats, Cubase, Logic, Studio One or any other major DAW, just select your DAW in the Oxygen Pro 61 and select the correct configuration in your DAW, and the Oxygen Pro 61's controls will be completely integrated into your DAW! It also instantly maps to all the virtual instruments included with the Oxygen Pro 61 (Velvet, Mini Grand, Vacuum, Boom, DB33, Xpand!2). These world-class Air Music Tech plugins can be fully controlled by the Oxygen Pro 61 and used in real-time as you create and mix your music.

With Smart Chord and Smart Scale technology, creating music and transferring what's in your imagination to what you hear coming out of your computer has never been easier!

With Smart Chord activated, pressing a single key or pad will play a full chord rather than just one note. The key or pad you press will determine the root note in the chord. The rest of the chord's properties (Major, Minor, and Voicing - 1,3,5; 1,3,7; 1,3,5,7, etc.) are determined by the settings you choose. Smart Chord also has a Custom Mode which lets you to determine the chord structure that will be assigned to each key by manually playing it. For example, if you select Custom Mode, and play a 1-b3-5-b7 chord, every key will then be assigned to play this chord structure. The note of the key you press will serve as the root of the chord and all of the parameters can be edited right on the Oxygen Pro 61!

The Oxygen Pro 61 also features intelligent Smart Scale technology. With Smart Scale, you can set the key bed so that only notes in the selected scale are able to be played. This allows you to play within a chosen scale without the risk of playing any "wrong" notes. You can choose from 16 different scale variations when assigning a scale to the keyboard. Smart Scale is easy to activate and deactivate and allows you to set the scale parameters you need to keep you focused on creating.

Built into the Oxygen Pro 61 are features that are essential to creating modern day pop, electronic, hip hop, and dance music. Note Repeat and the built-in Arpeggiator open up a world of precise music production and live sound techniques to make your music sound professional.

Note Repeat allows you to hold down any of the custom-made M-Audio performance pads and you'll hear a repeated rhythmic pattern at a selectable note division. The Note Repeat feature can be activated momentarily or can be used in Latch mode. If you choose Momentary, holding the Note Repeat button will make the note played by the pad automatically repeat. If you choose Latch, pressing any pad will cause its assigned note to repeat without you having to hold down the Note Repeat button.

The built-in Arpeggiator will affect anything you are playing on the keys from any virtual instrument in your DAW. When the Arpeggiator is activated, the keyboard will repeatedly play the pressed keys in sequence. The arpeggiator's timing and rhythm is based on the keyboard's time division setting and either the keyboard's or your DAW's tempo setting. Each note in the arpeggio will be the length you've selected for the time division setting; for example, if you select 1/4, each note in the arpeggio will be a quarter note. This powerful tool can operate in Latch or Momentary mode, making it easy to unleash your creativity.

What's In The Box:

Oxygen Pro 61
USB Cable
Software Download Card
Quickstart Guide
Safety & Warranty Manual

Dimensions: 10.4" x 38.0" x 3.3" / 264.2 x 965.2 x 83.8 mm
Weight: 10.6 lbs / 4.8 kg

Notes: XFADE 1U is a classic DJ-style stereo crossfader, with a few extra tricks up its sleeve. The 'A' and 'B' sides both have L+R inputs. The crossfader blends two stereo input signals together - crossfading one into the other depending on the position of the slider and the selected XFADE Shape. The blended output appears at the MIX L and MIX R output jacks.

In addition, XFADE 1U can be used as a modulation source for controlling other modules, since the crossfader also outputs control voltages from the CV A and CV B jacks. A switch determines whether these voltages are unipolar (crossfading from 0V to 5V; and 5V to 0V), or bipolar (crossfading from -5V to +5V; and +5V to -5V). The two LEDs indicate the polarity and relative levels of the CV A and CV B signals.

XFADE 1U uses a precision Innofader crossfader submodule, with moving capacitance technology for smooth and precise control. This is the same part found on many high-end DJ mixers.

Features:

Smooth and ultra-low friction Innofader Mini-Innofader module with moving capacitance technology
Stereo or Mono operation
DC coupled inputs and outputs
Three crossfade shapes: DJ cut, Constant Power and Linear
Unipolar or Bipolar CV outputs

Width: 26HP
Depth: 38mm
Power: 48mA @ +12V / 41mA @ -12

Notes: Exceptional value from this versatile three-channel mixer. Reloop's extensive experience is distilled into a classic format, with three-band EQs, a dedicated mic channel and the convenience of Bluetooth streaming.

Supplier's Notes:
All-round DJ Mixer

The Reloop RMX-30 BT is the ideal all-round DJ mixer for home use and small events. Combining advanced features with robust construction, this mixer is perfect for beginners as well as experienced DJs looking for flexibility and connectivity.

Built-in Bluetooth connectivity

The convenience of wireless music streaming with the RMX-30 BT's built-in Bluetooth functionality allows to Stream your favourite tracks directly from your smartphone or tablet and flexible Bluetooth routing to either Channel 1 or Channel 2. This feature enhances the setup by seamlessly integrating digital music source without the need for additional cables with your analogue DJ setup.

Extensive connectivity options

Designed to accommodate a wide range of audio sources, the RMX-30 BT offers extensive connectivity with 8 inputs and 4 outputs. Each channel strip includes 3-band EQ and gain control, providing frequency control over the sound. The mixer also features a dedicated mic channel with 2-band EQ and gain control, as well as a 6.3 mm mic input and dedicated volume control for easy vocal integration.

Essential mixing features

Create smooth transitions and dynamic mixes with the replaceable 45 mm crossfader and three smooth-running line faders. The mixer also features a 6.3 mm headphone output with volume control and a cue mix function. The main output offers both balanced (XLR) and unbalanced (RCA) connections, ensuring compatibility with a wide range of sound systems. In addition, LED level meters on the main signal helps to monitor the levels for optimal performance.

Reliable Build for Home DJs

The RMX-30 BT is crafted with a durable all-metal construction in a deep black metallic finish. As an affordable, all-rounder mixer, it's an ideal choice for beginner DJs to dive into the world of mixing.

Technical data

Power supply: AC 100 - 240V, 50/60 Hz
Power consumption: 3.5W
Frequency response: 20 Hz - 20 kHz
Inputs: 2x Phono RCA, 4x Line RCA, Mic TS, 1x Bluetooth In
Outputs: Main RCA, Rec RCA, headphones 6.3 mm jack
EQ range at 100 Hz, 1 kHz, 10 kHz
Dimensions: 255(w) x 306(d) x 106(h) mm
Weight: 2.59 kg
Accessories included: power cable, RCA cable, alternative feet and instruction manual

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Erica Synths Bass Drum is developed in collaboration with the French company e-licktronick and it's our take on analogue bass drum circuits adapted for modular systems. Massive, punchy sound, Accent & CV control over key parameters of the module make it distinctively expressive in live performances.

Features
Pitch
Tune
Tune Depth controls
CV control with attenuators over Pitch, Decay and Drive
Manual trigger
Accent for better expression

Dimensions
14 HP
30 mm deep

Current Draw
60 mA +12V
30 mA -12V

Notes: The MOD REX is a kinetic tour-de-force that lets you weave compelling, shifting, musical tapestries. Whether you are a guitarist, synthesist or electronic musician you will find it inspires your creativity and stretches your musical boundaries.

Four independent modulation sections:

The heart of the pedal is its four, independent modulation sections synced in time, they are:

MOD features great sounding EHX Vibrato, Flanger, Chorus or Phaser. The Depth knob lets you set the amount of the effect while Feedback controls the resonance of the Flanger and Phaser.

TREM delivers tremolo, an effect that modulates the volume of your signal. The Depth control sets tremolo intensity.

PAN modulates between left and right in stereo operation. In mono operation the PAN section acts as another tremolo section, but with the wave shapes all inverted!

FILTER offers a choice of a modulated LPF, HPF or BPF. In LPF (low pass filter) frequencies above a modulated cut-off point are cut. In HPF (high pass filter) frequencies below a modulated cut-off point are cut, and in BPF (band pass filter) frequencies above and below a modulated centre point are cut.

Each section also features a choice of four LFO shape options: rising sawtooth, triangle, falling sawtooth or square wave. They affect the way the modulation transitions and provide advanced creative control over the specific section as well as the way they interact with each other.

Tempo control that's flexible and powerful:

The MOD REX delivers virtually limitless polyrhythmic possibilities.

Its TEMPO component gives you nine note-length choices for each of the four modulation sections. They are independently selectable in increments starting at a whole note and ranging thru subdivisions that go up to a 16th note. In addition, any of the sections can be bypassed.

The MOD REX's tempo (displayed as beats per minute or BPM) is adjustable with the Tempo knob, Tap Tempo footswitch or by using an expression pedal into its EXP input. It can also be synced to an external device with MIDI Clock or an external pulse clock.

MIDI and the MOD REX:

The pedal's robust MIDI implementation enables you to sync devices quickly and easily as well as automate functions and changes so they occur precisely when and where you want them whether you are working at home, in a studio or live.

The MOD REX accepts MIDI to enable it to tempo sync the modulation rate with an external device, to recall presets via MIDI Program Change messages and to control any parameter on the MOD REX via Control Change messages.

Extras:

The MOD REX lets you save and recall up to 100 presets. It comes from the factory with 20 great programs.

The pedal features full stereo input and output.

An external foot controller input makes banking up and down thru presets quick and easy.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Stereo
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 100mA
Year Released: 2018

Notes: Made of black powder-coated aluminum for 2 keyboards, with height-adjustable and tiltable shelves, each equipped with 1 pair of 40 cm long holders. The stand is delivered pre-assembled, the assembly time is approx. 15 minutes.

Notes: Module A-155-2 is a small, very compact designed analog sequencer with a lot of features. The sequence length is 8 steps. Each step has available a control for the adjustment of the control voltage for this step and an illuminated momentary switch (button). The buttons are used in the standard running mode to turn on/off the gate of the step in question (button illuminated = gate on, not illuminated = gate off). In combination with other controls at the bottom of the front panel the buttons are used for additional functions: depending on the position of the Program toggle switch the button Function is used to program the length of the sequence (switch position Limit), the running direction (switch position Direct.) or to call up the preset management (switch position Preset)

When function Direct (Direction) is selected these running modes are available:

Up

Down

2 x Up (each step is played twice with the normal tempo, not to be confused with Ratcheting x2, see below)

2 x Down (each step is played twice with the normal tempo, not to be confused with Ratcheting x2, see below)

Pendulum type 1 (start and end step are played twice)

2 x Pendulum type 1 (each step is played twice with the normal tempo, start and end step are played 4x)

Pendulum type 2 (start and end step are played once)

Random (Rnd)

When function Preset is selected the illuminated buttons are used to call up one of the 8 presets. In each preset these parameters are stored: active steps, running direction, length of the sequence, ratcheting. To call up one of the 8 stored presets one has to push and hold the button Function and then operate short-time one of the buttons 1 - 8 while the toggle switch Program is in position Preset. To store the present paramaters in one of the 8 presets the procedure is similar but one has to operate one of the buttons 1 - 8 for a longer time (approx 3 seconds).

Depending on the position of the Program toggle switch the Ratcheting button is used to program the ratcheting feature (x2, x3, x4) individually for each step of the sequence (toggle switch Program in position Rx2, Rx3 or Rx4). In case that at the step in question another ratcheting is already programmed (eg x2 or x3 when x4 is chosen) the other ratcheting is overwritten (kind of radio button function between the ratchetings x2, x3 and x4). Details about the ratcheting function are explained at the module A-160-5.

The button Start/Stop is used to start or stop the sequence manually. Button Reset sets the sequence to the first step. For this also the external input Reset can be used.

The module does not feature built in clock generator. Rather an external Clock signal is used. The positive edge of the incoming clock signal triggers the advance of the sequence to the next step.

The voltage range of the control voltage generated by the module can be switched to 3 different ranges by the toggle switch Range: 0 - +1V / 0 - +2V / 0 - +4V. The control voltage is available at socket CV. The voltage is not quantized. But there is an internal pin header available that outputs the data via Midi (note on/off from Midi note 36. Midi channel 1). It can be used to control a MIDI-to-CV interface if quantized control voltages are required, eg the planned Micro-CV-Interface A-190-9)

The Gate signal appears at socket Gate. The pulsewidth of the gate signal is defined by the pulsewidth of the clock signal provided that ratcheting is not active at the step in question.

Controls and displays:

1 - 8 (rotary controls): manual adjustment of the control voltage for each step

1 - 8 (illuminated momentary switches/buttons): manual gate setting for each step, also used for special functions in combination with other controls (setting of first/last step, running direction, ratcheting)

Range: toggle switch for selection of the control voltage range

Program: toggle switch for selection of a function in combination with the buttons Ratcheting and Function

Ratcheting: button for the programming of ratcheting in combination with the toggle switch Program

Function: button for the programming of sequence length (Limit) and running direction (Direct) as well as for the Preset management (Preset)

Sta/Stp: button for the manual control of Start and Stop, in running state the LED of this button displays the state of the Gate output (ie it flashes in the rhythm of the Gate output)

Reset : manual reset button

CV : control voltage output

Gate : gate output

Clock: clock input, the pulsewidth of the clocjk signal defines the pulsewidth gate signal

Reset: reset control input, reset type selectable via internal jumpers (eg positive edge triggers the jump to first step/positive leveltriggers the jump to first step and remains at first step as long as the reset input is high/waiting for the next positive edge of the clock signals before reset is carried out)

Notes: Goldring D12GX stylus is designed to fit the current Goldring 1012GX phono cartridge or old model 1010 or 1012, a direct replacement when your stylus is worn - saving the cost of buying a whole new cartridge. Goldring cartridges generally last many hours until the stylus needs replacing. An indication of wear is a "duller" sound.

Simply remove your current stylus by carefully pulling it away from the cartridge and replace it with the replacement.

The Goldring 1012GX record cartridge uses the acclaimed Gyger-2 diamond stylus. This is a fine-line type which gives smooth extended high frequencies, low distortion and reproduces a highly detailed and dynamic sound. Advanced diamond tip polishing ensures excellent tracking ability and reduces record wear. The 1012GX represents outstanding value for money and has become one of Goldring's most popular cartridges.

Replacement stylus: 1012GX - D12GX

Notes: Customized to hold the Pioneer DDJ-REV5 Controller and a 19'' rack mount device (1U) such as a wireless microphone system, power strip or storage drawer. Crafted from 9 mm vinyl laminated plywood, sturdy aluminium profiles, heavy duty butterfly latches and smooth rolling wheels, this case provides ultimate protection for mobile use on the road. The included 19" rack mounting brackets allow individually fastening of a 1U 19" unit (or smaller devices) at the front underneath the controller.

Fits

Pioneer DDJ-Rev5

Basics

Heavy duty construction of 9 mm vinyl laminated plywood
Solid aluminium profiles and spring loaded latches
Incl. gliding laptop platform (removable)
Incl. two 19" rack mounting brackets to fix 1U devices underneath the controller
Full padded interior keeps controller well-protected
Detachable front cover/panel
Incl. recessed wheels for easy transportation
Solid rubber feet

Specs

Outer measures: 82,4 x 50,7 x 22 cm
Inner measures: 73,6 X 36,3 X 5 cm (Controller-compartment)
Weight: 17 kg

Notes: Zoom H4essential Handy Recorder

Four Tracks. More Options

With four tracks, 32-bit float recording, advanced X/Y mics and 2 XLR/TRS inputs, creators have more ways to record their music, podcasts, and audio-for-video.


Features

4-track 32-bit float recorder with Dual A/D Converters
Clip-free recording with no need to set gain
Records up to 96kHZ sample rate
Colour LCD Screen
130 dB SPL XY Mic
2 XLR/TRS combo inputs with locking connector
3.5mm mic/line input for lavalier mics and line level sources
Built-in mixer to adjust each track's audio level
Built-in speaker for quick reference playback
3.5mm line output for headphones or to connect to a camera
Voice Guidance accessibility for the visually impaired
32-Bit Float audio interface for PC, Mac, iOS, and Android devices via USB-C port
Use as an interface and record to SD card simultaneously
Using the BTA-1* Bluetooth Adapter, sync with wireless timecode devices via Bluetooth
Use the BTA-1* Bluetooth Adapter to pair with the H4essential Control App for iOS
Record to SD cads up to 1TB
10 hours of battery life on AA battery (2x) or USB-C Bus Power
*Please note: BTA-1 Adapter not included

Now in colour

The new full-colour LCD screen makes it easy to navigate through the H4essential's menu and functions.

Advanced X/Y mics

The onboard X/Y microphones capture crystal clear audio up to 130 dB SPL.

High capacity storage

The H4essential supports SDXC cards up to 1TB to record hours and hours of audio.

For interview and podcasts

Podcasters can use the H4essential's XLR inputs with external mics for one-on-one conversations and the X/Y mics for interviews on-the-go.

Big stage sound for musicians

The H4essential is perfect for recording music. With 2 XLR/TRS inputs and the stereo X/Y microphones it's easy to record live shows, rehearsals and songs.

Pair with your iOS device

Use the BTA-1* Bluetooth Adapter to pair with your iOS device to remotely hit record, adjust your mix, view your waveforms, and change settings.

Bluetooth timecode

With the BTA-1* Bluetooth Adapter you can also pair with Bluetooth timecode devices for audio and video sync. *BTA-1 Adapter not included

Specifications

Input & output channels

Inputs
Built-in mic (stereo): 1
XLR/TRS: 2
MIC/LINE IN: 1

Outputs
Headphones: 1
Built-in speaker (mono): 1

Inputs
Built-in mic: 90O XY stereo format
Directionality: Unidirectional
Sensitivity: -43 dB/1 Pa at 1 kHz
Maximum sound pressure input: 130 dB SPL

INPUT1-2
Connector: XLR/TRS combo jacks ×2, (XLR:2 HOT TRS:TIP HOT)
Input gain: Adjustment unnecessary
Input impedance: MIC: 3.8 kO or more, LINE: 39 kO or more
Maximum input level: MIC: +4 dBu, LINE: +24 dBu
Phantom power: +48 V
Channel total: 10 mA or less
Equivalent input noise MIC: -120 dBu or less(IHF-A) @150 O input, LINE: -95 dBu or less(IHF-A) @600 O input

MIC/LINE IN (supports plug-in power)
Connector: Stereo mini jack
Input gain: Adjustment unnecessary
Input impedance: 2 kO or more
OUTPUTS
Headphones
Connector: Stereo mini jack
Maximum output level: 20 mW + 20 mW(into 32 O load)
Output impedance: 15 O or less

Built-in speaker
Type: 20 x 30mm elliptical dynamic speaker
Effective maximum output: 250mW

RECORDER
Maximum simultaneous recording tracks: 4
Maximum simultaneous playback tracks: 4

Recording formats:
WAV
44.1/48/96 kHz,
32-bit float mono/stereo
BWF and iXML formats supported

Recording media:
4-32GB cards compatible with the microSDHC specification
64GB-1TB cards compatible with the microSDXC specification

Display: 2.0-inch full-colour LCD: 360 x 240

USB
Connector: USB Type-C (Use a USB cable that supports data transfer).
USB Mic: USB 2.0 High Speed, 44.1/48 kHz, 24-bit /32-bit float, 4-in/2-out
File transfer: USB2.0 High Speed

Remote
Dedicated wireless adapter: ZOOM BTA-1

Power:

2 AA batteries; Alkaline, lithium or rechargeable NiMH batteries
AC Adapter:
ZOOM AD-17:DC 5V / 1 A - USB bus power is supported.

Estimated continuous operation times using batteries: 2-track recording (built-in XY mic)
Alkaline batteries: About 9 hours
NiMH batteries (1900 mAh): About 9 hours
Lithium batteries: About 19 hours

48 kHz/32-bit float, phantom power off, no headphones, no remote, display power saving on, display brightness at Medium
These values are approximate.
Continuous battery operation times were determined using in-house testing methods.They will vary greatly according to use conditions.

Estimated continuous operation times using batteries: 4-track recording (built-in XY mic with INPUT 1-2)
Alkaline batteries: About 2 hours 30 minutes
NiMH batteries (1900 mAh): About 4 hours
Lithium batteries: About 8 hours
48 kHz/32-bit float, phantom power off, headphones used (33O load), no remote, display power saving on, display brightness at Medium
These values are approximate.
Continuous battery operation times were determined using in-house testing methods. They will vary greatly according to use conditions.

Estimated continuous operation times using batteries : 4-track recording (plug-in power mic with INPUT 1-2)
Alkaline batteries: About 40 minutes
NiMH batteries (1900 mAh): About 1 hour 30 minutes
Lithium batteries: About 3 hours 30 minutes
48 kHz/32-bit float, phantom power off, headphones used (33O load), no remote, display power saving on, display brightness at Medium
These values are approximate.
Continuous battery operation times were determined using in-house testing methods.They will vary greatly according to use conditions.

Power consumption: 3 W maximum
Dimensions: 66.9 mm (W) × 156.1 mm (D) × 38.0 mm (H)
Weight (including batteries): 243 g
Note: 0 dBu = 0.775 Vrms

Notes: Portable recording made with musicians in mind, the R4 records up to four tracks in 32-bit float resolution, with on-board EQ and effects, amp simulation and the option to bounce recordings down then overdub.

Supplier's Notes:
The Little Recorder For Big Ideas

Introducing the Zoom R4 MultiTrak

Designed By Musicians

All of our engineers are musicians and they designed the R4 to empower musicians to explore big ideas. With a unique dedicated 'bounce track' and 32-bit float recording, the R4 is perfect for capturing your most ambitious compositions.

Record. Bounce. Repeat.

With the R4, you can record up to four tracks, mix and then bounce them to the dedicated 'bounce track.' This lets you free up additional tracks to keep adding layers.

You can choose to do a 'quick' bounce or mix and bounce in real time.

The R4 also allows you to 'undo' your last bounce, if you're not satisfied with the results.

32-Bit Float Recording

The R4 captures perfect audio with every take, without the need to set gain.

Combo Inputs

The R4 has 2 XLR/TS combo inputs with legendary Zoom preamps. You can plug in microphones, instruments, keyboards, and more.

Track Effects

Each track features a 3-band EQ, pan, echo, and reverb to refine your mix.

Input Effects

Apply effects to input A such as amp simulations, delays, distortions and more.

Built-In Microphone

The R4 features a high-quality built-in microphone, perfect for acoustic guitars, vocals, or capturing a quick reference recording.

Much More Than A Metronome

The R4 has a rhythm section preloaded with over 80 different drum patterns to play along with featuring genres such as rock, hip hop, funk, heavy metal, and more.

Every Take Is Saved

Tracks that you record are automatically saved individually, even after they have been bounced.

32-Bit Float Audio Interface

The R4 is also a powerful 2-in/ 2-out USB audio interface with 32-bit float technology. Connect it to either your computer or smartphone.

Control and Create

With a fader for each track and dedicated hardware buttons for the most used functions, you won't need to menu dive to record your music.

Powered For Your Ideas

The R4 can be powered by 4 AA Batteries, or through its USB-C port.

Specs

Inputs/outputs
Inputs: Built-in mic (mono): 1
XLR/TS inputs (mono): 2
Output: Headphones: 1

Inputs
XLR/TRS inputs:
Connectors: 2 XLR/TRS combo jacks (Balanced, XLR: 2 HOT)
Input gain: No adjustment required (dual A/D converter circuit used)
Input impedance XLR: 2.3 kO; TS: 1 MO
Maximum input level: XLR: +4 dBu, TS: +10 dBu
Phantom power: +48 V (switchable separately for INPUTS A and B)
Equivalent input noise: XLR: -120 dBu or less (IHF-A); TS: -107 dBu or less (IHF-A)
Frequency response: XLR: -0.5 /+0.0 dB : 20 Hz - 20 kHz; TS: -0.2 /+0.0 dB : 20 Hz - 20 kHz

Built-in mic input
Directionality: Omnidirectional
Input gain: No adjustment required (dual A/D converter circuit used)
Maximum sound pressure input:
115 dB SPL
Output

Headphone

Connector: 1 stereo 3.5mm mini jack
Output impedance: 10 O
Maximum output level: 20 mW + 20 mW (into 32O load)

Recorder

Maximum simultaneous recording tracks: 2
Recording format: WAV: 48kHz, 32-bit float, mono
Recording media: Cards compatible with microSDHC specifications 4 GB - 32 GB; Cards compatible with microSDXC specifications 64 GB - 1 TB

Display: 2" full-colour LCD (240 × 320)

USB

Connector: USB Type-C
Note: Use a USB cable that supports data transfer. USB bus power is supported.
Audio interface function
Class: USB 2.0 High Speed
Sampling frequency: 48 kHz
Bit rate: 24-bit/32-bit float
Input / output channels: 2 in/2 out
Mass storage function: USB2.0 High Speed

Power supply

Batteries: 4 AA (alkaline, lithium, or rechargeable NiMH)
AC adapter: ZOOM AD-17 (5V/1.0A)
* USB bus power is supported.
Estimated continuous operation time using batteries

Alkaline batteries: about 7 hours
NiMH batteries (1900 mAh): about 6 hours
Lithium batteries: about 14 hours
* Use conditions: Recording 1 track, playing 1 track, phantom power off, headphones into 32O load, power saving on
* The above values are approximate. * Continuous battery operation times were determined using in-house testing methods. They will vary greatly according to use conditions.

Power consumption: 5 W
External dimensions: 74 mm (W) × 138 mm (D) × 36 mm (H)
Weight (including batteries): 287 g
Note: 0 dBu = 0.775 Vrms

Notes: uBurst

This is a new build of the micro version of Mutable Instruments Clouds. The module retains all the functions of the original Clouds, taking up significantly less rack space.

These modules use tall bushing potentiometers to offer a more stable feel.

The module is fully assembled, tested, and calibrated. Eurorack power cable is included.

Notes: The Golden Master from Endorphin.es is a multi-band processor that takes inspiration from studio mastering and radio loudness units from the 1990s. It gives control over the EQ, compression, and mid/side processing of incoming audio.

Thanks to the 16-bit/96kHz audio fidelity, you'll get incredible processing power. It features three bands - low, medium, and high - each handling a distinct portion of the audio spectrum. These controls feature a single knob that both boosts and cuts signals. Set the overall loudness limit of your sounds, and the brickwall limiter ensures all your sounds stay in check. This multi-band effect is the perfect end-of-chain module, ensuring that anything you throw at it sounds dynamic and full.

Multi-band processor inspired by mastering tools from the 1990s: adds punch and dynamics to your sound

Compression, EQ, and mid/side processing

Three frequency bands with +7 db boost and -20 db cut

Brickwall limiter sets upper limit of signals

16-bit/96kHz audio I/O with 32 bits internal processing

Enhance/mute buttons

Available in 1U / 22HP version

Power consumptions:

135 mA +12V
25 mA -12V
0 mA 5V

Dimensions:
6 HP
30 mm deep

Notes: The Mutant Brain is the central nervous system connecting your modular analogue eurorack system to MIDI gear, especially for percussion, polyphonic notes and sync duties! It packs 16 eurorack compatible outputs into a tiny, super affordable 8HP package.

The 4 CV outputs and 12 Gate/Trig outputs are all universally reconfigurable. Triggers, gates, clock divisions and sync signals, polyphonic keyboard playing, velocity, sequencer transport, LFOs - you name it!

Configuring your patch is easy - just assign each output as you like in the Mutant Brain Surgery configuration utility, then send the MIDI SysEx file to the module and forget about it - the Mutant Brain remembers it all for you.

Hexinverter supply a convenient download pack of pre-configured, ready to use Mutant Brain patches for some select sequencing and drum machine devices on the market today, easily turning those sequencers and drum machines into a modular control powerhouse!

Designed with live and studio performance in mind, the Mutant Brain does away with wasted panel space and complex menu-diving interfaces, while freeing you from the limited "auto-learn" type MIDI interface. An auto-learn interface sometimes doesn't play well with the limitless combinations of different gear setups which today's modular performers play live with.

4 CV Outputs (0V to 8V) can be

Notes (Mono or Polyphonic, V/Oct or V/Hz)
Pitch Bend, Velocity or Aftertouch
MIDI CC values (LFOs, modulation, etc.)
Fixed Voltage Values
12 GATE Outputs (0 to 5V) can be

Note Gates and Triggers
Drum Triggers, Retriggers
MIDI Transport (Start, Stop, Run, Resets)
MIDI Clock Ticks (Divisions)
CC Value Above/Below Threshold
Each GATE output has an adjustable trigger length between 1 and 120ms

Dimensions
8 HP
38 mm deep

Current Draw
19 mA +12V
4 mA -12V

Notes: 'MUM M8' is an 8hp Eurorack low pass filter building on the filter design used in the classic Akai S950 12 bit sampler with the addition of resonance, voltage control, clipped saturation and a dedicated VCA.

The low pass filter gives the recognisable super smooth vacuum like tone sucking sound which works magic on complex sources. The addition of clipped overdrive and intentionally aggressive self-oscillating resonance compliment the smooth filter core by juxtaposing it into more wasp like territory with acidic squeals and a more gritty sound.
Mum M8 features dual voltage control with attenuation (and inversion) of filter cut off and voltage control of resonance together with dual audio inputs - one of which includes a VCA to with the capability to aid overdriving signals into the filter core.

The filter core is a 6th Order Butterworth switched capacitor type design featuring an analog core but controlled by a high speed digital clock. This produces the characteristic smooth sounding filter but, as with the original S950, has a relatively high minimum cut off as to avoid 'clock bleed' into the filter output from the digital control. This minimum cut of point (and introduction of bleed if required) can be controlled via trimmers on the rear of the module (see calibration chapter). It is not unusual for there still to be some low-level artefacts from the clock present, particularly during filter sweeps - these add to the filters character.

The motivation for the module came from discussing filters in classic samplers with the artist Jack Adams - aka Mumdance. Jack suggested investigating the S950's filter well known as for it use in classic use in early jungle and hardcore. From that point onward Jack provided inspiration, help and feedback in the development of the filter. Big up Mumdance.

Review: The sixth instalment in Anthony Braxton's Trillium cycle pushes the boundaries of the operatic form into new metaphysical and improvisational dimensions. Rooted in Chicago's avant-garde tradition but unfolding via a live recording in Prague and a studio session in Darmstadt, the project spans four actsi'Voyage To The New World', 'Robots Versus Humans', 'The Three Sisters' and 'Four Disasters'ieach one housed in an abstract narrative world that operates on dream logic. Braxton, now 80, spent five years developing this work, his most ambitious opera to date. Alongside Swiss conductor Roland Dahinden and the PMP Ensemble I Orchestraione of Europe's most forward-thinking groupsihe weaves twelve solo voices through dense and shifting compositional systems. The box set includes over six hours of material, from the operatic performances themselves to behind-the-scenes footage and a feature-length documentary. This feels like a culminationian 8-CD monument to Braxton's singular synthesis of AACM-rooted jazz, experimental classical and radical improvisation.

Notes: The Tone Science Chance Delay is a unique concept in Eurorack modules as it combines chance and randomness, with pulse delay and pulse conditioning. It is a collaboration between electronic musician/composer Ian Boddy and AJH Synth.

It can perform as a Chance generator, but is also capable of pulse stretching for Trigger to Gate conversion, pulse shortening for Gate to Trigger conversion, Gate Delay, Sub Bass Generation and also "divide by n" clock division.

There is a wide range of control and all functions can be operated manually from the front panel or can be automated using external CV voltages. Chance can range between 0 to 100%. The Gate out can be delayed by anywhere between from 0.5mS to 30 Seconds, and the output Pulse length can also vary from 0.5mS to 30 Seconds.

The TRIG push button allows manual triggering of pulses, also determined by the Chance control, and a green LED shows the output pulse status.

Includes a handy "Gate pass through" mode; when the Length control is set to zero the incoming pulse or trigger will still be determined by the Chance and Delay controls, whilst the outgoing gate length will be the same as the incoming gate length.

Compact 8hp form factor and very low power consumption make this an excellent addition to any Eurorack system.

Key features:

Chance, Gate Delay time and Pulse Length can all be set manually or controlled using external CV voltages.

The 'TRIG' push button allows manual triggering, and Chance will be applied to any manual triggering too.

Fast processing allows operation into the lower audio range, so it can perform sub bass generation on drone type sounds. In this mode the Length pot (or an external Length CV) can be used to change the PWM of the output waveform.

After the initial trigger pulse has been acted on, further incoming pulses are ignored until the current cycle has finished. This useful feature allows it to perform "divide by n" division on gate pulses, so it can be used for clock division, and the delay function can be used to add a "swing" away from the rhythm.

Gate pass through mode - if the Length pot is set to zero, then the incoming gate length is preserved, so in this case the gate has Chance and Delay time applied to it, but the outgoing gate length is the same as the incoming gate length.

By setting Chance to 100% and Delay to zero (0.5mS) it can be used as a Gate to Trigger converter, or a Trigger to Gate converter, depending on the Pulse length set with the LENGTH control. We can also use an external Length CV to shorten or increase the length of the output pulse in real time.

Fast and slow ranges for both DELAY time and PULSE length - Fast range is 0.5mS to 2 Sec and Slow Range is 2 Sec to 30 Sec.

Green status LED shows when the output pulse is high.

Front panel controls

Chance Control and CHA Input

This sets the probability of an incoming trigger or gate being passed through to the Pulse Generator circuit. The chance can be set anywhere between 0% and 100%.

The CHA input allows an external control voltage (CV) to control chance remotely. In this mode the Chance control acts as an attenuator for the incoming CV. With the Chance control fully clockwise a CV of +5V will give 100% chance, and lower CV voltages reduce the Chance accordingly. For example, a +2.5V CV will give a 50% chance. The attenuator function is useful if we are using higher control voltages of for example 0 to +10V. If we set the Chance control to the 12 o'clock position it would then halve the incoming CV signal, so in this case +10V will give 100% chance and +5V will give a 50% chance. Negative CV voltages are ignored and will be treated in the same way as zero volts..

Delay Control and DEL Input

This sets the delay amount that is applied to the leading edge of the incoming Gate or trigger received at the IN jack (or a press of the Manual Trigger button), assuming that the "Chance" has been determined to be positive. With the Delay Time switch set to FAST the Delay range will be from 0.5mS to 2 Seconds. With the Delay Time switch set to SLOW the Delay range will be between 2 Seconds and 30 Seconds.

The DEL input allows an external CV voltage to control Delay Time remotely. In this mode the Delay control acts as an attenuator for the incoming CV. With the Delay control fully clockwise a CV of +5V will give the maximum Delay time of either 2 Seconds or 30 seconds depending on the position of the Fast / Slow switch. Lower CV voltages reduce the Delay Time accordingly, so if we apply a CV of zero volts then we will get the minimum Delay time. The attenuator works on any CV patched to the DEL input in the same manner as described for the Chance control.

Length Control and LEN Input

This sets the length, or rather pulse width of the output pulse. With the LENGTH Switch set to FAST the pulse length can be anywhere between 0.5 mS to 2 Seconds. With the LENGTH Switch set to SLOW the pulse length can be between 2 seconds and 30 Seconds.

The LEN input allows an external CV to control Delay Time remotely. In this mode the Length control acts as an attenuator for the incoming CV in the same manner as the Chance and Delay controls.

Setting the Length control to zero invokes "Gate pass through" mode - in this case the incoming gate length is preserved, so the incoming pulse or trigger will still be affected by the Chance and Delay controls, but the outgoing gate length will be the same as the incoming gate length. Turning the Length control slightly clockwise will then invoke the minimum pulse length around control position 1, and further clockwise rotation will increase the Pulse Length as expected. This behaviour also applies to external CV's patched to the LEN input, where a CV of 0V will enable Gate pass through mode.

Fast / Slow mode switches

These switches allow the selection of Fast or Slow mode for Delay time and pulse length, so these ranges can be selected independently for Delay and Length. Fast range is 0.5 mS to 2 Seconds, and Slow range is 2 Seconds to 30 Seconds.

TRIG Switch

The TRIG push button allows manual triggering, and Chance will also be applied to any manual triggering, so depending on the setting of the Chance control, pressing the button has a chance of not doing anything! Holding the button down keeps the incoming gate high for as long as the button is pressed, however this is only really relevant in "Gate pass through" mode - normally only the leading edge of the input pulse is used.

IN - input jack

Connect your input here - a gate, output from an LFO, or even waveforms from a VCO. Any negative component of the input voltage will be ignored, so unipolar or bipolar signals can be used.

OUT - output jack

This outputs the binary pulse (or stream of pulses) that are generated by the Chance Delay circuitry. The gate low level is 0V and gate high level is +6V. The green status LED shows if a pulse is currently being generated.

Module Width: 8hp
Module Depth: 26mm (Including power lead)
Current Usage: 25mA Positive, 6mA Negative

Notes: The NU-X MG-400 builds on the success of the ground-breaking MG-300 compact multi-FX pedal, adding dual processors and delivering high-definition models and increased flexibility. Integrated effects sections include Drive, Amp Simulation, I.R cabinet simulation, Modulation, Delays & Reverbs with a host of options within each category. Audio modelling is based on the NU-X TSAC-HD algorithm, which delivers high-definition analogue circuit simulation for pro quality guitar tones. An expression pedal covers wah and swell effects amongst other possibilities. All settings can be edited onboard or via USB using the downloadable PC/Mac Quicktone software and then stored into one of 36 internal memory locations. For live or rehearsal backing, the built-in Jam function has a fully featured drum machine and phrase looper. To integrate with a DAW studio suite, the USB also functions as a high-quality audio interface, completing the studio-ready guitar rig. The main output can be stereo or mono for guitar amplifiers or D.I to studio equipment. There is an additional 3.5mm output for stereo headphones. Expanding the control surface has provided space for additional control footswitches for a smoother and more accessible live playing experience.

Specifications

Power supply: 9Vdc, 280mA pin-negative (adaptor included)
Inputs: 6.3mm jack (guitar), 3.5mm jack (aux input)
USB port: USB type-C for audio interface and PC/Mac editing
Sampling format: 48kHz, 32-bit
Frequency response: 20Hz - 20kHz (+/-1dB)
Outputs: L/Mono + R 6.3mm jack, stereo 3.5mm headphones
Latency: 1.1ms
Dynamic range: 108dB
THD: +N<0.03%
Input impedance: 470k ohms (Aux 10k ohms)
Output impedance: 1k ohm (Headphones 47 ohms)
Dimensions: 289 x 160 x 71mm
Weight: 920g

In the box

The box for this item contains:
MG-400 multi-FX pedal
9Vdc UK power adapter

Review: Genesis' 1974 release stands as a cornerstone of progressive rock, blending evocative storytelling with layered, intricate arrangements. Peter Gabriel's vocals on what would be his final album with the giants bring the narrative to life, shifting from the reflective tones of 'The Carpet Crawlers' to the defiant energy of 'Back in N.Y.C.'. The instrumentation is equally vividiTony Banks' keyboards set an atmospheric tone, while Phil Collins' dynamic drumming anchors the complex shifts in rhythm and mood. The interplay between Steve Hackett's guitar and Mike Rutherford's bass adds depth to the sprawling soundscapes, delivering a record that still resonates with its bold ambition and emotional scope.

Notes: From the creative brains of Old Blood Noise Endeavors, the BL-44 Reverse is a pedal that contends with the existential construct of "time", as it actively seeks to push you to live your sonic life in reverse.

Through a highly intuitive and fun control set, this compact real-time reverse effect allows the user to instantly change the clock speed of the entire sonic system on the fly, letting you achieve sounds ranging anywhere from classic reverse, vivid harmonies to faded lo-fi memories.

BL-44 is a true reverse effect, meaning it will write what you've played to memory, then read that memory from end to start and play it back for you, but with added depth and harmony from the interaction of the Clock slider and Speed knob. It aims for an immediate and tactile experience that encourages the player to keep their thumb on the slider and experiment.

The magic, the extra twist, the je-ne-sais-wow if you like, all comes from the Clock slider. This slider determines the thinking speed of the digital signal processor and sets everything related to time. It determines the sample rate and the overall length of the reverse playback and as you slide it, you feel the pitch slide and resettle. Just like you'd expect, as you play with the forces of time.

In addition, you have a Speed control, which will cause the system to read through its memory in unexpected ways, catching bits multiple times or missing pieces as it tries to read at speeds different from what was written. Plus, you have volume and mix controls and an on/off switch.

Notes: The Golden Boy Mini - the epitome of versatile and transparent overdrive, designed in collaboration with the renowned guitarist Joey Landreth. With its exceptional harmonic detail and abundant headroom, this compact overdrive pedal takes the concept of transparent overdrive to new heights, using a simple and powerful interface.

The Golden Boy Mini is the perfect addition to any guitarist's arsenal, allowing you to shape and enhance your tone in ways you've never imagined. Its transparent nature ensures that your core tone remains intact, while adding a dynamic of warmth, richness, and depth that elevates your playing to new levels.

Its intuitive controls allow you to dial in the perfect blend of overdrive, from subtle grit to soaring, harmonically rich tones. The pedal's wide-ranging gain control ensures that it can adapt to any musical style or genre, whether you're playing delicate fingerpicked melodies or unleashing blistering solos. Pair it with Asymmetrical or Led Clipping and put the final touches with it's 3-band Baxandall-style EQ.

Beyond its exceptional sound, the Golden Boy Mini is built to withstand the rigors of the road. Its rugged construction and top-quality components ensure reliability and durability, making it a reliable companion for both studio sessions and live performances.

Whether you're a seasoned professional or an aspiring guitarist, the Golden Boy Mini will transform your tone and ignite your creativity.

Discover the Golden Boy Mini and unlock the true potential of your guitar tone. Order yours today and witness the power of transparent overdrive like never before. Elevate your sound and embark on a sonic journey with the GOLDEN BOY Mini!

Notes: SolidGoldFX EM-III- Compact Delay Powerhouse

Welcome to the new SolidGoldFX EM-III Multi-Head Octave Echo; the smallest, most powerful and by far the most versatile SolidGoldFX delay pedal to date.

Building on SGFX's Electroman Delay legacy, the EM-III manages to both echo the past, present and future. With EM-III's wide-ranging yet ultra-intuitive control set, warm analogue-voiced echoes, precise and modern delay, as well as experimental and futuristic sound designs, are all just a single stomp away.

At your feet (or fingers) you have a multi-head tape style echo, with the ability to add in a signal an octave lower to the primary delay head. This can result in dancing, rhythmic delays with body and gravitas, as well as bold washy soundscapes. These two core features are controlled via a single mini-toggle. Flick it left to select between 1, 2 or 3 delay heads or flick it right to toggle the octave effect on and off. From there, just set your Delay Level, Repeats and Time via the knobs or tap in your preferred tempo via the soft-click tap tempo switch and let the good echo times roll.

The EM-III also sports delay modulation introduced via the Flutter control. Keep it at centre position for no modulation. Dial it left for a slow and dreamy chorus-like modulation or right for a faster vibrato, letting you create lush oceanic movement, tape-style crinkles, eerie tension and beautiful dissonance.

The colour knob allows you to engage both high-pass and low-pass filtering. Dead-centre you have a pristine full-frequency digital delay.

Dial it to the left and you cut the highs, creating warm, murky analogue-esque repeats. Dial it to the right and you suck out the lows for crisp and bright tape-style repeats or super thin lo-fi delays.

EM-III also brings interactive warp and glitch features to the tonal table by pressing and holding either Tap, Bypass or both at the same time. Hold Tap to increase the repeats until self-oscillation, creating a swelling wall of sound. Hold Bypass to replicate the sound of a tape motor on the fritz and a tape reel snapping, or hold both for glorious noise seances that will act as the perfect song/set closer.

Additional features include soft-touch, relay based, true bypass switching with the option of buffered trails, top jacks and up to a full second of delay time.

Designed to inspire and evoke emotion, EM-III can sound as pretty and cheerful or as dark and macabre as you wish.

Tune up, plug in and immerse yourself in the EM-III experience.

Notes: Each generation of VLZ mixers benefits from a reinvestment in performance, all without raising prices. By continuing to ignore the "race to the bottom," VLZ4 benefits from generations of performance improvements like transparent EQ, class-leading negative summing bus architecture and custom-designed op-amps to ensure signal integrity from every input to every output. The result is a mixer that is at the peak of performance and is the obvious go-to compact analog mixer for engineers who demand professional results.

The performance of Mackie's Onyx mic preamps is more than proven. Just check all the amazing reviews and customer testimonials. Their boutique quality sound and unmatched performance rival any high priced, boutique preamp on the market. Adding these flagship preamps to our VLZ4 Series compact mixers underlines our commitment to continually improving the performance of the VLZ line with each generation.

The VLZ4 design goal was simple: every VLZ4 mixer must have the highest headroom and lowest noise possible. Strict attention to component quality and tolerances has led to innovations like our custom M80 op-amps and class leading negative summing bus architecture that add yet another level of assurance that a Mackie VLZ4 mixer is the right choice for your professional audio application.

Mackie VLZ mixers are truly built like a tank. From beer spills to drops from moving vehicles, the testimonials are as endless as the applications Mackie mixers serve. The VLZ4 series is certainly no exception. With a nearly indestructible steel wrap around chassis and features like grime resistant rotary sealed pots, you can be sure that buying a Mackie VLZ4 mixer is a solid investment.
VLZ4's new black powder coat finish, cockpit inspired controls and high contrast knobs not only optimise your mixer's usability in low light scenarios, it also means your mixer looks as good as it performs.

Mackie's VLZ4 line is extremely comprehensive, offering mixers of every channel count, every price point, for every application. From the ultra compact 402VLZ4 for desktop applications to the tour friendly 3204VLZ4, you can be sure there is a VLZ4 mixer with the right feature set for your needs

Notes: The QSlider black is an analogue CV source with four 60 mm faders.

The control range of the four sliders can be defined with two min/max controls.

The Min controller determines the output voltage at zero position of the slider and the Max controller determines the output voltage at the end position of the slider.

The slider now regulates between these two voltages. This allows you to restrict the control range and still have the entire control path of the slider available.

The reverse voltage is available at a second output socket (min and max are reversed). This means that the slider can also be used as a crossmix fader.

Two common channels can be operated unipolar or bipolar. The voltage ranges are 0..+10V or +/- 5V.

The output sockets are located on an extra 4HP panel for mounting at any point (with approx. 40cm long connection cable). This means that several modules can also be mounted seamlessly next to each other.

Power consumption: 30mA at +12V and 20mA at -12V and 12mA at +5V

Depth: 28mm

18 HP

Notes: Quality belt-driven DJ turntable with built-in USB port and phono preamplifier, for a high-quality and convenient digitization of analog vinyl records. Plug & play: no driver installation required, unit is identified automatically.

- Sampling rates of 44.1 kHz and 48 kHz in stereo, resolution: 16 bits
- Includes software for recording and editing
- 2 speeds, pitch control +/- 10%
- Large start/stop button
- Strobe lamp for exact speed adjustment
- Adjustable anti-skating
- Shock-absorbing feet
- Switchable phono/line output
- Delivery includes removable dust cover, pick-up system, RCA and USB cable
- USB 1.1 support
- Suitable for Windows XP, Vista,7, 8, 10 and Mac OS X

Notes: A solid all-round DJ mixer at a very good price, the PM-202FX is a two-channel design equipped with built-in digital effects to expand your creative options when mixing. Dedicated filter controls for each channel add versatility.

Supplier's Notes:
Two channel mixer ideal for mobile DJ setups and home use.

Power supply: 100-240 V AC, 50/60 Hz
Power consumption: Max. 8 W
Protection class: Protection class II
Power connection: Mains input via C8 (M) "figure 8" mounting version power supply cord with Euro plug (provided)
Frequency range: 20 - 20000 Hz
S/N ratio: >80 dB
THD: <0,1 % at 1 kHz
DJ filter: Per channel: LPF/HPF bipolar,
DJ-FX: Master: CHORUS, REVERB, DELAY, FLANGER
Master: WHA, PHASE,
Control: Bluetooth
Bluetooth device name: PM-202FX
Range: Bluetooth: range up to 15m
Crosstalk: >60 dB
Control elements: Crossfader, Crossfade curve control, crossfade reverse switch, FX Parameter control, power switch
Status LED: Power, master level meter
Connections: Input: line/phono via 2 x stereo RCA
Input: line via 2 x stereo RCA, microphone via 1 x 3-pin XLR (F) mounting version, antenna via 1 x SMA (F) mounting version, Earthing connection via 2 x screw terminal
Output: master via 2 x 3-pin XLR (M) mounting version, master via 1 x stereo RCA, rec. via 1 x stereo RCA, headphones via 1 x 6.3 mm jack socket (stereo) mounting version, headphones via 1 x 3.5 mm jack (stereo) mounting version
Channels: Input channel: 2 x stereo with Line-Line/Phono-Bluetooth switch via RCA, channel control via 60mm fader, 2-band tone control EQ, gain control, CUE switch
Microphone channel: 1 x mono via XLR, channel control via rotary dial, 2-band tone control EQ
Master output: 1 x stereo via XLR or RCA, channel control via rotary dial, balance control
Headphones output: stereo via jack, channel control via rotary dial, cue mix function
Rec. output: stereo via RCA
Material: Metal

Colour: Black
Housing design: Desktop console housing
Dimensions: Length: 30,5 cm
Width: 19,0 cm
Height: 11,0 cm
Weight: 2,18 kg

Power cord

Cable length: 2,10 m detachable

Notes: Everything sounds better with compression - whether you need a bit of extra pressure for your drum sounds or just that extra touch to make your modular mix more nimble and tight, the Erica Synths Stereo Compressor will make your live performances a joy. The module is optimized for percussion sounds and will be a great addition to any Erica Synths Drum module rig. The Stereo sidechain can be used to animate melodic layers on the beat and to truly bring your Basslines to life.

Features

THAT chip-based stereo compressor
DC coupled sidechain
Gain, Threshold and Compression Amount (Ratio) settings
Stereo Link for level detectors
Bypass switch
8 segment output level VU meter

Specs

Audio input level -5...+5V
Threshold -40dB to +10dB
Makeup gain -12dB to +12dB
Ratio 1:1 to 8
Power consumption +60mA, -22mA
Module width 10HP
Module depth 35mm

INPUT LVL; Adjust the input signal level to your taste
GAIN; This knob adjusts the makeup gain of the compressor
THRESHOLD; Set the compressor threshold
COMP. AMT;This knob adjusts the compression ratio
STEREO LINK; Sending hard-panned or significantly different audio levels on the left and right channels into the audio inputs may result in undesired left-right panning on the output of the compressor, because the level detectors on each channel will ensure a different amount of compression. With the STEREO LINK switch on, the level detectors on both channels are merged and the min/max function is engaged. This ensures equal compression on both channels.
PROCESS; The bypass switch allows for turning off the compressor instantly
8 SEGMENT VU METER; 8 segment VU meter gives a visual reference of the output signal
IN L / IN R; These are the L and R audio inputs
OUT L / OUT R; These are the L and R outputs of the module
SIDE IN L / SIDE IN R; These are L and R sidechain inputs. You can process each channel individually
SIDE OUT L / SIDEOUT R; These are the sidechain signal outputs - they are buffered copies of the sidechain inputs

Notes: The EVEN VCO is a voltage-controlled oscillator that offers stability and high precision tuning over 10 octaves. A redesigned temperature compensation circuit maintains the oscillator stable against voltage and temperature drops.

Specifications:

Current needs: +12V: 36mA, -12V: 26mA
Width: 8 HP
Depth: 22mm, (28mm DIY) including power connector
Aluminium, heat-treated front panel.
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: Updated version of the hugely popular MSP3, now with Yamaha's Twisted Flare Port technology for improved low-end response. Small design with big sound thanks to 4-inch woofer and precise dome tweeter.

Supplier's Notes:
MSP3A powered monitor speaker provides faithful sound reproduction in a compact form

The MSP3, a compact reference monitor speaker loved for many years, has been renewed as the MSP3A. This new reference monitor is the first in this series to include our Twisted Flare Port technology and provides an even clearer and tighter low-end while also realizing faithful sound reproduction.

The built-in 22W power amplifier is optimized for the speaker unit, which comprises a 10 cm (4") woofer and a 2.2 cm (.87") tweeter, to achieve a clear and natural reference sound.

The cabinet features a refined, simple design and weighs a mere 3.6 kilograms (7.9 pounds), making it easy to reposition and carry to different locations. Just like its predecessor, this monitor has multiple input connectors and controls, and is compatible with a variety of optional brackets, making it useful for a wide range of uses. These include serious audio and music monitoring in settings from small-scale studios to broadcast and post-production suites, as well as monitoring audio from digital musical instruments and ICT devices, and surround sound playback.

Twisted Flare Port technology, which is included in the MSP3A for the first time in this series, is an aerodynamic sound control technology that we at Yamaha have created by leveraging our extensive subwoofer development experience. Using it, we apply aerodynamic sound analysis and flow visualization measurement technologies to pinpoint and control noise generation mechanisms. Noise-generating air flow turbulence at both ends of the port is suppressed by changing how the port widens from input to output and adding a twist to it. Suppressing turbulence reduces bothersome muddiness in the sound and lowers the amount of noise generated at the port ends. This strengthens the connection between the sound and main speaker and delivers clear, tight low frequencies along with pitch and rhythm.

Compared to the air turbulence generated by the "ordinary port" shown in pink on the left, turbulence is reduced and air flows smoothly through the Twisted Flare Port shown in blue on the right.

Featuring a 22-watt built-in amplifier and Twisted Flare Port for clearer bass, the MSP3A reference monitor produces sound that is faithful to the original. With a variety of inputs, controls and optional support brackets, the MSP3A is ideal for small studios, post-production, monitoring electronic instruments and surround reproduction.

General specifications:

Speaker type: 2-way powered speaker, Bass-reflex type (Twisted Flare Port)
Frequency response: (-10dB) 67Hz - 22kHz
Components- LF: 4" (10 cm) Cone, HF: 0.8" (2.2 cm) Dome
Crossover: 4kHz
Output power: 22W
Maximum Output Level (Measured peak, IEC noise@1m): 99dB SPL
Input sensitivity- LINE 1 : -10 dBu, 10kO (RCA), LINE 2 : +4.0 dBu, 10kO (Combo)
I/O connectors- LINE 1 : RCA, LINE 2 : Combo (XLR/TRS phone)
Indicators: Power ON (Green LED)
Power requirements (May vary depending on region): 120V 50/60Hz, 110 - 120V 50/60Hz, 230V 50/60Hz, 220 - 230V 50/60Hz, 220V 50Hz, 240V 50Hz
Power consumption: 30W
Others: Level control (LINE1, LINE2); Tone control (LOW = Center, REF = 100Hz : MIN -3.0 i 2.0 dB, MAX +3.0 i 2.0 dB; HIGH = Center, REF = 10kHz : MIN -3.0 i 2.0 dB, MAX +3.0 i 2.0 dB)
Dimensions: W- 144mm (5-5/8"), H- 236mm (9-1/4"), D- 166mm (6-5/8")
Net weight: 3.6kg (7.9 lbs.)
Accessories: Power cord, Owner's manual
Packaging: Single
Flying and mounting hardware: 2 x M5 (Depth 15)
Options: Mic stand adaptor BMS-10A, Free-angle clamp BAS-10, Wall mounting bracket BWS20-120 / BWS20-190, Ceiling bracket BCS20-150 / BCS20-210

Notes: Really nice approach to sequencing from Omni-Tone. The Melodi generates 'semi-random' patterns based on tunable parameters and probabilities. Dial in combinations of scales, pitch range, tempos and so on to create unique melodies.

Supplier's Notes:
Melodi generates sequences based on the mood you set so you can create the sound you're searching for- it can be tweaked to create anything from a powerful bassline to a sparkly melody.

Ships with version 2 of firmware

Improvements: Skip, tie, length are now LIVE knobs. Added a ping-pong trend line and a blues scale.

GENERATE

1. NEW - will prompt Melodi to generate a new sequence.
2. TRIGGER IN - accepts a trigger to prompt Melodi to generate a new sequence.

CYCLE

1. ON/OFF - determines if the sequence will loop or require retriggering.
2. TRIGGER - button and jack trigger the sequence to restart at the beginning.

TUNE

* While adjusting tunable parameters, the light bar will reflect the current selection. For continuous parameters the light bar shows amount from 0-100%, for quantized parameters the light bar shows steps.
1. SKIP (continuous) - sets the probability that a note will be skipped in a sequence.
2. PLUCK (continuous) - sets the length of the gate, from short plucks to gliding between notes (portamento).
3. TIE (continuous)- sets the probability that a note gets tied to the next (effectively making the note last two clock cycles).
4. TREND (continuous) - sets whether the sequence trends upwards or downwards in pitch.
5. SCALE (quantized) - select the quantization of the notes used in the sequence. Choose from perfect notes, pentatonic scale, diatonic scale, chromatic scale and completely unquantized.
6. RANGE (continuous) - sets the range of notes from 1 to 4 octaves (unquantized)
7. LENGTH (quantized) - select the number of notes to play in a sequence (from 1-16, or infinitely generating at the max position).
8. SPEED (continuous) - sets the tempo of the internal clock, between 20 and 2000 BPM.

OUT
1. GATE - outputs the gate of the notes in the sequence.
2. PITCH - outputs the pitch (in V/OCT) of the sequence.

CLOCK

1. SELECT - Melodi will generate internal clock signal if select switch is up, and will use external clock signal when down
2. IN - connect external clock signal
3. OUT - output clock signal

Technical specs:

- Module Size: 3U X 8HP X 25 Mm Deep.
- Current Draw: 85mA @ 12V, 10mA @ -12V.

What's in the box:

- Ready to use Assembled Module
- Mounting Screws
- Power Cable
- User Manual