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Review: As well as his prog rock god status as part of ELP, English musician Keith Emerson is well known for his soundtracks for the likes of Dario Argento's 1980 movie Inferno. This Murderock album was written in part as a tribute to the master of Italian horror Lucio Fulci and was first released in 1985, described at the time as being like Flashdance meets Psycho. It's a mix of dance tunes for the day and some dramatic scores and was first reissued in 1993. This version adds four never before released tunes which were used in the backing to the most macabre scenes of the movie.

Notes: The classic loops of the original FM3 Buddha Machine evoke instant nostalgia for a slower, more simple world.

Born before the iPhone era, this iconic device has weathered two decades of pop culture and fashion trends, yet remains defiantly, heroically unique.

Its enduring simplicity cloaks an extraordinary power: the ability to transcend time. It is both a sonic portal to a hands-on analogue past and a bridge to a digital ever-present.

This is not just a re-issue; it is a revival and refinement of a sonic manifesto that unfolds softly, gently and organically, resonating with the subtle rhythms of life.

The Buddha 1 2023 edition from FM3.

Available now in 5 colours: Red, Orange, Green, Blue and limited-edition Pink. Features upgraded sound quality and user experience.

A louder speaker and 2 new individual side buttons make the device control more direct and intuitive.

Notes: Red version of Cyclone's excellent bass synth, replicating the sound of the iconic Roland TB-303. Fully analogue synth with modernised sequencer and classic acid sound.

Supplier's Notes:
A full analogue synth clone of the famous TB303, coming with a lot of new features and improvements, from the sound point of view as well as the ergonomics of the machine and the sequencer.

A new design, new pots very smooth, new features for Live jam, 2 new sequencer modes for even more creativity, added CV / Gate (and even more) outputs to play your favourite synths!

The design of the analogue circuit (composed of 1 VCO) and the audio engine has been improved compared to the previous version, giving it a warm and groovy sound thanks to the addition of the Shuffle (not present on the original).

The very intuitive sequencer takes on the original spirit while bringing new and unique features such as Mute and Hammer, which gives it a great flexibility for live jam and more sound variations, as well as 2 new sequencer modes to create New patterns.

Specifications

Bass Bot TT-303

VCO

Monophonic
Waveforms: Sawtooth or Square
Frequency Range: 20Hz-850Hz

Main Controls

Tempo Knob
Volume Knob
Track/Pattern Bank Selector Knob
Mode Selector Knob
Power On/Off Switch

Audio Controls

Tuning Knob
Filter Cutoff Frequency Knob
Filter Resonance Knob
Filter Envelope Modulation Amount Knob
Filter Envelope Decay Knob
Accent Amount Knob
Waveform Selector Switch

Data Storage

User Patterns: 432 (9 banks of 48 patterns)
Pattern Lab Patterns: 108 (9 banks of 12 patterns)
Preset Patterns: 108 (9 banks of 12 patterns)
User Tracks: 9

Operating Modes

Pattern Write | Loop Edit |Pattern Lab | Arpeggiator
Pattern Play | Preset | Track Play | Track Write | MIDI

Per-step Modifiers

Down Octave | Up Octave | Accent | Slide
Mute | Hammer | Rest / Tie

Pattern Features

Pattern Length: 1-64 steps
Per-step modifier assignment
Time scales: 16th note, 32nd note, 8th note triplet,
16th note triplet
Assignable pattern LED color
Pattern Copy / Paste functions
Intelligent procedural pattern generator
Pattern-based Arpeggiator
Pattern Mutate function

Track Features

Visual track programming system
Maximum Length: 144 bars | Per-bar transpose option

Global Features

Shuffle Amount | Slide Time | Gate Length |
Illuminated buttons: 26
Tap Tempo Input | Automated VCO calibration |
System LED colour |
MIDI In / Out channels

Outputs

Main Mix (1/4" mono, +15dBu)
Headphone (1/4" stereo, +10dBu)
VCO Waveform (1/8", Sawtooth: 5Vp-p, Square: 3.7Vp-p)
Control Voltage (1/8", 1V/octave, range 1V 5V)
Gate (1/8", 0V 12V)
Accent On (1/8", 0V 5.5V)
Clock (1/8", DIN Sync compatible, 0V 5V)
Start/Stop (1/8", DIN Sync compatible, 0V 5V)
MIDI Out / Thru

Inputs

Filter In (+4dBu nominal, 100kO input impedance)
Power (9VDC, 300mA) | MIDI In

PC Functions

Cyclone Studio application for PC & Mac enables Bass Bot software update and user data backup & restore using MIDI/SysEx transfer.

Physical

Dimensions: L310mm x W130mm x H35mm
Weight: Unit 783g (Boxed with accessories) 1.332kg

Included Accessories: 100-240v Universal Power Adapter | Near Invisible Force Field | Case Transporter | Printed User Manual

Available Accessories: 7 Lines 1/8 to 1/4 output cable snake | Triple 100-240v Universal Power Adapter

Review: UMR reissue Nelly Furtado's third studio album Loose, notable for its stature as one of the foremost pop collisions between a doe-eyed starlet and the 21st-Century production mastermind, Timbaland (this time in cahoots with his protege Danja). An all-out genre tour, this is the Furtado record responsible for such r&b, reggaeton and funk-inflected ditties as 'Promiscuous', 'Say It Right' and 'Maneater', enduring additions to her everlasting canon.

Review: A mere 35 years old and still brutally relevant, Public Enemy's It Takes A Nation Of Millions To Hold Us Back is as essential as late 80s hip-hop gets. It was the album that confirmed Chuck D, Flavor Flav and The Bomb Squad as a world-beating concern breaking beyond the boundaries of rap with a message that couldn't be ignored. When you listen back to it now, its influential status bursts out of every beat and bar, whether sampled, covered or para-phrased by the generations of MCs and producers who have come since. The nods and co-signs are all good, but sometimes you need to trackback to the source and realise how important Public Enemy were.

Review: The ever-prolific Sound Synthesis is usually found dealing in a classic strain of electro, but on this appearance for the burgeoning AmenTec label he's switching things up with a foray into blistering jungle. On 'Electrical Synpases' he more than proves himself up to the task, creating a monster of a track which will send limbs flailing as soon as the drop hits. 'Emigdela Network' finds an interesting fusion of electro synthesis and ragga jungle touches, while on the flip we get some interesting remixes from Cridge & Powder and Tone Def delving into the machine funk you might have reasonably expected on the A side.

Review: A five-track EP of rarities by Alex Chilton, the American singer and songwriter best known as the lead singer of the Box Tops and Big Star, but whose later efforts led to an extended ambassadorship of the US avant-garde underground. The bulk of the tracks on ‘My Rival’ originate from Chilton’s earliest days, circa. 1975; at this critical juncture, Big Star was no more, and Chilton was teetering on the edge of a nervous breakdown. Saved by his former bandmate, but still confidant, Chris Bell, they soon found themselves re-roused by the power of music, holing up together in Chilton’s bedroom and recording this short but wild set of bluesy experiments. Easily mistaken as the early murmurations of a Big Star reunion, this project should be taken as an eccentricity unto its own, and wholly deserves its 12” debut after an initial RSD run.

Review: Mayer Hawthorne came up at the height of Detroit's hip-hop movement, playing DJ sets and making beats from his hometown of nearby Ann Arbor. He dropped his debut release via Stones Throw in 2008 and since then has put out four more albums and picked up plenty of critical support as well as radio plays across the world. For All Time is his fifth album and one that crosses even more musical boundaries than before with lyrics that explore "the complexities of love and the raw emotions that accompany it." It is dark, brooding, erotic and stylish with hints of 1920's jazz club to it. A great return. .

Review: During the pre-Italo-disco era, many Italian musicians and producers made the move to New York after making their own surprisingly authentic-sounding disco records back home. There, they frequentlyworked with Black American singers to make singles and albums that were, curiously, then released in Italy rather than the U.S. New Jersey singer Robert Cotter's 1980 set, Timeless, is a particularly good example - especially as it's a fantastic collection of disco, disco-funk and dancefloor soul workouts. Reissued here for the first time, highlights of the five-track set include the infectious, stretched-out opener 'Rock Me With Your Love' - an under-played dancefloor classic - and the boogie-tinged disco shuffler 'Timeless'.

Review: Top Sounds digs into the garage rock archives and has turned out some real treasure. The Syn were a short-lived but now cult outfit that, in 1967, released just two 45 rpms for the Deram label. Ever since then, fans of them and 60s rock alike, have fawned over them and collectors have paid high prices to own them. Now they can for a much more reasonable fee with this reissued 7" featuring the jaunty melodies and vocal harmonies of 'Created By Clive' and faster, harder more psyched out 'I'm Following You.'

Review: Matti Bye is Between Darkness & White Snow on this deeply absorbing new 12" on Northern Electronics. It comes as four separate pieces that all play out as part of a larger narrative. First up is 'I', a quiet, gloomy landscape on a grey winter's day with the gentle sound of flowing water and muted synth modulations placing you right in the middle of it. 'II' has more presence, a growing sense of melancholy and unease and 'III' allows a little heavenly light into the mix to gently uplift. The final chapter has a feeling of hope with subtle keys radiating that from deep inside.

Review: New Yorker Has is a hip-hop behemoth who will always be associated with his untouchable Illmatic album, but he has also penned plenty of other words that are almost as good. One of them is I Am: The Autobiography, which they say might be the greatest album never released. It is a connect double album that was originally meant to follow up Illmatic and It Was Written and it follows a superb plot line from the moment he is born during the intro to his death in the outro. The second half of the album then sees him reincarnated but before any of this saw the light of day in an official capacity it was leaked and bootlegged back when the internet was still young and infamous for these things. Now after all these years it finally gets the proper vinyl drop it needs.

Review: It can be hard to keep up with the different days devoted to recorded music, from Record Store Day to Album Day to Black Friday, but two really cares so long as the tunes keep coming. And they don't come much finer than this - Ripple's self-titled album was originally released in 1973 and soon became known as a rare groove, funk and deep soul classic. Some 50 years on and it has been remastered to sound as good as ever and remind us why the band were right up there with peers such as Funkadelic, Kool and the Gang and The Blackbyrds, all of whom served up equally brilliant mixes of rock, soul, photo disco and funk. The is the first time this one has been back in print for some 30 years.

Review: The sheer volume of material The Jaffa Kid puts out himself makes it tricky to keep up, but fortunately you can count on labels like Gated to offer a more manageable window into his sound. Taking elements from electro, breakbeat and electronica, Daniel Pringle surfs sinewaves and sequences to create heartfelt machine music with blood pumping in its circuits. Presented across double vinyl, this is a proper album experience which takes in starry-eyed chill-out, misfit acid techno, crunchy hardcore and much more besides. You might call it braindance, or you might just call it The Jaffa Kid.

Review: Global Essence Sampler is a new series from Deep Inspiration Show Records that calls upon a fine roster of international producer talent to serve up one track each and reflect on what deep house is today. For Allstarr Motomusic the answer is smooth and cruising house grooves with elastic basslines and distant vocal wails. Barce explores classic Larry Heard-style cosmic melodic territory with plenty of star-gazing potential, and Zarenzeit's 'Zahara' is another one that floats amongst the stars with lush ambient pads. Jank offers a more dusty, rhythmic house sound for cosy backroom parties, and then come the jazzy melodies and soulful bass noodling of Jan Kincl's '3300 Gratiot Ave.' Magic stuff.