Resultados de la búsqueda

Review: Since 2020 Wachita China has been piling on the electro deviance through their own WC label while also moonlighting on the likes of low income $quad. This latest record keeps up the edgy aesthetics and uncompromising machine pressure, veering from the techy stomper 'Along Dancing In The Shoegaze Tample' to the thumping intensity of 'Chinese Takeover', stopping by the broken beats and metallic pings of 'Strobe Sword' and welcoming DJ Disappointed to collaborate on the slightly sweeter synth flourishes of 'Dorsal'. 'TAI1 EDiTTT' completes the set with a catchy dose of hard-pinging electro-tech with a subtle pop thread buried in the mix.

Review: Bangkok-based Sarayu is an artist at the heart of the electronic music scene in Thailand, and co-runs the label More Rice. His latest releases comes courtesy of local imprint Boiled Wonderland titled Intelligent Jump Rope Music, featuring four club focused tracks with a darker edge. On the A-side, there's the atmospheric broken beat techno of 'The Bag' and the mental 'E30 Track' . On the second side, the deep and entrancing title track's knackered feel is complemented nicely by Belgian producer Locked Groove's hypnotic rendition.

Review: Man Power is a hard to categorise artist who is hell-bent on staying independent and doing things his own way. The Geordie powerhouse runs a couple of his own labels but here finds himself on Echocentric. From cosmic disco to dancefloor tech and plenty in between, Man Power has done it all yet he still manages to find new ground once again here with four cuts of brilliantly original deep house sounds that call on a whole new world of references, mostly from outer space and rave days gone by. 'Jigsaw Thinking' is bright in its melodic makeup, 'What A Puny Plan' has a far-sighted astral gaze and 'Big Sue Wonderland' is an electrifying mix of fizzing synths and singing leads that tingle every sense in your body.

Review: The first release on Johannes Kolter's (f.k.a. DJOKO new imprint, Koltrax, is a supremely funky mixture of tech house and funkstep helmed by the tongue-in-cheek 'Please Don't Call Me', that features multitudes of goofy vocal passages and telephone samples. The Cologne native has a unique blend of goofy late-noughties electrofunk sensibility combined with an undeniable German groove, somewhat reminiscent of Ryoji Yoshitomi and the ever-influential Hideki Naganuma with a sprinkle of Fatboy Slim. Tracks like 'Bust a Beat' are versatile jams to cut up on the dancefloor to - just as impactful on your home speaker system as it would be on a festival soundstage. This initial release has set an extremely high bar for Kolter to follow.

Review: The latest reissue on the nostalgic Decks Classix imprint takes us back to 1994 and the first ever release on legendary UK deep house imprint Paper Recordings: Salt City Orchestra's brilliant 'The Book'. This edition boasts the two key mixes from the original 12", starting with the 'Paperback Vocal'. Topped with a mixture of spoken and sung vocals, it's a chunky, organ-rich fusion of warming chords, booming bass, shuffling beats and dark noises of the sort that were then popular at legendary NYC venue the Sound Factory. The real killer, though is the flip side 'Hardback Dub', a tough, near ten-minute excursion that not only boasts meatier bass, but also gets sweatier and sweatier as it progresses. A stone-cold club classic that should be in every house DJ's collection!

Review: First cropping up in 2012, the mammoth A-Sides series from the titanic Swedish techno label Drumcode charges ahead into its 11th installment (can you believe it?) while also managing to split said installment alone across seven slices of vinyl. This is the fourth record of seven in part eleven. Only gigantic-room techno could justify this waxen audacity; the music is braggadocious to boot, with contributions from Nicolas Taboada, BEC, Avision and Cosmic Boys. The tracks here are as dreamy as they are goosebump-inducing, easily seguing between massive transitions and drops to cathartic reesebound trances.

Review: Hilltown Disco have been nurturing their own micro scene up in Dundee, bringing a punchy, gnarly strain of electro to the Scottish city and creating a strong community around it. Now that community comes out in force to celebrate five years of the label and club night, presenting a cast of underground operators singing from the same hymn sheet. Whatever stripe of electro you're into, you're sure to find something to sink your gnashers into here. Keep an extra attentive ear out for the opening track from W1BO, the sadly departed Wibo Lammerts, who the five-track release is dedicated to.

Review: Slowthai is nothing if not devise - an utterly in your face artist who, it feels, tries to be as obnoxious and off-putting as possible when he's performing live. That makes him an instant fit with the younger generation who like anything their parents will hate and for that reason he has blown up very quickly. Now comes the Northampton rapper's third album, Ugly, along with a UK tour of the same name. Rock and rap combine on woozy and dark tracks that have been made in collaboration with the likes of Ethan P. Flynn, Jockstrap's Taylor Skye, Beabadoobee guitarist Jacob Bugden, drummer Liam Toon and more.

Notes: iRig Stream Mic Pro

Compact multi-pattern microphone and stereo audio interface

iRig Stream Mic Pro it makes easier than ever to share your voice and music. It combines a professional multi-pattern condenser microphone and 24-bit, 96 kHz audio interface for iPhone, iPad, Android, Mac and PC into a single ultra-portable solution for music and content creation.

iRig Stream Mic Pro overview

Condenser microphone/audio interface for iPhone, iPad, Android, Mac/PC

Gold-sputtered 1/2" electret condenser capsule for pristine sound

Switchable cardioid, omnidirectional, figure-eight and stereo polar patterns
Adjustable high-pass filter to eliminate rumble and noise
3.5 mm stereo input for keyboards, mixers, drum machines and more
Stereo/multichannel modes: mix mic and line signals or keep separate
Loopback+ to add background music or process your voice all on a single device
Direct monitoring to check your sound before going live
Elegant all-in-one control knob for easy adjustments mid-stream ? Works with all your favourite apps

Pristine multi-pattern condenser microphone

First, make your voice heard with selectable cardioid, figure 8, omnidirectional or stereo pickup patterns. These patterns range from noise-rejecting to immersive audio, so whether you're recording a podcast, interview, instrument or ensemble, you'll enjoy crisp, clear and detailed signal with easily adjustable gain.

Integrated audio interface
Next, connect media players, keyboards, mixers, turntables, soundboards and more with the convenient 3.5mm audio input right on the mic. With its monitoring mix control you can blend the direct or recorded audio via the headphone output. Now you can keep your entire setup in one elegant, compact design you can easily take anywhere, and that connects to any device right out of the box.

Pro results with Loopback+ iRig Stream Mic Pro offers IK's ground-breaking Loopback+, letting you not only add music from your phone or tablet to your recording or stream, but even lets you route the mic signal into a separate app to add reverb, EQ or noise reduction (like the included MixBox CS for iPad) before sending to a second app like Instagram or Tiktok. It's an easy way to get massive sound on apps that don't normally let you process audio or add background music.

Connections/controls

Multi-function knob allows you to: - select the polar pattern - set on or off the high-pass-filter - mute the microphone signal - control the microphone gain - control the headphones level - control the streaming level - set on or off the direct monitor or the loopback.

1/8" headphones output
1/8" stereo line input: DC barrel to charge connected iOS device
Mini-DIN connector

Serious sound quality
iRig Stream Mic Pro delivers serious sound throughout, too. A headphone output with direct monitoring lets you check levels with any app, before you even hit record. And 24-bit, 96 kHz converters ensure pristine, detailed sound for both the mic and aux input.

Simple, live-optimized controls
All the features are controlled via a single, intuitive and live-optimized control knob, so it's easy to tweak on the fly without taking your eyes off the camera. Click through each setting quickly to make adjustments, and even hold down to mute if you need to cough or sneeze.
And easy-to-see LED level indicators mean you're not tied down by headphones if you want to record at a distance.

Specs

Common

Interface type: 2 in/2 out or 4 in/2 out
Conversion: 24-bit A/D, 24-bit D/A
Sampling rate: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
Power: USB bus powered. When connected to an external PSU (iRig PSU 3A, not included), iRig Stream Mic Pro charges the connected iOS lightning device.
Device connection: mini-DIN
Dimensions: 55 mm/2.16" x 136 mm/5.35" x 38 mm/1.5"
Weight: 430 g/15.17 oz

Microphone
Microphone type: condenser, electret
Capsules: dual 0.55" gold-sputtered
Polar patterns: cardioid, omni, figure-8, stereo
Frequency response: from 20 Hz to 20 kHz
Maximum sound pressure: 115 dB SPL
High-pass filter: selectable between 60, 100 and 200 Hz

Headphone Output

Connector: 1/8" (3.5mm) TRS jack
Frequency response: from 20 Hz to 20 kHz
Output level: 7 mW/channel (32 Ohm load)
Dynamic range: 87 dB(A)

Aux Input

Connector: 1/8" (3.5 mm) TRS jack
Nominal input level: -10 dBV
Frequency response: from 10 Hz to 20 kHz

Package includes

iRig Stream Mic Pro
Table stand
mini-DIN to iOS Lightning cable - 60 cm/23.62"
mini-DIN to USB-C cable - 150 cm/62.99"
5/8" to 1/4" thread adapter

Box content

TONEX Pedal
Power supply
USB Cable

Review: Moscow-based deep techno artist Toki Fuko arrives on Russian label Luck of Access with three cerebral tracks forming his glittering new EP, 'Sanctum'. Starting with the expanding and contracting spaciousness of the title track, 'Sanctum', Korotaev allows space for reverberating synthlines to extend outwards, skittering into the distance across the pulsating core of the track, exploring a reflective space that feels at once private and collective. For the second side, everything slows down to a patient, meditative pace. Luxuriating in a moment of slowed breathing, 'Draft' unfolds in a series of exhaling atmospheres, delicately punctuated with strokes of light, glistening on the surface of a rippling body of water. The final track, 'Drift', moves downstream, driven by a winding ambience and decorated with flurries of unravelling organic percussion. At the heart of each of these tracks is a force that feels eternal, held in undulating patterns that continue long beyond their end.

Review: Given their roots as an all-female band helmed by two sisters, it's not surprising that Northumbrian folk stars the Unthanks have used their platform to deliver numerous albums inspired by, or made in tribute to, creative women. Perhaps the most famous of these is 2017's 'Diversions Volume 4: The Songs and Poems of Molly Drake', which first hit stores in 2017. Now reissued, the album sees them deliver interpretations of poems and songs written by Nick Drake's mother, Molly, whose incredible work only came to light following her death in 1993. It's an inspired and evocative collection all told, with sweet renditions of Drake's songs - laid to tape in typical Unthanks fashion, with the Unthank sisters' harmony vocals accompanied by evocative folk instrumentation - accompanied by acapella readings of some of her thoughtful and emotive poems.

Review: KPM Music might just be one of the most expansive music libraries out there, boasting a whopping 30,000 exclusive music tracks for licensing. Some of their earliest pieces are being reissued by Measured Mile, the latest of which appears here in the form of a split 7" by four of the label's most treasured contributors. 'Viva La Tamla Motown' helms up the A-side with wonky, laboured drumming and an excitable rock n' rolly guitar and harmonica. 'Main Chance' brings up the B with a more loungeified flutey strutter.

Review: While many Northern soul bits might deal with subject matters that lie on the more generic end of the spectrum, Ty Karim's 'Lighten Up Baby' almost certainly does not fall into that category. Lyrically concerning a love interest who has grown cynical of the reality of the LA songstress' affections, Karim here insists the subject "consider her heart" and the sincerity with which she chose her favourite person. So lighten up, and allow the A to play through all the way, before flipping this one over to the B, where the bright spark is rather sadly put out. 'All At Once' dashes our hopes with a bluesy stepper that regales the story of said lover leaving Karim for another. Don't let the sadness deter you though, as both are bangers!

Review: Houndstooth has come a very long way since it launched as the nightclub fabric's sister label aimed at less up front electronic tones. Over the years, it has widened its remit, meaning the roster now includes artists so far removed from where the imprint originally came from you'd struggle to believe the back story, establishing itself among the most varied and exploratory UK labels today.
Enter US experimental artist Katie Gately to prove our point. Fawn is a trip, to say the least. Themed around childhood and what comes next, it audibly reflects the tantrums, the wonder, the rebellion, and the growth that we endure from those earliest years through to teenagehood. And it does this through noisy art rock and avant-garde pop. A real creative triumph everyone should hear.

Review: Aubrey has always brought a detailed sense of sound design to his heavy techno. The Berlin-based artist does that again here on a first EP on his own Solid Groveos since 2016. Two tracks delve into his archives to come up with some rare and obscure jams from the 90s. One is 'Lose Yourself' - a bright and cosmic take on techno that prime-era Derrick May would be proud of then the other, 'Breaking Out', offers golden US-style house with nice frayed synths and smoky depths. Two new cuts are 'Chase Mind' - a cavernous and dubby, with whimsical pads and unrelenting bass locking you in a trance, then 'Mr Muscle', a twisted acid techno closer that completes a varied and vital EP.

Review: This new compilation comprehensively celebrates the work of Bob Thiele, producer extraordinaire and founder of the jazz, funk and soul label Flying Dutchman, which incubated various transnationally renowned talents such as John Coltrane, Gil Scott-Heron, Duke Ellington and Pharoah Sanders. Cycling through each of Thiele's discoveries as though they were akin to scientific breakthroughs like new radioactive isotopes or the wheel, BGP has compiled a monumental collection of greats here, with lesser-cited curveballs from bossa nova great Gato Barbieri, phat instrumental scatter Harold Alexander and Thiele's own Bob Thiele Emergency also in tow.

Review: By the time Bootsy Collins' fifth album 'Ultra Wave' had been released in 1980, the iconoclastic funk freakazoid had moved away from the straight-up funk stompers made as part of the Rubber Band, and had begun to move in a more experimental direction. Produced by one George Clinton, this album was a light-hearted, starry, guitar-twinging and glittering strummer, with lead hits such as 'Mug Push' laying down its undeniable partystarting mood.

Notes: CD case assembled with the clear tray to hold one CD.

Review: This is a white vinyl verison of U2's latest album which finds the iconic rock band re-recording some of their back catalogue songs. The whole record has been produced by The Edge and in all there are 40 tunes coming in companion to famous bespectacled front man Bono's memoir, Surrender: 40 Songs, One Story, from last year. The record took two years to record during the pandemic and after reviewing demos arrangements were tweaked and in some cases reinterpreted and often redone in a more acoustic setting.

Review: Jakarta Records is mostly known for its superb hip hop but this one is a dazzling album well worth checking. It's a perfect mix of instrumental jazz, soul and gentle grooves that will get you nodding along and lost in the gorgeous melodies from the master of this sort of stuff that is Gianni Brezzo. The Italian has put put several fine albums before now and this collection is another doozy with certain harmonic and rhythmic concepts recurring throughout that drawn on European and folklorist style.

Review: Erol Alkan's faultless Phantasy Sound is one of the most high-quality but musically hard to predict labels out there. British Ugandan DJ Josh Caffe has dropped a few killers here before and has a full length coming later in the year but first is 'Meine Lederjeans'. It's a slow-motion electro-funk cut which vocals that drip with Prince-style sexuality and soul. The Paranoid London remix then does what Paranoid London remixes do - bring the grit, grime and sleaze. It's a raw and frazzled remix with early Chicago acid-house vibes. A superb EP with two very different but equally standout tunes.

Review: Planet Trip returns with its twelfth release which is by Tempo Temple aka label staples Caravan & Lord Safari, with a heavy 12' of elevated machine jams and dancefloor ready heaters. It begins with the celestial acid of 'Spell' followed by the deep and tunnelling chugger 'Enter The Temple' (Outstanding Invoice mix). On the flip, venture deep into the exotic on 'Days Of Chandra', be further entranced on 'Nights Of Chandra' before the break of dawn that sets the stage for some sunrise breaks on the Transit State remix of the A1 track.

Review: Francois Dillinger brings his futuristic visions to this classy new EP on EC Underground. It finds the sonic sculptor kick off with a warped bassline underpinning an eerie and slow motion electro cut on 'The Pilgrimage.' 'Tangential' is another snaking rhythm with mysterious pads and bouncing bass that makes for a truly original vibe. 'Message Failed To Send' has a hint of Kraftwerk retro-ism to its snappy snares and talk box vocals then 'When It Was Free' classes down with a gritty mix of celestial charm and deep space unknown. These are next level sonics as always from Dillinger.

Notes: TR-S

Power Tube Reactor

The feel and response of a tube amp, in a pedal. Meet a build-it-yourself pedal that delivers the warmth and response of a tube amp. The Nu:Tekt TR-S uses a Nutube to deliver previously unachievable compression thanks to exclusive patent-pending technology - meaning you get the feel of a tube amp even when recording or playing through a transistor amp.


What is a Nutube?
Developed by Korg; a Nutube - similar to a conventional vacuum tube/valve - has an anode grid filament structure, and operates exactly as a triode vacuum tube. It provides the same rich overtones and response that are distinctive of conventional vacuum tubes.

Overview

Meet a build-it-yourself pedal that delivers the warmth and response of a tube amp. The Nu:Tekt TR-S uses a Nutube to deliver previously unachievable compression thanks to exclusive patent-pending technology - meaning you get the feel of a tube amp even when recording or playing through a transistor amp.
Alongside amazing tone, one of the hallmarks of the Nu:Tekt series is that they're assembled by you! The TR-S kit doesn't require soldering, and the necessary tools are included - in fact, it's the easiest and fastest unit to assemble in the entire Nu:Tekt series!
Recreate the tube experience

The TR-S features an exclusive patent-pending circuit design, for compression that mimics the sag of a vacuum tube power amp - only possible with Nutube. Achieve this sought-after sound in any setting, even when playing through a transistor amp or recording into a DAW. The TR-S features four knobs on the panel, as well as three trimmer knobs hidden inside the top cover, allowing for even greater control over your sound. Go beyond the guitar and experience what the TR-S can do when you connect other instruments as well!

Easy assembly

Assemble the Nutube-driven TR-S with ease, just like a model kit - no soldering required. All necessary tools are included, along with a circuit diagram in the owner's manual. Perfect for those who love building their own effect units with top-notch performance and sound.

Specifications

Vacuum tube Nutube.6P1.
Inputs Mono 14" Jack
Outputs Mono 14" Jack
Power 9v battery, or DC9V AC adapter (both sold separately)
Approx. 5 hours battery life
Consumption 85mA
Dimensions 122 x 96 x 55mm
Weight 340g (without battery)

Review: Let's face it, 19 albums is a lot by anyone's standards. As such, Deerhoof's 19th long player should be a cause for celebration and praise even before we dive into the incredibly high standards they're once again setting. Appreciation shown, let's get to the nitty gritty of the Miracle Level, an eccentric, unpredictable, and resolutely non-conformist record which - by those definitions - is everything Deerhoof are about.
Blending avant-garde pop, noise, garage, experimental art rock and some stuff we can't really describe, this latest outing is a curious beast indeed. Breaking from their English-speaking past, Satomi Matsuzaki's Japanese vocals only add to the playful atmosphere coursing through the very veins of this effort, naive and innocent, either contrasting the cacophonies and crashes of the most furious moments, or accentuating the calm and delicate movements. Surreal but amazing stuff.

Review: The Crosstown label is now one of the elder statesmen in the scene but it still manages to serve up surprises. This new EP from Davi falls into that category as it explores dark, heads-down house and tech for the dead of night. 'Nosferatu' is heavy with the same sense of doom that you might be filled with should you meet the vampire from which the track takes its name. 'Mirage' is awash with pixelated cosmic melodies that light up the skies above a rolling house beat. With this EP Davi makes another good impression.

Review: A melting pot of UK garage, house and bass, DJ Swagger's latest release on Berlin-based label, 777, is a fascinating exploration in structure and chaos. Opening track, 'Thanks Felix', moves at lightspeed - a thrilling race through a gritty arrangement of blunted kicks, shifting in and out of focus, moving between order and disorder. 'Fingerclut' emerges with an instantly more house-facing feel - a satisfyingly hypnotic groove spirals in a circle motion, featuring a cyclonic gathering of subtle flecks of percussive variation over the course of the track. Offering a spliced, glitched-out take on contemporary bass, 'Final Bout' journeys through moments of airy weightlessness before being thrown back into the growling, driving bass section of the track. The perfect tension builder, 'Full Cycle', is an ingenious tease of a track, skillfully building up to, you guessed it, even more build.

Review: Sure to sate all of their North Face and/or Arcteryx-jacketed obsessives, a new reissues spate of Autechre's best albums is underway courtesy of Warp Records. This reissue of Confield (arguably one of their most straightforward and 'chilled' experimental records) comes in the form of a double LP and digital download. The album is characterised by its shifting in and out of tempo structures, as well as its serene pads and digital sloshing sounds, producing the overall sonic character of a transhuman rainmaker.

Review: Grossing over $1.4bn globally, Top Gun: Maverick may not have been the film everyone wanted last year, but it was the film everyone needed. Not least in the cinema. The long-long-awaited follow up to 1986's iconic (for good and bad reasons) tale of naval aviators (not pilots) singlehandedly saved the big screen summer in 2022, and that speaks volumes about where we are right now.

Film is a window on society, and in the aftermath of a pandemic during which we stepped over the line into the future unawares, it seems people really want an old school blockbuster void of cynicism. That's what they got here, and although it has both contemporary pop that won't stand the test of time, and bits from the original motion picture's soundtrack repeated, the score to the 21st Century reboot is perfectly in-keeping. Zimmer ramps up the emotional resonance with tunes like 'Penny Returns', Kenny Loggins does Kenny Loggins, and that theme tune rounds it off.

Notes: ReVolt 2-battery kit lets you power any device that needs 2 x AAA batteries from a USB port instead.

Kit contains an AAA bridge cable that gives the device a DC power jack input, an AAA dummy battery and a 3V Ripcord USB cable. The ribbon cable that protrudes is robust enough to deliver power to your device, yet flat enough to allow you to easily close the door on the device's battery compartment.

With ReVolt, you'll never need to put batteries into your device again. You can power it whichever way suits you - from a wall phone charger, a USB port on your laptop, a USB powerbank, a USB wall plug, or even from a USB solar cell.

Included in the 2-battery kit:

ReVolt AAA Bridge cable with AAA dummy battery
myVolts 3V Ripcord USB to DC power cable, centre
If you want to power a device that needs 2 x AA batteries, add to your order 2 x ReVolt AAA Dummy Battery

Not sure what you need to power your device? Drop us an email at help@myvolts.co.uk and we'll advise - we've 15 years' experience powering devices and we'd love to solve your power problem, big or small.

Why buy ReVolt?

Adaptable: Use in 1000's of devices: Christmas lights, LED lights, toys, radios, musical instruments, handheld games consoles and thousands more...
Flexible: Use with any USB port.
Mobile: Power your device with a USB power bank for total power freedom.
Global: ReVolt can be safely used anywhere in the world.
Multi-use: Take it out of one device, use it in another.
Non-destructive: Remove it and your device can take standard batteries again, any time.
Economical: Buy once.
Durable: Use 1000's of times.
Environmentally friendly: No consumables to dispose of.
Modular: Get add-ons from the ReVolt system to power different devices.
Assurance: Battery glows red on power connection and DC adapter has two indicator LEDs
No cut-outs: Always know your device will have power.
No leaks: Safely store devices with ReVolt installed

Review: Mark de Clive-Lowe, Shigeto and Melanie Charles build plenty of bridges between various different sound worlds on this new collaborative long player. de Clive-Lowe is a top-level composer and pianist, DJ and someone who himself joins the dots between jazz, hip-hop and dance. Charles is a jazz vocalist and flautist while Shigeto hails from Detroit and brings mad drumming and production skills. They came together in 2018 and have played all over the world and this album finds them reinterpreting works by the late great Pharoah Sanders including 'The Creator Has a Master Plan' (Part's 1 & 2) while laying down their versions of soulful house and hip hop in-between. Great stuff.

Notes: Revolt - 6 Battery Kit - USB Solution for AAA and AA Battery Devices kit lets you power any device that needs 2 x AAA batteries, or 2 x AA batteries, from a USB port instead.

Kit contains 3 x AAA bridge cables - each gives the device a DC power jack input, 3 x AAA dummy batteries, 6 x AAA to AA adaptors, 2 x Crazy Chain Mini cable and a 3V Ripcord USB cable.

The ribbon cable that protrudes is robust enough to deliver power to your device, yet flat enough to allow you to easily close the door on the device's battery compartment.

Why buy ReVolt?

Adaptable: Use in 1000's of devices: Christmas lights, LED lights, toys, radios, musical instruments, handheld games consoles and thousands more...
Flexible: Use with any USB port.
Mobile: Power your device with a USB power bank for total power freedom.
Global: ReVolt can be safely used anywhere in the world.
Multi-use: Take it out of one device, use it in another.
Non-destructive: Remove it and your device can take standard batteries again, any time.
Economical: Buy once.
Durable: Use 1000's of times.
Environmentally friendly: No consumables to dispose of.
Modular: Get add-ons from the ReVolt system to power different devices.
Assurance: Battery glows red on power connection and DC adapter has two indicator LEDs
No cut-outs: Always know your device will have power.
No leaks: Safely store devices with ReVolt installed
Included in the 6-battery kit:

3 x ReVolt AAA Bridge cable with smart battery
3 x AAA dummy battery: insert into battery compartment alongside the smart battery
3 x AAA to AA adaptors: for powering devices requiring AA batteries
myVolts 3V Ripcord USB to DC power cable: for powering 2-battery devices from a USB port
2 x Crazy Chain Mini cable: daisy-chain up to 4 battery devices, power all from one USB port

Notes: The Beatsplitter is a single to dual stereo splitter with switchable channels.

It can duplicate outputs, but it can also merge inputs. Which signals appear on each channel is determined by how a small switch is set on the side of the unit.

On the Left channel, in can be set to Stereo, LL (Left, Left) and Mono. On the Right channel, it can be set to Stereo, RR (Right Right) and Mono.

In output mode, the stereo cable plugged into the unit has a Left and Right signal. If the output is set to LL, then the Left channel signal from the input is duplicated to both Left and Right sides of one output, creating a false stereo. The same can be achieved with the Right input signal, by setting the Right sided output to RR.

In input mode, the Left channels from ach of the two inputs are merged onto the Left channel of the output when switched to LL. The same happens for the Right channels when switched to RR.

What does the Beat Splitter do?

The Beat Splitter allows you to manage the signals to your desired outcome. In practical terms, it solves channel mis-match problems, for example, did you ever want to...

Share an output of your jam with a second person with headphones? Whether you want to share the output of a player, or a mini-synth like a PO, or duplicate the output of your summing mixer, this very easily achieved.

Have a second output to record any of the above on a recorder, or even bluetooth send it to a camera or phone. The convenience of being able to "get in" at any point in your setup means greater flexibility when recording.

But I can do those things with a standard splitter cable, is there anything else it can do?

Get a true stereo output to two independent speakers. For example, if you wished to take a laptop audio output and send L and R channel independently to a Left and Right speaker, true separation is achieved. You can send a LL to one speaker and RR to the other. This will be far better than a stereo splitter cable, which will give you a LR on both speakers, or a stereo to mono cable, which will give you a L Mono and R Mono on each speaker.

Create a stereo effect when you want it. There are numerous situations where audio will end up only on one side of your headphones, or worse, one side of your mix in recording. These include, when your guitar, or violin pick-up only outputs Mono, or when you run your keyboard through a Mono effects pedal. Using the LL output, you can "stereo-fy" your Mono output, by creating a false stereo duplication of the channel.

Allow yourself to easily record on two channels with one input. If you wanted to record an interview, but have only a single input stereo recorder, Beat Splitter makes it possible to record the two voices independently. For example, a smartphone with audio input jack could have the beatsplitter attached, then a mic could be plugged in to each of the two inputs, set to LL and RR, the phone would record person A on L channel and person B on R channel. This would obviously work with any two channel recording requirement, with synths, guitar and voice, etc.

Avoid Sync "hammer" in your mix. A lot of small synths have intelligent systems for clock control, usually existing on the Left side of your stereo connection. Avoiding this in your mix is possible with the Beat Splitter. For example, using a Pocket Operator as sync master to control a Korg Volca slave. One Beat Splitter channel has output audio, the other outputs sync. This can be also be achieved with a stereo to dual mono cable, but if you do, you will most likely end of with your PO audio on one channel, as in the point above.

For desktop synths, manage audio independently from sync to avoid distortion from multiple pass-throughs and allow recording on independent tracks. The suggested method for connecting a number of Pocket Operators, is to run them in a train, each passing sync and audio on to each other. Each pass-through requires the adding of gain, which can provide significant noise and distortion as it passes through multiple amplifications. This also removes the possibility of individual volume control per PO and the recording of the POs outputs as individual tracks. With Beat Splitter, all these limitations and difficulties are removed.

Can TAPS be combined?

Yes, they can be combined, they are also stack-able, you can plug a Beat Splitter into a PO, then plug a PnP into one of its outputs. These configurations solve other problems, such as...

Wet/Dry effects on your tabletop. If you want to duplicate your audio output from a device (with Beat Splitter), then you can run a cable through an effects unit (e.g. Korg Monotron), put a PnP on its output and you get a Wet/Dry version of the effect by turning the pot in Volume mode.

You can A/B test two sources of of a input to a mix. Just set up like point 5 above, then use a PnP to pan between the two inputs.

Review: New York City via Japan based imprint Dailysession returns this week with a 12' featuring two of house music's ascendant producers. On the first side of DSR House EP3, you've got Nicola Loporchio aka Nico Lahs, a Southern Italian DJ who's released on Metamorphic Recordings, Adeen and Ovum among others. His two contributions are 'Interstellar Ride' which channels the celestial vibes of early Larry Heard or Hieroglyphic Being, and remaining on a Windy City vibe with the following deep house jam 'Changes'. Over on the flip, Neapolitan Alfonso Bottone aka Wearing Shoes really delivers the goods on his absolutely spiritual 'Amor Divino' followed by the soulful mood music of 'Make It Better'.

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:
QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Notes: Power Supply Tester

Hot Tip is a power supply tester - it lights up when you connect a working power supply to it.

Uh-oh. Something's not coming on - but is the plug or the device that's dodgy? It's easy to test a plug with the Hot Tip. Just plug the power supply into the wall, then connect it to the Hot Tip - the LED illuminates if there's power, so you'll know if your plug is good or bad.

The female end of Hot Tip accepts a standard 5.5mm outer diameter / 2.1mm inner diameter barrel tip - it's the commonest size, usedon 98% of effects pedals, synths etc.

If you want to test a power adaptor with a different size output, just add the sizes you want to your cart, and we'll send you the parts to fit.

Not sure what size tip you need? Ask us and we'll advise - myVolts has 12 years in the power game and there's nothing we don't know about power.

Power Passthrough

Hot Tip doesn't get in the way of the power - you can power a device through it.

You can power a device without removing the Hot Tip from the PSU tip end - the LED draws almost no power, so you can go ahead and plug the tip end of Hot Tip into your device. That's handy for dark environments, like on a stage - or anytime you want to know and be sure there's power available. (The only works for gear that Hot Tip fits into, 5.5mm outer diameter and 2.1mm inner diameter).

Polarity Indicator LED

Hot Tip illuminates BLUE for centre positive polarity, and RED for centre negative polarity.

Power supplies got mixed up, now you're not sure what polarity which PSU is? Hot Tip contains a bi-colour LED, and lights up BLUE when the connected PSU is polarity centre positive (BLUE C +) and RED when the connected PSU is polarity centre negative (RED C -). It's written on the Hot Tip too, so you don't need to remember it.

Review: It's back to 1969 for this one from Little Caesar And The Euterpeans, a record which has been sold not so long ago for well over two grand on second-hand markets. 'This mysterious outfit relates on three 45rpms but sure did find a sweet spot when they got in the studio. 'It Was Love' is lo-fi soul with yearning vocals matched by yearning horns and powered by prickly stick work. There is a more high-speed funk feel to 'Big Ole Good Thing' with its racing bass and expressive sax leads.

Review: Cecile McLorin Salvant's new album Melusine mixes up his own new originals - five of them - with nine of his own interpretations of songs that go as far back as the 12th Century. Most of them are sung in French with Occitan, English, and Haitian Kreyo following on from last year's label debut Ghost Song which got not only critical praise but two Grammy nominations. This spirited, richly cultural tracks take you on a worldly journey through many forms of jazz that invigorate mind, body and soul.

Review: It's been nearly ten years since the first release of Orlando Julius and The Heliocentrics' first ever collaborative album, Jaiyede Afro, which did thorough justice to the creative possibilities of Nigerian Afrobeat that arguably haven't been represented so well since Fela Kuti's last releases. Deft rhythms, and loosely-laid-down layers of guitar and horn, ride over each other like harmonious, health-giving backings for life across this short statement of nine tracks. Now reissued via Strut, we're reminded of its spiritual mood of tricky electronics and wahhing ambiences, as it slowly expands outwards into a holistic psychedelia, more than the some of its easily discernible parts.

Review: It is always a pleasure to sink into the welcoming jazz waters of Sam Rivers and take a trip with him downstream. His Fuchsia Swing Sing album has had the full Classic Vinyl Series treatment here from original label Blue Note so it comes on nice audiophile 180g vinyl with a full and new remastering job. It's the debut album from Rivers, a saxophonist of striking originality who offered up his sound fully formed right from the off here. It came originally in 1964 and has a fine avant-garde sound with the stunning ballad 'Beatrice' a real highlight.

Review: Light In The Attic made clear they were in for the long haul when opening up on Nancy Sinatra's musical legacy, and of course a significant part of that is her work with Lee Hazlewood. Presented as another part of this committed effort to bring overdue credit to Sinatra's work, we're treated to the first ever vinyl reissue of Sinatra and Hazlewood's 1972 album Nancy & Lee Again. There is just so much gold bedded into these songs, not least the Dolly Parton-penned 'Down From Dover' and the dreamy, psychedelic lilt of 'Tippy Toes', and there's even two bonus tracks in the form of 'Machine Gun Kelly' and 'Think I'm Coming Down'.

Review: Soul Of Anbessa has got a very special release on their hands here with the words of French poet Charles Baudelaire's "Chant d'automne" delivered in buttery style by Max Livio's voice. It sits atop a rockers' rhythm that will remind you of Channel One sounds and takes you on a lazy jaunt through a hot and steamy day in downtown Kingston with plenty of standout horns. On the flip The 18th Parallel steps up with 'Flowers Of Evil Dub' which has extra heavy dub vibes as mixed by Roberto Sanchez.

Review: London's All Day I Dream label has been using clouds on its EP covers since its first release in 2011. The latest huffing of the vapours is a cumulonimble EP from Noraj Cue and Anton Tomas, two dreamy and deft masters of texture local to the label. The track Cue contributes to the EP, 'Ode To Life Formation', is impressive, with an ear-caressing bassline taking centre stage as echoic blips and cuts float around its suspenseful stasis. The remixes on the B by Tomas add trembling wind chimes and additional melodies to the mix, overall providing a neat coda to the track's vision.

Review: In its original form, on Hot Since '82's 2020 album 'Recovery', 'Sinnerman' is a woozy, impeccably atmospheric chunk of slowly rising deep house brilliance featuring suitably soulful lead vocals from Ed Graves. So what has long-serving German producer Henrik Schwarz done with it on these surprise 2023 remixes? For starters, he's stripped back some of the enveloping pads and chords, instead basing his brilliant A-side 'Remix' around bubbly electronic lead lines, simmering strings, tech-tinged drums and twinkling piano motifs. Add in Graves' superb vocals, and you have a genuine anthem-in-waiting. The almost overwhelming emotiveness of Schwarz's re-production comes through loud and clear on the accompanying 'Dub', which features only snippets of Graves' vocal and more prominent use of the (synth) strings. In a word: brilliant.

Review: 2-step gets speedy on this cheek-biter from Danny Goliger and Choopsie, two relative unknowns on the scene, yet whose efforts clearly need to be brought to a much wider audience. The A-sider 'AF Rex' sits somewhere between classic 2-step and cutesy TikTok reel music, but it errs far less on the side of knife-edge autotuned lyrics, preferring chirrupy vocal one-shots and instrumental fun instead. Think Doss, but shiftier. 'Cycling' brings up the B with far murkier yet no less lively scenes.

Review: Always coming with the juiciest and most forward-thinking takes on 140 music and bass culture, Zhu's White Peach operations have been setting the benchmark for many years. And this reissue is a kindly reminder of their consistency and future-focused nature. Originally released in the summer 2020, it's now rebooted on lush yellow vinyl and, from the stunning Indian strings on the skin-scorching opening title track to the last rippling bleep from the finale track 'Renegade', the sounds remain as ahead of their time.

Review: Italian producer Heinrich Dressel has made a name for himself in a very focused pursuit of 70s and 80s synth wave soundtracks. Relishing in the horror and keeping one hand on the schlocky funk, he's graced the likes of Cyberdance, Strange Life and Mannequin with his Giallo-rooted sound, and now he's returning to Slow Motion with an exquisite EP of brooding, creepy crawlies that kick down low and keep it chilly up top. Paying tribute to iconic synth chips on 'CEM 8220' and exploring sweeter tones on the cascading 'Arpeggio Jawa', this is Dressel at his best.

Review: Slow Motion Records welcomes Ma Spaventi for more of that dusty analogue deep house loveliness that he is so well known for. The Italian-born, Dutch-based sound engineer always gets the most of out his machines and that's clear from the off again here: 'Tornero' starts with delicate tumbling arps and slow, heavy drums. 'Non Ce L'Hai Solo Tu' (Spaventi Dazzurro Twist mix) has popping 808s and talk box vocals with subtle flashes of acid and fizzing chords. There's a disco feel to the cosmic melodies of 'Dreaming Egyptus' and 'Costa Brava' has more bubbling arps and gurgling acid lines to get you moving and grooving.

Review: Walking On The Grass is a debut long player from the much-touted Mush Tone Ensemble. The record was recorded fully live on analogue tape in Hameenlinna and though this is dense, challenging jazz, it also has a hugely uplifting vibe to it. Juha Sarkkola plays with an open heart as he leads the track from his bouncing drums while Tuure Tammi's trumpet and flugelhorn are ever restless and Tero Kemppainen's and bass structures plunge you in deep. This trio has really nailed it from the off with this debut and we hope there will be many more to come.

Review: Th eighth full-length from former Misfits horror-crooner Glenn Danzig's solo project/band served as their first LP to not carry a number, following 777: I Luciferi which angled itself as the closing work of that initial seven volume sequence. Originally released in 2004, Circle Of Snakes continues the descent of Danzig into a rawer, more abrasive form of metallic leaning gothic hard rock, with a notable lowering of vocals in the mix in order to elevate the churning jaggedness of the instrumental rumble. Continuing to eschew the more industrial programming of previous Danzig entries and echoing the stripped back approach of 'Danzig 1' and the increased heaviness of the aforementioned Luciferi, the album would also mark the first appearance of Tommy Victor of Prong on guitars, helping to aid the audible malevolence and ultimately leading to one of the strongest contributions to Danzig's latter day 21st century output.