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Notes: 12-voice version of Waldorf's Iridium Core, a compact synth from the same range as the Quantum. Running on the Waldorf OS, the Iridium features a versatile selection of Wavetable, Multi- & Granular-Sampling, Waveform, Kernel FM and Resonator synth engines.

Supplier's Notes:
The Core

Iridium Core provides the core synthesis engine of the Quantum / Iridium platform. It is the heart of Waldorf's most advanced hardware-based synthesis. The essence of forward-looking sound. The Core.

Sonic Explorer

Iridium Core contains 5 synthesis engines: Wavetable, Multi- & Granular-Sampling, Waveform, Kernel FM and Resonator. Combined with a broad selection of digital filter and processing options Iridium Core lets you explore a huge sonic universe of electronic sound. Iridium Core's intuitive and easy graphical interface helps you to keep your flow of creativity.

Wave Traveller

The compact form factor makes Iridium Core an ideal companion to travel with you to all your sonic explorations and performances. It fits well into laptop size bags and in carry on-baggage it leaves enough space to all your other devices you need for your performances.

Driven by Inspiration

Iridium Core comes with a huge collection of more than 1700 factory presets and samples to drive your sonic Wanderlust. Get inspired what the broad and diverse array of sound designers have created to fuel your musical endeavours.

Team Player

Iridium Core integrates into various live performance and studio setups. Its connects with your modular synths, drum machines, sequencers and computers. The compact form factor fits well into your tabletop or space limited setups.

Family Member

Iridium Core shares the same software platform like Quantum, Iridium Desktop & Iridium Keyboard. All instruments are powered by the Waldorf synthesiser OS and will receive joint updates. Thus, the whole family participates from future enhancements and developments.

Specifications

Compatible with the Waldorf Quantum synth engine
Software: Waldorf Synthesis Platform OS

Oscillators
3 Oscillators each capable of 5 synthesis modes:
Wavetable
Waveform (VA)
Particle (Sampling and Granular Sampling)
Resonator
Kernels (up to 6 sub-oscillators which can be interlinked through FM, AM or Wavetable-position at audio rate)

Dual Stereo Filters per voice
True stereo path Dual Digital Filter with independent modes:
12/24dB LP/HP/BP in all combinations
Nave, Largo, PPG, Quantum and StateVariable models
Analyzer displayed in Filter view
Filter curve animation when modulated (optional)
Sophisticated filter routing options with modulatable panning and levels

Digital Former
Filter models like State Variable, Waldorf Nave, Largo and PPG in HP/LP/BP/Notch
Comb filters, Bit-Crusher, various Drives, Ring-Modulation

Modulators
6 Envelopes
6 LFO
Komplex Modulator (LFO/Envelope combination with user-definable shape and morphing)

Mod Matrix
40 slots
Fast assign mode
One additional control amount per slot
Identical Sources and Destinations can be used multiple times until the matrix is full

Effects
5 slots per layer
Various parallel and sequential routing options
Reverb, Delay, Chorus, Phaser, Flanger, Drive, EQ, Compressor, Tremolo

Performance features
Advanced Arpeggiator
Step-sequencer with up to 64 steps for notes and parameters
2x4 button pads assignable to notes or chords
4 user-assignable potentiometers
6 user-configurable macro buttons
Favourites screen for quick patch recall
XY control on touchscreen
Wheels touchscreen for MIDI controls like mod wheel, pitch bend, aftertouch and velocity
MPE capable

Screen
Industrial-grade highly responsive touch screen with Brightness control
1024x600 pixels

Voices
12 voice polyphony
Duo-timbral
Mono, Legato and Unisono modes

Patches
Over 1700 factory patches
Capacity of 7000 patch memory slots (numbers 0000-9999 can be used)
Patches from Quantum and other Iridium variants can be loaded and vice-versa
Category filter for patch list
2.6 GB sample flash memory preloaded with 2 GB factory samples

Connections
Stereo Audio Out: 2x TS jacks
Stereo Audio In: 2x TS jacks
Headphones TRS output with level control
DIN MIDI IN & Out, mini-TRS Type A (two adapters to DIN MIDI sockets included)
USB Type B (device) for MIDI connection to computer
USB Type A (host) for storage media and MIDI devices
MicroSD slot
2 high-resolution CV Inputs which can be used as modulation sources in the Mod-Matrix
Analogue clock In & Out with clock divider settings

Overall
Sturdy metal case
Dimensions: 346 mm wide by 200 mm depth by 64 mm height (including controls)
Weight: 2.2 kg
External Power Supply: Input 100-240 V / AC 50-60 Hz, Output 12 V DC / 3 A

What's In the Box?
Iridium Core Synthesizer
Two MIDI adapters: mini TRS to DIN sockets
Power Supply
Printed Quick Start Guide

Notes: Updated version of Erica's superb EMS-inspired synth, featuring a powerful dual oscillator synth architecture, piano roll sequencer, modulation matrix and recordable joystick.

Supplier's Notes:
Based on lessons learned from the SYNTRX, Erica Synths decided to create an instrument that would integrate even deeper into contemporary electronic and experimental music setups and cover sonic territory from daunting drones to powerful basslines and glitched noisescapes - the SYNTRX II is a new dark horse for experimental sonic rides.

The SYNTRX II is the culmination of Erica Synths' analogue sound design circuits - two perfectly stable main oscillators with waveshapers, a modulation oscillator with 1V/oct tracking, a versatile multimode filter, supercharged external instrument inputs with an envelope follower, a unique, great-sounding ring modulator, a recordable joystick, built-in piano roll sequencer and stepped modulation sources, all arranged around Erica Synths' signature matrix mixer and topped off with powerful FX on their new DSP platform.

"The SYNTRX 2 is awesome, a very different instrument from V1. My first synths were the VCS3 and the AKS and are still among my favorites today. The Syntrx 2 is pushing the boundaries of possibilities & experimentations much beyond the original analogue version. The Syntrx 2 is an instant classic". - Jean Michel Jarre

Features

Two perfectly stable main oscillators with CV-controlled waveforms
Modulation oscillator with variable waveforms
Highpass and Lowpass filters in series
Free running or gate synced sample and hold circuit
Multi-colour noise generator
DC coupled instrument inputs with signal inversion and envelope follower
Ring modulator of unique design
Looping trapezoid envelope generator and VCA
Two output VCAs
Signal meter with a dedicated audio/CV output
FX section with great sounding Delay and Reverb developed in collaboration with 112db.com
Recordable Joystick
Analogue patch matrix with 3 attenuation levels in each patch point
254 patch memory
Piano roll sequencer and two stepper modulation sources
DIN5 MIDI Input and MIDI Thru
Two assignable outputs
Headphone output
Dimensions: 309mm x 457mm x 115mm (with the joystick in centre position)
Weight: 3.9 kg

Notes: Next-gen standalone expressive synthesizer. Add emotion & movement to your music with a simple touch.

Osmose is the new standard for musical expressivity. Use intuitive gestures to control this standalone synthesizer and upgrade your playing & production skills. Press, bend, shake, strum & more to interact with keyboards & electronic sounds in a new organic way. Whether you're a veteran keyboardist, a workflow-oriented producer, a daring sound designer, or anything in between, Osmose will take your musical journey to uncharted places.

Explore new ways to play

Behind the expressivity of Osmose lies a few natural gestures you already know well. Discover how they interact with Osmose and enhance your musicianship from the very first touch.

Design & build quality

Designed in France to stand the test of time and touring with style, Osmose is made of quality components and boasts a high repairability index.

A sound engine by Haken Audio

Made for expressivity by Haken Audio, the EaganMatrix sound engine is at home with FM, virtual analogue, and physical modeling synthesis, as well as everything in-between.

Fun to play

Easy-to-tweak presets, a playful interface, and an innovative keybed make for a fun & refreshing playing experience, for players of all levels.

Osmose's browser has been tailored to make it a hassle-free experience. It offers various filters and sub-filters based on both sound types and colours so you can find the sounds in your head quickly.

Main features:

49 Key MPE keyboard with polyphonic aftertouch
Full-size keys with 3-dimension MPE control
EaganMatrix sound engine by Haken Audio: a digital modular sandbox allowing subtractive, FM and different physical modeling synthesis
24 voices of polyphony
Assignable mod and pitch sliders
500 factory presets
128 user presets
Configuration modes: standalone synthesizer, MPE MIDI Controller, and classic MIDI Controller
Filters and sub-filters for browsing
Customisable sensitivity and velocity curves
Multi-mode MPE arpeggiator and innovative pressure glide feature
Digital stereo effects: select between reverb , mod delay, swept echo,analog echo or LPF and HPF delay
Large colour display
9 push encoders
2 Line outputs: Two 14" TS pseudo balanced line outputs
MIDI input, output, and MIDI-thru
USB MIDI
Separated 14" TRS headphone output on the front panel (with its dedicated volume knob)
2 continuous pedal inputs assignable to macro or sustain: 6.35 mm Jack
Power: External PSU with lockable connector, 12V, 1.5A, center positive
Dimensions (W x H x D): 894 x 316 x 87.5 mm / 35.2" x 12.4" x 3.4"
Weight: 8.3 kg / 18.4 lbs
Includes a software updater for new firmware and library versions
Includes a Mac/PC editor to create and edit sound

Notes: Celebrating the 50th anniversary of this truly iconic synth, the 'modern' take on the classic Buchla Music Easel doesn't mess with a winning formula, paring the 208C sound source with 218e touch-sensitive keyboard.

Supplier's Notes:
The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel is available for pre-order starting June 16 at Buchla.com and your favourite Buchla Dealer. Delivery of the Music Easel (modern) is expected fall 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Notes: A thing of beauty. Teenage Engineering channel the vibes of vintage open-reel tape recorders mashed up with modern tech. A proper all-round recording solution, from voice memos to studio work.

Supplier's Notes:
There are thoughts, ideas and fragments that - for the sake of humanity - we need to record and be able to return to as a reference, as a seed for new thoughts or just to remember another time. TP-7 is built for just that, to record sound, music, interviews and important ideas with zero friction in the highest possible quality. A device engineered in every detail to do only one thing and to do it well. A dedicated piece of hardware for ideas, or just a dirty riff.

The ultra-portable audio recorder. Record and listen back using the internal mic and speaker, or use any number of the 3x two-way jacks for external mics, headsets or other signal sources. Multiple connectivity options include USB-C, MFi and Bluetooth. Instant voice-to-text transcription available via the IOS app. Included in the box: 6.35 mm jack adapter, textile USB-C cable, user guide and reusable plastic storage box.

Intuitive muscle reflex control.

TP-7 fits perfectly in the palm of your hand and lets your fingers naturally adopt the controls. The index finger triggers fast forward and the middle finger rewinds. Your thumb records a memo, the pinky selects the mode. It's a genuinely rewarding experience.

Tape reel sensation.

The centre piece of the TP-7 is the motorized tape reel. A delicately engineered brushed motor with ball bearings, and a highly sensitive hall sensor that lets you virtually grab your recording. the reel is also used for scrubbing, to pause, menu navigation and as gentle visual feedback during playback and recording.

The rocker.

The side-mounted rocker allows you to quickly scrub through your audio.
just press on the top edge to fast forward, and down to rewind. watch the wheel spin around and hear your tracks scrub in 'hyperspeed'.

Transcription hell turned into transcription heaven.

We've all experienced the process of transcribing recorded speech to text by hand. A key feature of the TP-7 is its ability to streamline the process of turning audio into text. simply connect your phone to TP-7 via BLE or USB, open the TP-7 app and press transcribe. Job done!

(* Additional languages, text-to-audio edit and other useful features will be added over time.)

Off the record.

Picture yourself in an interview situation. The reel on the TP-7 is spinning slowly, the bright red record lamp is lit. Both the reel and the lamp indicates that a recording is taking place. The interview is going quite well. The situation gets heated, you're suddenly asked some personal questions. In that moment, you gently place a finger on the reel and pause the recording, allowing you to continue the interview 'off the record'.

The importance of zero friction.
(or how to remove steps from thought to action.)

Let's compare TP-7 to the most common recorder today - the smartphone:
Once you've turned on and unlocked your phone, found the recording app and started recording, you've probably forgotten whatever you had in mind. When recording on TP-7: press the memo button and start talking.

Inputs, outputs and 20 years of ideas.

TP-7 features three stereo two-way jacks to be used as either inputs or outputs, for connecting external mics, headphones, studio monitors, or any other audio equipment like OP-1 field or TX-6, recording with all 6 stereo channels. Use USB-C for multi-channel audio interface, MIDI, data transfer and charging, and BLE and MFi for wireless connectivity. TP-7 also includes a 6.35 mm to 3.5 mm jack adapter. Add to that 128 GB of internal storage and you can preserve 5 minutes of ideas a day for 20 years..

Applications.

Interview

Let you, and your subject, focus on the job at hand. When conducting interviews, TP-7's discreet size and dedicated function makes for an unobtrusive recording device.

Podcast

Whether you're in the studio or out in the field, TP-7's high quality audio is perfect for podcast recording. Connect up to 3 external mics, or use the internal mic in a pinch. Keep an eye on your levels with the VU meter and headphones.

Voice memos

Think out loud, tape does the rest. Let TP-7 capture your thoughts, then convert them into accurate text using the TP-7 app. For professionals, and avid thinkers and writers.

Field recording

Inspiration can strike when you least expect it. With an internal mic, 3x inputs, and a 7 hr rechargeable battery, you can use tape to record samples and demos on the go. Never lose an idea again.

Live performance

Use TP-7 in a live performance or recording scenario. Track all the instruments in your studio, or record your live set when performing. You can even use TP-7 as turntables and TX-6 to mix.

The field system.

TP-7 is part of Teenage Engineering's ultra-portable sound recording and performance system. All battery-powered, rechargeable via USB-C and with full interconnectivity (MIDI and high resolution audio). Compatible with iOS, macOS, and windows it's the most powerful, highest quality, portable system in the world 'as we know it'.

TP-7 specifications

Highlights
3x stereo two-way jack input/output/headset connectors
1x stereo headphones connector with 3.5 to 6.35 mm jack adapter
Internal microphone and speaker
Motorised 'tape reel'
128 GB internal storage
24-bit/96 kHz usb audio interface
Bluetooth low energy
Rechargeable battery
7 hr battery life
64x32 pixel monochrome display
LED VU meters
Companion transcription app

Dimensions and weight
96 mm x 68 mm x 16 mm
170 g / 5.6 oz

Electrical characteristics
Two-way jacks (3.5 mm TRRS)

Stereo input:
Input impedance 9.5 kOhm
Analogue gain 0 - 42 dB
Max level 8 dBu (2 Vrms)
SNR 105 dBA

Headset:
Max level out 2 dBu (1 Vrms)
SNR 110 dBA
Microphone SNR 98 dBA

Headphone output (6.35 mm TRS)
Max level 8 dBu (2 Vrms)
SNR 120 dBA

Notes: A serious, serious synth. PPG-esque wavetable synthesis with huge 24-voice polyphony, dual analogue filters and four-part multitimbrality. Incredible sound, incredible versatility.

Supplier's Notes:
The 3rd Wave is a powerhouse wavetable synth with 24-voice polyphony and 4-part multi-timbral capability that's like having four independent synthesizers at your fingerprints.

Each of its 3 oscillators per voice can be:

A classic PPG-era wavetable
A high-resolution complex wavetable
An analogue-modelled waveform
Create up to 64 custom wavetables of your own using the built-in Wavemaker. With sample-to-wavetable capability, you can connect an audio source to the audio input and generate a wavetable at the touch of a button.

Classic legacy; modern sound

While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that's a product of its expanded wavetables and warm, organic-sounding analogue filters

It boasts not only a punchy, Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, but a second, SEM-style state-variable filter (low-pass, high-pass, notch, and band-pass) for additional tone-sculpting. Run both filters in series for harmonically complex textures.

4-part; multi-timbral

With 24-voices, the 3rd Wave has enough power for the most note-intensive performances.

And that polyphony really comes into play with its ability to layer up to 4 independent parts or split zones - each with a completely different sound, sequence, and dual effect.

Each stereo part has independent panning, volume, and a dedicated stereo physical output.

Modulation Matrix

The secret weapon of any synth is its mod matrix, and the 3rd Wave doesn't disappoint.

With 16 assignable slots, 12 additional fixed-source slots, 27 sources, and 114 destinations, it has the flexibility of a modular.

And all of this power is per multipart. That means up to 4 independent layers of sound, each with its own mod matrix.

Sequence notes; songs & params

The 3rd Wave's sequencer is an inspiring tool for both composers and sound designers because it is pattern-based and can sequence notes, songs, and parameter changes.

For composing and performing, enter notes and chords in real time with or without quantization for maximum groove and arrange up to 24 patterns of up to 32 measures in length into songs just as easily.

Specs

Sound Engine

3 High-resolution Digital Oscillators Per Voice
64 total user wavetable positions with 48 wavetables that contain 64 waveforms per table (32 legacy PPG waves with room for another 16 of this type)
32 original 8 bit wavetables from the PPG 2 series instruments with room for 16 more user created 8 bit wavetables
7 high-resolution modelled analogue waveforms (sine, saw, triangle, supersaw, pulse, white noise, pink noise)

VCO sync

Linear FM
6-stage wave envelope per oscillator with variable time and position that can be looped
Optional wave flow section that allows for no wavetable as well as no waveform interpolation
Upper wavetable mode as with the original PPG 2 series
Unison mode and chord mode with variable voice count

1 Analogue Low-pass Filter

Dave Rossum designed, classic, 2140 low-pass resonant filter
24 db per octave slope
variable saturation amount
optional resonance compensation

1 State-Variable Filter

12 db per octave slope
Continuously variable between low-pass, notch, and high-pass, operation with optional band-pass mode

4 ADSR+ Delay Envelopes

Filter, Amplifier, plus 2 additional envelopes switchable between exponential and vintage PPG-style response
Freely assignable to multiple modulation destinations

4 Low-Frequency Oscillators

Triangle, sawtooth, reverse sawtooth, square, pulse 1, pulse 2, pulse 3, and random (S&H)
Variable delay
Note reset
Syncable to master clock BPM

2 Digital Effects

BBD, stereo delay, tape delay, chorus, phaser, flanger, distortion pedal, rotating speaker, ring mod, room reverb, hall reverb, super plate reverb - most modelled on famous hardware devices
Syncable to master clock BPM
Parameters modulatable via mod matrix

Wavemaker Tool: Built-In Custom Wavetable Maker

"Sample-to-wave" functionality. Connect an audio source to the 3rd Wave's Audio In port, press "Make Waves" and the synth samples the audio to create a custom wavetable
Samples to convert can also be brought in as a 96 kHz wav file through USB
Store up to 32 custom wavetables
64 waveforms per wavetable
Accepts pitched or un-pitched material as input
96 kHz sampling rate
16-bit resolution
1024 cycles per waveform, converted automatically to cover entire keyboard range
Flexible wave-sampling length
Imports Serum wavetables

Sequencer: Performs both Note and Parameter Sequencing

4 parts per sequence
24 sequences per preset
Up to 32 measures per sequence
Variable quantization resolution per sequence (32nd, 16th, 8th, quarter, half, whole note, or quantization off), that is settable in real time
Variable swing

Arpeggiator: 1 Arp per Multi-part
Up, down, up/down, and assign modes
Variable range (1, 2, or 3 octaves)

Mod Matrix: 16-slot Modulation Matrix Per Multi-Part

16 slot modulation matrix with 27 mod sources and 114 mod destinations
12 additional fixed-source mod paths
Modulation assignment buttons enable quick and easy modulation routing
Mod Matrix runs at audio rates
Sequencer can record and play mod parameter changes in real time

Controls

77 knobs and 39 buttons enable deep, comprehensive editing with minimal menu diving
Pitch and Mod Wheels
Full-sized, five-octave, semi-weighted, premium Fatar keyboard with velocity and aftertouch

Programs

500 factory programs. User rewritable

In/out

4 Stereo outputs (2x 1/4" phone jack per part)
Headphone out (stereo 1/4" phone jack)
MIDI In, MIDI Out, and MIDI Thru
USB port for bidirectional MIDI communication
Audio Input for creating user wavetables from external audio source (1/4" phone jack)
Audio Input can also route audio through the filters, output chain, and effects
Sustain/footswitch input
Volume pedal input
Expression pedal input

Power

1 universal IEC AC power inlet for internal power supply
Operates worldwide on voltages between 100-240v, 50-60 Hz, 65 watts maximum power consumption

Dimensions

Shipping Box Dimensions: 44 x 20 x 13 inches, 35 lbs
Synth Dimensions: 38.5 x 14.25 x 5 inches, 27 lbs

Notes: A massive semi-modular system in a small case with the footprint of a laptop. Cascadia has MIDI in/out/thru/USB, Eurorack compatible signal levels and pro-level audio I/O to interface with the rest of your studio or get your studio started.

Modern Analog Architecture
Cascadia is packed with a mix of classic East and West Coast synthesizer blocks. Normalized connections let you get straight to the sounds inside. Or, let your imagination run wild and patch any of the modules together however you choose. Make small tweaks to the architecture, or re-route the entire synth to your likingithe choice is yours!

Two Precision Analog VCOs
VCO A is Thru-zero FM-ready with a dedicated Index VCA, Sub Oscillator, PWM and Soft/hard sync.
VCO B is a combo VCO/LFO with 4 simultaneous outputs
Six Channel Waveform Mixer
Two patchable (normalled) inputs
Noise generator with multiple algorithms.
Optional asymmetric soft clipping on the mix output.
Liquid-Sounding, Cascaded 4-Pole Multimode Filter
Eight Modes: LP1, LP2, LP4, BP2, BP4, HP4, NT2, Phazor.
Additional dedicated outputs for LP4 and HP4.
Input Level Knob for fine control of filter input and resonance balance and added drive.
Multiple FM inputs and a QM input, all with attenuators.
Wavefolder Circuit
West Coast-style parallel wavefolder.
Normalled into the auxiliary input on the VCA in parallel with the filter.
Dual Digital Envelopes
ENV A is a versatile east coast style ADSR / AHDSR envelope generator with a hold function and dynamic level/time control. Normalled to the VCA to instantly shape your sound.
ENV B is a complex, multimode function generator with a West Coast style AR/ASR/Cycling AR, a beat syncable LFO, Burst generator modes, and the Entropic Sequence Generator (added in 1.3). Normalled to the filter for instant FM without patching.
VCA A and Output Path
VCA A is a linear VCA with auxiliary input.
Global Output Mixer with overdrive circuit and bypassable asymmetric soft clipping.

Expansive Utilities Sections
Cascadia also features a whole host of utilities for getting the most out of your patches.

The Utility Row
Sample and hold circuit with white noise normalled to the input.
Slew/Envelope follower.
Attenuverter/Mixer with multiple outputs.
Triple triangle LFO with rate control, rate input and divided outputs.
Triple buffered multiple.
Precision adder.
Signal inverter.
Bi-polar > Unity level shifter.
Expression level control for modulation the TRS expression input on an FX pedal.
Ring Modulator.
VCA B / LPF (LPG) i Auxiliary VCA and 4-Pole Diode Ladder VCF combination for additional dynamics.
The Top Row
Easy to access Pitch, Gate, and Velocity CV inputs.
Pedal Send and Return FX loop with Wet/Dry control, phase inverter and Line/Pedal level switches.
Output Mixer with Overdrive.
Eurorack Level Main output with level control for interfacing with other modular gear.

The Outside world i MIDI, Pedal and Audio I/O
Cascadia is equipped with a ton of I/O to get it connected to the rest of your gear.

Rear Panel
14" Stereo Headphone jack.
14" Balanced Output Jack.
14" Balanced Input routed to a slider and output on the main panel for patching anywhere into Cascadia.
14" TS Pedal FX Send Return and 14" TRS Expression Out.
MIDI DIN In/Out/Thru and USB-MIDI all routed to the MIDI > CV Interface on the top panel.
MIDI > CV Interface
Deeper MIDI configuration is available with our Intelljel Config App (link below). MPE Support has been added in v1.4 and supports the Ableton Live 12 Tuning systems. Dual Mono mode (added in 1.3) allows an additional channel to send it's own Pitch/Gate signal on the CC/MOD outputs. All modes support MIDI Portamento.

MIDI Pitch / Velocity Outputs and Learn Button
MIDI Gate / Trig Outputs
MIDI CC / Mod i Learnable and assignable to any CC or Channel Pressure
MIDI LFO i Multimode LFO synced with MIDI or Tap Clock
MIDI CLK i Dividable MIDI clock with alternate Tap Clock functionality.
Cascadia comes ready to play.
The normalization behind the panel allows for a ton of exploration without ever adding a patch cable; there is years of material to explore in Cascadia and years more when you start patching. We've included everything you need to get started: 14 assorted patch cables, USB-A to USB-C cable, and an international power supply.

Expand and Customize
In addition to additional patch cables, we have additional options for swapping the wooden cheeks for metal side cheeks or a rackmount kit with a storage trayigreat for an effects pedal or patch cables.

Specs
In the Box Cascadia Semi-modular Synthesizer
14 Patch cables i 4×10cm, 4×15cm, 4×30cm, 2×45cm
USB-C to A cable
Intellijel cable tie
15V/1.2A AC Adaptor (Euro/American prongs included)
Height 66mm (from rubber foot to top of knobs)
Width 348mm (including wood end cheeks)
Depth 246mm (front to rear jacks).
Power 15V DC/1.0 A (minimum), center-pin-positive.

Notes: Like a greatest hits of recent Analogue Solutions synths, the Ample combines sound elements from the Fusebox with jack patch points, a patch pin matrix, plus sequencer and CV touch pads from the Generator, creating something new and unique.

Supplier's Notes:
Ample combines the best elements of several of Analogue Solutions' recent products.

The sound elements of Fusebox
Jack patch points of Concussor Eurorack
Patch pin matrix of Vostok
Echo from Dr Strangelove
Sequencer and CV touch pads of Generator

It shares all this yet still has its own sound!

Ample can be as complex or as simple as you want it to be

This synth has been given a large and diverse number of controls, that along side the patch sockets, will give even the best and experienced synthesist endless possibilities.

This synth presents the controls in a user friendly and familiar synth layout that, together with this manual and other resources, enable even the new guy to get great sounds.

Synth - Percussion - Audio Processor

Ample is a compact analogue synthesizer. Analogue - as in really analogue. Aside from the MIDI chip (which has to be digital), everything else is totally analogue using real transistors and op-amps. There are no CPU stabilised and quantised circuits, no DCOs, no digital LFOs and no digital EGs, as found on other so called analogue synths. The circuitry is based on designs dating back to the mid-1970s. So Ample has a genuine old sound.

Circuits included

3x Analogue Oscillators

There are three analogue VCOs - each providing a wealth of features and modulation choices. VCO3 can easily be utilised as a LFO.

2x Analogue Low Frequency Oscillator

LFO2(/Sync) has a triangle wave output. VCO3 can be used as an LFO and has Saw, Triangle and Square wave modulation signals.

Analogue Filter

Ample uses a four pole 24bB per octave low pass filter.

Analogue Amplifier

The VCA can be set to THRU so it is always 'open'. This allows Ample to be used as an effects processor.

2x Analogue Envelopes

There are two EGs - each having full control over ATTACK, DECAY, SUSTAIN, and RELEASE.

Modulation

Great thought has been placed into modulation route choices, allowing a wide range of sounds to be produced, including percussion and 'modular' sounds further extended by patching with the jack sockets and pin matrix.

MIDI

MIDI is intentionally kept simple - so you can concentrate on making new sounds and making music - not getting tied up with SYSEX programming.

You get the all important control over filter cut-off using MIDI Velocity.

Patchable External CV Control Sockets

Ample has many input and output audio and CV sockets - to allow the synth to be effectively re-wired to make new sounds.

The sockets also enable it to be easily used with Eurorack and other modular systems. They can be patched together.

Sequencer

Ample has a vintage style 16 step sequencer.

Touch Keys

There are 6 touch keys that each output a set voltage. Use this to play the pitch or as modulation signals. A great tool for inspiration!

Pin Matrix

A neat way to patch the synth.

Echo

Nice lo-fi echo / delay.

Notes: A revolutionary keyboard controller that puts the world's best sound library at your fingertips. Get direct, hands-on control of virtual instruments from NI and thousands more from developers like Arturia, Heavyocity, Korg, Output, Spitfire Audio, and u-he.

Browse and tweak everything from synths and drums to orchestral libraries and scoring tools - all seamlessly integrated with Kontrol's tactile controls and large, high-res screen. Then play with a new level of expression and freedom thanks to a best-in-class keybed, polyphonic aftertouch, Light Guide, and Play Assist features. And with a comprehensive package of included software, featuring the industry-leading sampling platform Kontakt 7, you'll be ready to go from day one.

Polyphonic aftertouch

Take expression one step further with the slightest pressure on individual keys. Bring new layers of nuance to your playing with cutoff, pitch, vibrato, and much more, without reaching for an extra encoder or dial. All three models come complete with polyphonic aftertouch on an industry-leading keybed developed in collaboration with Fatar.

Thousands of instruments made real

Kontrol brings the world's best virtual instruments to life in a genuinely immersive experience. Whatever you're playing, get in-depth control thanks to an unparalleled direct connection to Kontakt. Find sounds quickly with intuitive on-screen navigation, then adjust and play them with intelligent auto-mapping that understands the parameters.

Included software

Kontrol comes with a host of creative music production tools - all fully integrated with the hardware, to give you everything you need to start making music straight out of the box.

Included software
Kontakt 7
A free Kontakt instrument of your choice
Komplete 14 Select
Komplete Kontrol Software
Stradivari Cello

An internet connection and a graphics card that supports Direct 3D 11.1 (feature level 11_0) or higher are required to download and activate this product. Once installed and activated, the product can be used offline.

NKS 2 NKS (Native Kontrol Standard) is NI's technical standard for virtual instruments and effects. It's used across the industry and ensures that all compatible plugins are precisely mapped to controls. Kontrol marks the launch of NKS 2, which powers the unmatched software integration experience.

S88 MK3 Dimensions: 1353 × 347 × 120 mm
Weight: 6kg

Hardware specifications:
1 high-resolution colour screen with glass surface (1280 × 480)
CNC machined, bead blasted and anodized aluminum, 8 × encoder caps, 1 × 4D encoder cap, 2 × wheels (pitch and mod)
RGB illuminated pitch and mod wheels
New button-islands that form a continuous dustproof control surface and are grouped by function

System requirements

MIDI 2.0 compatible
Intel Core i5, Apple M1 (and equivalent or higher)
macOS 13 (Ventura) or higher (compatible with macOS 12 in MIDI 1.0 mode)
Windows 10 (latest service pack) or higher
8 GB RAM

Notes: Process up to four channels of audio with a range of hands-on EQ, compression, saturation, filters and multiple independent delays. A creative approach to real-time effects.

Supplier's Notes:
Creative multi-channel audio processor

The GodFather is the first creative multichannel audio processor designed to inspire.

Its secret is a unique combination of manipulation parameters that will make you definitively abandon the conventional mixing concepts and immediately improve your creative skills.

Unlock limitless possibilities in sound design and music creation with this unique device.

Equipped with advanced features and expertly crafted for musicians and producers, this revolutionary product sets a new standard in audio processing and creativity.

This is a product that:

Processes 4 separate audio channels, allowing you to mix, equalize, compress, saturate, filter, and add emphasizing effects.

Stimulates your creativity both in the studio and on stage with multiple independent delays for each channel, capable of generating captivating grooves, surprising rhythmic junctions, and complex polyrhythms. Enhance your music production experience, offering unique sound manipulation possibilities.

Creates additional sound layers by adding filtered repeats within the main repeats for each of the 4 channels.

Offers an immersive experience by adjusting the offset between left and right channels, creating engaging bounces.

Features a large OLED display and numerous LEDs that provide instant, precise, and effective feedback on various functions, allowing you to focus on the creative aspect even in the most challenging lighting situations?


Here's what else this product can do:

Expands sound design possibilities almost infinitely with dedicated buttons to add, replace, and delete sounds within the repetitions for each channel.

Controls all parameters through 2 internal LFOs and 4 multi-assignable external CV inputs.

Correlates the dynamics of individual channels through a side-chain compressor, giving the right space and presence to the sounds of different channels.

Adds atmosphere, depth, and three-dimensionality to your mix with a large stereophonic reverb equipped with dedicated hi-pass filters.

Syncs with the rest of your setup via MIDI or CV Clock, receives external signals, or controls other devices.

Integrates into a 60Hp semi-modular rack, offering total manipulation of audio, MIDI, and CV.

Is crafted with the attention to detail typical of a Made in Italy product, using high-quality potentiometers, aluminium knobs, durable finishes, and precious wooden side panels.

After two years of hard work, design, emotions, technical challenges, and crucial choices, are excited to present this revolutionary device.

The Challenge

Featurings and Power all in small-scale spaces

The Electronic, Mechanical and Graphic Designs have been synergically worked out to be able to insert all the controls, the LEDs, the buttons necessary to create a device that would allow a naturalness in the use without compromises.

Tailor made knobs

For a performer, staying focused on the creative phase requires that the right number of controls are available, and that they are positioned in such a way as to allow natural use. This naturalness comes from a meticulous study and from dozens of configurations tested before reaching the perfect solution! To achieve the high level of usability prefixed, 36 knobs and 11 buttons needed, accurately positioned in the right places. To be able to get the right size, finish, feel, design and hide the potentiometer nuts, Enjoy have designed and made aluminium knobs manufactured exclusively for this product!

High quality potentiometers, aluminium knobs, durable finishes, involve high costs, but are essential to create a high-end device that will last over time.

LEDs

On the panel there are 154 LEDs to drive!

Thanks to the meticulous positioning, the instant feedback they offer is essential for those who must focus on the creative aspect and have everything under control at a simple glance. It wasn't easy at all! But, for us, it was essential to have them, and to have them like this! Enjoy had to design and test different solutions and prototypes before finding the ideal configuration, which would satisfy targets such as position, luminous homogeneity, no-light interference between neighbouring LEDs. Attention to detail remains the guideline.

Case: design, shape and compatibility

The unique shape of the case is produced in a single piece of aluminium thanks to the extrusion technique.

To get it, Enjoy worked closely with aluminium extrusion experts to create a matrix that granted us very tight tolerances, despite the multitude of curves, corners and grooves.

Aluminium and wood case

This strong shell is powder-coated in black, offering the highest resistance against scratches, dents and absolutely no chance for paint flaking. To make it, Enjoy are committed to ordering a huge volume of parts and investing significantly in advance.

Performance Oriented

Months were spent to carefully consider all the function and parameters. After that Enjoy invested a lot of time in designing the "one-knob-per-function" interface with a studio and stage performance perspective. All the visual indication that "The Godfather" provides are extremely useful and intuitive. Despite the great complexity behind The Godfather, it is surprisingly simple to use. You will see and feel the effort when playing with the GodFather.

60HP Semi-Modular footprint

Despite the unique design, The Godfather has the same footprint as a Mother32, DFAM, SubHarminicon, allowing it to perfectly fit into Tier Rack stands (4,3,2 sizes)

All functions

Complex mixing functions:

4 CHANNEL AUDIO IN
4 CHANNEL AUDIO OUT
COMPRESSOR
SIDE CHAIN
SHAPE EQ
PAN
STEREO WIDTH
GAIN STAGING
4 independent DELAY
4 INFINITE LOOPER FEEDBACK
4 STEREO OFFSET
4 Double Pulse Delay
13 HP/LP FILTERS
4 SATURATORS
CUSTOMIZABLE STEREO REVERB engine with DEDICATED HP FILTER
2 MULTI ASSIGNABLE LFO?s
4 independent TRIGGER BUTTONS
3 independent TRIGGERING MODES for creative routing possibilities

Connectivity:

4 AUDIO MONO IN
4 AUDIO MONO OUT (2 stereo pairs)
4 CVs input from -8V to 8V
2 CVs outputs from 0 to 5V
2 Gate input / Clock input 5V
1 Gate / Clock output 5V
MIDI IN/OUT (TRS and CLOCK to DIN adaptors included)

Design:

60hp EURORACK
LED INDICATOR on each channel
OLED DISPLAY
ALUMINIUM CASE
ITALIAN WOOD PANELS
BACKLIT SIDE PANELS

Technical Specifications

Power Supply: 100 to 240 VAC; 50/60 Hz, +12 VDC 1200 mA (included)
Dimensions: 319 x 107 x 133 mm
Patchbay: 19 x 1/8" / 3.5 mm jacks

Notes: Melbourne's hybrid synth combines analogue circuits with wavetable options, all controlled by motorised knobs. A beautiful flagship instrument with lush sound and features to back up its unique interface.

Supplier's Notes:
NINA combines the tactile and sonic qualities of classic analogue synths with modern functionality, patch recall and automation.

NINA: 12 Voice Analog Polysynth
4 part Multi-timbral
Motorized, recallable, automatable, assignable, and robust high resolution control panel
Unlimited & quick to edit Modulation Matrix
3 Oscillators per voice. 2 Analog VCOs, 1 Digital Wavetable.
Patch morphing
Onboard effects

NINA Specifications

Oscillators

3 Oscillators per voice. 2 Analog VCOs, 1 Digital Wavetable.
Oscillator 1 & 2 with waveforms morphable between triangle to sawtooth and PWM square-wave.
Sub octave mode for VCO 1 square wave.
Hard Sync Oscillator 2 from VCO 1.
Fine & Course tune control with up to 8 octave range.
96kHz 24bit Wavetable Oscillator Resolution.
User loadable Wavetables.
Selectable Fuzz & Noise sources - Pink, White, Oscillator 1 & 2 XOR (Fuzz).
LFO with selectable shapes, through-zero modulatable rate & level controls.

VCF
Classic 4 pole transistor ladder VCF
Modulatable resonance, available as a matrix destination.
Extremely over-drivable, or perfectly smooth low noise modes.
Dedicated control for Envelope to Cutoff modulation amount.

VCA
Traditional ADSR envelope with ultra-fast slopes possible.
Melbourne Instruments designed four-quadrant (through zero) VCA.
Stereo: 2 VCAs per voice.
Infinite panning.

Unison polyphony
Play up to 12 voices in unison or polyphonically.
Mono Triggered and Legato modes.
Selectable polyphonic panning schemes

Modulation
Extensive modulation matrix. 16 sources to 27 destinations. No bus count limitation.
Morphable modulation settings.
Quick to edit MOD mode. Select a source and dial in amounts instantly on control panel.
All MOD amounts are through zero (bipolar)

Patch morphing

Morph between patches to create new timbres.
Morph entire patch including Modulation Matrix.

ADSR envelope generators

2 x ADSR envelopes available as mod sources
Modulate Attack, Decay, Sustain, Release, and Level using velocity or any other mod source

Multi-timbral layers

Up to 4 layers for 4 Timbres controllable via MIDI channel and note ranges
User selectable number of assigned voices per layer
Optional linked note ranges across layers for quick keyboard splits & layering

Effects

Upgradable VST3 effects algorithms built on an Open Source architecture.
96kHz 24bit resolution
Parallel or Series mix modes. Parallel mode retains analogue sound.

Sequencer

Up to 16 Step Polyphonic
Adjustable note value
Hold mode
Send Sequencer to Arpeggiator
Tempo sync from external source

Computer

Hackable Open Source software built on a powerful Raspberry Pi 4 running Elk Audio OS.

Connectivity

Audio Out
4 assignable line level outputs.
Stereo main outputs with effects.
Aux outputs (3 & 4).
Headphone output.

Audio In
3 TRS Balanced Line or CV Inputs.
1 TRS/XLR Combo. Mic for line/CV input.
CV +/-10V max. Analog gain and offset trim.

Physical

Weight: 5.5kg (12.1lb)
Dimensions (length x width x depth): 446mm x 230mm x 71mm.
Solid metal construction.
19" rack mount ears available.

Notes: Ultra-high-quality audio interface with unbeatable versatility. Up to 94 channels I/O, 64 MADI channels, DSP and extensive digital options including two optical ADAT I/Os.

*** Complimentary warranty on this product for 5 years if purchased from Juno- UK warranty only***

Supplier's Notes:
RME Fireface UFX III: The Flagship Multi-channel Interface

The Fireface UFX III is a powerful all-in-one solution for modern recording studios, live audio playback systems and multi-channel location recording rigs, handling up to 188 channels (94 Inputs / 94 Outputs) with ease.

Unprecedented flexibility and compatibility combines with RME's famous low latency hardware and driver designs, guaranteeing flawless operation for any multi-channel recording application, whilst the inclusion of DURec (Direct USB Recording) provides extensive options for backup recordings and stand-alone operation.

The ultimate professional tool for multi-track recording, mixing and mastering, the RME Fireface UFX III is packed with professional features including:

USB 3.0 (full 94 channel I/O Class Compliant; USB-C compatible)
SteadyClock FS
Powerful integrated DSP
TotalMix FX
TotalMix Remote
DURec (Direct USB Recording)
MADI I/O (64 channels)
And support for the Advanced Remote Control USB (sold separately)

Powerful USB 3 Performance

The front panel of the Fireface UFX III provides four high-performance XLR/TRS combo inputs for microphone, instrument and line signals, two stereo headphone jacks with +19 dBu output level, MIDI I/O, and a USB port.

In combination with the DURec function (Direct USB Recording), the USB port allows independent recording of selected input and output signals (up to 80 channels) to a connected USB storage medium.

The rear panel reveals the full connectivity of the Fireface UFX III. Besides another MIDI I/O, the two optical ADAT I/Os, an AES/EBU I/O, and eight balanced analogue outputs with line level (including XLR stereo monitor outputs) are available.

With the new Multi-Mode, the two ADAT I/Os can be used as separate optical SPDIF inputs and outputs in addition to the AES I/O. Furthermore, the Fireface UFX III offers an optical MADI interface (SC) with 64 bidirectional channels. The Word Clock connectors (BNC) work as additional coaxial MADI input and output if required.

Comprehensive MADI Connectivity

The Fireface UFX III opens the doors to a host of RME and 3rd party digital and analogue I/O solutions.

Expanding your analogue channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.

To further enhance MADI flexibility, the Fireface UFX III boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analogue plus 16 ADAT plus AES), the MADI I/O is still available via RME's integrated hardware mixer TotalMix FX.

Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

SteadyClock FS - FemtoSecond Clocking Technology

The RME Fireface UFX III also features RME's latest digital clocking and jitter rejection technology, 'SteadyClock FS'.

Originally developed for RME's award-winning ADI-2 Pro FS range of high-end converters, SteadyClock FS reduces intrinsic jitter to a new all-time low, when converting to and from analogue over all digital formats.

All clock modes provide excellent performance and astonishingly high-quality analogue conversion, allowing you to hear your mix exactly as it is.

What's more, RME's digital format conversion occurs without any loss to the signal, and SteadyClock FS ensures your sonic image will never experience any kind of degradation, ensuring the soundstage is replicated to the fullest depth and clarity.

Powerful Applications for Mixing, Monitoring and Measurement included

The Fireface UFX III comes with the TotalMix FX DSP mixer, offering comprehensive routing and monitoring options for all analogue and digital audio channels, as well as the DIGICheck Analyzer, which allows users to measure and analyze digital audio data feeds (in both directions) with maximum precision.

TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, including main monitors, submixes, and headphone mixes for musicians.

A free companion app, TotalMix Remote is a network-controllable remote for TotalMix FX, enabling control over interface's hardware mixer and effects from another Mac, PC or iPad, including wirelessly over Wi-Fi.

TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real time.

DC-Coupled Outputs - CV/Gate Voltage Control

Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.

Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.

All of the Fireface UFX III's line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers formats) and other studio hardware.

USB 3 Class Compliant Audio

The Fireface UFX III operates in two different modes: driver-based and Class Compliant.

Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions, allowing for Plug 'n' Play operation of the Fireface UFX III. No proprietary drivers are required, the device will be directly recognised when the CC firmware is loaded.

The Fireface UFX III is RME's first audio interface with full USB 3.0 support in Class Compliant Mode. This makes all channels available in driverless operation for Linux, Mac and iPadOS.

An iPad Pro with USB-C can manage up to 94 channels for recording and playback in TotalMix FX for iPad and on system level.

ARC USB Remote Control (sold separately)

The ARC USB is an optional remote control for the Fireface UFX III, along with all other RME devices that use TotalMix FX.

15 user-assignable illuminated buttons, one encoder wheel, and a TS jack (for connecting a foot switch) provide access to all of the most used functions of TotalMix FX.

The ARC USB can be connected directly to the Fireface UFX III via the second USB port on the back of the interface, or directly to a USB port on a Mac or PC.

Operating as a UAC 1 class device, the RME ARC USB is natively compatible with Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX III.

DURec (Direct USB Recording)

DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX III records on USB thumb drives or hard drives with up to 2 TB capacity.

The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer. The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks.

Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium - even completely stand-alone without computer or software.

General Specifications

Power supply: Internal switching PSU, 100 - 240 V AC, 36 Watts
Idle power consumption: 19 Watts
Typical power consumption: 22-25 Watts
Dimensions including rack ears (WxHxD): 483 x 44 x 210 mm (19" x 1.73" x 8.5")
Dimensions without rack ears (WxHxD): 440 x 44 x 210 mm (17.3" x 1.73" x 8.3")
Total depth: 240 mm (9.4")
Weight: 3 kg ( 6.6 lbs)
Temperature range: +5- up to +50- Celsius (41- F up to 122-F)
Relative humidity: < 75%, non condensing

Included Accessories:

Cable USB 3.0, 1.8 m (6 ft), USB-A/B
Cable USB 3.0, 1.8 m (6 ft), USB-C/B
Optical cable
4 rubber feet, self-adhesive
Power cable
Printed Manual

Notes: Updated version of Black Corp's analogue monster. Dual-oscillator design with eight-voice polyphony, full MPE support, stereo analogue chorus and a glorious multi-mode filter.

Supplier's Notes:
XERXES delivers an unmatchable level of warmth through its two digitally controlled analogue oscillators. A multimode analogue filter, white and pink noise generator, 2 ADSR envelopes, 2 sync-able LFOs, unique analogue BBD chorus with 3 modes, full MPE-based polyphonic aftertouch, and complete MIDI control including polyphonic aftertouch and MPE work together to bring a classic analogue sound ready to integrate into modern times. MK2 features an updated VCA section, balanced outputs and high quality audio via USB conversion.

Xerxes produces triangle, saw, square, and PWM waveforms with variable drift controls from each oscillator, sync with variable phase shifting, and ring modulation allowing for complex cross-modulation effects. Each oscillator features an octave switch, bipolar transpose potentiometer +/-7 semitones, a master tuning pot affecting both oscillators, and a detune knob for subtly detuning Oscillator 2 to Oscillator 1. Portamento/Glissando or Glide can be programmed to affect Oscillator 1, 2, or both.

The analogue multimode filter on XERXES offers 24db/oct low pass, 12db/oct high pass modes and a band pass filter mode switchable between 6db/oct & 12db/oct for all kinds of filter characteristics. The filter can also be modulated by the dedicated ADSR envelope, LFO, velocity, and aftertouch (MPE and Polyphonic Aftertouch) allowing for incredibly expressive performance and programming.

XERXES features 6 LFO waveforms: Sine, triangle, saw, ramp, square, and random, plus a dedicated delay control to fade the LFO to the full amount set by the depth knob. Two LFOs are selectable with an A/B switch, each of which can be used to control multiple parameters set by the button switches to control oscillator tuning (A/B/Both) filter cutoff, and amplifier levels (VCF/VCA/Both.) Each of these LFOs also includes a Sync on/off switch.

XERXES features a beautiful, fully-analogue BBD-based chorus with 3 selectable modes, similar to the chorus effect found on the vintage Elka Synthex synthesizer. XERXES MK2 is equipped with stereo 1/4" balanced outputs to take full advantage of the stereo chorusing effect.

Finally, XERXES features full MIDI control and ability to store 128 user presets per bank across 11 banks (Factory, Vintage and 9 user banks) integrating this classic synth concept seamlessly into any studio setup.

Main features:

8-voice polyphonic analogue synthesizer
2 discrete logic DCOs per voice
analogue HP/BP/LP filter
2 LFOs
2 ADSRs
polyphonic velocity and aftertouch
full MPE (MIDI polyphonic expression) support
analogue BBD stereo chorus
4U rack size with detachable rack ears and wood side panels
10 preset banks (x128)

New in Version 2: Updated VCA section, balanced outputs and high quality audio via USB conversion using high resolution DACs.

Notes: The most powerful MPC ever. Akai's flagship sampling drum machine gets a limited-edition upgrade with more RAM, more storage and more sounds.

*** Introducing MPC Stems- March 2024 ***

Akai Professional now introduces the next chapter of sampling innovation and production powered by the groundbreaking MPC Stems bringing sampling into a new chapter.

With MPC Stems, you can access the raw building blocks of any sample or vinyl record, isolating the DNA of any record. Producers can now manipulate the Drums, Bass, Music, and Vocals, opening new creative possibilities.

Akai Professional introduces the ultimate creative workflow with Stems Separation seamlessly integrated into the leading MPC series, powered by MPC 2 Desktop Software.

With MPC Stems, producers and beat-makers can now unlock unmatched sampling creativity by easily isolating drums, bass, music, and vocals from any audio, vinyl recording, or sample revolutionizing the art of sampling.
Experience lightning-fast workflow with superior sound quality, keeping you inspired throughout the creative process.

Slice and isolate samples while maintaining chop regions across each of the four stem layers.

Take complete control with direct manipulation of stem layers from the pads, adjusting volume, pitch, pan, start, and end points with instant responsiveness.

MPC Stems requires MPC 2 Desktop Software running 2.14 or higher, compatible with MPC Live, MPC Live 2, MPC One, MPC One +, MPC X, MPC XSE, MPC Key 37, MPC Key 61, MPC Studio Mk 2 in Controller Mode.

Supplier's Notes:
Celebrating 35 years of the most influential sampling drum machine

35 years ago, MPC made its debut and revolutionized pattern-based music production and ushered in a new era of groove-based production. MPC X Special Edition features the original iconic Akai colourway and font, bringing the nostalgic look and feel of the original MPC60 to your modern beats and productions. MPC X Special Edition is upgraded with more memory, more internal storage, and comes fully loaded with the MPC Instrument Collection making MPC X Special Edition the most powerful MPC ever.

The iconic look meets the most powerful MPC

More powerful performance

Introducing the MPC X Special Edition. Combing a rich heritage of ground-breaking creative functionality with the latest in modern technological advancements, MPC X SE is the most powerful and capable MPC ever. Powered by a quad-core processor, MPC X SE includes 4GB of RAM for rapid load times and expanded sampling capabilities for a supercharged workflow. Save the largest projects and ensure you have access to your sound libraries when you need them with 48GB of internal storage. WiFi and Bluetooth mean you're not restricted by cables and connections for high-speed data transfers.

The timeless look and feel

No other piece of gear defines the music producer like the MPC. The central nervous system of any production studio, MPC was and continues to be a recording studio mainstay to facilitate dynamic music creation in perfect step and sync. The commemorative MPC X SE draws on that legacy with the iconic colourway stamped with the retro logo and font. MPC X SE is here to bring the producer back to his proper place of prominence, ready for a new age of music influencers to lead the charge with musical excellence.

Total hardware integration for complete control of your studio

The modern music creation hub

MPC X SE is built to bring your creative space together. Transform your project studio into a modern music production

suite with MPC X SE tying everything together. Control MIDI enabled synthesizers and keyboards with 2 In, 4 Out MIDI I/O or drive modular and euro rack devices with (8) 3.5mm TS output jacks. (2) USB-A host ports enable lightning-fast connections to storage devices, bus-powered USB controllers, MIDI expanders, class-compliant audio interface devices, and more. Count on rapid data transfers that keep up with any high-paced music makers.

A source of superior sound

Capture audio directly from vinyl turntables for clean sample and loop creation right into your sample memory. With an upgraded 4GB of RAM, you're able to grab longer pieces of audio for truly expanded creative possibilities. (2) bination XLR-1/4" inputs deliver pristine audio from instruments, line level devices, and microphones. Phantom power ensures even your large capsule condenser microphones can plug and play right into any MPC session.

The winning workflow

Above all, MPC X SE truly puts you in the driver's seat of integrated workflow. Combine the tried-and-true MPC workflow with plenty of connections for all your wired devices, numerous audio outputs to route sound independently, and wireless Ableton Link 3 functionality over Wi-Fi, any creative task is literally at your fingertips from behind the helm of MPC X SE. Extended sessions are not a problem thanks to the adjustable 10" multi gesture display that ensures you'll always be comfortable when those inspired moments won't stop flowing.

Premier collection of plug-in instruments, sounds and insert effects to inspire you

The power of sound

MPC X SE features an exceptional collection of cutting-edge plugin instruments for truly inspired composition and performance. With over 25 instruments, users have a diverse palette of sounds and textures at their fingertips to create original melodies with no restraints. Dive into Fabric XL synthesizer or Stage EP keyboards for everything from spacious pad synths to meticulous grand pianos, warm electro keyboards layered with fat analogue brass layers, exquisite chamber string quartets, and beyond. MPC X SE is powered by a stunning library of instrument sounds to capture any mood, emotion, and vibe.

Award-winning insert effects plugins

Take your beats and productions to fully mixed and mastered commercial releases. MPC X SE offers a growing collection of dynamic sound processors, equalizers, multi-effects plugins and more for creative arranging of your music as well as all the tools to bring your songs and projects to the finish line. Collaborate with singers and unleash the AIR Vocal Suite to add rich harmony and vocal tuning in real time. Make your productions come alive with creative plugins AIR Flavor, Half Speed, Stutter and much more. For a real throwback MPC experience, pull up one of the many vintage MPC models like the 60, 3000, and more, all at the press of a button.

Technical Specifications

Pads
(16) velocity- and pressure-sensitive pads, RGB-backlit
(8) banks accessible via Pad Bank buttons

Knobs:
(16) 360- touch-sensitive Q-Link knobs for parameter adjustment
(1) 360- encoder for display navigation and selection via push
(7) 270- knobs for gain, mix & level adjustment

Buttons:
(63) dedicated-function buttons

Display:
10.1" / 257 mm (diagonal)
8.5" x 5.5" / 216 x 139 mm (width x height)
Full-colour LED-backlit display with touch interface

Memory
Processor: Quad-core ARMr processor
RAM: 4 GB
Storage 48 GB (over 16 GB available for user storage)

Power:
via power adapter (19 V, 3.42 A, centre-positive, included)

Connections:
(2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2)
(2) 1/4" (6.35 mm) TRS inputs (Input 3/4: 1 stereo pair)
(2) 1/4" (6.35 mm) TS instrument inputs (Inst 1/2)
(2) RCA inputs (Input 3/4: 1 stereo pair, phono- or line-level)
(2) 1/4" (6.35 mm) TS footswitch inputs (FS 1/2)
(2) 5-pin MIDI inputs (8) 1/4" (6.35 mm) TRS outputs (Main L/R, Outputs 3/4-7/8: 4 stereo pairs)
(4) 5-pin MIDI outputs
(8) 1/8" (3.5 mm) CV/Gate outputs
(1) 1/4" (6.35 mm) stereo headphone output
(1) 1/8" (3.5 mm) stereo headphone output
(2) USB Type-A ports (1) USB Type-B port
(1) SD card slot (1) power adapter input

Dimensions:
(width x depth x height) 19.9" x 16.7" x 3.4" / 50.5 x 42.4 x 8.7 cm (display flat) 19.9" x 15.3" x 8.4" / 50.5 x 38.8 x 21.4 cm (display upright)

Weight:
12.57 lbs. 5.66 kg

Notes: Based on the legendary Roland Jupiter-8, the ISE-NIN is a synth with the attention to detail we've come to expect from Black Corporation. Eight voices, fully analogue, with MPE support. Beautiful.

Supplier's Notes:
ISE-NIN (pronounced ee-seh-nin) features eight voices, each consisting of 100% analogue voltage controlled oscillators, analogue lowpass and highpass filter, noise generator, two ADSR envelopes and a VCA. 2 different presets can be layered, making richer sounds, but limiting voices amount to 4 per layer. Each layer has its own fully assignable velocity and poly-aftertouch controls and global MPE settings.

Furthermore the synth offers full MIDI/USB control and the ability to store 128 presets per bank across 10 banks. Sophisticated microtuning with a support of ODDSound MTS-ESP and a signature arpeggiator integrates this classic synth concept seamlessly into the future of your modern studio needs.

Design: 19" / 4U
Polyphony: 8
Sound Generation: Analogue
MIDI interface: 1x In, 1x Out/Thru
Storage Medium: Internal
USB-port: Yes
Effects: No
Arpeggiator: Yes
Number of Analogue Outputs: 2
Digital Output: No
Display: Yes

Notes: When Waldorf introduced the Quantum in 2018 it immediately found its way in the studios and hearts of the most acclaimed film composers, producers, musicians and sound designers. Now five years later Waldorf have released an upgrade of the flagship Quantum synthesizer called "Quantum MK2".

Quantum MK2 was upgraded with a 61 keys polyphonic aftertouch keybed from Fatar, increased sampling storage to 59 GB, improved mechanical design and display. The new 3.0 firmware allows for up to 16 digital or any combination using the 8 analogue filter with additional 8 digital.

What's new?

61 keys Fatar TP8/SK with aftertouch

The Quantum MK2 is the first instrument which presents a 61 keys Fatar TP8/SK polyphonic aftertouch keybed to the world. With its increased possibilities for musical and gestural expression the keybed allows to utilize the enormous modulation capabilities of the Quantum synthesis engine. It is a next level of expression based on a traditional keybed, which keeps all playing capabilities of a musician, and then extends it with an additional dimension of control and creativity.

The polyphonic aftertouch is highly customizable in multiple dimensions globally as well as for individual keys. The high-resolution graphical display supports visual feedback and control for the customization process. In addition to its internal poly aftertouch keybed, the Quantum MK2 can be controlled by any MPE capable controller by directly connecting to Quantum's USB host port.

16 voices of polyphony, digital and analogue filters

Based on an 8 voice analogue dual-filter architecture, the Quantum has been opened up for up to 16 voices of polyphony in any combination of using digital dual multi-mode filters with the 8 analogue ones. Moreover the combination of analogue with digital filter opens up new sonic possibilities of what Waldorf Music stands for since its beginning: Hybrid digital and analogue synthesis. A new set of allocation modes gives the musician an easy control.

59 GB sampling storage

Another cornerstone of "The Quantum Mark 2" is its increased internal sampling storage from a few GB to 59 GB. The Quantum has quickly become the instrument of choice for modern advanced sampling capabilities for sound enthusiasts and cinematic composers from Berlin to Los Angeles. From firmware 1.0 to 3.0 Waldorf Music has listened to the requests and needs of musicians to extend it polyphonic granular sampling engine as well its traditional multi-sample engine.
Design and display

The updated mechanical design and a classy naval blue presents the musician an instrument of beauty and inspiration. The improved mounting of the high-resolution touch display provides wider viewing angles and an intuitive way of controlling the more advanced features of the Quantum synthesis engine.
Sounds and samples

Highly acclaimed sound designers from all over the world have contributed to the huge library of factory presets and an initial sample content of 2 GB. Waldorf Music is proud to have sounds from designers like Richard Devine, Howard Scarr, Reinhold Heil, BT, Matt Johnson, Joerg Huettner, Kevin Schroeder, Sascha Dikiciyan, Kurt Ader, Mike Huckaby, Thorsten Quaeschning and many more. All sounds are compatible with Waldorf's Iridium instruments in both directions.

Synthesis Platform

Waldorf Music has updated and improved its Quantum firmware continuously adding new synthesis capabilities and many feature requests by musicians. The Quantum firmware builds together with the Iridium firmware a "Waldorf Synthesis Platform".

Notes: Studio monitors re-invented. Again.

iLoud Precision series represents another breakthrough in nearfield monitoring from the company that revolutionized compact monitors with iLoud Micro Monitor and iLoud MTM.

Available in a choice of 3 configurations - 2-way 5" or 6.5", and 2 x 5" MTM - these handmade works of sonic art reflect IK's 25+ years of expertise in loudspeaker design and digital signal processing, delivering a level of sonic detail that beats speakers at three times the price, with unique DSP-based features and software workflow enhancements that can't be found anywhere else.

Best-in-class frequency response

Creating mixes that translate perfectly to the outside world, iLoud Precision offers best-in-class frequency response with an extended range of 36 Hz - 30 kHz and a stunning +/- 1 dB accuracy ultra-flat response from 45 Hz to 30 kHz, for precise and uncolored audio throughout the entire listening range.

True linear phase response for unmatched clarity and translation

iLoud Precision leverages its advanced 96 kHz internal DSP system, digital crossover and custom-designed audiophile amplifiers to deliver true linear phase response above 150 Hz (and the very minimum possible phase rotation at low frequencies) for precise stereo imaging, sharp transients, incredibly solid bass and breathtaking detail. The result is a stunningly clear, transparent and revealing sound quality that's absolutely true to life.

Perfect time alignment that eliminates ear fatigue

iLoud Precision also sets a new standard for time coherence, or the precise timing alignment between all the portions of the audio spectrum. Reaching nearly the theoretical ideal performance, iLoud Precision offers the highest level of time accuracy, without sacrificing frequency response. Precise time alignment offers incredibly transient response and frequency balance and eliminates the ear fatigue that can develop over longer listening sessions on lesser monitors. Plus this improves the "readability" of the program and therefore translation.

Built-in acoustic calibration to hear your music and not your room

With iLoud Precision there's less worry about treating your room. Each speaker features built-in calibration based on the acclaimed ARC™ System technology. Just connect the included MEMS measurement microphone and in a few seconds, the iLoud Precisions will tune themselves to any environment from your mixing room to living room

Deep, controlled bass with or without a sub

With bass extension down to 36 Hz at only - 4 dB, iLoud Precision delivers deep, powerful bass that's nevertheless controlled and balanced, with minimum phase rotations. With ARC enabled, in many rooms iLoud Precision can reach as low as 30 Hz, while an adjustable bass roll-off lets Precisions integrate with a sub, for unparalleled low-end performance in any setup, without the need of an external crossover that could degrade sonic performance.

MTM configuration for point source sound

At the top of the range, the iLoud Precision MTM use the midwoofer-tweeter-midwoofer configuration to deliver not only the highest SPL, but also an ultra-precise, point source sound and an incredible stereo field. This means an even more natural, life-like sound, where the speaker cabinets "disappear" and attention can be focused entirely on the music.

Ideal for immersive setups

In addition to self-calibrating to the listening environment, iLoud Precision includes a range of low- and high-frequency management options, including a switchable Full/35/50/65/80 Hz extension to optimize their performance with Atmosr and other immersive setups.

Powerful software control

Extended calibration and custom voicing

The iLoud Precision series introduces X-MONITOR, a newly developed advanced control application for Mac and Windows that assists with ARC calibration and enables extended acoustic and voicing selection and adjustments to fine-tune iLoud Precision to your taste, plus convenient remote access to the settings on the Precision's back panel. The software is plug-n-play via a simple USB connection with no special setup needed.

Iconic studio monitors and popular speaker emulations

Even more exciting, X-MONITOR emulates the frequency and phase response of the most famous studio monitors on the market, as well as popular hi-fi speakers and mobile devices, for a breathtakingly true-to-life experience. Over 20 studio monitor profiles are included, and more will be released in the future, saving you money and space. A single pair of iLoud Precisions with X-MONITOR lets you test a mix on different reference systems quickly, without ever leaving the sweet spot or needing any other speakers.

Fully accessorized
Measurement microphone included

Each iLoud Precision includes a high precision MEMS measurement microphone for the built-in ARC calibration that makes setting up the monitors a breeze.

Isolation pods included

Designed to meet the specific needs of audio professionals and musicians, each iLoud Precision includes a kit of 4 iLoud Isolation Pods. Enjoy enhanced audio clarity, consistency and imaging precision throughout the whole frequency spectrum as these custom pods dramatically reduce the propagation of vibrations between the speaker and supporting surface.

Optional remote control

The optional iLoud Precision Remote Control lets you switch easily between 4 X-MONITOR speaker emulations or custom voicings and assign functions like ARC On/Off, Mute or Dim. And for use with ARC room correction software, the remote can control the measurement/room calibration process from the desk while providing visual feedback on the process status.

Specs

2x5" ultralight coated paper mid-woofer
1.5" high output, low distortion chambered textile dome tweeter
Audiophile, custom-designed Class-D power amplifiers
175 W total RMS power
Max SPL, peak, pair, music, 1 m: 119 dB
Complete DSP controlled system, 96 kHz sampling rate
45 Hz to 30 kHz frequency response +/- 1dB
37 Hz low frequency extension @-4 dB
Phase response: Coherent, 0/+20- max from 150 Hz up
Phase rotation at 100Hz (with high pass filter off): 40- max
Directivity (Vertical - all voices): +/-50-
Directivity (Vertical - Wide Dispersion mode): +65-/-65-
Continuous, long term SPL free field, 1 m distance, one speaker, fullband pink noise: 103.5 dB(A)
Peak SPL free field, 1 m distance, one speaker, fullband pink noise: 109.5 dB(A)
Peak SPL, half space, 1 m distance, one speaker, fullband pink noise: 111.5 dB(A)
Maximum peak SPL, per pair, 1 m distance, music program: 119.5 dB(A)
Crossover frequency: 1.9 kHz
Crossover type: 8th order, linear phase
LF Power amp (short term): 145 W
HF Power amp (short term): 30 W
Power amps distortion at nominal power: 0.005%
Total latency or TOF: 2.5 ms
Adjustable additional delay: 0-10 ms
High pass filter: off, 35, 50, 65, 80 Hz
LF contour: from -10 to +6 dB
Desk contour: from -10 to 0 dB
Mid contour: from -4 to +4 dB
HF contour: from -6 to +6 dB
Sentitivity: -4 dBu / 93 dBSPL
Input gain trim: +/-5 dB
Unit to unit consistency: +/-0.5 dB
Operating temperature (non condensing): from 0 to 35 -C
Coherent time response across the audio spectrum
High performance vented design
Built-in ARC room calibration
X-MONITOR technology
Remote control for X-MONITOR voice selection and measurement process control
X-MONITOR macOS and Windows control software

Dimension and weight
(H x W x D): 442 mm/17.40" x 177 mm/6.96" x 223 mm/8.77"
9.9 kg/21.8 lbs.

Package includes:

1 x iLoud Precision MTM monitor
Power cord
ARC Microphone
ARC Microphone clamp
USB-B to USB-A 2.5 m/8.2 ft. cable
1 x kit of 4 iLoud Isolation Pods

Notes: Studio monitors re-invented. Again.

iLoud Precision series represents another breakthrough in nearfield monitoring from the company that revolutionized compact monitors with iLoud Micro Monitor and iLoud MTM.

Available in a choice of 3 configurations - 2-way 5" or 6.5", and 2 x 5" MTM - these handmade works of sonic art reflect IK's 25+ years of expertise in loudspeaker design and digital signal processing, delivering a level of sonic detail that beats speakers at three times the price, with unique DSP-based features and software workflow enhancements that can't be found anywhere else.

Best-in-class frequency response

Creating mixes that translate perfectly to the outside world, iLoud Precision offers best-in-class frequency response with an extended range of 36 Hz - 30 kHz and a stunning +/- 1 dB accuracy ultra-flat response from 45 Hz to 30 kHz, for precise and uncolored audio throughout the entire listening range.

True linear phase response for unmatched clarity and translation

iLoud Precision leverages its advanced 96 kHz internal DSP system, digital crossover and custom-designed audiophile amplifiers to deliver true linear phase response above 150 Hz (and the very minimum possible phase rotation at low frequencies) for precise stereo imaging, sharp transients, incredibly solid bass and breathtaking detail. The result is a stunningly clear, transparent and revealing sound quality that's absolutely true to life.

Perfect time alignment that eliminates ear fatigue

iLoud Precision also sets a new standard for time coherence, or the precise timing alignment between all the portions of the audio spectrum. Reaching nearly the theoretical ideal performance, iLoud Precision offers the highest level of time accuracy, without sacrificing frequency response. Precise time alignment offers incredibly transient response and frequency balance and eliminates the ear fatigue that can develop over longer listening sessions on lesser monitors. Plus this improves the "readability" of the program and therefore translation.

Built-in acoustic calibration to hear your music and not your room

With iLoud Precision there's less worry about treating your room. Each speaker features built-in calibration based on the acclaimed ARC™ System technology. Just connect the included MEMS measurement microphone and in a few seconds, the iLoud Precisions will tune themselves to any environment from your mixing room to living room

Deep, controlled bass with or without a sub

With bass extension down to 36 Hz at only - 4 dB, iLoud Precision delivers deep, powerful bass that's nevertheless controlled and balanced, with minimum phase rotations. With ARC enabled, in many rooms iLoud Precision can reach as low as 30 Hz, while an adjustable bass roll-off lets Precisions integrate with a sub, for unparalleled low-end performance in any setup, without the need of an external crossover that could degrade sonic performance.

MTM configuration for point source sound

At the top of the range, the iLoud Precision MTM use the midwoofer-tweeter-midwoofer configuration to deliver not only the highest SPL, but also an ultra-precise, point source sound and an incredible stereo field. This means an even more natural, life-like sound, where the speaker cabinets "disappear" and attention can be focused entirely on the music.

Ideal for immersive setups

In addition to self-calibrating to the listening environment, iLoud Precision includes a range of low- and high-frequency management options, including a switchable Full/35/50/65/80 Hz extension to optimize their performance with Atmosr and other immersive setups.

Powerful software control

Extended calibration and custom voicing

The iLoud Precision series introduces X-MONITOR, a newly developed advanced control application for Mac and Windows that assists with ARC calibration and enables extended acoustic and voicing selection and adjustments to fine-tune iLoud Precision to your taste, plus convenient remote access to the settings on the Precision's back panel. The software is plug-n-play via a simple USB connection with no special setup needed.

Iconic studio monitors and popular speaker emulations

Even more exciting, X-MONITOR emulates the frequency and phase response of the most famous studio monitors on the market, as well as popular hi-fi speakers and mobile devices, for a breathtakingly true-to-life experience. Over 20 studio monitor profiles are included, and more will be released in the future, saving you money and space. A single pair of iLoud Precisions with X-MONITOR lets you test a mix on different reference systems quickly, without ever leaving the sweet spot or needing any other speakers.

Fully accessorized
Measurement microphone included

Each iLoud Precision includes a high precision MEMS measurement microphone for the built-in ARC calibration that makes setting up the monitors a breeze.

Isolation pods included

Designed to meet the specific needs of audio professionals and musicians, each iLoud Precision includes a kit of 4 iLoud Isolation Pods. Enjoy enhanced audio clarity, consistency and imaging precision throughout the whole frequency spectrum as these custom pods dramatically reduce the propagation of vibrations between the speaker and supporting surface.

Optional remote control

The optional iLoud Precision Remote Control lets you switch easily between 4 X-MONITOR speaker emulations or custom voicings and assign functions like ARC On/Off, Mute or Dim. And for use with ARC room correction software, the remote can control the measurement/room calibration process from the desk while providing visual feedback on the process status.

Specs

6.5" ultralight coated paper mid-woofer
1.5" high output, low distortion chambered textile dome tweeter
Audiophile, custom-designed Class-D power amplifiers
150 W total RMS power
Max SPL, peak, pair, music, 1 m: 116 dB
Complete DSP controlled system, 96 kHz sampling rate
45 Hz to 30 kHz frequency response +/- 1 dB
37 Hz low frequency extension @-4 dB
Phase response: Coherent, 0/+20- max from 150 Hz up
Phase rotation at 100Hz (with high pass filter off): 45- max
Directivity (Vertical - all voices): +/-50-
Directivity (Vertical - Wide Dispersion mode): +65-/-50-
Continuous, long term SPL free field, 1 m distance, one speaker, fullband pink noise: 100 dB(A)
Peak SPL free field, 1 m distance, one speaker, fullband pink noise: 106 dB(A)
Peak SPL, half space, 1 m distance, one speaker, fullband pink noise: 108 dB(A)
Maximum peak SPL, per pair, 1 m distance, music program: 116 dB(A)
Crossover frequency: 1.9 kHz
Crossover type: 8th order, linear phase
LF Power amp (short term): 120 W
HF Power amp (short term): 30 W
Power amps distortion at nominal power: 0.005%
Total latency or TOF: 2.5 ms
Adjustable additional delay: 0-10 ms
High pass filter: off, 35, 50, 65, 80 Hz
LF contour: from -10 to +6 dB
Desk contour: from -10 to 0 dB
Mid contour: from -4 to +4 dB
HF contour: from -6 to +6 dB
Sentitivity: -4 dBu / 90 dBSPL
Input gain trim: +/-5 dB
Unit to unit consistency: +/-0.5 dB
Operating temperature (non condensing): from 0 to 35 -C
Coherent time response across the audio spectrum
High performance vented design
Built-in ARC room calibration
X-MONITOR technology
Remote control for X-MONITOR voice selection and measurement process control
X-MONITOR macOS and Windows control software
Handcrafted in Italy

Dimension and weight:
(H x W x D): 353 mm/13.89" x 201 mm/7.91" x 282 mm/11.10"
7.7 kg/17 lbs.

Packaging includes:

1 x iLoud Precision 6 monitor
Power cord
ARC Microphone
ARC Microphone clamp
USB-B to USB-A 2.5 m/8.2 ft. cable
1 x kit of 4 iLoud Isolation Pods

Notes: TERRA is a new SOMA Labs synth.

TERRA is a highly conceptual device. The core idea is unity of nature and technology, and a perfect balance between simplicity and versatility. Behind the extremely simple interface hides a complex polyphonic, microtonal synthesizer with a broad and flexible sound palette that ranges from classical beautiful tones to complex atonal noise, and offers smooth and fast transitions between these extremes.

The innovative keyboard design invites new playing techniques and covers the full range of a grand piano with the possibility to tune each note with an accuracy of 125 steps per semitone. To achieve this range with such a simple keyboard we designed a unique system of pitch shifting using four additional sensors. Pressing different combinations of them will result in 16 variations of keyboard transposing, including up to 3 octaves up and down, fifth, fourth, third, tone etc.

Not only do you get the full range of a grand piano in a very compact design, TERRA also offers an entirely new and different approach to playing melodies and chords.

The keyboard consists of 12-note sensors with velocity and pressure sensitivity allowing for the manual creation of slow attack and vibrato, 4 dynamic sensors for timbre modification and control, 4 pitch-shifting sensors and 2 hold sensors for holding the state of the timbre and note sensors.

Inside TERRA there is a three-axis motion sensor for creating a variety of different modulations by simple intuitive movements of your hands and body.

TERRA is digital and contains 32 complex synthesis algorithms. Each algorithm has been carefully designed to be a complete and flexible musical instrument on its own, ready for learning and playing in its own unique way. The goal is to free the musician from long exhausting programming, setting hundreds of parameters for creating one timbre, and instead putting the focus directly on music and performance and following your imagination and inspiration.

TERRA offers the best of both worlds: the direct intuitive tactile connection from acoustic instruments and the flexibility and versatility of synthesizers. TERRA inherits design principles from LYRA-8 and also contains application of the new principles that were announced for ReFLEX, exploring the future of synthesis.

TERRA has an extremely simple interface that gives you instant access to all its functions in several touches, including saving and loading the 96 presets that are stored directly on the playing sensors. TERRA has no display. Instead it shows and lets you dial all necessary data on the 6 LED-sensor triangle in the centre.

TERRA has a built-in FX processor so the stereo output is ready to use, making it a perfect stand-alone performance instrument. While the sound generation is digital, TERRA has a unique custom-built and top quality analogue part that makes it sound rich, natural, clear and powerful at the same time.

The housing of TERRA comes from a solid piece of wood, making each instrument unique and slightly different. In the photo above and in the announcement demo video you can see the prototype of the synth. The final design is in development and we intend to make several different versions.

TERRA is a sanctuary for a natural soul right in the middle of the rumbling plastic world, a ground where you can breathe in and out slowly, and hold on to your roots.

TERRA is our dream about a bright future where we will be both technologically advanced and more connected to nature, where machines and technology are not a prison for our feelings and spirit but their extension.

Synthesis algorithms: 32
Polyphony: 1-12 voices (depending on the algorithm)
Presets: 96
Pitch Shifter presets: 24
Line out: L, R TS/TRS 1/4-inch jacks / 6.35 mm jacks
Maximum line output signal: 13 V peak-to-peak
Nominal line output signal: ~1.5 V (volume 100%)
Headphone output: TRS 1/4 inch jack / 6.35 mm jacks
Headphones impedance: 6-64 ohm
CV-clock input voltage: 3-15 V
Power supply voltage: DC 12 V *
Consumption current: 0.2 A
DC jack: 5.5 x 2.1 mm, "+" in center
Dimensions: 405 x 365 x 57 mm
Weight: 2.2 kg
* TERRA comes with a high quality power supply . If it gets lost, use a high-quality modern switched-mode power supply with 12 V output voltage, at least 0.4 A maximum current, 5.5 x 2.1 mm DC jack, center "+".

What's included:

TERRA - 1 pc.
Power supply - 1 pc.
CV clock adapter (DIN5 - 3.5 mm mini-jack) - 1pc.
Short interface reference manual - 1 pc.
On-table mounting pads - 4 pcs.

Notes: Premium version of the excellent Opsix, Korg's contemporary take on FM synthesis. Full 61-note natural-touch keybed with aftertouch, 80-voice stereo polyphony and full metal construction.

Supplier's Notes:
The Ultimate Union of Power and Performance

opsix SE is a digital synth like no other. With a premium all-metal design, 61-keys, and aftertouch, it unlocks a new world of sonic capabilities. Building on the expansive sound engine in the original opsix, opsix SE enhances it with increased polyphony and voicing, resulting in a synthesizer created for superior performance and precise control.

The opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

The opsix SE takes this even further. It is equipped with Korg's premium 61-key natural-touch keyboard, complete with aftertouch, delivering the exceptional tactile experience expected from Korg's flagship workstations. With a sleek, robust metal body, it's built for both the intensity of live gigs and the precision of studio sessions. The metallic knobs are optimally weighted for effortless adjustments. Underneath its exterior, the opsix SE boasts an incredible capacity of 80 stereo voices of polyphony.

The opsix SE arrives preloaded with hundreds of sounds enhanced for aftertouch control. Moreover, it is fully compatible with the sounds and samples from both the original opsix and the opsix Native software, including numerous high-quality libraries.

Build to play

opsix SE was born out of the desire to play this incredible synth with both hands. Equipped with KORG's premium 61-note natural-touch keyboard, the opsix SE offers the same outstanding tactile response as KORG's top-tier workstations. Aftertouch puts unparalleled control of all the exceptional opsix sounds at your fingertips. Of course, we've modernized the factory Performances for aftertouch and introduced some fresh ones to the mix as well. In fact, most of the opsix SE programs have been revised to make full use of aftertouch, extended keyboard, and polyphony.

Premium metal design

The opsix SE showcases a notable upgrade in aesthetics. A slim body, specifically designed for this instrument, features a striking brown painted aluminium control panel, paying homage to vintage machines. Together with the vivid, illuminating LEDs, it brings a vibrant energy to any stage performance. The side panels, painted in a sleek black metal, amplify the overall aesthetics for a luxurious finish.

Exclusive hard case included

The opsix SE ships in a dedicated hard case, including space for cables and a sustain pedal. Your instrument can travel protected, whether you're carrying it to a rehearsal downtown or packing it up for a tour.

Get Illuminated with the Operator Mixer

At the heart of every sound is opsix SE's Operator Mixer - a simple set of six faders and knobs that invite exploration. Each part lights up red to indicate carriers or blue for modulators. Manipulating them opens up new sound-shaping possibilities to breathe fresh life into your musical ideas. This straightforward, hands-on workflow is part of what makes opsix SE so unique, just like the sounds it offers.

Direct Hands-On Control

Whether you're tweaking a preset or building a patch from the ground up, the six data entry knobs on the right give you quick access to the parameters you need and seamlessly sync with the large OLED display, giving you a clear, focused direction to your workflow. Coupled with the mixer, it makes creating fresh sounds super easy and, most importantly, fun!

Select from a full range of analogue-style filters, from the radical Korg MS-20 low-pass/high-pass filter to the powerful yet smooth KORG Polysix low-pass filter that gives your sound a vintage feel. There are also two or four-pole low-pass, high-pass, band-pass, and band-reject filters with resonance.

There's even a built-in spectrum analyser and oscilloscope that gives you visual feedback via the screen on the music you're making.

Six in One Synthesis

The core of opsix is nothing short of exponential. Since waveforms can be arranged and modulated in nearly infinite ways, opsix can easily do the sonic work that is similar to numerous types of synthesis:

Subtractive

Removing parts of the sound to get the sound you want; the most widely-used synthesis. opsix uses up to six envelopes and multi-modeled filters to achieve many cutting-edge and classical analog synthesis tones.


Semi-Modular
Rerouting signal paths to change the sound. A spin through the Alogorithm section will dramatically reshape the sound by changing how the signal routing between the operators work together, and no patch cables are needed.


Analog (Modelling)
Analog-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.


Waveshaping

Adding intentional distortion to the waveforms to achieve aggressive overtones that are either harmonic or inharmonic. This will help you achieve gritty, bitey tones dripping with character.


Additive

Stacking waveforms and blending their harmonics is key to an expansive range of harmonious, dissonant, and tension-driven sounds. With six operators available, the complete FM experience is possible, including the ability to go back in time for classic sounds you have heard throughout recording history.


Classic FM

Last but certainly not least, opsix's highly flexible and powerful architecture starts with true six-Operator FM. As a result, it easily delivers signature sounds you have surely heard on thousands of hits from the '80s on through today, and with far more polyphony than other standalone FM synths available today.

With all of these ways to realize and explore sounds, opsix SE is uniquely suited as a "future-modern-classic" synth!

Altered Reality

opsix SE is FM-based, but the similarities to the classic synthesis end there. The Altered FM architecture delivers sounds across a vast spectrum, far wider than any single synthesis has been able to cover before, thanks to new sound components; new waveforms, filters, shaping, effects, LFOs, envelopes, modulations, and more, all translating to its broad assortment of sounds.

Powerful Effects Processing

opsix SE provides three blocks of 30 types of high-definition effects that you can use together to enhance your sounds even further. There's everything from a great mix of usable standard effects like chorus, phaser, delay, and compressor to some world-class shimmering reverbs that will elevate your sound to the next level.

Automatable 16-step sequencer

opsix SE features an incredible step sequencer that rivals groove boxes for flexibility and power. Press the PLAY button on any sound and experience the complexity of the sequences! Every Program has its unique sequence stored with it, or create your very own.

You can record up to six notes per step and edit each note's velocity, gate time, and playback timing. Create long phrases or make subtle shifts in timing to emulate strums or drum rolls, something that's not possible on a typical 16-step sequencer. The motion sequencer of the opsix SE also lets you record changes of up to six parameters, creating smooth motion changes in sound within a phrase or building rhythms that change dramatically with each step.

Notes: Special edition Platinum version of the excellent Opsix SE. Metallic finish, aluminium front panel, stainless steel sides and the same powerful FM synth engine as the standard Opsix SE.

Supplier's Notes:
Special limited edition of opsix SE.

Celebrating the release of the long awaited opsix SE, a stunning Platinum model (*) will be available in very limited quantities. While this model shares the same features as the standard model, it boasts a high-end metallic finish with an aluminum front panel and stainless steel side panels. This magnificent instrument is bound to command attention, whether on stage or in the studio.

(*) Differences are only cosmetic, specifications are exactly the same as the standard model. opsix SE Platinum also includes an exclusive set of stickers.

The Ultimate Union of Power and Performance

opsix SE is a digital synth like no other. With a premium all-metal design, 61-keys, and aftertouch, it unlocks a new world of sonic capabilities. Building on the expansive sound engine in the original opsix, opsix SE enhances it with increased polyphony and voicing, resulting in a synthesizer created for superior performance and precise control.

The opsix Operator Mixer simplified FM synthesis for the first time, making it not just comprehensible but also controllable. With the addition of extra synthesis capabilities and programming, it offered a more efficient workflow and an even richer sound.

The opsix SE takes this even further. It is equipped with Korg's premium 61-key natural-touch keyboard, complete with aftertouch, delivering the exceptional tactile experience expected from Korg's flagship workstations. With a sleek, robust metal body, it's built for both the intensity of live gigs and the precision of studio sessions. The metallic knobs are optimally weighted for effortless adjustments. Underneath its exterior, the opsix SE boasts an incredible capacity of 80 stereo voices of polyphony.

The opsix SE arrives preloaded with hundreds of sounds enhanced for aftertouch control. Moreover, it is fully compatible with the sounds and samples from both the original opsix and the opsix Native software, including numerous high-quality libraries.

Build to play

opsix SE was born out of the desire to play this incredible synth with both hands. Equipped with KORG's premium 61-note natural-touch keyboard, the opsix SE offers the same outstanding tactile response as KORG's top-tier workstations. Aftertouch puts unparalleled control of all the exceptional opsix sounds at your fingertips. Of course, we've modernized the factory Performances for aftertouch and introduced some fresh ones to the mix as well. In fact, most of the opsix SE programs have been revised to make full use of aftertouch, extended keyboard, and polyphony.

Premium metal design

The opsix SE showcases a notable upgrade in aesthetics. A slim body, specifically designed for this instrument, features a striking brown painted aluminium control panel, paying homage to vintage machines. Together with the vivid, illuminating LEDs, it brings a vibrant energy to any stage performance. The side panels, painted in a sleek black metal, amplify the overall aesthetics for a luxurious finish.

Exclusive hard case included

The opsix SE ships in a dedicated hard case, including space for cables and a sustain pedal. Your instrument can travel protected, whether you're carrying it to a rehearsal downtown or packing it up for a tour.

Get Illuminated with the Operator Mixer

At the heart of every sound is opsix SE's Operator Mixer - a simple set of six faders and knobs that invite exploration. Each part lights up red to indicate carriers or blue for modulators. Manipulating them opens up new sound-shaping possibilities to breathe fresh life into your musical ideas. This straightforward, hands-on workflow is part of what makes opsix SE so unique, just like the sounds it offers.

Direct Hands-On Control

Whether you're tweaking a preset or building a patch from the ground up, the six data entry knobs on the right give you quick access to the parameters you need and seamlessly sync with the large OLED display, giving you a clear, focused direction to your workflow. Coupled with the mixer, it makes creating fresh sounds super easy and, most importantly, fun!

Select from a full range of analogue-style filters, from the radical Korg MS-20 low-pass/high-pass filter to the powerful yet smooth KORG Polysix low-pass filter that gives your sound a vintage feel. There are also two or four-pole low-pass, high-pass, band-pass, and band-reject filters with resonance.

There's even a built-in spectrum analyser and oscilloscope that gives you visual feedback via the screen on the music you're making.

Six in One Synthesis

The core of opsix is nothing short of exponential. Since waveforms can be arranged and modulated in nearly infinite ways, opsix can easily do the sonic work that is similar to numerous types of synthesis:

Subtractive

Removing parts of the sound to get the sound you want; the most widely-used synthesis. opsix uses up to six envelopes and multi-modeled filters to achieve many cutting-edge and classical analog synthesis tones.


Semi-Modular
Rerouting signal paths to change the sound. A spin through the Alogorithm section will dramatically reshape the sound by changing how the signal routing between the operators work together, and no patch cables are needed.


Analog (Modelling)
Analog-style controls and plenty of stackable waveforms take you from digital to analogue-sounding in no time. Enjoy deep basses, crisp leads, thick pad sounds, fuzzy brass tones, and so much more.


Waveshaping

Adding intentional distortion to the waveforms to achieve aggressive overtones that are either harmonic or inharmonic. This will help you achieve gritty, bitey tones dripping with character.


Additive

Stacking waveforms and blending their harmonics is key to an expansive range of harmonious, dissonant, and tension-driven sounds. With six operators available, the complete FM experience is possible, including the ability to go back in time for classic sounds you have heard throughout recording history.


Classic FM

Last but certainly not least, opsix's highly flexible and powerful architecture starts with true six-Operator FM. As a result, it easily delivers signature sounds you have surely heard on thousands of hits from the '80s on through today, and with far more polyphony than other standalone FM synths available today.

With all of these ways to realize and explore sounds, opsix SE is uniquely suited as a "future-modern-classic" synth!

Altered Reality

opsix SE is FM-based, but the similarities to the classic synthesis end there. The Altered FM architecture delivers sounds across a vast spectrum, far wider than any single synthesis has been able to cover before, thanks to new sound components; new waveforms, filters, shaping, effects, LFOs, envelopes, modulations, and more, all translating to its broad assortment of sounds.

Powerful Effects Processing

opsix SE provides three blocks of 30 types of high-definition effects that you can use together to enhance your sounds even further. There's everything from a great mix of usable standard effects like chorus, phaser, delay, and compressor to some world-class shimmering reverbs that will elevate your sound to the next level.

Automatable 16-step sequencer

opsix SE features an incredible step sequencer that rivals groove boxes for flexibility and power. Press the PLAY button on any sound and experience the complexity of the sequences! Every Program has its unique sequence stored with it, or create your very own.

You can record up to six notes per step and edit each note's velocity, gate time, and playback timing. Create long phrases or make subtle shifts in timing to emulate strums or drum rolls, something that's not possible on a typical 16-step sequencer. The motion sequencer of the opsix SE also lets you record changes of up to six parameters, creating smooth motion changes in sound within a phrase or building rhythms that change dramatically with each step.

Notes: The Buchla Music Easel was one of the first truly portable electronic music instruments. Fifty years ago, in 1973, only a few dozen were made. Unlike many iconic technologies, the influence was not grown through force of scale, but rather the force of the ideas. The Music Easel made available virtually every musical dimension: timbre, melody, rhythm, and time; how these dimensions intersected was no longer the court of acoustics and material, but signals and voltage. The 208 Stored Program Sound Source engendered "a new functional organization [with a] particularly rapid system of patching and program storage via plug-in cards."

Taking cues from the then-recent discipline of cybernetics, the 218 touch plate was for "real-time communication" to help realize the "potential vocabulary" of the Easel, rather than exploiting existing modes of musical virtuosity. The Stored Program Cards ensured rapid repeatability and repertoire on its own terms. The battery terminals made sure the music was as portable as any acoustic instrument. And the name let you know it was designed for art rather than science.

Buchla is ecstatic to revive the Music Easel for its third run in 50 years. Buchla first released the updated 208 Stored Program Sound Source, dubbed the Easel Command, with expanded MIDI and USB capability. Next came the update of the Easel Program Manager - a complete kit for storing and recalling sounds sources, even more rapidly than imagined in 1973. The new 218 Touch Activated Voltage Source provides the optimal input facility, as originally envisioned. It is now all together in a rugged case and the advanced EMBIO module that unifies all the audio and control inputs and outputs for integration with the rest of your musical world.

More than a retro novelty, the Music Easel still speaks to a future we strive for. A technology that invites conversation, not chats, and controls that engage expression, not work. There are many new worlds to explore in this instrument created at the crossroads of the jazz and computer ages. Designed as "an integrated assemblage of functions", rather than a collection of modules, the Music Easel's colour coding, comfortable access to controls, and solid patch connections allow for satisfying sessions of sonic discovery.

The Music Easel (retro) is available for pre-order starting in June 16 at Buchla.com and your favorite Buchla Dealer with delivery expected in winter 2023.

Stored Program Sound Source Model 208C

The sound source of the Music Easel is the 208C, which includes a complex oscillator and a modulation oscillator (which can also serve as another voice), each with independent switchable waveforms, as well as a noise generator, allowing for rich and intricate sound design. The 208C also features a five-stage sequencer, envelope generator, pulser and modulation source - with switchable triggers - allowing for complex patterns and evolving textures. The dual low pass gate provides dynamic control over the tone and amplitude of the sound, as well as natural-sounding decay and sustain. The 208C has a number of modulation sources, including a random voltage generator, the envelope generator, modulation oscillator, and an envelope detector. These sources can be used to modulate various parameters via the extensive patchfield - creating movement, texture, and complexity. The 208C also includes a mixer section with spring reverb.

Touch Activated Voltage Source Model 218e (v3)

The first design appeared in the 1973 release of the Buchla Music Easel and named for the spacecraft that delivered astronauts to the moon. Providing the familiar piano key layout for this early mobile music machine, the additional controls and capabilities were an interface for exploring uncharted musical territory. With the new version 3, it's been elevated with a new foundation of stable, modern electronics with incredible sensitivity and accuracy - the lightest touch will produce triggers and control voltages. The adjustable sensor has the dynamic range and durability to handle your playing. The new texture not only improves the sensing, but provides a satisfying tactile experience. As always, pressure is an expressive output, adding an extra dimension to the control. MIDI outputs velocity and polyphony, as well as channel pressure, making the 218e a uniquely expressive controller. The 218e includes portamento and an arpeggiator, which can be driven by external inputs and are allowed to interact with the automated notes to make patterns more complex. Additional controls allow you to blend different patterns and randomness to easily change from the expected to the surprising. The classic preset voltage knobs offer several possible ways to shift your sounds into new territory. Not only can the knobs be used for quick access to voltages for your patch, they can control arpeggiation modes and octave shifting. Pads output pulses for additional control. The 218e also gives you a unique interface to playing your existing MIDI gear and soft synths. Each touch outputs note name, channel pressure, and velocity for every note, along with sustain controls from a pedal. Polyphonic MIDI mode lets you play chords. The touchstrip can act as a pitch bend control, or as a mod wheel for additional expressive control. Easily configured using the front panel controls, you can send notes and controls on any MIDI channel.

Electric Music Box Input/Output (EMBIO)

Maintaining the spirit, sound, and process from the original, the new Music Easel adds a variety of new features. Buchla's latest renditions of the Stored Program Sound Source and Touch Activated Voltage Source are tied together with the Electric Music Box Input/Output (EMBIO) module. This of course provides MIDI out (mini jack and USB) and CV out from the 218, MIDI in to the 208, and the audio out from the 208C. Additional creative control comes from the Audio Mixer, for integration with other Buchla modules and systems, and the CV conditioners and controls. The slew control can turn your sequencer into a wavy modulator, or soften up a square LFO. The attenuator and crossfader gives you the opportunity to find new levels and combinations of voltages from existing ones. The pulse converter offers new rhythms to trigger. And a simple LFO provides another valuable modulator when you just can't quite let yourself flip that Mod Osc switch from "high" to "low."

Notes: The premium version of Korg's excellent Wavestate gets the Platinum look in this limited-edition model. 61-note keyboard, metal chassis and limited-edition Platinum finish.

Supplier's Notes:
Wavestate SE Platinum

The ultimate Wavestate, the limited edition Wavestate SE Platinum features a stunning premium silver aluminium panel and stainless steel side panels.

Wavestate SE is the powerful evolution of Korg's legendary Wavestation, taking Wave Sequencing to a new level. Designed in California and built in Japan, Wavestate SE includes a premium 61-note keyboard with aftertouch, in an all-metal chassis.

Built for a new era of musicians, composers, and producers, Wavestate SE features hundreds of dynamic sounds, extensive hands-on control and 120 notes of stereo polyphony to inspire new levels of creativity.

A sonic evolution

Wavestate SE is the powerful evolution of Korg's legendary Wavestation, taking Wave Sequencing to a new level. Designed in California and built in Japan, Wavestate SE includes a premium 61-note keyboard with aftertouch, in an all-metal chassis. Built for a new era of musicians, composers, and producers, Wavestate SE features hundreds of dynamic sounds, extensive hands-on control and 120 notes (stereo) of polyphony to inspire new levels of creativity.

Premium, expressive touch

Featuring a 61-key natural-touch keyboard, Wavestate SE feels incredible to play. The inclusion of aftertouch gives fingertip control of the unique constantly changing sound. All factory presets have been meticulously programmed to take full advantage of this expressive control.

Beauty meets brawn

Wavestate SE's all-metal design is as hard-wearing as it is beautiful - with a matte-black aluminium panel complimented perfectly by glossblack stainless-steel sides. The premium finish continues to the controls themselves, where metal-plated knobs are perfectly weighted and add a luxurious touch.

Easily expressive. Exceptionally deep.

The Wavestate SE puts filters, envelopes, LFOs, effects and more at your fingertips with dedicated front-panel controls. Eight programmable Mod knobs are customised to bring out the most in every sound, for real-time performance and also when saving results as new patches. Pitch bend and modulation wheels, and the unique Vector Joystick, give you instant access to multiple dimensions of real-time expression. Digging deeper, almost all front-panel knobs, and most on-screen parameters, can be modulated. You can even modulate settings for individual Wave Sequence steps! Mod Processors let you transform modulation signals using quantization, smoothing, curvature, and more.

Gigabytes of samples

Totalling in the gigabytes, Wavestate SE's sample library is vast. At a thousand times larger than that of the original Wavestation, the amount of great-sounding raw material for Wave Sequences is astounding.

Three of the key sound designers from the original Wavestation, John Bowen, John "Skippy" Lehmkuhl (Plugin Guru), and Peter "Ski" Schwartz, joined Belgian artist Airwave and the renowned Korg voicing team to create the incredible Wavestate SE sound library.

Powerful effects

An arsenal of superb effects ensures Wavestate SE delivers production-ready sounds. Each performance has a master reverb and parametric EQ while each layer has three dedicated effects. Alongside compressors, EQs, choruses, flangers, phasers, and stereo delays, you'll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb, plus modelled effects including Vox guitar amps and wah pedal, multi-head tape echo, and a collection of other classic guitar pedals.

Multiply by four

Take all that power, and quadruple it! You can layer up to four Programs together in a Performance-each with their own effects and arpeggiator. The Vector Envelope and Joystick mix the individual voices of the four layers, and can also modulate any other parameters. This sheer sonic power is further enhanced with 120 notes (stereo) of polyphony. Set Lists offer effortless organisation of your Performances, and deliver instant access at the gig or in rehearsal. And thanks to Smooth Sound Transitions, previously-played voices and effects continue to ring out naturally, even when a new sound has been selected.

Deep connectivity

Connect to recording or monitoring systems with balanced stereo outputs, and a stereo headphone output is provided for private playing or onstage cueing. Din-style MIDI jacks ensure connection to other MIDI-equipped instruments and audio gear. The Wavestate SE supports class-compliant USB MIDI connections to Windows and Mac computers, and the Wavestate SE Editor/Librarian and Sample Builder programs are available as free downloads from Korg.

Wave Sequencing 2.0

The original Wavestation gave each step of a wave sequence a duration, a sample and a pitch. This created ear-catching repetitive patterns, giving rise to entirely new approaches to sound design. But what if the sounds could evolve in organic and unexpected ways, instead of just repeating? Wave Sequencing 2.0 separates the timing, the sequence of samples, and the melody, so that each can be manipulated independently. It also adds new characteristics, including shapes, gate times, and step sequencer values. Each of these is a "Lane", and each Lane can have a different number of steps, start, end and loop points. Every time the sequence moves forward, the individual Lanes combine to create the output. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. You can modulate each Lane's start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different! Lanes can also randomise the step order every time they play, with real-time control over the range of included steps, and individual steps can be randomly skipped (with a modulatable probability from 0 to 100%). The result is organic, ever-changing sounds that respond to your control. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities.

Specifications

Keyboard: 61 keys (Natural touch keyboard with velocity and release-velocity
sensitive, aftertouch)
Sound generation: Wave Sequencing 2.0
Polyphony: 120 stereo voices
Sounds: 261 Performances, 799 Programs, and 1,042 Wave Sequences. Storage for tens of thousands of user Performances
Performance: 4 Layers, Reverb, EQ; all edits are stored in the Performance, DAW-style (saving as separate Programs, Wave Sequences etc. is supported but not required)
Layer: Program, Arpeggiator, Key and Velocity Zones
Program: Wave Sequence, Filter, Amp, Pre FX, Mod FX, Delay
Filters: 2-pole LPF, 2-pole HPF, 2-pole BPF, 2-pole Band Reject, 4-pole LPF, 4-pole HPF, 4-pole BPF, 4-pole Band Reject, Multi Filter, MS-20 LPF, MS-20 HPF, Polysix
Controllers: Mod Wheel, Pitch Wheel, Vector Joystick X/Y, 8x
Program/Performance Mod Knobs

Inputs/outputs: Headphone (6.3 mm stereo phone jack) OUTPUT L/MONO and R (impedance balanced 6.3 mm TRS phone jacks)
DAMPER (6.3 mm phone jack)
MIDI IN and OUT connectors
USB B port

Power supply: AC adapter (DC12V, 2500mA)
Consumption: 5W
Dimensions: 1,014 x 344 x 108 mm
Weight: 8.6 kg

Included items

AC adapter, hard case, t-shirt, stickers

Notes: ***B-STOCK: Box opened, light surface marks, product in perfect working condition ***


Gorgeous analogue synth, the successor to the excellent Sub 37. Two-note paraphonic design capable of classic Moog tones and more aggressive modern sounds. A real bass monster.

Supplier's notes:
The Subsequent 37 is a (2-note) paraphonic analog synthesizer that builds upon the award-winning design of the ultra-powerful Sub 37 Tribute Edition. Its control panel is home to 40 knobs and 74 switches, placing a vast array of analog sound-design tools and onboard sequencing options immediately at your command. The Subsequent 37 improves upon its source through the implementation of a number of user-requested sonic and functional enhancements. Each enhancement maintains the magic and character of its predecessor while also providing access to new dimensions of sound and improved playability.

The SUBSEQUENT 37 mixer section has double the headroom of that in the Sub 37 Tribute Edition. This provides access to a new range of classic clean tones in both mono and duo performance modes. Leveraging the mixer's newfound flexibility, gain-staging in the Ladder filter has been reshaped to boost harmonic saturation and analog compression, resulting in an overall richer low end. Completing the sonic evolution of the SUBSEQUENT 37 is a re-tuned Multidrive circuit that extends well beyond the grit and growl of the original Sub 37.

In addition to the sound engine augmentation, each SUBSEQUENT 37 comes with an upgraded keybed for improved playability, a high-powered headphone amplifier strong enough to drive the most demanding headphones, and a software plugin/editor for both Windows and Mac platforms.

Notes: Fully configured and ready to go

In response to demand AJH Synth are now offering a range of ready built systems! With each size of system, AJH Synth have selected the best combination of modules to give maximum versatility - of course the full configuration has been fully tested and designed for maximum productivity and reliability so that you can concentrate on the most important part of using any modular system - making music!

Putting together a complete Eurorack system from scratch can be quite a daunting prospect, so AJH Synth have taken the pain out of it for you. Trying to choose the best mix of modules for maximum versatility and arranging them so that there is no unused space is often just the start of the process. We also need to find the power consumption of each module, and then calculate total power draw per rail for the chosen case to ensure the PSU can provide sufficient power without being overloaded. There is also the problem of having audible noise on the power rails from a noisy power supply, which can range from barely noticeable to unacceptable. On top of that, there's the it takes to put it all together, then fully testing everything to make sure it is all working as it should.

6U Full system

This is AJH Synth's 'starter' system of two-rows (6U), built around a complete MiniMod voice and additional modules. This is a great, straight-forward instrument to use, learn and understand. It is however deceptively capable, and with it's 3 VCOs, 2 sub-bass generators, mixers, 2 LFOs, 3 envelopes, and 2 VCAs, the following examples are possible:

One huge, single Minimoog-style, 3-VCO monosynth/voice, with 2 additional sub-octaves.
As above, but using the Gemini 2412 as a stereo filter with the 2 VCAs.
Three different sounds using separate filters, sharing VCO & noise, using Muting Mixer to switch each sound on and off.
A simple, single-VCO, 2 voice polyphonic patch with matching filters (Gemini 1 & 2).
Two completely separate monosynths - a 2-VCO synth similar to a Prodigy or Odyssey, AND a single-VCO synth with 2 sub-basses, similar to an early Roland SH101 or Micromoog, but with 2 sub-octaves and multiple mixable waveforms.
The Precision Voltages additionally adds (among other things) the ability to immediately and accurately shift the pitch of the VCOs in relation to an incoming CV signal from a keyboard or sequencer. Having all of this power and flexibility, in a single box with a single plug, is an excellent entry into the MiniMod world of unrivalled, rich analogue sounds.



Here's a breakdown of the modules, case and power supply used in this system:

Glide Noise Glide / Noise Module - Glide up and down, CV buffering and splitting, White, Pink and Red Noise Source
3 x MiniMod VCO - The best sounding Analogue VCO based on the early RA Moog circuitry.
MiniMod Transistor Ladder Filter - An absolute legend, based on the early MiniMoog filter.
Dual Contour Generator - two independant envelopes using Model D transistor circuitry
Discrete Cascaded VCA - two stage VCA using early MiniMoog circuitry
Precision Voltages Module - Transpose and mix pitch CV's wth sufficient accuracy to keep everything perfectly in tune
Dual LFO with VCA - Provides two multi waveform LFO's along with a DC coupled VCA for extra level control
Ring SM - AJH Synth's award winning Ring Modulator, Dual Sub Bass generator and five channel CP3 based discrete transistor mixer
Gemini 2412 - Hugely versatile Dual Multimode VCF based on the vintage Oberheim SEM circuitry
Gain Switch Multi - Control Overdrive of the MiniMod VCF and VCO, and passive multi
DH-ADSR Envelope - Envelope with Delay, Hold and invert features, this also allows the system to be configured as two voices
Muting Mixer and VCA - Both a mixer and a Linear / Exponential VCA
Case - Doepfer A100 LC6V Vintage Black case, 6U with two rows of 84HP for a total of 168HP of rack space.
Power supply - Doepfer PSU3 extra low noise power supply and distribution rails, suitable for 230V or 115V operation

Specifications

Dimensions: 44.5 cm x 27.5 cm x 16 cm

6U with 2 rows of 84HP, total of 168HP rack space.

Weight: 6.5 kg

Voltage: 100V to 240V, auto sensing

Notes on patch cables for 6U system:

Patch cables are a very personal choice, so these systems are supplied without these, however here is a suggestion of suitable sizes to get started:

10 of 25-30cm,

5 of 50-60cm,

2 of 80-90 cm

The 2 longest cables will be useful for connecting the CV & Gate outputs of a controller or sequencer to the CV IN of the Glide + Noise and the GATE inputs of either contour/envelope generator module. The medium-length cables will comfortably reach from one side of the case to the other, whilst the short cables will be most useful for connecting VCOs & noise to the Ring SM or filters, and the envelope generators to VCAs or filter frequency inputs - since these are mostly in close proximity to each other, it will reduce cable overhang.

Notes: Fully configured and ready to go
In response to deman, AJH Synth are now offering a range of ready built systems! With each size of system, AJH have selected the best combination of modules to give maximum versatility - of course the full configuration has been fully tested and designed for maximum productivity and reliability so that you can concentrate on the most important part of using any modular system - making music!

Putting together a complete Eurorack system from scratch can be quite a daunting prospect, so the pain has been taken out of it for you. Trying to choose the best mix of modules for maximum versatility and arranging them so that there is no unused space is often just the start of the process. We also need to find the power consumption of each module, and then calculate total power draw per rail for the chosen case to ensure the PSU can provide sufficient power without being overloaded. There is also the problem of having audible noise on the power rails from a noisy power supply, which can range from barely noticeable to unacceptable. On top of that, there is also the time it takes to put it all together, then fully testing everything to make sure it is all working as it should.

9U Full system

Building on the 6U system, this case offers 3 rows (9U), adding an extra VCO, VCF, VCA, and even more modulation. This system also features a complete MiniMod voice, but with enough modules to add an additional, distinctly different voice to play along side it. It can do everything the 6U system can do, but with the Wave Swarm's dual waveform animators, wave-folding diode filter, and 'clockable' multi-waveform, voltage-controlled LFO, this system offers a huge increase in capability. Such configurations might include:

A 2-voice polysynth, with each voice featuring 2-VCOs, 2 envelopes, and their own matching waveform animator/multiplier (Wave Swarm), LFO, VCF and VCA.

Two huge sounding 2-VCO monosynths, each with distinctly different characteristics and voice architecture. One serving as a lead synth, the other controlled by a sequencer with syncopated filter modulation (Tap Tempo VC-LFO).

Three modest, completely separate mono voices, with their own modulation, all melodically controlled, or perhaps one providing a clocked percussive beat or sound effects.

One ridiculously huge sounding, 4 VCO and 2 sub-octave monosynth! Or perhaps, in order to preserve the structure of nearby architecture, patching a range of variations of the sound sources through the various filters and Wave Swarm, then bringing them together via the Muting Mixer, so that multiple sounds could be selected during a performance.

This system is a real powerhouse, with an absolutely huge range of sonic and performance possibilities.

Here's a breakdown of the modules, case and power supply used in this system:

Glide Noise Glide / Noise Module - Glide up and down, CV buffereing and splitting, White, Pink and Red Noise Source
4 x MiniMod VCO - The best sounding Analogue VCO based on the early RA Moog circuitry.
MiniMod Transistor Ladder Filter - An absolute legend, based on the early MiniMoog filter.
Dual Contour Generator - two independant envelopes using Model D transistor circuitry
2 x Discrete Cascaded VCA - two stage VCA using early MiniMoog circuitry
Dual LFO with VCA - Provides two multi waveform LFO's along with a DC coupled VCA forextra level control
CV Mixer with VCA - mix, invert, amplify and attenuate CV voltages
Ring SM - AJH's award winning Ring Modulator, Dual Sub Bass generator and five channel CP3 discrete transistor mixer
Sonic XV - Vintage style Diode Ladder filter and Wavefolder
Tap Tempo LFO - Amazing Voltage Controlled LFO with Tap Tempo, 16 waveforms and VCA
Precision Voltages Module - Transpose and mix pitch CV's wth sufficient accuracy to keep everything perfectly in tune
Muting Mixer and VCA - Both a mixer and a Linear / Exponential VCA
WaveSwarm - 6 x 2 channel Waveform animators, make 1 VCO sound like twelve!
Gemini 2412 - Hugely versatile Dual Multimode VCF based on the vintage Oberheim SEM circuitry
Gain Switch Multi - Control Overdrive of the MiniMod VCF and VCO, and passive multi
2 x DH-ADSR Envelope - Envelope with Delay, Hold and invert features, this also allows the system to be configured as two voices
Case - Doepfer A100 LC9V Vintage Black case, 9U with three rows of 84HP for a total of 252HP of rack space
Power supply - Doepfer PSU3 extra low noise power supply and distribution rails, suitable for 230V or 115V operation

Specifications

Dimensions: 44.5 cm x 42 cm x 16 cm
9U with 3 rows of 84HP, total of 252HP rack space.
Weight: 9.0 kg
Voltage: 100V to 240V, auto sensing

Notes on patch cables for 9U system:

Patch cables are a very personal choice, so AJH supply these systems without these, however here is a suggestion of suitable sizes to get started:

10 of 25-30cm,

10 of 50-60cm,

4 of 80-90 cm

9. Special appendix: sound effects 1. Table tennis (1:00) 2. Helicopter (0:30) 3. Racing car (0:30) 4. Steam locomotive (0: 30) 5. Truck (0:30).

Side B includes two Japanese Jazz standards as well as other recordings to test your settings.

Notes: Based on AJH's excellent Eurorack clones of classic Minimoog circuits, the MiniMod KeyZ is a hugely capable synth, packed with vintage character and modern build quality.

Supplier's Notes:
The timeless Model D, reinvented in Eurorack

The AJHSynth MiniMod Keyz synth is an exciting new modular monosynth featuring the much acclaimed MiniMod modules, which recreate the vintage circuitry and sound of the early RA Moog Model D in Eurorack modular format. It functions as a standalone keyboard synthesiser, or can be expanded even further by patching it to other Eurorack modules, with excellent connectivity. These are partnered with the feature-packed Cre8audio Niftykeyz controller keyboard, which has been given a vintage makeover with custom-designed, American Walnut end cheeks. It has a huge specification, including a full size 49 note keybed that outputs Pitch CV's, gate CV's, Velocity and Aftertouch CV, along with a multi mode arpeggiator to give you total control over expression and sound.

MiniMod Modules

The MiniMod Keyz is an absolute powerhouse of a monosynth, with three VCO's, two Shaped sine Sub bass generators, classic 24dB vintage Ladder filter, 6dB & 12dB High Pass VCF, Dual Cascaded VCA, Dual Contour generators, Glide Noise module, Ring modulator, Tap-Tempo VC-LFO and onboard second multi-function modulation LFO.

Glide Noise

Glide with added Up/Both/Down function, including correct glide slope profile, along with Hold function that recreates the "Glide only when key is depressed" behaviour. Noise generator with White, Pink and DC Red noise CV modulation source.

Discrete Transistor VCO x 3

Three Discrete Transistor Core VCO's, much acclaimed analogue design featuring the circuitry of the early and very rare RA Moog oscillator which is often acknowledged as the fattest analogue VCO in Eurorack.

Ring SM

AJH Synth's hugely versatile three-in-one module, with fantastic sounding ring modulator based on the EMS VCS3 discrete transistor design, two Sub bass generators with unique, shaped sine waveforms to add -1 and -2 octave waveforms, and last but not least, a five channel DC coupled vintage Moog CP3 transistor mixer.

Transistor Ladder Filter

The Moog Ladder Filter is renowned for its beautiful creamy sound, and the Transistor ladder Filter from the early Model D was the pinnacle in terms of sound, with its unique overdriven circuitry and roll off of resonance at low frequencies. It has featured on countless recordings over the last 50 years or so.

Low Fat Filter

Voltage controlled High Pass filter with 6dB and 12dB slopes. It can be used standalone, or can be combined with the MiniMod Ladder Filter to create a fully customisable band pass filter, allowing the range of passbands to be cherry-picked rather than fixed.

Discrete Cascaded VCA

The Model D cascaded VCA is an essential part of creating the classic MiniMoog sound, because in addition to it's VCA function, it adds harmonic distortion and further character to the sound. There were three different gain configurations used in Model D, with the very early RA Moog and Musonics models having the highest distortion and most sought after sound, so this is the circuitry that we use here. It is actually two VCA's in series, hence the cascaded label. The second VCA is normally unused, however by patching to the Master IN we can use this second VCA here to control Velocity from the keyboard.

Dual Contour generator

The contour generators play a larger part in the sound of the Model D than many people realise. There are two factors that make them unique, firstly the exponential slope when it's used in conjunction with the (near) linear slope of the original VCA, which is responsible for the famous Model D "punch". Secondly, the re-trigger behaviour is quite unique, as multiple re-triggering increases the output level. AJH Synth have faithfully reproduced all of these essential characteristics in the MiniMod Contour Generators.

Tap Tempo VC-LFO

A considerable limitation of the Model D was the lack of any LFO's for modulation, so VCO 3 had to be switched from Audio to LFO mode to provide modulation. As the MiniMod synth benefits from a full open modular architecture AJH Synth have added two LFO's, the first being the onboard LFO that is hard wired to the Modulation wheel, and the second and much more powerful addition being the Tap Tempo VC-LFO. Its huge specification includes built in VCA for CV control of modulation amount, tap tempo and CV control of LFO rate, 16 different modulation and random voltage waveforms, each with a unique PWM style twist function. Clock in and out, and CV control of all parameters.

NiftyKeyz controller Keyboard

By combining these MiniMod modules with the Niftykeyz keyboard controller AJH Synth have created a stand alone MiniMod system that gives the huge, rich AJHSynth sound in a stand alone instrument with unrivalled performance capability. The open architecture of the Eurorack system already allows unlimited onboard patching and easy expansion by patching to other external Eurorack cases and modules, but now we can just as easily connect to a DAW, other Midi synths and pro audio equipment. It can also be used as a master controller for a DAW or other Midi sound modules. Needless to say, it lends itself very well to live performance as a standalone monosynth. Here is a list of the main features of this very versatile keyboard controller:

High quality full size 49 key synth action keybed with CV outputs for both Velocity and aftertouch.
Five mode arpeggiator, including swing control, latch and sequencer mode. Range control allows Arpeggiator span to be varied from one to four octaves.
Two mode modulation wheel that can output either a variable CV voltage or control the level of the LFO 1 waveforms.
Internal LFO 1 that can generate Ramp, Saw, Triangle, Square or Random waveforms
Front panel octave switch -1/ 0 / +1 octaves
Transpose up or down in semitones by up to one octave.
Selectable pitch bend range, either +/- 2 semitones or +/- 1 octave.
Clock input and output
Two active multi's for splitting CV and audio signals
Switchable between Gate retrigger or legato (no retrigger when second note is pressed) modes.
Dual outputs, each with 2 x mix jacks, so four signals can be routed to outputs
Aftertouch and expression pedal smoothing adds a glide to slowly increase the effect with time, selectable from 0 to 5 seconds.
Four Pitch CV outs and 4 Gate outs allows four voice modular polyphonic control and keyboard can be split into two zones.
Autochord function

Connectivity:

Works as a fully featured polyphonic Midi controller for DAW or other Midi instruments, with 5 pin Din and class compliant USB sockets
Sustain Pedal input triggers arpeggiator latch function
Expression pedal input, this generates either a 0 to +5V or 0 to +10V range to the Expression CV jack.
Two outputs, both with 1/4" and 3.5mm jacks, and output level controls
Headphone output to full size stereo 1/4" jack, with separate headphone level control.
Midi In with 5 pin Din socket and class compliant USB socket. Incoming Midi Velocity and Aftertouch dataCV jacks, and CC#1 is routed to Modulation CV
Midi out over USB and 5 pin Din allows it to be used as a polyphonic midi controller keyboard fro your DAW or otherMmidi synths, with local off capability.
Generates midi clock from internal arpeggiator and recieves Midi clock in.

Notes: The ultimate expansion of the original Levitate tabletop synthesizer with a huge collection of NEW Features and Eurorack patch points.

These include:

Three full signal generators - "Legus", "Neura", and "Crazy"
Mixer and lever for all stages + audio outputs per section
Phaser/Delay
VCF
Fuzz
Distortion
6 LFOs

The Levitate Expansion is presented in a Limited & Numbered edition of 3 and brought to you by the mind, passion and work of Synamodec. Manufactured the old school way by hand in Spain in the year of 2023. This is a Sound Art Machine for the times!

Dimensions: 19" x 12" x 4"

Specs

Legus

* 1 Extra out exterior
* 2 LFO included
* 1 Exterior input
* 2 Exterior CV in

Neura

* Triple oscilator
* 1 Exterior output

Crazy

* 1 Extra out exterior
* 1 LFO included
* 1 Exterior CV in
* EQ control included

VCF(2)

* Exterior signal input with level control each.
* Exterior CV in
* 2 Extra output (HP, BP)
* 2 LFO included

Phaser/Delay

* 1 Exterior CV in for delay
* 1 Exterior CV in for phaser (FB)
* 1 Extra out phaser (4P)
* 1 CV LFO for delay included
* 1 LFO included ( for modulate the CV LFO of the delay)

Mixer
Fuzz
6 band EQ/filter
Distortion

VCA
1 Exterior CV in
1 Gate/Trigg out (Sync)

Envelope

Outputs (4)

Direct out from the mixer
Out from mixer + fuzz + 6B equ
Out from mixer + distortion
Out from VCA (We can select with a switch which of the three previous outputs we introduce to the VCA)

* The four outputs are simultaneous.

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


Waldorf draw on their proud history with a new wavetable synth building on the classic Microwave 1 and modern Microwave II/XT. Serious synth power from this eight-voice monster.

Supplier's Notes:
M's musical heart is an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER - as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage - are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control).

With M, Waldorf are musically returning to their roots by bringing back classic Microwave and 'modern' Microwave II tone generation as a new-generation classic hybrid wavetable synthesizer with an analogue lowpass 24 dB/Oct VCF - SSI 2144 Improved Ladder Type - with resonance and analogue saturation feature, true stereo analogue VCA with panning option, and much more to explore in a desktop-friendly form factor featuring a wide range of unique sounds. Plentiful presets - totalling 2,048 sound programs (divided into 16 banks, each with 128 sounds) - professionally programmed by world- renowned sound designers also include all of the classic Microwave sound sets, such as MW1 Factory Sound Set, MW1 Soundpool 1-5, the fat-sounding Analogue and Bassco, as well as PPG Wave 2.3 sounds cleverly converted for the original Microwave. Moreover, it also features freshly-programmed sounds utilising M's myriad new features - from true hard Sync (when working in its Modern Microwave II/XT mode) to the ARP (arpeggiator) and MIDI-syncable global LFO (Low Frequency Oscillator).

But beating at M's musical heart as an eight-voice polyphonic, four-part multitimbral WAVETABLE SYNTHESIZER - as boldly blazoned in red across its full-metal blue- coloured casing, itself hinting at its illustrious Microwave heritage - are two wavetable oscillators with independent wavetable-generating Classic Microwave 1 and Modern Microwave II/XT modes, meaning that the wavetable oscillators behave differently in both of those modes (accessible by pressing the Mode button beside the helpful high-resolution graphic display with four endless encoders for yet more hands-on control). Consequently, there is no hard Sync or ring modulation available in the Classic Microwave I mode, where 16-bit wavetables are bit-reduced to 8-bit and a 240 kHz non-anti-aliased sample rate is offered, whereas the Modern Microwave II/XT mode offers a 40 kHz sample rate with band-limited wavetables, although both oscillators - OSC 1 and OSC 2 - offer the same panel parameters.

Two LFOs are generating a periodic waveform with adjustable frequency Rate and Shape that can be used for modulation purposes, are also always at hand. However, unlike other Waldorf synthesizers, there is no modulation matrix in M. Making a conscious design decision to set up M's modulation facilities directly on the corresponding display page, to paying tribute to the 1989-vintage Microwave.

Back in the here and now, M takes performance to a whole new level, thanks to that advanced ARP with 16 preset patterns, chord mode, and an ability to synchronise to MIDI clock. Furthermore, four programmable ENVELOPES allow adventurous users to manipulate sound parameters via rate or timed modulations.

Musically making a connection to the outside world is important to any synthesizer, so M offers six (rear panel-positioned) stereo analogue outputs - arranged as MAIN OUT (L/Mono and R) and AUX OUT (A, B, C, and D), the latter of which can be used to route each of the four Multi (multitimbral) parts to different outputs, if desired; a stereo headphone output (with an associated Volume knob in addition to the topside Master Volume knob); 5-pin MIDI IN, OUT, and THRU DIN connectors, complimented by a USB 2.0 MIDI port (for computer connection to transmit and receive MIDI data); an SD Card slot (for updating M's firmware, importing/saving sound patches, and importing/saving M-specific data, such as user wavetables); and - last but not least - a Kensington compatible security lock slot.

Notes: One of the most ambitious mixers in the Eurorack realm, Noise Engineering's Xer Mixa features a hybrid design with eight stereo inputs plus two stereo aux ins, digital control (including state save/recall), analogue summing and optional CV support via the Expando Expandi module. Immense.

Supplier's Notes:
All-analogue, digitally-controlled mixer with 10 stereo inputs, three stereo outputs, clickless mutes, save and recall, MIDI, and CV via expanders.

Xer Mixa is a mixer with 10 stereo-paired inputs, three stereo-paired output busses, tactile controls, and a 100% analogue signal path with low noise and crosstalk, pristine sound quality, and ultra-high headroom. A digital control interface harnesses the true power of hybrid design, allowing for state save and recall, per-channel pan law and pre/post send settings, multichannel editing, and MIDI I/O.

Xer Mixa features 8 interactive fader-controlled channels and two aux inputs, all with clickless mutes. Configuration options abound for per-channel pan-law settings, pre- or post-fader sends, and channel settings are made simple with the screen. Settings can be saved into preset slots for easy recall for performances or sessions.

Xer Mixa is a compact 32HP, with a streamlined and easy-to-use interface. CV control over almost any parameter is available through the rear-panel connecting Expando Expandi, which adds CV 8 inputs to Xer Mixa. Connect up to two Expando Expandis for easy CV control over channel levels, pan, aux sends, and more. Xer Mixa and Expando Expandi are available together as a discounted bundle, or individually.

Whether you have a massive studio rig or a compact performance system, Xer Mixa is the perfect choice for an expressive mixer.

Notes: Limited-edition black version of Arturia's top-of-the-range monophonic Brute. Ultra-creative matrix-based analogue synth engine with dual multi-mode filters.

Supplier's Notes:
MatrixBrute

Analogue Avant-Garde

MatrixBrute is arguably the most powerful analogue monophonic synthesizer ever! As flexible as a modular system but offering presets, MatrixBrute is a dream machine for everyone interested in creating a sound palette of their own.

When was the last time you felt your heart beating faster?

When was the last time you heard sounds you had never heard before?

When was the last time you met an instrument that truly inspired pleasure and creativity?

MatrixBrute is an outstanding analogue synthesizer. Offering three Brute oscillators, a Steiner-Parker filter and a ladder filter, five analogue effects, and the incredible modulation matrix, it is a massive sonic beast.

Distinction in design

The heart of the MatrixBrute is its unique modulation matrix that allows you to create your own routings. You can invent a sound palette of your own that will be sure to be heard in any mix!

The matrix can also be used to recall your presets. So go on stage, and select any of the 256 presets instantly! No menus or awkward selection screens, everything is at your fingertips.

As if it was not enough, the matrix is also made to program and play sequences. This is no ordinary step-sequencer. With its ability to also be used as a modulation source, sounds evolve in melody and texture, Just the way you want.

Hands-On Heaven

The digital brain for MatrixBrute's analogue heart

The Matrix is where MatrixBrute's analog reactivity and digital precision collide - an advanced architecture unlike any synth before it.

Sound beyond the power
Offering a audio signal path that is 100% analogue, MatrixBrute also features true analogue effects. The MatrixBrute gives you the sonic quality and power of a vast modular synthesizer but with the flexibility of presets along with a great arpeggiator and an advanced sequencer.

What's in the box

Box content:
MatrixBrute unit
Power cable
Instrument dimensions
Size : 33.8 x 17 x 4.2 inches (860 x 432 x 107mm)
Weight : 44lbs (20kg)

Main Features
Analogue Matrix Synthesizer
256 Preset memory locations
Two Analog Exponential VCO's
Saw + UltraSaw
Square + Pulse width
Triangle + Metalizer

Sub
One Analog Linear VCO/LFO
Saw, Square, Triangle, Sine waveforms
LFO time divisions

Key track
VCO 2>1 Hard Sync

Audio Mod
VCO1>2
VCO1 < VCO3> VCO2
VCF 1 < VCO3> VCF 2
VCF1 < Noise> VCF2

Noise Generator
White; Pink ; Red ; Blue noise types
5 input Audio Mixer with Filter routing
Steiner Parker filter with 12+24 db per octave modes
Drive; Brute factor; Low Pass, High Pass, Band Pass, Notch
Ladder filter with 12+24 db per octave modes
Drive ; Brute factor; Low Pass, High Pass, Band Pass

Two LFO's
Sine, Tri, Square, Ramp, Saw, Random, S&H

Three Envelope Generators
Two Attack, Decay, Sustain, Release
One Delay, Attack, Decay, Sustain, Release

External Audio In
16x16 Matrix modulation panel

64 step sequencer
STEP enable, Slide, Accent, Modulation
Save and recall sequence patterns on the fly

Analogue Effects
Stereo delay, Delay, Flanger, Chorus, Analog Reverberator

Arpeggiator
12 CV / Gate Inputs/Outputs

Audio Input, Line or Instrument level

Stereo audio output
MIDI and USB I/O
Pedal inputs for Expression and Sustain

Notes: ***B-STOCK: Box damaged, product in perfect working order***


Ultra-high-quality audio interface with unbeatable versatility. Up to 94 channels I/O, 64 MADI channels, DSP and extensive digital options including two optical ADAT I/Os.

Supplier's Notes:
RME Fireface UFX III: The Flagship Multi-channel Interface

The Fireface UFX III is a powerful all-in-one solution for modern recording studios, live audio playback systems and multi-channel location recording rigs, handling up to 188 channels (94 Inputs / 94 Outputs) with ease.

Unprecedented flexibility and compatibility combines with RME's famous low latency hardware and driver designs, guaranteeing flawless operation for any multi-channel recording application, whilst the inclusion of DURec (Direct USB Recording) provides extensive options for backup recordings and stand-alone operation.

The ultimate professional tool for multi-track recording, mixing and mastering, the RME Fireface UFX III is packed with professional features including:

USB 3.0 (full 94 channel I/O Class Compliant; USB-C compatible)
SteadyClock FS
Powerful integrated DSP
TotalMix FX
TotalMix Remote
DURec (Direct USB Recording)
MADI I/O (64 channels)
And support for the Advanced Remote Control USB (sold separately)

Powerful USB 3 Performance

The front panel of the Fireface UFX III provides four high-performance XLR/TRS combo inputs for microphone, instrument and line signals, two stereo headphone jacks with +19 dBu output level, MIDI I/O, and a USB port.

In combination with the DURec function (Direct USB Recording), the USB port allows independent recording of selected input and output signals (up to 80 channels) to a connected USB storage medium.

The rear panel reveals the full connectivity of the Fireface UFX III. Besides another MIDI I/O, the two optical ADAT I/Os, an AES/EBU I/O, and eight balanced analogue outputs with line level (including XLR stereo monitor outputs) are available.

With the new Multi-Mode, the two ADAT I/Os can be used as separate optical SPDIF inputs and outputs in addition to the AES I/O. Furthermore, the Fireface UFX III offers an optical MADI interface (SC) with 64 bidirectional channels. The Word Clock connectors (BNC) work as additional coaxial MADI input and output if required.

Comprehensive MADI Connectivity

The Fireface UFX III opens the doors to a host of RME and 3rd party digital and analogue I/O solutions.

Expanding your analogue channel count, the ability to route/mix within the digital domain through numerous sources presents many flexible options. Multiple external MADI devices can also be connected in series.

To further enhance MADI flexibility, the Fireface UFX III boasts some typical RME-style features. For example in USB 2 mode, which is limited to 30 channels I/O (12 analogue plus 16 ADAT plus AES), the MADI I/O is still available via RME's integrated hardware mixer TotalMix FX.

Word Clock I/O (BNC) can be switched to MADI I/O (coaxial), and a special split mode even supports the use of both MADI I/Os simultaneously, with 32 channel each on optical and coaxial.

SteadyClock FS - FemtoSecond Clocking Technology

The RME Fireface UFX III also features RME's latest digital clocking and jitter rejection technology, 'SteadyClock FS'.

Originally developed for RME's award-winning ADI-2 Pro FS range of high-end converters, SteadyClock FS reduces intrinsic jitter to a new all-time low, when converting to and from analogue over all digital formats.

All clock modes provide excellent performance and astonishingly high-quality analogue conversion, allowing you to hear your mix exactly as it is.

What's more, RME's digital format conversion occurs without any loss to the signal, and SteadyClock FS ensures your sonic image will never experience any kind of degradation, ensuring the soundstage is replicated to the fullest depth and clarity.

Powerful Applications for Mixing, Monitoring and Measurement included

The Fireface UFX III comes with the TotalMix FX DSP mixer, offering comprehensive routing and monitoring options for all analogue and digital audio channels, as well as the DIGICheck Analyzer, which allows users to measure and analyze digital audio data feeds (in both directions) with maximum precision.

TotalMix FX can completely replace an external mixer, enabling the creation of multiple latency-free monitor mixes with EQ, Dynamics, Reverb and Delay for any outputs, including main monitors, submixes, and headphone mixes for musicians.

A free companion app, TotalMix Remote is a network-controllable remote for TotalMix FX, enabling control over interface's hardware mixer and effects from another Mac, PC or iPad, including wirelessly over Wi-Fi.

TotalMix Remote mirrors the current state of the host system on the iPad and Windows/Mac computers - the entire mixing state, the complete routing, all FX settings, up to the level meters, and everything in real time.

DC-Coupled Outputs - CV/Gate Voltage Control

Most audio interfaces are traditionally designed with what is called 'AC-coupled outputs', where capacitors are used to filter out any extreme low frequencies.

Whilst these frequencies are generally considered undesirable for audio - eating into headroom and potentially causing damage to other equipment - one instance where DC-coupling remains desirable is the world of modular synthesizers, where static or slow-moving signals are used for control over various parameters such as pitch note values or LFOs.

All of the Fireface UFX III's line-level outputs are fully DC-coupled, allowing for the sending of control voltages (CV) or Gate information to modular synthesizers (such as the popular Eurorack and Moog/MOTM/Synthesizers formats) and other studio hardware.

USB 3 Class Compliant Audio

The Fireface UFX III operates in two different modes: driver-based and Class Compliant.

Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OSX and Linux distributions, allowing for Plug 'n' Play operation of the Fireface UFX III. No proprietary drivers are required, the device will be directly recognised when the CC firmware is loaded.

The Fireface UFX III is RME's first audio interface with full USB 3.0 support in Class Compliant Mode. This makes all channels available in driverless operation for Linux, Mac and iPadOS.

An iPad Pro with USB-C can manage up to 94 channels for recording and playback in TotalMix FX for iPad and on system level.

ARC USB Remote Control (sold separately)

The ARC USB is an optional remote control for the Fireface UFX III, along with all other RME devices that use TotalMix FX.

15 user-assignable illuminated buttons, one encoder wheel, and a TS jack (for connecting a foot switch) provide access to all of the most used functions of TotalMix FX.

The ARC USB can be connected directly to the Fireface UFX III via the second USB port on the back of the interface, or directly to a USB port on a Mac or PC.

Operating as a UAC 1 class device, the RME ARC USB is natively compatible with Windows and Mac OS X. As soon as it is present in the operating system, TotaIMix FX will automatically detect the ARC USB, and communicate with it via simple MIDI remote commands to control the UFX III.

DURec (Direct USB Recording)

DURec is an integrated digital recorder for all inputs and outputs directly to USB memory devices via the front USB port. The Fireface UFX III records on USB thumb drives or hard drives with up to 2 TB capacity.

The recording functionality is provided by the internal DSP, and is therefore independent from a connected Windows or Mac computer. The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks.

Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium - even completely stand-alone without computer or software.

General Specifications

Power supply: Internal switching PSU, 100 - 240 V AC, 36 Watts
Idle power consumption: 19 Watts
Typical power consumption: 22-25 Watts
Dimensions including rack ears (WxHxD): 483 x 44 x 210 mm (19" x 1.73" x 8.5")
Dimensions without rack ears (WxHxD): 440 x 44 x 210 mm (17.3" x 1.73" x 8.3")
Total depth: 240 mm (9.4")
Weight: 3 kg ( 6.6 lbs)
Temperature range: +5- up to +50- Celsius (41- F up to 122-F)
Relative humidity: < 75%, non condensing

Included Accessories:

Cable USB 3.0, 1.8 m (6 ft), USB-A/B
Cable USB 3.0, 1.8 m (6 ft), USB-C/B
Optical cable
4 rubber feet, self-adhesive
Power cable
Printed Manual

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


Updated version of Erica's superb EMS-inspired synth, featuring a powerful dual oscillator synth architecture, piano roll sequencer, modulation matrix and recordable joystick.

Supplier's Notes:
Based on lessons learned from the SYNTRX, Erica Synths decided to create an instrument that would integrate even deeper into contemporary electronic and experimental music setups and cover sonic territory from daunting drones to powerful basslines and glitched noisescapes - the SYNTRX II is a new dark horse for experimental sonic rides.

The SYNTRX II is the culmination of Erica Synths' analogue sound design circuits - two perfectly stable main oscillators with waveshapers, a modulation oscillator with 1V/oct tracking, a versatile multimode filter, supercharged external instrument inputs with an envelope follower, a unique, great-sounding ring modulator, a recordable joystick, built-in piano roll sequencer and stepped modulation sources, all arranged around Erica Synths' signature matrix mixer and topped off with powerful FX on their new DSP platform.

"The SYNTRX 2 is awesome, a very different instrument from V1. My first synths were the VCS3 and the AKS and are still among my favorites today. The Syntrx 2 is pushing the boundaries of possibilities & experimentations much beyond the original analogue version. The Syntrx 2 is an instant classic". - Jean Michel Jarre

Features

Two perfectly stable main oscillators with CV-controlled waveforms
Modulation oscillator with variable waveforms
Highpass and Lowpass filters in series
Free running or gate synced sample and hold circuit
Multi-colour noise generator
DC coupled instrument inputs with signal inversion and envelope follower
Ring modulator of unique design
Looping trapezoid envelope generator and VCA
Two output VCAs
Signal meter with a dedicated audio/CV output
FX section with great sounding Delay and Reverb developed in collaboration with 112db.com
Recordable Joystick
Analogue patch matrix with 3 attenuation levels in each patch point
254 patch memory
Piano roll sequencer and two stepper modulation sources
DIN5 MIDI Input and MIDI Thru
Two assignable outputs
Headphone output
Dimensions: 309mm x 457mm x 115mm (with the joystick in centre position)
Weight: 3.9 kg

Notes: ***B-STOCK: Slight tear on packaging, but product is in perfect working order***


There are thoughts, ideas and fragments that - for the sake of humanity - we need to record and be able to return to as a reference, as a seed for new thoughts or just to remember another time. TP-7 is built for just that, to record sound, music, interviews and important ideas with zero friction in the highest possible quality. A device engineered in every detail to do only one thing and to do it well. A dedicated piece of hardware for ideas, or just a dirty riff.

The ultra-portable audio recorder. Record and listen back using the internal mic and speaker, or use any number of the 3x two-way jacks for external mics, headsets or other signal sources. Multiple connectivity options include USB-C, MFi and Bluetooth. Instant voice-to-text transcription available via the IOS app. Included in the box: 6.35 mm jack adapter, textile USB-C cable, user guide and reusable plastic storage box.

Intuitive muscle reflex control.

TP-7 fits perfectly in the palm of your hand and lets your fingers naturally adopt the controls. The index finger triggers fast forward and the middle finger rewinds. Your thumb records a memo, the pinky selects the mode. It's a genuinely rewarding experience.

Tape reel sensation.

The centre piece of the TP-7 is the motorized tape reel. A delicately engineered brushed motor with ball bearings, and a highly sensitive hall sensor that lets you virtually grab your recording. the reel is also used for scrubbing, to pause, menu navigation and as gentle visual feedback during playback and recording.

The rocker.

The side-mounted rocker allows you to quickly scrub through your audio.
just press on the top edge to fast forward, and down to rewind. watch the wheel spin around and hear your tracks scrub in 'hyperspeed'.

Transcription hell turned into transcription heaven.

We've all experienced the process of transcribing recorded speech to text by hand. A key feature of the TP-7 is its ability to streamline the process of turning audio into text. simply connect your phone to TP-7 via BLE or USB, open the TP-7 app and press transcribe. Job done!

(* Additional languages, text-to-audio edit and other useful features will be added over time.)

Off the record.

Picture yourself in an interview situation. The reel on the TP-7 is spinning slowly, the bright red record lamp is lit. Both the reel and the lamp indicates that a recording is taking place. The interview is going quite well. The situation gets heated, you're suddenly asked some personal questions. In that moment, you gently place a finger on the reel and pause the recording, allowing you to continue the interview 'off the record'.

The importance of zero friction.
(or how to remove steps from thought to action.)

Let's compare TP-7 to the most common recorder today - the smartphone:
Once you've turned on and unlocked your phone, found the recording app and started recording, you've probably forgotten whatever you had in mind. When recording on TP-7: press the memo button and start talking.

Inputs, outputs and 20 years of ideas.

TP-7 features three stereo two-way jacks to be used as either inputs or outputs, for connecting external mics, headphones, studio monitors, or any other audio equipment like OP-1 field or TX-6, recording with all 6 stereo channels. Use USB-C for multi-channel audio interface, MIDI, data transfer and charging, and BLE and MFi for wireless connectivity. TP-7 also includes a 6.35 mm to 3.5 mm jack adapter. Add to that 128 GB of internal storage and you can preserve 5 minutes of ideas a day for 20 years..

Applications.

Interview

Let you, and your subject, focus on the job at hand. When conducting interviews, TP-7's discreet size and dedicated function makes for an unobtrusive recording device.

Podcast

Whether you're in the studio or out in the field, TP-7's high quality audio is perfect for podcast recording. Connect up to 3 external mics, or use the internal mic in a pinch. Keep an eye on your levels with the VU meter and headphones.

Voice memos

Think out loud, tape does the rest. Let TP-7 capture your thoughts, then convert them into accurate text using the TP-7 app. For professionals, and avid thinkers and writers.

Field recording

Inspiration can strike when you least expect it. With an internal mic, 3x inputs, and a 7 hr rechargeable battery, you can use tape to record samples and demos on the go. Never lose an idea again.

Live performance

Use TP-7 in a live performance or recording scenario. Track all the instruments in your studio, or record your live set when performing. You can even use TP-7 as turntables and TX-6 to mix.

The field system.

TP-7 is part of Teenage Engineering's ultra-portable sound recording and performance system. All battery-powered, rechargeable via USB-C and with full interconnectivity (MIDI and high resolution audio). Compatible with iOS, macOS, and windows it's the most powerful, highest quality, portable system in the world 'as we know it'.

TP-7 specifications

Highlights
3x stereo two-way jack input/output/headset connectors
1x stereo headphones connector with 3.5 to 6.35 mm jack adapter
Internal microphone and speaker
Motorised 'tape reel'
128 GB internal storage
24-bit/96 kHz usb audio interface
Bluetooth low energy
Rechargeable battery
7 hr battery life
64x32 pixel monochrome display
LED VU meters
Companion transcription app

Dimensions and weight
96 mm x 68 mm x 16 mm
170 g / 5.6 oz

Electrical characteristics
Two-way jacks (3.5 mm TRRS)

Stereo input:
Input impedance 9.5 kOhm
Analogue gain 0 - 42 dB
Max level 8 dBu (2 Vrms)
SNR 105 dBA

Headset:
Max level out 2 dBu (1 Vrms)
SNR 110 dBA
Microphone SNR 98 dBA

Headphone output (6.35 mm TRS)
Max level 8 dBu (2 Vrms)
SNR 120 dBA

Notes: PlayAUDIO1U allows every working musician access to an easy, seamless, simple & straightforward failover solution.

PlayAUDIO1U fuses iConnectivity's vast engineering knowledge of the live arena, passion for performance, and decades of experience into one product. PlayAUDIO1U ensures working musicians never suffer the embarrassment of a silent show, ever again.

PlayAUDIO1U's secret in part is integrating two computers connected directly to the interface, forming an incredible redundancy / failover protection system. Should your main computer fail, PlayAUDIO1U switches to the backup computer in a heartbeat; so fast that you and your audience won't even notice. Backing tracks keep playing in time and your MIDI gear stays connected. It does this all in a package that is completely designed from the ground up made-to-tour.

PlayAUDIO1U also ships with iConnectivity's new and improved Auracle 2.0. Auracle 2.0 is fast, flexible and intelligent, allowing performers to create a sophisticated live integration of all audio and MIDI connections, inputs and outputs; Auracle lets you do it in minutes, not hours.
"PlayAUDIO1U builds on everything we learned in creating and then supporting users of our PlayAUDIO12, an interface that quickly became the industry standard," says Al Joelson, VP of Sales and Marketing. "This interface is designed to be an even more ready-to-gig, comprehensive solution. It's a crazy powerhouse of audio and MIDI capability for live performance. "

Notes: Serious synth options here, with a 24-voice polyphonic, four-part multi-timbral design based on the iconic PPG wavetable approach, updated and blended with analogue filters. An absolute powerhouse of an instrument.

Supplier's Notes:
The 3rd Wave desktop module a powerhouse wavetable synth with 24-voice polyphony and 4-part multi-timbral capability that's like having four independent synthesizers at your fingerprints.

It has all of the power, all of the polyphony, all of the multipart capability, all of the I/O, and all of the awesome sound quality of the full keyboard version.

Each of its 3 oscillators per voice can be any of these 3 choices:
A classic PPG 8-bit wavetable with all the original processing
A high-resolution anti-aliased 96KHz wavetable
Analogue modelled waveforms with spline interpolation

Create up to 64 custom wavetables of your own using the built-in Wavemaker. With the sample-to-wavetable capability, you can connect an audio source to the audio input and generate a wavetable at the touch of a button.

Classic legacy, modern sound

While the 3rd Wave has roots in the classic digital wavetable synths of the past, it takes that concept into the 21st century with a lush, expansive sound that's a product of its expanded wavetables and warm, organic-sounding analogue filters, 4 independent parts, and 24 voices.

It boasts not only a punchy, Dave Rossum-designed 2140 analogue low-pass filter with variable saturation, but a second, SEM-style state-variable filter (low-pass, high-pass, notch, and band-pass) for additional tone-sculpting. Run both filters in series for harmonically complex textures.

4-part multi-timbral

With 24-voices, the 3rd Wave has enough power for the most note-intensive performances.

And that polyphony really comes into play with its ability to layer up to 4 independent parts or split zones -- each with a completely different sound, sequence, and dual effects.

Each part has independent panning, volume, and a dedicated stereo physical output. Use the multiple outputs and part placement to create spatial audio mixes.

Modulation matrix

The secret weapon of any synth is its mod matrix, and the 3rd Wave doesn't disappoint.

With 16 assignable slots, 12 additional fixed-source slots, 27 sources, and 114 destinations, it has the flexibility of a modular.

And all of this power is per multipart. That means up to 4 independent layers of sound, each with its own mod matrix.

Sequence notes, songs and parameters

The 3rd Wave's sequencer is an inspiring tool for both composers and sound designers because it is pattern-based and can sequence notes, songs, and parameter changes.

For composing and performing, enter notes and chords in real time with or without quantization for maximum groove and arrange up to 24 patterns of up to 32 measures in length into songs just as easily.

Sound engine

3 High-resolution Digital Oscillators Per Voice

64 total user wavetable positions with 48 wavetables that contain 64 waveforms per table (32 legacy PPG waves with room for another 16 of this type)
32 original 8-bit wavetables from the PPG 2 series instruments with room for 16 more user created 8 bit wavetables
7 high-resolution modelled analogue waveforms (sine, saw, triangle, supersaw, pulse, white noise, pink noise)
VCO sync
Free-running oscillators
Linear FM
6-stage wave envelope per oscillator with variable time and position that can be looped
Optional wave flow section that allows for no wavetable as well as no waveform interpolation
Upper wavetable mode as with the original PPG 2 series
Unison, poly unison, and chord unison mode with variable voice count

Analog Low-pass Filter (per voice)

Dave Rossum designed, classic, 2140 low-pass resonant filter
24 dB per octave slope
variable saturation amount
optional resonance compensation

State-Variable Filter (per voice)
12 dB per octave slope
Continuously variable between low-pass, notch, and high-pass, operation with optional band-pass mode

4 ADSR+ Delay Envelopes
Filter, Amplifier, plus 2 additional envelopes switchable between exponential and vintage PPG-style response
Freely assignable to multiple modulation destinations

4 Low-Frequency Oscillators
Triangle, sawtooth, reverse sawtooth, square, pulse 1, pulse 2, pulse 3, and random (S&H)
Variable delay
Note reset
Syncable to master clock BPM

2 Digital Effects
BBD, stereo delay, tape delay, chorus, phaser, flanger, distortion pedal, rotating speaker, ring mod, room reverb, hall reverb, super plate reverb - most modelled on famous hardware devices
Syncable to master clock BPM
Parameters modulatable via mod matrix

Wave maker tool

Built-In Custom Wavetable Maker

"Sample-to-wave" functionality. Connect an audio source to the 3rd Wave's Audio In port, press "Make Waves" and the synth samples the audio to create a custom wavetable
Samples to convert can also be brought in as a 96 kHz wav file through USB
Store up to 32 custom wavetables
64 waveforms per wavetable
Accepts pitched or un-pitched material as input
96 kHz sampling rate
16-bit resolution
1024 cycles per waveform, converted automatically to cover entire keyboard range
Flexible wave-sampling length

Sequencer

Performs both Note and Parameter Sequencing
1 song per multi-part
24 sequences per song
32 measures per sequence
Variable quantization resolution per sequence (32nd, 16th, 8th, quarter, half, whole note, or quantization off)
Swing

Arepggiator

1 Arp per Multi-part
Up, down, up/down, and assign modes
Variable range (1, 2, or 3 octaves)

Mod matrix

16-slot Modulation Matrix Per Multi-Part

16 slot modulation matrix with 27 mod sources and 114 mod destinations
12 additional fixed-source mod paths
Modulation assignment buttons enable quick and easy modulation routing
Mod Matrix runs at audio rates
Sequencer can record and play mod parameter changes in real time

Controls

77 knobs and 39 buttons enable deep, comprehensive editing with minimal menu diving
Pitch and Mod Wheels
Full-sized, five-octave, semi-weighted, premium Fatar keyboard with velocity and aftertouch

Programs

500 factory programs. User rewritable

In/out

4 Stereo outputs (2x 1/4" phone jack per part)
Headphone out (stereo 1/4" phone jack)
MIDI In, MIDI Out, and MIDI Thru
USB port for bidirectional MIDI communication
Audio Input for creating user wavetables from external audio source (1/4" phone jack)
Sustain/footswitch input
Volume pedal input
Expression pedal input

Power

1 universal IEC AC power inlet for internal power supply

Notes: Nava 909 with extra 9 expansion

The NAVA 909 is the only real clone of the Roland TR-909 who reproduce perfectly the sound of the original drum machine, even the sequencer has the same groove, the shuffle parameter is fully implemented.

It has a MIDI interface, Roland Dyn Sync, trigger out, just like the original model.

It replicates so well the sound to the point that it is no more a clone, but an exact replica!

The circuits are 100% analogic and identical to the TR-909 from Roland.

Over 1000 electronic components are soldered by hand.

It contains the exact same ROM samples (Ride, Crash Cymbals and hi-hats).

It sounds and feel like a Roland TR-909, but it's even better as all the components are new, where the old real TR-909 has most of its components that are tired and often leading to sound problems.

On the top of that, it has a LCD screen and comes with an upgradeable firmware.

NAVA 909 Specs:

128 Rhythm patterns from 1 to 16 steps
"All the sounds generated from from the original Roland TR909 analogue synth: BD, SD, LT, MT, HT, RS, HC & CH
16 tracks of 999 measures
1 external instrument track by pattern that can store 99 notes like SH101 sequencer style.
A Midi keyboard mode allow you to play external Midi device
Multi out for each instruments
Individual accent for BD, SD, LT, MT, HT, RS, HC and CH
A total accent track
Master out (L/R Mono) 6Vp-p 1Kohm
Tempo 30 - 250 Bpm
7 shuffle levels
4 scales (1/8t, 1/16, 1/16t and 1/32)
4 sequencer directions (forward, backward, ping-pong and random)
Easy copy and paste pattern function
Shift left or right the entire pattern or individual instrument
In/Out/Thru Midi
DinSync 24ppqn Out
Trig Out 2ms +5V
And More...

What's in the box
1 x NAVA 909 (V1.02 board)
1 x NAVA 909 Manual (English)
1 x 15V 1000MA PSU

Notes: Unique digital instrument based on bitmask synthesis and resonant filters. Raw and distinctive tones, with notes interacting in unorthodox ways.

Supplier's Notes:
Expressive & Characterful

The Kodamo MASK1 is a musical instrument focused on the interaction between the player and the keyboard. With its exclusive Bitmask engine combined with resonant filters, the MASK1 makes raw, gritty and ethereal sounds that respond in incredible ways to your playing style.

It's not just the notes

Most synths just play the notes you press. Kodamo went a bit further, by looking at how the notes interact with each other. Only by playing the keyboard, you can control when the attacks are triggered, how notes are tied or separated from each other, or if they should keep resonating or stop each other like if they were played on the same string on a stringed instrument. You will discover new ways of playing the keyboard.

Built with love

The MASK1 uses a high quality, 5-octave Fatar keyboard with velocity and aftertouch. It's fully made of painted metal, with two ALPS knobs and 23 KAILH mechanical switches. Everything is assembled in France with high attention to detail. A lot of time was spent on selecting parts and suppliers to balance price and work ethics, while always aiming for the highest quality.

For live and studio players

With its compact size and light weight, the MASK1 will easily fit in your studio and is ideal for gigs. It remembers settings between sessions. With its unique sound, premium keyboard and MIDI connectivity, it can become the main keyboard of your setup.

Explore the sounds

The MASK1 invites you into a zen and relaxed sound exploration. Press a button, turn the knob and listen how the sound changes. The MASK1 is designed to have very few parameters, but well-thought ones. The Bitmask synthesis engine makes rich and warm sounds ranging from classic analogue tones to voice-like formants, glitchy 8-bit noises and ethereal pads. Sounds are fully editable and can be stored in one of the 400 user memory slots. They can be transferred to your computer and shared with other people.

What is Bitmask synthesis?

Bitmask synthesis is the method the MASK1 uses to generate its sound. Internally, oscillators do only have one waveform. Various tones are created by applying what is called a bitmask. This is a technique inherited from computing, which alters a number by masking some of its digits. Here, this technique was adapted to make sound. Bit-masking creates complex wave shapes that are full of harmonics and give the MASK1 its sonic character.

Specifications

Synthesis type: Bitmask, subtractive
Polyphony: 10 voices with optimized allocation
Multitimbrality: 4 parts (5 in layered/split mode)
Oscillators: 2 bitmask per voice with 256 masks each, transpose and detune
Noise: 1 per voice with programmable sample-and-hold frequency
Filter: 1 per voice, two poles (12dB/oct) state variable, self-resonant with pitch tracking and 4 modes (low, high, band pass, notch)
Envelopes: 4 loopable ADSR per voice (osc1, osc2, noise, filter), 3 delta-decay (osc1 mask, osc2 mask, pitch)
LFO: 2 per part with 7 waveforms and noise, delay, decay and 16 destinations
Arpeggiator: 26 patterns with adaptive or fixed chords, latchable, retrig or pitch change modes. Arp do send note events to MIDI out.
Looper: Up to 10000 events, unlimited duration, single track. Records notes, pitch bend, mod wheel, aftertouch and sustain pedal.
Effects: Two stereo effects in series. First effect: chorus, phaser, distortion, bitcrusher, tremolo and ring mod (64 types). Second effect: delay, comb filter, reverb, room simulations and distortion (48 types)
Modulations: Velocity (6 destinations), modulation wheel (16 destinations), aftertouch (16 destinations), LFO1 and LFO2 (16 destinations each)
Play modes: Polyphonic, monophonic, slurred, mono portamento on legato, paraphonic, hybrid poly-mono on legato, slurred paraphonic, mono retrigger, poly retrigger
Split: Configurable split point, balance between voices, transpose, panning and tuning
Layer: Configurable balance between voices, transpose, panning and tuning
Misc: Voice pan spread, polyphonic portamento, keyboard envelope rate scaling
Memory: 120 factory presets, 400 user voices. EEPROM-based (no battery required)
Audio outputs: 2 balanced 1/4" TRS jack, pro audio level with +/-12V internal power supply, 1/4" jack headphones
MIDI: 2 DIN (in, out), class-compliant USB type B, SysEx voice transmit/receive, CC-mapped voice parameters
Keyboard: 61 full-size keys, weighted Fatar action with 6 velocity curves and 6 aftertouch curves
Controls: 23 buttons, 2 rotary encoders, pitch bend wheel, modulation wheel
Display: 4-digit red display
Pedal input: Sustain, 1/4" TS jack, adaptive polarity
Tuning: 400-470Hz. 6 temperaments including arabic tuning.
Size: 89 x 26 x 8cm including knobs and feet.
Weight: 7.5kg
Power: External 12V DC adapter, AC 100-240V in
Chassis: Powder-coated, screenprinted steel. Light grey (RAL 9002) colour
Sides: Black ABS

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


Updated version of the ground-breaking synth, sampler and sequencer. Better than ever, with legendary sound quality and portability.

Supplier's Notes:
The beauty of evolution.

Louder, thinner and 100 times better.

Introducing the all new OP-1 field. Injected with more than a decade of ideas, refinements and improvements. Just to mention a few: stereo throughout the whole signal chain, Bluetooth MIDI, USB type-C, a new speaker system with a passive driver for detailed, fat and loud sound, a massive 24 hour battery life, multiple tapes and recording formats, new great sounding reverb and the 'dimension' synth engine, an all glass, flush, high resolution display. The graphics have also been meticulously reworked, screen by screen.

Reworked, refined, reborn.

Think of OP-1 field as the natural continuation of its predecessor. Updated with the latest technology, improved design and finely tuned with professional musicians, recording artists and sound designers in mind. Higher quality in all aspects, from its circuitry to connectivity and flexibility, it's tailor made for professionals in the field.

The new stereo sample engine is just one of the features that takes the OP-1 field to a higher level. With increased sampling time up to 20 seconds and dual layer mode for instant mixing of the a and b channels or via an assigned LFO.

Four new recording formats: Studio 4-track, vintage 4-track, porta and disc mini.
All with their own unique characteristics and graphics. Now with multiple tapes or discs, up to 8 in total.

If it feels thinner, it is.

By lowering the aluminium body around the keyboard, the new OP-1 field feels lighter, thinner and more precise. with 2k moulding Teenage Engineering have also managed to fit a dual 2.4 GHz antenna system inside the aluminium body.

The back is warm, velcro and bass.

Two soft velcro rings have been added on the back for fastening covers and accessories. Perhaps you want to stick your op-1 field on top of your full size keyboard, or slap it on a guitar? Use the included adhesive looped back and start experimenting. On the right you'll find an additional passive loudspeaker for hugely improved bass. And for a 'no-more-cold-metal-on-your-lap' experience, the aluminium body has been folded in a warm, soft touch, hard cover.

The first accessory out using the velcro rings is the Bill Amberg leather wrap that attaches to the back and wraps around the op-1 field and locks around the encoders.

Dimensions: 28.8 cm x 10.2 cm x 2.9 cm

Notes: A tiny studio microphone with a large-diaphragm capsule and groundbreaking features.

CM-1; the latest addition to Teenage Engineering's field system.

A versatile studio quality, ultra-portable microphone that comes with a built-in professional SUB-C audio interface with built-in preamp. Add a 3.5 mm jack and a 48v phantom powered mini XLR, and you have a truly one-of-a-kind battery-powered studio microphone.
A rarity in the field.

Large-diaphragm capsules are preferred for professional recording, but are rare within the world of portable equipment. CM-15 features an ESS sabre analogue-to-digital converter, preserving high-fidelity sound and capturing exceptional detail in any recording situation.

Clean, mean and lean mic-machine.

Clean, rich, transparent and natural sound. Period.

Use the gain switch on the back for padding those mean drums, or the other way around. Battery-powered with an integrated audio interface and preamp, cm-15 is always ready to use wherever you like to record. In other words: 'lean operation'.

CM-15 includes a standard 1/4" and 3/8" adapter, making it universally compatible with standard mic stands and tripods.

The included adapter allows for a 90- to 110- tilt, so you can mount the mic onto a boom arm or to better record overheads. Use tripod mini for portable setups (available separately).

Dynamic sound for any occasion.

Teenage Engineering's first microphone also means a unique sound quality to discover.

Rich, transparent and natural, cm-15 captures clear and clean sound for professional audio productions, always ready to set up wherever you like to record.

Pure craftsmanship.

CM-15 is an incredibly versatile microphone, both inside and outside the studio. The large-diaphragm condenser capsule essentially means you get a better signal, so there is less noise and better depth of sound.

Vocal recording

As a directional mic, CM-15 is perfect for the vocal booth, focused on picking up sounds in front of it.

Instrument recording

With the flattest frequency response at a 50 cm distance, CM-15 is perfect for capturing a variety of instruments, including your drum kit.

Interview/podcast

CM-15 is great for podcasts and interviews, where high audio quality and portability is necessary.

Field production

With a compact form factor and 10 hour rechargeable battery, it's a great tool for every 'trip'.

Camera mic

When filming with a video camera, connect CM-15 through the line out to record synced audio directly.

Multi-use connectivity.

CM-15 has multiple outputs that can be used simultaneously:

mini XLR, 3.5 mm jack and USB-C. It can also be powered three ways, through phantom power, battery or USB-C, instantly detecting the right power source for your connected device.

On the bottom side of CM-15, you will find three audio outputs: mini XLR, 3.5 mm jack and USB-C. The built in table stand can be used to rest and angle the microphone on a surface.

CM-15 includes a mini XLR to XLR cable for connecting to your recording console. The 3.5 mm jack can be used with headphones, while USB-C is used for digital audio interface connection, firmware updates and charging.

Technical specifications

CM-15 highlights

1-inch large-diaphragm capsule
10 hour rechargeable battery
48 V phantom power compatible pseudo-balanced mini xlr output
dual mono 3.5 mm jack line output
USB-C class compliant device with high performance
ESS sabre ES9822Q PRO analogue to digital converter

Dimensions and weight

90 mm x 65.5 mm x 19 mm
132 g / 54.6 oz

Audio characteristics

Self noise: 14 dBA

Max SPL for 0.5% THD: 138 dB
USB SNR dBA FS: 120 dB
Polar pattern: supercardioid
Polarity: positive

The field system.

CM-15 is part of Teenage Engineering's ultra-portable sound recording and performance system. All battery-powered, rechargeable via USB-C and with full interconnectivity (MIDI and high resolution audio). Compatible with iOS, macOS, and windows it's the most powerful, highest quality, portable system in the world 'as we know it'.

Notes: ***B-STOCK: Box damaged, product in perfect working order***


Tracing the footsteps of its bigger brother, Iridium features all the synthesis elements of Quantum as well in a rack-compatible format. The combination of the powerful engine, incredible flexibility and detailed sound shaping facilities creates sheer endless possibilities of sound. Yet, the comprehensive layout and easy-to-understand structure lets you design your own sounds in no time. Sporting a solid metal casing and the same high level of craftsmanship like Quantum, Iridium is now ready to take over studios and stages throughout the world.

Contributing another entry in Waldorf's rich history, Iridium joins the family as a direct descendant of the PPG Wave. Though, Iridium offers much more than its ancestor. Five different synthesis models are provided by Iridium for each of the three oscillators:

Wavetable
Waveform (Virtual Analog)
Particle (Sampling and Granular Sampling)
Resonator
Kernels

Kernel mode has been introduced with the OS 2.0 of Quantum. This huge upgrade allows one oscillator to be turned into up to six sub oscillators. These can be interlinked through FM at audio rate and arranged in user-definable constellations. Just this upgrade alone would have provided enough additional features to create a synthesizer on its own. Now, all those functions have been integrated into Iridium as well.

Up to 7000 patches can be saved in Iridium. Patches from Quantum can be loaded in Iridium and vice-versa.

Iridium features three digital filters per voice. Two in the Dual Filter section and another one in the Digital Former. Several types are available to choose from:

12 or 24dB and Lowpass/Highpass/Bandpass with optional saturation or dirtiness.
Various filter models are available including those from Waldorf Nave, Largo and PPG 3V.
The Dual Filter section can be controlled independently or together in several different link modes.
The Digital Former offers all the filter types and models from the Dual Filter plus unusual models like Comb, Drive, Bitcrusher and more in addition.

All filters retain a true stereo signal throughout the entire structure of the instrument.

Up and down, back and forth
6 Envelopes, 6 LFOs and many more are just waiting for being used as sources in the 40 slots of the Modulation Matrix. Each slot has one additional control amount. Modulations can be directed to almost every numerical value in Iridium. All sources and destinations can be used as many times as desired until the Modulation Matrix is full. If you ever happen to run out of LFOs or Envelopes, you can use the Komplex Modulator for generating a custom shape LFO or Envelope.

Even though Iridium features a staggering amount of parameters to control, everything is organized in a logic structure which is easy to master. The major controls have their own dedicated knob, while the rest is accessible through the touch screen and the encoders around. There are no long menus keeping you from doing what you had planned. Instead, you will find a workflow which you will soon miss on other synthesizers.

Embedded in the front panel, a 4x4 silicon pad matrix invites you to launch notes, chords, arpeggios and sequences with up to 32 steps for notes and multiple parameter lines. Direct access to the parameters is granted by the seven encoders to the left and the right hand side of the touch screen.

Iridium's large color touch screen keeps you informed at all times. Upon moving a knob, Iridium gives you an optical feedback of your changes in real-time. Filter curves move, Particle grain sizes change, Envelopes warp and much more:

Komplex Modulator curves can be drawn with your finger
Envelopes show at which point the voices currently are
Wavetables are displayed in comprehensive view modes
VU meters show which voices are used and the individual voice levels
Different Analyzers show the audio signal at different points

Two Audio Outputs allow you to listen to Iridium, while two Inputs allow Iridium to process external signals. 4 CV inputs plus Gate In and Trigger In are ready to forward external signals to the Mod Matrix. Furthermore, Clock In and Clock Out will get your gear in sync. MIDI connections can be made through USB and DIN MIDI. Iridium is also equipped with a USB Host port for MIDI devices. This port also handles data exchange, in addition to the MicroSD card slot.

Once again, Waldorf have underlined their status with a new and exciting synthesizer.

Notes: Liquid Sky D-Vices' V4-CO and GLITHc module, sold together.

Stepping into the spotlight first, we have the 8-bit wavetable oscillator "V4CO"

Dual 8 bit wavetable oscillator, each with separate sub bass:
Hard sync;
16 x 16 Waveforms - different for each OSC;
Each module has a base (16 x 6) set and an unique set (16 x 10) of waveforms;
Single outputs for each OSC / SUBOSC and mix output (w/o SUBOSC);
Analogue VCA for each oscillator;
Analogue overdrive controllable via VCA;
Audio / LFO Mode for each OSC;
Waveform shuffle;
REAL 8 BIT Sound;
Detuning Function;
8 Oktaven;
Incl. Quantizer (Chromatic);C
Complex Waveform-LFO;

And its companion, "GLITHc."

A complex glitch lab featuring:
REAL circuit bending (you actually manipulate the internal routing);
Bit-manipulation of:
Individual bits for Wave and Bank select;
Individual bits of actual wavetable;
4 Logic functions: AND/OR/NAND/NOR;
3 mini non consecutive sequencer for:
BANK/WAVE Sequencing;
Manipulating Wavetables;
Multiples;
MIDI + 3 Thru;

Together, they morph the V4CO into a wildly unpredictable glitch lab while also providing MIDI support, various multiples, and an array of other indispensable functions. At the moment GLITHc exclusively functions with the V4CO.