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Review: Sonic Transmutations is an extended compilation album celebrating over three decades of Clone Records. Marking the 31 years - which is coincidentally the national Dutch telephone code - the 8x12" inch box set draws together veteran talent and emerging iconoclasts, transmitting a frequency rooted the imprint's signature blend of essential dance music while journeying off into territories unknown. In a constant state of unfolding, morphing across phases of matter, Sonic Transmutations purveys an elemental energy that stands in testament to Clone's enduring legacy and explorations of sounds and structures.

Notes: Seductive swells and reverse tape effects push the envelope on any pedalboard!

The original Attack Decay Tape Reverse Simulator is known for producing volume and reverse swells, backward tape sounds, artificially short staccato notes, and bowed instrument effects. In 2019 the digital Attack Decay reissue was released, and now the Pico Attack Decay gives us volume envelope effects in a simplified, compact package.

The Pico Attack Decay allows you to dial in volume swells and decays, both in Mono mode-one volume envelope for all notes you play-and the revolutionary Poly mode where each note to has its own volume envelope creating cascading swell effects and leads with agile attack smoothing. With intuitive functionality and simple controls, the Pico Attack Decay opens up creative avenues for any player interested in pushing the (volume) envelope.

The Pico Attack Decay is both powerful and simple with four knobs and a mode button that let you create a wide variety of effects. The ATTACK knob sets the swell or fade-in speed of the volume envelope while the DECAY knob sets the fade-out speed of the volume envelope. Set the ATTACK higher for languid volume swells. Set the DECAY higher for artificially staccato notes for synth-like punches. SENS adjusts the threshold for triggering the envelope. VOL controls the overall output volume. A hidden BLEND control allows you to blend wet and dry signals for even more flexibility in tone.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 3.65 x 2.0 x 2.0
Current Draw: 100mA
Year Released: 2023

Review: Airto Moreira and Flora Purim are known as the legendary King and Queen of Brazilian Jazz. For the last 60 years they have been serving up rich and vivid albums as well as playing exhilarating live shows all over the world. They have fans all over the world from Japan's concert halls to the UK's jazz funk and jazz dance scenes and their latest album in 2022, If You Will, was nominated for a Grammy, proving that they very much still have it. A Celebration: 60 Years - Sounds, Dreams & Other Stories is a collection of their many best bits from over the years.

Notes: Zoar is a highly interactive medium-high gain discrete distortion (using only transistors; no opamps or diodes in here!) that has that highly sought after touch sensitive amp-like quality.

It has been finely tuned to create a highly tweakable hi-fi and modern sounding distortion, but with the ghosts of old school circuitry to deliver a grind that is both instantly familiar and delightfully unique.

From defined sparkle and tightness of an overdrive to low-medium gain fuzz that's perfect for drop tuned guitars and basses, Zoar can do it all. Zoar lets you dial in and control every nuance of your tone from jangly on-the-verge of break up to blowing the walls out heavy saturation.

While having its roots in a very familiar past, the passive 3-band EQ has been finely tuned for modern tones. While this style of tone shaping seems simple on the surface, it is deceptively complex and highly interactive - yet surprisingly easy to instantly dial in dozens of mind blowing sounds.

Want to elevate your sonic spirit to a higher level? Try running Zoar at higher voltage! Zoar can handle power up to 18v DC. Higher voltages will yield a different frequency response with more defined dynamics and a faster response. When powered at 18v, the range of clean tones are widened, dirty tones become punchier with better note articulation, low frequencies are tightened, higher frequencies will cover a broader spectrum without becoming harsh and the output volume nearly doubles! The experience is not unlike plugging into a wall of high wattage tube amplifiers!

This meticulously crafted box has six knobs that allow you to truly customize your sound with the Level, Weight, Gain, Bass, Middle, and Treble controls.

The Gain control on Zoar goes from the edge of break up all the way over the cliff into the crunchy, grinding abyss. The character of the distortion is heavily dependent on the setting of the Weight control as well as the pickup type and further fine-tuned by the EQ section.

Zoar's 3-Band EQ and Gain controls give you nearly unlimited options with great focus and sensitive precision, but the real powerhouse of Zoar is the Weight control. This control dictates the amount of low end that is passed into the circuit, thus controlling the entire character of the pedal. Simply dial in the 3-Band EQ to 12 o'clock and adjust the Weight to see how drastically it dictates your sound. From a mere clean boost to a high gain distortion to overdrive to the crispy Hi-Fi fuzz territory, this function gives you everything.

The Level control hits unity around noon, but this is dependent on where the other controls are set. In addition to controlling the output volume, it also plays a small part in controlling the voice of Zoar. By adjusting the Level control with any combination of EQ (boosting the frequency bands and cutting the output volume), you can achieve drastically different curves that have the feel of the more traditional low pass filter type tone control.

Notes: An accurate Manual Voltage Source.

Voltio fits somewhere between a music tool and a piece of electronics lab gear.

It generates voltages equivalent to all the notes on the 12-tone equal temperament scale throughout a ten-octave range, with an intuitive two-knob interface.

The Precision Adder In, lets you sum Voltio's Out with external voltages.

Additionally, the front panel banana connectors let you plug standard multimeter probes for hands-free operation on electronics lab.

Use it to transpose Oscillators and sequences in a musical way or as a reference to calibrate your analogue gear.

Features:

Easily adjust your oscillators in known intervals.
Transpose Musical phrases from sequencers, arpeggiators, or any other notes source.
Calibrate oscillators and filters on your DIY projects or during analogue gear maintenance.

Specs:

Current needs: +12V: 35mA, -12V: 15mA
Width: 6 HP
Depth: 30mm including power connector
Designed, kits prepared and assembled in Barcelona.

Notes: As one of the most popular drum machines ever made, the Alesis SR-16 has been used by everyone from songwriters to live performers to remix engineers as their drum machine of choice. The reason is simple, it features a great selection of 233 realistic, natural drum sounds, offered both in dry form and sampled with our incomparable digital reverbs.

The Alesis's exclusive Dynamic Articulation features enables a drum sound to change its tonal content as it's played harder for truly realistic performances. The SR-16 features 50 preset patterns that were actually played in by top studio drummers, not just programmed and quantized. You'll find enough built-in rhythmic variations (with A, B and 2 x fill sections) for composing complete arrangements, and you can create and save your own customized patterns and songs.

Plus, the SR-16 also provides complete MIDI implementation, a footswitch input, flexible programming and editing features and velocity-sensitive pad buttons. Plus, it's so easy to use that you'll be up-and-running and composing new music in minutes. Whether you need a songwriting partner or an accompanist for live performance, turn to the all-time world standard in drum machines: the SR-16.

Notes: Celebrating the classic, shimmering flanger sounds of Andy Summers, the EHX Walking on the Moon is a tribute to the tones Andy employed while carving his niche in the early days of playing with the Police. Liquid flange effects that hint toward chorus with extra depth and nuance make Andy's sound one of the most coveted in all of the guitar universe.

"This beautiful shimmering which sort of made the sound more bigger and more glamourous - became a sort of characteristic of my guitar sound - A big part of my guitar sound at that time in The Police was the flange sound which we have here today in this great new pedal." - Andy Summers

The Andy Summers Walking on the Moon is an analogue flanger with a simple but powerful control set of RATE, RANGE, and COLOR. RATE sets the speed of modulation which ranges from slow, smooth filter sweeps to jittering vibrato. RANGE controls how narrow or wide the effect sweeps into the bass frequency range. The COLOR control effects the intensity of the flanger effect from subtle chorusing effects to classic jet woosh sounds. These three controls interact to create a wide breath of modulation effects.

Additionally, the Walking on the Moon includes a FILTER MATRIX which disengages the LFO from the flanger circuit, freezing the flanger giving a fixed filter effect, which can add chime or metallic overtones to your sound without the movement of a traditional modulation pedal. A DRY output allows you to split your dry signal from the effected signal.

Special Artist Edition graphics featuring Andy's signature adorn the chassis and a tribute Walking on the Moon poster with art by Laura Josephson is included with each pedal.

Analogue Flanger / Filter Matrix sounds of Andy Summers
RATE sets modulation speed
RANGE adjusts lower limit of flanger sweep
COLOR controls intensity of flanger effect
Dedicated DRY output
Special Artist Edition Graphics
Includes Walking on the Moon poster design by Laura Josephson
True Bypass
9V Power Supply included (optional 9V battery not included)

Specifications
Circuit: Analogue
Bypass: True Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included (optional 9V battery not included)
Dimensions (in): 4.75 x 4 x 2.25
Current Draw: 40mA
Year Released: 2023

Notes: Module A152 is a very useful switching and T&H module. It combines a voltage addressed 1-to-8 multiplexer and 8 fold T&H that can be used as kind of an analogue shift register too. The active in/output is displayed by a LED. The digital output of the currently addressed step outputs "high". The remaining digital outputs are low.

Instead of voltage control even clock/reset controlled addressing of the active step is possible. The rising edge of each clock signal causes an advance to the next state. The rising edge of the reset signal resets to step 1.

The sum of the voltages coming from the manual Address control and the CV input define the currently addressed step of the 3 sub-devices. If the module is controlled by clock and reset the control voltage has to remain unchanged as the CV control has priority over the clock/reset control (e.g. simply turn the CV control fully counter-clockwise and do not touch the Address control knob).

Sub-device #1 is the bidirectional 8-fold multiplexer (kind of an electronical 8-fold rotary switch). Bidirectional means that it works into both directions like a mechanical rotary switch: the common socket may work as an output that is connected to one of the 8 inputs that are e.g. connected to modulation or audio sources. But the common socket may even function as input. In this case the signal applied to the common socket is output to the currently addressed single socket. The voltage range of the in/outputs to be switched is the full A-100 voltage range -12V....+12V. All A-100 signals can be switched without any restrictions.

Sub-device #2 is the addressed 8-fold T&H. The signal at the common T&H input is connected to the addressed T&H output. As soon as a new output is addressed the last voltage is stored at the output (Track&Hold function). The T&H section of the A-152 allows the emulation of the "toggling T&H" function of the Buchla module 266 "Source of Uncertainty". Only the first two T&H outputs of the A-152 are required for this application. This unit can be used also as kind of an analogue (shift) register. The difference to a "real" analogue shift register is that the sampled output voltages are not shifted to the next output but remain allocated to the same output. But in some cases (e.g. controlling the pitch of 3 VCOs by 3 output voltages of the A-152) the result is the same.

Sub-device #3 is the digital output section. The digital output of the currently addressed turns to "high". All other digital outputs are low. The digital outputs can be used to trigger e.g. envelope generators or to control the reset input in the clocked mode to reduce the number of addressed stages.

Notes: The module contains two ADSR type voltage controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor) behind a front panel with 8 HP only.

Each ADSR provides these controls and in/outputs:

- LED (displays the envelope output)
- A: manual Attack control
- D: manual Decay control
- S: manual Sustain control
- R: manual Release control
- Gate Input
- Retrigger Input
- CVT Input with attenuator (CVT = CV Time)
- Envelope Output 1
- Envelope Output 2

The output voltage range for each envelope is 0 - 10V (10V = attack peak).

The time range of Attack/Decay/Release is about 1ms to 30s.

By means of internal jumpers one can select which time parameters are controlled by the CVT input (e.g. D only or D+R or A+D+R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question).

Socket CVT can be normalled to an internal fixed voltage (i.e. the switching contact is connected to an internal fixed voltage). That way it's possible to change all time parameters simultaneously by means of the CVT control.

Another jumper is used to set output 2 to normal or inverted envelope.

And another jumper is used for the normalling of Gate 2 to Gate 1 (i.e. ADSR#2 is also triggered by Gate 1).

Two more jumpers are used for the optional bus access to the gate signal of the bus for each ADSR.

Notes: A-135-2 is a miniature version of the A-135-1. Behind a front panel with 8 HP only four linear VCAs (voltage controlled amplifiers) and a voltage controlled mixer based on the VCAs are available.

Controls, In/Outputs and Functions of each VCA:

- Level (manual control of the VCA amplification), small rubberized knob (L1...L4)
- Control voltage input with associated attenuator (CV1...CV4), for the full VCA control range about 0...+5V control voltage are required (attenuator fully clockwise), for higher control voltages the attenuator is used, the attenuators are without knobs, just plastic shafts with white marker
- Signal Input
- Signal Output
- All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. to control the level of LFOs or envelopes)
- The signal input is not equipped with an attenuator. But the VCAs can process all signals up to 15Vpp / -7.5...+7.5V without clipping. In case of higher levels an external attenuator is required (e.g. A-183-1).
- The available amplification range is 0...1, the maximal amplification is 1 (i.e. it "clips" and remains at 1 even if the control voltage goes beyond the value that corresponds to amplification 1)

Functions of the voltage controlled mixers:

- Two outputs ("Selected" and "All")
- Selected output: the ouput if a VCA is removed from this sum signal when a plug is inserted into the corresponding VCA output.
- All output: sum of all VCA outputs, regardless of inserted plugs into the VCA outputs
- The maximal amplification is about 0.6 to avoid clipping at the mixer outputs (otherwise the outputs may distort with 15Vpp signals at each signal input and full amplifications)

Special functions of the voltage controlled mixers (selectable by internal jumpers):

- Dual Stereo VCA: In this case the control unit of VCA1 (L1 + CV1) affects also VCA3 and the control unit of VCA2 (L2 + CV2) affects also VCA4, the control units of VCA2 and VCA4 are out of operation
- Quad VCA: In this case the control unit of VCA1 (L1 + CV1) affects all four VCAs. The control units of VCA2, VCA3 and VCA4 are out of operation. In this mode the module has the same function as module A-132-2. That's why module A-132-2 will be discontinued.
- Normalling of the signal inputs: by means of internal jumpers signal input 1 can be normalled to signal input 2, signal input 2 to signal input 3 and signal input 3 to signal input In 4. That way the same input signal can be distributed to four different channels by means of control voltages (e.g. quadrophonic distribution of audio signals). Suitable control voltage sources are e.g. A-144 (Morphing Controller) or A-143-9 (Quadrature LFO).

Notes: Numark's take on the classic scratch mixer formula ticks all the boxes: two channels each with three-band EQ, plus perfectly spaced channel faders and crossfader for cutting and scratching. Simple but effective.

Supplier's Notes:
Pure professional power.

M2 is a two-channel DJ scratch mixer with all the essentials to hit the stage in Numark style.

Switchable phono/line inputs for turntables, CD players, and other line sources make M2 a superb choice for any DJ setting from weddings to clubs, parties to practice setups. A mic input with dedicated EQ and gain, and a headphone output with crossfader-style cueing complete the plentifully featured package.

Three-band EQ on each channel plus crossfader-reverse and slope controls give you all the tools you need to drive your audience from behind the wheels of steel. M2 is the perfect mixer for any scratch DJ.

Packaged Dimensions: 14.6" x 13.4" x 6.7"

Packaged Weight: 8.8 lbs.

Product Dimensions: 11.4" x 9.5" x 3.6"

Notes: The 'MCO' is a compact digital oscillator. It features a main 'morphing' wavetable output, an additional copy of this output with overlaid variable pulse width segments (ala Alpha Juno style saw wave pwm) and a sub square wave output an octave down to the main output. The waveform and pulse segment width and be both directly and voltage controlled. The pulse segment distribution can also be voltage controlled via the 'type' input.

Expect an early 90s slightly crunchy digital type sound (ala Ensoniq, Kawaii KX synths) rather than something striving for perfect analog emulation.

Notes: A Digital DJ looking for a professional, durable case solution for your Denon DJ Prime 4+/ 4? Then look no further, UDG have developed a super light EVA Hardcase designed for life on the road. Constructed from durable lightweight compression moulded EVA material with a laminated nylon exterior these cases provides protection against drops, scratches & liquids. Skillfully designed & moulded to fit the Denon DJ Prime 4+/ 4, these cases are perfect for the travelling DJ that needs to protect their equipment.

Specifications:

Color: Black
Weight: 3,50 kg / 7.7 lbs
Outer Dimensions (W x H x D): 78.0 x 52.0 x 13.5 cm | 30.7 x 20.5 x 5.3 inch
Inner Dimensions (W x H x D): 77.0 x 51.0 x 13.0 cm | 30.3 x 20.1 x 5.1 inch
Material: Durashock molded EVA foam
Protection:
Black soft fleece interior
Protective egg-crate foam prevent damage from vibrations & shocks
Extra's:
Easy grip zipper puller
Convenient carry handles
Convenient shoulder strap
Fits: Denon DJ Prime 4+ or 4 Controller

Notes: The Korg Volca Keys is an ideal introductory synthesizer, with a simple, yet powerful polyphonic analog sound engine and loop sequencer.

The Volca Keys is a long awaited synthesizer that adds a new chapter to the long and storied history of Korg's analog synthesizers. This 27 key analog lead synth delivers unbelievably powerful sound in a compact body. Starting with a filter section that uses the circuitry of the legendary miniKORG700S (1974), it delivers astonishing sound that takes full advantage of Korg's half-century of know-how in circuit design.

With a simple structure that includes delay effect and a sequencer, it's also an ideal choice for a first analog synth. It offers the richly expressive sounds that are distinctive of analog, providing the enjoyment of simple yet deep sound-creation. The possibilities are endless; you can use the three oscillators to play chords, use them in unison with detune to produce solid lead lines, or apply ring modulation to create far-out metallic sounds.

The Voicing function makes it easy to specify how the three oscillators will be combined. Choose between poly, unison, octave, fifth, unison ring or poly ring simply by turning a dial. Easy for those taking thier first steps into synthesisers, the Volca's simple design makes it easy to obtain a wide variety of sounds.

Record phrases as you play them with the Volca Keys using the loop sequencer. With up to 16 steps, it's easy to create phrases as they come to mind. Use the overdub recording function to produce complex loops, with up to 8 sequence patterns able to be stored in internal memory. Craft your loops with the motion seqence function, apply time varying changes to your sound to enhance loops and add originality to your life performances.

Skip a step during sequence playback with active step, a function that creates effects similar to a short loop or unexpectedly irregular rhythms. This allows you to create a dynamic performance just as though you were performing the sequence itself. Flux function lets you play back the phrase without quantizing the steps, producing a loop with a distinctive sense of groove.

A useful self-tuning function constantly tunes the oscillators, so you never need to tune during a performance or wait for the pitch to stabilise after turning the power on.

Connect the Volca Keys with the rest of the Volca Series or a Monotribe using the sync jack. A MIDI in connector lets you synchronise with other devices, play the Volca from any MIDI keyboard and send note messages from your DAW.

The Volca Keys analogue loop synth has a compact size and a built-in speaker, easily playable anytime, anywhere. The ideal starter-synth.

http://www.youtube.com/watch?feature=player_embedded&v=7rbcYJ326EI

Notes: Module A-147-2 is the successor of the VCLFO A-147 but offers much more features than the predecessor. The module is made of these sub-units:

- VCLFO: voltage controlled low frequency oscillator
- VCA: voltage controlled amplifier, switchable to voltage controlled polarizer
- VC delay unit: voltage controlled linear attack envelope (only one parameter: attack) for delayed LFO operation in combination with the VCA (e.g. delayed vibrato/tremolo)

LFO: The voltage controlled LFO has the waveforms Triangle, Sine, Sawtooth and Rectangle available and features a Reset/Sync input. Triangle/Sine and Rectangle are displayed by means of dual-colour LEDs (probably red/green), Sawtooth has a unicolor LED available (probably blue). The output levels are about -4V...+4V for Triangle, Sine and Rectangle. The Sawtooth level is about 0...+8V.

The CV control can be switched to attenuator or polarizer ("CV Mode" switch). In polarizer mode the CV inputs affects the frequency in the reverse manner when the CV control is left from the centre position. In the centre position CV has no effect and right from the centre the control works like a normal attenuator. The frequency range (without external CV) is from about 0,005 Hz (i.e. about 3 minutes per period) to 200 Hz (with external CV max. frequency about 1kHz). In addition a ultra-low mode can be activated by means of an internal jumper. When the ultra-low jumper is set a fixed voltage is connected to the switching contact of the "LFO CV" socket. In polarizer mode of the CV control that way extremely low frequencies (up to one hour period and more) are possible. For this a jumper has to be installed on the pin header JP6. In the factory a dummy jumper is installed on the pin header JP7 "Dummy". JP7 has no function and is used only for "parking" of the jumper. Simply remove the jumper from JP7 and plug it on JP6. JP6 is located behind the CV control.

VCA: This is a linear VCA that can be switched to "normal" VCA (i.e. kind of a voltage controlled attenuator) or voltage controlled polarizer ("VCA Mode" switch). In the "normal" VCA mode amplification +1 is achieved with about +5V control voltage. In polarizer mode the amplification ranges from about -0.5 (i.e. inverted signal with about 50% level) with 0V CV to +0.5 (i.e. non-inverted signal with about 50% level) with +5V CV. With about +2.5V CV the signal is suppressed. Details about the functioning of a voltage controlled polarizer can be found in the description of the module A-133. In this mode the VCA can be treated also a DC coupled ring modulator (similar to A-114).

The VCA of the A-147-2 has three sockets available: "In" (signal input), "Out" (signal output) and "CV" (control voltage input).

The Triangle Output of the LFO is normalled to the VCA signal input by means of the switching contact of the "VCA In" socket. If another LFO waveform (or any other signal) should be processed by the VCA the corresponding signal has to be patched to the "VCA In" socket. The VCA can be used also independently from the LFO and the Delay CV. In this case the VCA sockets In, Out and CV have to be patched accordingly. The VCA can be used also as waveshaper for the LFO signals (e.g. by patching VCA In and VCA CV to different LFO signals, if necessary via attenuator A-183-1 or offset generator/attenuator A-183-2).

Attack/Delay: The third sub-unit of the module is a simple, voltage controlled envelope generator that has only the parameter "Delay" (or Attack) available. This unit generates a linear increasing voltage that starts from 0V after each Delay Reset until it reaches about +5V. Then the voltage remains at +5V until the next Delay Reset occurs. The inclination or gradient is controlled by the manual Delay control and the Delay control voltage ("Delay CV" input). The waveform is linear, the control scale is exponential. The output voltage is displayed by a green LED and available at the "Delay Out" socket.

The manual Delay control ranges - without external "Delay CV" - from about 5ms (fully CW) up to 2 minutes (fully CCW). By means of an external voltage applied to the "Delay CV" socket this range can be extended. A rising CV shortens the delay time (behaviour like a VCO)!

The Delay output voltage ranges from about 0V to +5V. The rising edge of the gate, clock or trigger signal applied to the "Delay Reset" sockets resets the Delay output voltage to 0 V.

"Delay Out" is normalled to the VCA CV input by means of the switching contact of the "VCA CV" socket and consequently controls the Triangle level provided that no other patch is made. A typical example is the usage of a Gate signal (e.g. from a USB/Midi-to-CV/Gate interface) as Delay Reset. That way a delayed vibrato or tremolo can be realized if the VCA output is patched to the frequency CV input of a VCO (or VCF), or the CV input of a VCA.

Notes: A simple noise generator and 4 band fixed filter bank.

The noise is normalled to the Filterbank input. The cutoff frequencies are matched to the Bark Filter, so that four bands of the Bark Filter correspond to a band on the Noise & Filter.

It is a small and quick noise source and pairs well with Scan & Pan and Amp & Tone.

HP : 4

Notes: Connect with Bluetooth

The M-Audio BX4BT Multimedia Reference Monitors offer the flexibility to playback audio from any Bluetoothr streaming device with excellent studio quality sound. This opens the possibilities of playing audio from any Bluetoothr device including a turntable, phone, or even a computer to stream a reference mix. Get a better listening experience with these compact, powerful, Bluetoothr enabled M-Audio BX4BT multimedia reference monitors.

Professional Performance and Design

M-Audio's BX4BT monitors produce 120 Watts of professional sound inside a futuristic design that delivers pro-grade sound. The two-way design features an Acoustically-inert MDF cabinet with bass reflex that pushes low frequencies through modern Black Kevlarr drivers. Plus, enhanced rear ports and computer-optimised natural silk dome tweeters deliver the full spectrum of frequencies needed for any type of media.

Front & Rear Panel I/O

The BX4BT monitors offer all the connections you need to playback audio from all your devices. The rear panel features 1/4", 1/8", and RCA inputs, while the front panel features 1/8" aux input and a headphone connection that turns the speakers off for private listening. This feature is great for those late nights in the home office or mixing sessions where you don't want to disturb anyone.

Speaker Placement Controls & EQ

The M-Audio BX4BT features a Left/Right Active Speaker Position Switch letting you choose which speaker is sounding from the Left or Right side. This is useful if you are left-handed and want the speaker with the front panel volume control on your left side, or vice versa. Also on the rear panel are High-EQ and Low-EQ controls to boost or cut the low end or add some shimmer to the highs.

Limitless Creativity with MPC Beats Software DAW - Effects and Instruments Included

The M-Audio BX4BT comes bundled with MPC Beats, the powerful music-making and recording desktop software DAW for Mac and PC based on iconic MPC hardware. Featuring a full array of musical instrument plugins, effect plugins, and audio and drum samples, MPC Beats is the best way to start making great-sounding music quickly.

Technical Specifications

Frequency Response: 69 Hz - 22 kHz
Output Power: 120 W (total peak), 2 x 25 W (RMS)
Drivers: LF Driver 4.5" / 114.3 mm HF Driver 1" / 25.4 mm; silk dome
Audio Inputs: (1) RCA stereo input pair 2 1/4" (6.35 mm)
TRS inputs: (1) 1/8" (3.5 mm) stereo auxiliary input
Headphone Output: 1/8" (3.5 mm) stereo output
Interconnection Cable: 1/8" (3.5 mm) TRS
Bluetooth Range: 100' (30.5 m)
Power: 100-240 VAC, 50/60 Hz, 85 W
Dimensions (width x depth x height, per speaker): 6.1" x 6.9" x 8.9" 156 x 175 x 225 mm
Weight (per pair of speakers:) 9.83 lbs. 4.46 kg

Notes: Receives MIDI clock and stop/start data and converts them to DIN-Sync (Sync-24). Also converts DIN-Sync back to MIDI.

High quality Kenton MIDI MIDI to DIN-Sync converter box with opto-isolated MIDI In plus MIDI Out, Sync In & Sync Out sockets. Powered from a multi-region mains adaptor (wall wart) so you can fit and forget. Can also be powered from a USB socket (although not a USB product)

Notes: The new CTRL Case XDJ-XZ is a super lightweight and compact hard shell case, offering a safe and comfortable way to carry (incl. shoulder-strap) your Pioneer XDJ-XZ controller. Made of lightweight and rigid Durashock molded EVA shell, the inside lid is lined with high density egg-crate foam to protect the displays, jog wheels, and controls.

FITS:

Pioneer XDJ-XZ
Pioneer DDJ-SZ2

Notes: A-180-9 is another simple but useful tool. It can be used to connect up to 14 signals between different cases by means of standard network cables (RJ45). These cables are available all over world smoothly in different lengths and colours. From the factory two black network cables with 0.5 m length are enclosed.

The upper network connector is wired to the eight sockets 1-8, the lower to the six sockets A-F. That way it's possible to pre-patch different cases and connect signals, that are required in all cases (e.g. clock, start/stop, master CV) by means of one or two cables only instead of 14 individual patch cables. When only eight signals are required only the upper network connector is required and the sockets 1-8 are used. When more than eight signals have to be patched both network connectors have to be used. It's also possible to wire the upper and lower network to different cases (i.e. signals 1-8 to external case #1 and signals A-F to external case#2).

The module is fully passive (no power supply required) and simply wires the 14 sockets to 14 pins of the network connectors.

The A-180-9 comes in pairs for combining two modular systems.

Notes: Erica Synths Pico DRUM1 module gives you two independent and great sounding drums with versatile control over different parameters and a huge collection of drum samples.

Features:

2 independent drums
64 samples for each drum
USB interface for user samples upload
Independent control over Pitch, Decay and Level for each drum
Independent control over Pitch, Decay and Level for each drum
Separate triggers for each drum
Audio output of mixed drum sounds
Exclusive switch to select how the two drums interact with
Each other when triggered at the same time
12bit resolution, 44kHz sampling frequency

You can chain up several Pico Drums and get one of the smallest modular drum setups in the modular world!

With Pico Series we challenged ourselves - can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can.

Technical specification:

Resolution: 12 bit
Sample rate: 44 kHz
Power consumption: +35mA, -15mA
Module width: 3HP
Module depth: 35mm

Notes: Loop is a high fidelity looper with four unique recording modes and an intuitive user interface. It can capture up to five minutes of audio with reverse, and half-speed playback accessible. Each recording can use one of four modes: Sound on Sound, Dub, Replace, and Infinite (i.e. Frippertronics). Whether you're looking for minimal part layering, or full blown ambient soundscapes, Loop will take your patch for a ride.

High fidelity audio - 24-bit, 48kHz with five minutes of recording time
Four recording modes: Sound on sound, Dub, Replace, and Frippertronics
Intuitive interface
Half speed and reverse playback

Tech Specs:
Width: 2HP
Depth: 42mm

Notes: Black Stereo Mixer is just what you need, if your setup has several nowadays gaining popularity modules with stereo inputs or outputs, like Black Hole DSP, Erica Fusion Delay, MI Clouds or some other. In order to save rack space, we designed compact mixer with lot of cool, performance oriented features.

In order to save rack space, we designed a compact mixer with a lot of cool, performance oriented features.

Check out also the Black Pre-fade Listen Expander that is a satellite module to Erica Synths Black Stereo Mixer!

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, we did not economise on the module width, we put design and usability first. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

Notes: The innoFADER PNP3 now offers you the best precision full bodied fader feel with some nice improvements to make your installation go much more smoothly. Utilising the same capacitance technology innoFADER is famous for to ensure maximum reliability and longevity.

The innoFADER PNP3 has an added feature which allows you to sharpen the cut point itself without the need to adjust the curve dial. This way you can optimize the Innofader PNP3 for both scratching and mixing.

Depth reduced from 45mm to 38mm
Durable, easy access Curve and Cut dials
No polarity testing required - plug in and go!
Fits Pioneer S series mixers (S3, S7, S9, S11)*1
Upgrade for Pioneer DDJ-1000 and DDJ-Rev7*1
LED shows cutting action and presents
Spare stem included

Notes: BOSS's iconic DD-3 Digital Delay has been a pedalboard staple since 1986, loved everywhere for its great sound and simple operation. With the DD-3T, we've updated the classic stomp with enhanced functionality while fully retaining the original's sound and control layout. It's now possible to tap in delay tempos using the onboard switch or an external one, with your choice of three beat subdivisions. And the direct output jack has been moved next to the main output, providing easier connectivity for wet/dry setups.

In continuous production for over three decades, the DD-3 has been the go-to delay stomp for countless players. Based on the DD-2-the world's first digital delay pedal from 1983-the DD-3 is revered for its warm, round delay tone and simple controls that let you dial in sounds fast. The DD-3T's sound circuitry and controls are identical to the DD-3, delivering every drop of that classic vibe you know and love.

A key addition the DD-3T brings is tap tempo, an essential feature for creating the rhythmic delay effects at the heart of many guitar styles. In delay mode, hold the pedal switch for two seconds to toggle between bypass and tap operation. And for on-demand tap control, simply connect an external footswitch. When the DD-3T receives tap input, up to 800 ms of delay time is available, and the Mode knob sets the tap subdivision (quarter-note triplet, dotted-eighth note, or quarter note).

The DD-3T features a direct output jack like the DD-3, but it's been moved next to the main output jack to make connections easier. Plugging a cable into the direct out converts the main out to delay only, allowing you to send wet and dry signals to different amps for wide, immersive sounds. And if your amp or switcher has a parallel effects loop, just connect a dummy plug to the direct out to mute the dry sound for effect-only blending.

The original DD-3 (and DD-2 before) included a forward-thinking Hold function, which allowed you to capture a sound up to 800 ms long, play it continuously, and jam over the top. Many years later, BOSS further developed this creative concept with the successful Loop Station products, which helped spawn the new musical style of live looping. The DD-3T includes the same Hold function as the DD-3, but it's been renamed "Short Loop" to reflect today's common usage.

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls: MODE knob, TIME knob, FEEDBACK knob, E.LEVEL(Effect Level) knob, Pedal switch
Indicator: CHECK indicator (Used for indication of check battery)

Connectors:
INPUT jack: 1/4-inch phone type
OUTPUT jack: 1/4-inch phone type
DIRECT OUT jack: 1/4-inch phone type
TEMPO jack: 1/4-inch phone type
DC IN jack

Power Supply: Alkaline battery (9 V, 6LR61), AC adaptor (PSA series: sold separately)
Current Draw: 70 mA

Expected battery life under continuous use: Alkaline: Approx. 5 hours
*These figures will vary depending on the actual conditions of use.

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information")

Alkaline battery (9 V, 6LR61)

Options (sold separately)
AC adaptor: PSA series
Footswitch: FS-5U, FS-6, FS-7

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 420 g / 15 oz

Notes: Introducing the DD-8, the most wide-ranging and feature-rich BOSS compact series delay ever. This loaded pedal delivers more of everything-more great sounds, more delay time, more control options, and more connectivity. And it does it all in a standard BOSS pedal that slides easily into any mono or stereo setup. Eleven modes provide delay colours from basic to exotic, plus a looper with unlimited overdub capability and external control support. For maximum versatility in a minimum amount of space, there's no better delay stomp than the DD-8.

Equipped with a diverse selection of delays, the DD-8 packs impressive sonic range into one small pedal. Clean digital delays, vintage analogue and tape types, and modulation echo are available, plus specialty delays like shimmer and reverse. There's a new Warm type for softer echo tones, and a +RV type that blends delay and reverb together. Warp is perfect for dynamic ambient textures, while the new GLT type is great for glitchy rhythmic effects.

Everything sounds bigger and better in stereo, and the DD-8 delivers with full stereo I/O support and your choice of three output modes. The default independent mode provides linked parallel delays on the left and right channels, allowing you to maintain the true balance of stereo input sources in the effect sound. There's also a panning mode for ping-pong delay effects, and a wide stereo mode for enhanced spatial depth.

The DD-8's extensive real-time delay options help bring your music to life. You can tap in tempos with the onboard pedal switch, and control the Warp and GLT modes for unique expressive effects. Adding one or two footswitches unlocks more creative possibilities, like on-demand tap tempo, extended looper control, and a cool Twist effect for soaring echo sounds. Alternately, an expression pedal can be used for continuous control of level, feedback, or delay time-or all of them at once.

Having a looper on your pedalboard is a handy thing-it's great for practice, checking sounds at gigs, and creating on-the-fly backing while performing. The DD-8's looper mode has you covered, so you don't have to take up precious space with a dedicated pedal. All looper functions can be controlled with the onboard switch, providing all-in-one operation. But if you prefer to work with extended controls, just connect one or two footswitches to operate the looper's stop and clear functions externally.

The DD-8's inputs and outputs have smart functionality, allowing you to set the pedal for any application simply by connecting cables in different ways. A variety of mono and stereo connections are supported, including discrete dry and effect outputs for wet/dry setups. It's even possible to defeat the dry signal entirely, perfect for delay-only blending in a parallel effects loop.

Analog-Classic analogue BBD delay sound.
Standard-Clear digital delay.
Tape-Vintage tape-based delay sound.
Warm-Digital delay with a softer sound.
Reverse-Backwards delay for cool psychedelic effects and other unique tones.
+RV-Digital delay with reverb added.
Shimmer-Pitch-shifted delay for lush, shimmering textures.
Mod-Digital delay with modulation added on the repeats.
Warp-Unique delay with expressive pedal control. Holding the pedal switch increases feedback and level, allowing you to create ambient swell effects.
GLT-Newly developed delay mode that creates glitchy machine-gun effects when the pedal switch is pressed. Adjust the Feedback and Time knobs for a wide variety of sounds.
Loop-Loop recorder with overdub capability and up to 40 seconds of recording time with mono input (20 seconds with stereo input).

Specifications

Nominal Input Level: -20 dBu
Input Impedance1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls: MODE knob, TIME knob, FEEDBACK knob, E.LEVEL(Effect Level) knob, CARRYOVER switch
Pedal switch
Indicator: CHECK indicator (Used for indication of check battery)

Connectors: INPUT-A(MONO)/INPUT-B jack: 1/4-inch phone type
OUTPUT-A(MONO)/OUTPUT-B jack: 1/4-inch phone type
TEMPO/EXP jack: TRS 1/4-inch phone type
DC IN jack

Power Supply:
Alkaline battery (9 V, 6LR61)
AC adaptor (PSA series: sold separately)

Current Draw: 100 mA

Expected battery life under continuous use
Alkaline: Approx. 3.5 hours
*These figures will vary depending on the actual conditions of use.

Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Dry battery (9 V, 6LR61)
Options (sold separately)
AC adaptor: PSA series
Footswitch: FS-5U, FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5

Size & weight
Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 440 g / 1 lb

Notes: An analogue oscillator with through-zero phase modulation. The core of the T-ZED is the SSI2130 integrated circuit. Voltage controlled wave shape and phase modulation index allow for automated sonic versatility, and 2 separate frequency ranges mean the T-ZED can be used as an audio or CV source.

Features

Simultaneous SINE, TRIANGLE, SAW, SQUARE, and variable SHAPE outputs
Phase MOD input with bipolar INDEX circuit
V/OCT input tracks 10 octaves
FREQ spans 10 octaves, TUNE spans 1 octave
Hard SYNC input
SHAPE output (Sine to Triangle to Saw) with CV input and attenuator
Frequency range HI: 10hz-25khz
Frequency range LO: 0,1hz-200hz


Dimensions
12 HP
25 mm deep

Current Draw
55 mA +12V
45 mA -12V

Notes: 3xVCA offers three high class amplifier circuits with linear characteristic. Thanks to AC / DC compatibility, a very low noise floor and basically no distortion, the module is not only a great partner for control voltages, but audio material as well. Besides a signal input and output, each VCA has its own CV input. The dual potentiometers regulate levels and bipolar CV attenuation values of all amplifiers. Using these rather unusual, yet very practical components, it was possible to equip the 3x VCA with a front panel that is only 6 HP wide. Switches allow the user to feed the results of one amplifier to the output of the next amplifier, so we can get 1+2, 2+3, and 1+2+3 outputs mix. Two-colored LEDs visualize CV and output signals.

60 mA +12V
60 mA -12V
35 mm Depth

Notes: The Octave Fuzz is SynthRotek's take on the classic 70's SuperFuzz circuit, made into a Eurorack module, which has improved on some aspects of the original as well, including an increased output.

Two distinct voices like the original: switchable between scooped midrange and massive midrange bump.

Aggressive: It will sound massive and in-your-face like no other circuit can. This is for sonic explorers and heavy music only. In short, it's not useful for EVERYTHING, but the things it DOES do it excels at. Sounds especially killer for keyboard and bass sounds.

Tuned to give a subtle distorted waveform one octave up via wavefolding (see the video to view this on an oscilloscope). (Completed modules come pre-tuned; there are calibration instructions at the end of the assembly instructions for the kits)

This circuit has been optimized for Eurorack. You can find a guitar pedal version here.

Current Draw:
32mA @ +12v
24mA @ -12v
0mA @ +5v

Notes: The Face The Fuzz is a modern take on a classic sound, modeled after the Dallas Arbiter Fuzz Face but with some important upgrades and modifications. Get the original Germanium PNP transistors for that classic tone just like the likes of Jimi Hendrix, Duane Allman, and George Harrison played!

What is the difference between Synthrotek's two fuzz pedals: Face the Fuzz and the Arbiter Fuzz Face Clone? The Arbiter Fuzz Face Clone uses the classic circuit that is known and loved by many, and everybody loves a classic. The Face the Fuzz pedal has been designed with a few key changes to make it more useful to the modern musician: a wider frequency response, the ability to daisy-chain the power with a 1 Spot, and the option to use temperature-stable Silicon transistors.

The Face The Fuzz comes with hand-tested and selected premium AC128 NOS PNP transistors. All of the AC128s for optimum gain and leakage current so that they are guaranteed to bias properly and sound great! Lower gain transistorshave been chosen for Q1 and higher for Q2 according to strict standards. Be assured that you will be playing a premium product that takes the guess work out of Germanium transistor testing.

Notes: Excellent value from this uniquely versatile pedal. Load or record acoustic guitar impulse responses and apply them to your electric guitar, transforming the tone and sound.

Supplier's Notes:

The Optima Air pedal is a programmable digital modelling acoustic guitar simulator for electric players. Plug in your electric guitar and morph it into any of 15 internal acoustic guitar models at will. An Impulse Response (IR) loader enables you to capture the tone profile of your favourite acoustic guitar and store it as a model that can be played from your electric guitar. To enhance the acoustic tone, the Optima Air is furnished with a foot-switchable studio quality preamp with 3-band EQ and a digital reverb section to generate ambience. The Optima Air also has an audio streaming USB interface providing, which can be used as a recording device and the USB can be used for remote editing via software which is downloadable for PC or Mac computer. Inputs and outputs include standard jack in and out, a D.I. XLR output, send/return effects loop, headphone output and aux line input for a myriad of connection possibilities. Optima Air is the acoustic guitar in a pedal for electric players either on stage or in the studio.

Power supply: 9Vdc, 500mA, negative centre (not supplied)
Sampling format: 24-bit, 48-kHz
Internal programmes: 15 models, 9 preset patches
DI output: XLR
USB computer interface: Micro USB port

The box for this item contains :

Optima Air pedal

Notes: Upgrade to Studio One 4 Professional from any prior version of Studio One Professional OR Producer!

There's a very good reason why so many musicians have switched to Studio One from older, more rigid programs. Built on a modern foundation that's not bogged down by legacy code, Studio One provides an efficient, creative companion from initial inspiration to final master. Its efficient, single-screen interface houses an unlimited number of tracks, intuitive editing tools, advanced virtual instruments, mastering, and video player- you spend your time creating music, not wondering what to click next. The 64-bit double-precision mix engine is state of the art, while the smooth, analog quality of the virtual instruments comes from proprietary techniques that provide much higher controller resolution. That's why Studio One just plain sounds better.

The reason why Studio One resonates with musicians is simple: PreSonus listens. Many new features in Version 4 are the direct result of user feedback, including AAF import/export so users can bring song data from their old DAW into Studio One. Add the most flexible arranging tools of any music program, full integration with Notion for superior notation, over 20 GB of carefully curated content, analog console emulation, advanced step sequencing, unified hardware control with the FaderPort series of hands-on controllers, and much moreiit's no wonder that Studio One continues to gain new followers every day.

Create Without Boundaries - Produce Without Limits

System Requirements:
Windows

Windows 7 (SP1 + platform update), Windows 8.1 or Windows 10 x64
Studio One 4 operates on 64-bit operating systems only.
Intelr Core Duo or AMD AthlonX2 processor (Intel Core 2 Duo or AMD Athlon X4 or better recommended)
4 GB RAM minimum (8 GB or more recommended)
Internet connection (needed for installation and activation)
Monitor with 1366 x 768 resolution (high-dpi monitor recommended)
A multi-touch enabled monitor is required for touch operation
40 GB hard-drive space
Mac

macOSr 10.11 or higher
Studio One 4 operates on 64-bit operating systems only.
Intelr CoreTM 2 Duo processor (Core i3 or better recommended)
4 GB RAM minimum (8 GB or more recommended)
Internet connection (needed for installation and activation)
Monitor with 1366 x 768 resolution (Retina display recommended)
A multi-touch enabled monitor with TUIO support is required for touch operation
40 GB hard-drive space

Notes: The Green3 uses a three piece OTL cantilever that has a Grado specific diamond mounted on a brass bushing.

What's the difference between Black3 and Green3?
Approximately 15% of the Black3 production run meet higher specifications. These are hand selected from the batch and designated as Green3.

Grado's OTL, or optimized transmission line, technology provides an ideal transfer of signal from the surface of the LP to the generator of the system. This technology rejects unwanted resonances and lowers distortion preserving the fundamental and harmonic frequencies of the music. This also helps keep noise generated by the motor system in the cartridge to a minimum.

Grado's OTL stylus/cantilever design makes records sound quieter, improves the height, width, and depth of the soundstage, and present more detail than previously obtainable.

The Green3 is hand assembled by Grado's team in Brooklyn, with some builders having over 25 years of experience. This updated series of cartridges offers excellent tonal balance, dynamics, and realism, for a most rewarding reproduction of vocals and instruments. The coil winding techniques using ultra high purity copper wire, which were honed during the development of the Lineage Series, have let the electrical circuits achieve unison between the four coils in each phono cartridge. This allows for a precise balance between channels and accurate stereo imaging.

As in all Grado phono cartridges the Green3 is powered by a twin magnet system that optimizes the balance between stereo channels. All internal magnetic circuit parts are held to extremely high tolerances creating the desired stereo imaging. Grado's patented Flux-Bridger design allows the Green2 to have one of the lowest effective moving mass generating systems while creating an excellent balance throughout the full frequency range.

Notes: The Hungry Robot Sample & Hold provides basic S&H functionality with some added bells and whistles. It uses an internal clock dialed into a very useful range. If the internal clock rate is not to your liking, you can bypass the Rate knob by patching a clock signal into Clk In. The Sample & Hold has a built in attenuverter giving a bit of added control over the random voltages that are outputted. White noise out for uses elsewhere. Traditionally a S&H samples voltages from chaotic white noise, but E.In allows you to bypass the white noise and patch in your own sample source (i.e. patching an LFO in for a bit crushed LFO). As with all Hungry Robot "Modular Boxes" the Sample & Hold can be powered with a simple 9V DC, Negative Center power supply.

KNOBS
-MINUS/PLUS: Attenuverter for output. Allows you to sweep between positive and negative voltage outputs.
-RATE: On board clock source ranging from approximately 25ms to 1000ms.

PATCH POINTS
-E.IN: Bypasses internal white noise as a sample source. Patch in any CV source that you want to sample from
-STATIC: Taps into white noise output (0-5V range)
-CLK IN: Bypasses internal clock with your provided external clock
-S&H OUT: Two buffered outputs of S&H voltage

Dimensions: 4.7" x 2.6" x 1.5"
Power: 9V DC - Negative Center - 2.1mm Barrel

Notes: Lovely little mono filter module in a compact desktop format. Based on the classic Prophet 5 filter, ideal for processing synths and signals, hooking up to Eurorack or other Hungry Robot modules.

Supplier's Notes:

The Hungry Robot VCF is an all analog, 4-pole low pass filter with a self-oscillating resonance control. It is a close replication of the filter circuit found on the famous Prophet 5. It uses a HM2040 which is a high quality, faithful replication of the original SSM2040 chip. This resonant filter has a beautiful tonal quality. The over-sized knobs provide a satisfying tactile response. The cutoff frequency can be controlled by external control voltage. It has a built-in attenuator and invert switch for the incoming CV. CV input does not track at 1V/Oct, but is scaled to act as a VCA when a 5V signal is applied to CV input. As with all Hungry Robot "Modular Boxes" the VCF can be powered by a simple 9V DC, Negative Center power supply.

KNOBS
-FREQUENCY: Sweeps the cutoff frequency of the filter.
-CV: Attenuator for incoming CV input.
-RESONANCE: Sets resonance of filter. Small volume drop is to be expected. Will self-oscillate at higher settings.

SWITCHES
-INVERT: Inverts the incoming CV input. Toggle to the right to invert incoming CV

PATCH POINTS
-IN: Patch Audio Signal In
-CV: CV input for Frequency. Allows for CV control of this parameter.
-OUT: Patch Audio Signal Out

Dimensions: 4.7" x 2.6" x 1.5"
Power: 9V DC - Negative Center - 2.1mm Barrel

Notes: The Acapulco Gold is a dirt-simple distortion Device modeled after the sound of a cranked vintage Model T amplifier, bringing the openness, clarity, and crunch that only a dimed tube amp can provide, at a fraction of the size, and without expensive maintenance costs!

Since tone is in the hands, the controls of the Acapulco Gold are as simple as possible. The footswitch turns the pedal on and off, and the giant knob controls the output volume. That's it. The rest is at your fingertips. Want less gain? Turn down your guitar's volume knob. Need a darker rhythm tone? Roll back your guitar's tone control. Easy, right?

Big Knob: The big knob sets the output level, sometimes known as Volume. PLEASE BE CAREFUL, the Acapulco Gold is extremely loud!

With your guitar's volume all the way up, the Acapulco Gold roars like a wide-open Model T on the verge of explosion. At just-barely-backed-off, the Gold becomes a raunchy overdrive. At minimum guitar volume settings, the Acapulco Gold delivers a hazy, Nashville-sounding spank to your tone.

How about this? If your guitar has separate volume and tone controls for each pickup and a three-way selector switch, this little one-knob banger becomes a three-channel tone monster at the flick of your wrist!

This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

This device can be powered by a 9v battery or a standard 9-volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise.

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs

Current Draw: 18 mA

Notes: Open up your signal routing options with this neat and simple pedal. Split one signal into three, run effects in parallel, mix three signals together, set up ABY routing or set levels. Versatile.

Supplier's Notes:
The Signal Blender provides a number of parallel routing solutions through its use of a pair of send/returns, primary input and output, switching, and volume control.

Signal Blender can be used as a:
Parallel effect blender
3-to-1 mixer
1-to-3 splitter
Active ABY in either direction
Volume level setter

and more.

A courtesy 9V power outlet and phase correction switches for both Sends add further versatility to this box. Clever switching allows for latching or momentary on/off action.

The Signal Blender uses standard 9V center negative power, and has a current draw of 31 mA.

Notes: SOLINA, an emulation of the 70ies string machines!

The SOLINA module is based on th excellen work of Jan Ostman, who has developed a very good digital based emuation of the sound of the string synths that were popular in the music of the 70ies and 80ies, like ARP Solina (who gave this module it's name), Logan String and others.

Their unique sound is based on several, minor detuned sawtooth oscillators and an ensemble effect.

This module produces chords, which can be shaped in different ways, like selecting the base scale (minor, major), adding the 7th or a bass note and different variations of the chord. The sound can be shaped with a variable oscilator spread/detune, adding a phaser/ensemble and a tone knob for choosing the overall character between bass focused to only higher parts of the sound.

Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod20 is 20HP with 1.34" (34mm) of available module depth. The built-in power supply has two power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod20 includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: ADSR is a four stage linear envelope with two expressive ranges. Each stage can be modified independently allowing for the creation of complex, multi-segment envelopes. Great for modulating filters, VCAs, and oscillators.

Notes: Arp is a gate-driven arpeggiator with a multitude of chord types and playback modes. Voltage control over both root note and chord type allow for sequencing any combination of chords in any key imaginable.

With the rate of the arpeggio and reset capability in your own hands, you're free to create dynamic rhythmic melodies from your favourite chords. Take your tonality for a ride with Arp.

Notes: Mix is a 4 channel mixer that is great for audio or control voltage signals. Up to four inputs can be combined to a single output each with its own level control.

Notes: The 2hp VCA is a dual, linear VCA. It uses the renowned 2164 SSM architecture, giving it extremely low distortion and high quality audio outputs. With a CV input attenuator, and DC-coupled inputs this is your new go-to module for voltage controlled amplification of audio or CV.

Notes: Verb is a lush stereo reverb with a full feature set and superior audio quality. A wide range of reverb times take your sound from small room to never-ending concert hall.

CV over mix allows dynamic movement between the dry and reverberated sound, and the dampening control lets you dial in the perfect timbre for the wet signal. Whether you need a traditional reverb for an FX send or an esoteric sound design tool, Verb can take you there. Get lost in space with Verb.

Notes: Erica Pico Quant is advanced CV quantizer with some unique features - quarter tone accuracy and the web-based interface for creating user generated scales.

- 8 preset scales
- Web based interface for user generated and extra preset scales
- Microtonal quarter tone scales
- Adjustable tolerance
- Adjustable CV glide between notes
- Clocked and independent quantization

Dimensions
3 HP
35 mm deep

Current Draw
25 mA +12V
6 mA -12V

Notes: Erica Synths Pico VCO is a great, deep sounding VCO with 32 selected waves: classical, fattened with sub-oscillator, FM synth and others.

Features
2 banks, 16 waves each
VCO/LFO mode
Voltage controlled wavesurfing
Wave morphing in LFO setting
Typically you would need several rather expensive modules to generate similar sounds, besides there's an extra feature: flip a switch, and you have a versatile LFO.

With Pico Series we challenged ourselves - can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can.


Technical specification:

VCO frequency range: 30Hz - 5kHz
LFO frequency range: 0,1Hz - 20Hz
1V/Oct input signal amplitude: 0V - +10V;
Output amplitude: 10V ptp
Power consumption: +26 mA, -4 mA
Module width: 3HP
Module depth: 35 mm