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Review: It's quite hard to comprehend that such a pivotal album in the history of free jazz has taken this long to be reissued. Originally coming out in 1980, Visions Of The Third Eye is a landmark piece of work which saw the untamed terrain of free jazz being navigated with a certain soulful, spiritual bent which lands differently compared to a lot of other works in the genre. New Life Trio was made up of monumental drummer Steve Reid, guitarist Brandon Ross and bassist David Wertman, and on this record they broke down barriers but never at the expense of the feeling. Now Early Future have faithfully reissued the album with an appropriate level of grandeur, remastered and featuring a 20-page zine with interviews, essays and more.

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

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

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

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

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

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

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:

QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Depth: 45mm
HP : 12

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

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

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

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

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

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

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

Review: Catharsis runs through the debut solo album from Oliver Sim, best known to most of us as the bassist-singer from The XX. A record that's about pulling back the curtain to reveal who he really is - surprising, considering The XX's output always felt heart-on-sleeve - even the vocal delivery feels more honest, less whispered, no longer hidden beneath effects and subtle textures.

Hideous Bastard is in many ways also less produced, more human. And by that we mean theatric, dramatic, packed with artistic ideas, and the feeling of someone coming of age to finally feel comfortable in their own skin letting us in. Inventive to the last, it's forward thinking alternative electronic-pop-rock-indie fare but, more significantly, it's an act of sharing - from his own HIV diagnosis at 17 (the first time he has publicly discussed the illness) to thoughts about the industry and society itself.

Review: Former Factory Floor flummoxer and drummer Gabe Gurnsey grabs us by the groin on this gargantuan groveller of an LP, 'Diablo', his new album. Blending influences from Detroit techno, minimal post-punk and krautrock, it's an impressive follow-up to Physical, his debut solo album for Erol Alkan's Phantasy Sound. It hotly heats our hearing with high-octane hygge, and develops nicely out of his former one-off EPs and singles.

Notes: Ultra slim envelope generator with looping, ASR and AD modes

CV control over fall (decay / release)
Continuously variable shape over both slopes without stretching the slope's duration in time.
Low aliasing CV generation, 224 kHz sample rate.
1 v/oct input, bipolar and unipolar outputs, end of cycle output.
Audio rate oscillation in cycle mode allows you to utilize it as an oscillator.
Polarizer knob with additional VCA input scales the envelope and inverts it when CV goes to negative voltages, allowing for compact sidechain envelope solution without the need for external mixers / inverts / offset generators.
Slew limiter, S&H, T&H processing for external CV sources

Power consumption:
60 mA +12V
15 mA -12V
0 mA 5V

Dimensions:
4 HP
26 mm deep with power ribbon cable connected

Notes: Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption:
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions:
16 HP
26 mm deep with power ribbon cable connected.

Notes: Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions
16 HP
26 mm deep with power ribbon cable connected.

Notes: Running Order is a two track trigger sequencer. It can be a precise master clock or manipulate incoming clock signal and works great in use as a sub-sequencer/divider in your Eurorack environment.

Zero-jitter clock generation: less than 50 microseconds internal clock jitter
101 style 1/16th note input mode (step/rest) with manual or CV controllable amount of triggers repeats when the active trigger step happens
Euclidean mode enabled for each track where we set Euclidean total steps amount in the circle and then amount of triggers happening in that circle.
Per step trigger probability in 101 mode and global probability in Euclidean mode.
Separate synchronization (reset) inputs, sync for track 1 is normalled to sync track 2
Clock divider for incoming external clock allows to quickly obtain various musical divisions on the fly incl. triplets of course, but more importantly tuplets mode allows you to stretch desired amount of triggers happening into a single bar
Separate mute buttons for each track
8 patterns of triggers sequences stored in the module and recalled on the next power up
Available in 3U / 6HP version

Power consumption:
30 mA +12V
10 mA -12V
0 mA 5V

Dimensions:
22 HP
26mm deep with power ribbon cable connected

Review: By his own admission, Daniel Avery's previous albums have been inspired by escapism and a desire to avoid focusing on the growing darkness of the world outside his studio. On Ultra Truth, he's flipped the switch, "directly looking into the darkness, not running away". That doesn't mean that he's left the dancefloor; far from it, in fact. While some of the aural textures, chords and melodies tend towards the melancholic, moody and overwhelming, they still feature club-ready rhythms or beats that tend towards the bold. Basically, it's heavy and dense, but sonically attractive enough to work outside of nightclub environments, with the contributions of various friends and contemporaries (HAAi, Kelly Lee Owens and Sherelle included) only enhancing the album. For proof, check out ultra-deep D&B roller 'Higher', the sparse and spooky electro shuffle of 'Chaos Energy', and the intergalactic breakbeat hustle of 'Wall of Energy'.

Notes: Running Order is a two track trigger sequencer. It can be a precise master clock or manipulate incoming clock signal and works great in use as a sub-sequencer/divider in your Eurorack environment.

Zero-jitter clock generation: less than 50 microseconds internal clock jitter
101 style 1/16th note input mode (step/rest) with manual or CV controllable amount of triggers repeats when the active trigger step happens
Euclidean mode enabled for each track where we set Euclidean total steps amount in the circle and then amount of triggers happening in that circle.
Per step trigger probability in 101 mode and global probability in Euclidean mode.
Separate synchronization (reset) inputs, sync for track 1 is normalled to sync track 2
Clock divider for incoming external clock allows to quickly obtain various musical divisions on the fly incl. triplets of course, but more importantly tuplets mode allows you to stretch desired amount of triggers happening into a single bar
Separate mute buttons for each track
8 patterns of triggers sequences stored in the module and recalled on the next power up
Available in 3U / 6HP version

Power consumption:
30 mA +12V
10 mA -12V
0 mA 5V

Dimensions
22 HP
26mm deep with power ribbon cable connected

Notes: The C-1U module is a one-channel module for recording and playing back movements of controller. Those can be recorded with channel's knob. The movements will be output as control voltage. The record time amounts to one minute maximal.

The track can be played once only (one shot) or in loop. The speed of the play back or the output offset is controllable with the pot. There are an additional CV input for CV recordings and a reset input.

The track data remains permanently stored when a 3V battery is used to buffer the RAM. When the module is switched on, the recorded data is available again. The module can be operated unipolar or bipolar (set by jumper on the back).

Note: The C-1U KnobRekorder uses a standard 3v lithium backup battery , type CR2032. The battery is needed to keep recordings and settings stored when the Eurorack case is turned off.

Dimensions: 12 HP
Power consumption: 20mA at +12 V and 9mA at -12 V

Module is a 1U tile.

Review: Extension was the last of three unique Blue Note sessions led by the singular saxophonist George Braith in the early 1960s. The album was rooted in soul jazz - with Grant Green (guitar), Billy Gardner (organ), and Clarence Johnston (drums) - but Braith's adventurous spirit led the music into unexpected realms on memorable originals like "Nut City." Blue Note Classic Vinyl Series is all-analogue, mastered by Kevin Gray from the original master tapes, and pressed on 180-gram vinyl at Optimal.

Review: LA-based label Emkay Records put out just one album, and this is it. Free Love hailed from St Louis and was led by Philip Westmoreland with production by Kent Washburn and Oliver Sain. Plenty of others featured such as backing vocals from The Georgettes, bass from Tom Zuzenak, vocals from Marcus Kelly and many more who helped to make this such a fantastic and soulful album. It's mega-rare these days and so this reissue, in deluxe form, is welcome in deed and allows you to tap into some of that endless retro love.

Notes: If you've worn out the earpads or headband on your Sennheiser headphones, then browse through Juno's special products section and track down the replacement part.

Review: Priku's Atipic imprint is back with a new one by Berlin-based Argentinian Alexis Cabrera this week. ATIPIC 014 features four tracks firmly entrenched in the minimal sound; the off-kilter, low slung breaks of '014.1' kicks off the EP featuring some sensual vocals by The Magic Olives, before the playful groove of '014.2' comes next that's reminiscent of late-noughties sounds on Minus or Oslo. On the second side, you've got the trippy microhouse bleep fest of '014.3' and ending with the experimental, piano-led downbeat piece '014.4'.

Notes: The Z8000 Matrix Sequencer is a modulation source like no other: The 16 knobs of the Z8000 are accessed by ten sequencers with their own clock, direction and reset inputs. The ten sequencers are as follows:

Four 4 step CV sequencers on the horizontal.
Four 4 step CV sequencers on the vertical.
One 16 step CV sequencer on the horizontal.
One 16 step CV sequencer on the vertical.

The Z8000 can simultaneously modulate up to 10 CV parameters poly-rhythmically, with unprecedented motion complexity. One knob affects all 10 CV outputs! Imagine modifying 10 parameters from one knob. With its 30 gate and clock inputs and 10 CV outputs one can only imagine the possibilities, and all clock inputs can even be driven at audio rates! The Z8000 pairs well with the Trigger Riot and Circadian Rhythms and using it with the QuantiZer extends its capabilities as a high-precision 1V/Oct note sequencer.

Introduced in 2017, a new version of the Z8000 maintains the original circuitry but adds output range adjustment switches on the back and Tiptop's new colored look, which helps highlight the sections, on the front.

Size: 28HP
Depth: 15mm
Power: +12V 70ma / -12V 10ma

Review: During the later stages of 2020, Damien Duque (City of Dawn) and M Cody McPhail (ATOP) decided to begin writing a collaborative album together. Their styles, although different, compliment each other extremely well and it became apparent that this project would end up flowing out of them with ease. They shared wav files and recording parts individually at each other homes over a few months. City of Dawn's smooth reverbed tonal compositions mixed with ATOP's rougher and meandering synth lines gives the Starwind lp its expansive and cosmic qualities.

Review: During the later stages of 2020, Damien Duque (City of Dawn) and M Cody McPhail (ATOP) decided to begin writing a collaborative album together. Their styles, although different, compliment each other extremely well and it became apparent that this project would end up flowing out of them with ease. They shared wav files and recording parts individually at each other homes over a few months. City of Dawn's smooth reverbed tonal compositions mixed with ATOP's rougher and meandering synth lines gives the Starwind lp its expansive and cosmic qualities.

Review: Since impressing with their 2016 debut At Sacred Walls, Szun Waves - a trio comprising acclaimed electronic experimentalist Luke Abbot, drummer/percussionist Laurence Pike and saxophone player Jack Wylie - has operated at the intersection of ambient and jazz, delivering periodic sets that combine spiritual sounds and atmospheric solos with waves of electronic textures. It's an alluring, otherworldly sound all told, and one that's at the heart of their latest album, Earth Patterns. Musically, the album - which features additional production from, amongst other people, Abbot's old pal James Holden - is blissed out and otherworldly, combining sonic motifs more often associated with Alice Coltrane (hypnotic and Eastern-influenced), Sun Ra (interplanetary improvisations), Tangerine Dream (epic synth-scapes) and abstract electronica (inspired, densely detailed sound design). It all adds up to an astonishingly good album.

Review: As recently as this year with his Floating Points collaboration, Pharoah Sanders has proven to be in excellent form. Which is all the more remarkable given the length of his career. Oe of the early highlights was the 1981 classic, Rejoice, which explored a more mellow sound than previous works. The record is rife with superb improvs a la late 50s John Coltrane as well as fine turns from top players including pianists Joe Bonner and John Hicks, bassist Art Davis and drummers Elvin Jones and Billy Higgins. Bobby Hutcherson adds some start vibes work and that helps the album to hold your attention closely throughout.

Review: Jordan GCZ is having a hell of a year. He's already delivered two sublime albums (his debut solo set and one created in collaboration with Detroit legend Terrence Dixon) and here drops another must-check EP, his first for Rawax. 'Making Me Dizzy' sees the Amsterdam-based producer add gorgeously ambient lead lines, lilting TB-303 motifs and funky bass to a classic Motor City techno groove, with the accompanying 'Dub Mix providing a heavier, sweatier and more intoxicating alternative version. 'Tongue Twister' is jazzier and even more intergalactic, sitting somewhere between blissed-out Move D deep house and melodious techno. The dub that accompanies it is pleasingly deep, out there and effects-laden, escorting us even further into deep space. Tip!

Review: Music Message & The Moment has been put together to celebrate 60 years of Impulse Records. All the big hitters like John Coltrane, Quincy Jones, Charles Mingus, Oliver Nelson, Pharaoh Sanders, Archie Shepp and a host of other legendary jazz cats all feature. Each of them contributed to Impulse's reputation as the leading, political stand-taking label of the 60s. Togeterh they add up to a strong statement of black power, and musically the compilation take sin a wide embrace of styles and sounds. The stunning four LP box set is housed in a high-quality archival portfolio cast with a museum drop front, and it also comes with a booklet and unique slipmat, so is a real piece of collector's gold.

Review: Pop on your space suit and lock in for an intergalactic Balearic ride at the hands of Luca, whose new Terra LP is a terrific trip through the cosmos. This is a second full length from the artist born Francesco De Bellis and it follows on swiftly from his well received Venus EP early in 2022. It's a fr-reaching musical journey with retro-future synths glistening in the solar rays, loose and jumbled drums suspending you amongst the stars and pieces like 'Capitolo 2 Coscienza' with its spoken word elements contouring up the feeling of some mystic ritual dance.

Notes: DJ Tech Tools have taken their Chroma Caps and made them shiny and gold.

Super-shiny reflective coating makes these their wildest caps yet.

Durable metal-like exterior coating.

They look great with lighting at indoor gigs and gleam brightly in the sun at outdoor DJ seshes.

Completely Redesigned, More Playable Knobs

Every last detail was upgraded in the redesign to increase playability, including: rounded corners and bright colours with large clear markers for better visibility, and increased widths for a more natural grip.

Knobs You Can See In a Club

Don't kill the dancefloor cause you can't tell the gain from the EQ knob. Chroma Caps come in a wide range of bright colours and materials that makes controls stand out. No more needless mistakes.

Label Functions By Colour

Label functions by colour for more playable gear. It's 10X easier to tell an EQ from a filter when everything is labelled by colour or material. This means you can focus on the music, not the lighting, while adding a personal touch to your beloved gear.

Technical Details

Sizes:

Note: Diagram shows knobs viewed from below

Encoder knob base diameter: 18.5mm x 15.4 mm tall
Faders: 22mm long x 12mm wide x 14.25mm tall
Faders MK2: 22mm long x 12mm wide x 14.25mm tall (improved fit for P-Lock Pioneer faders)
Fatty knob base diameter: 18.5mm x 16 mm tall
Super knob base diameter: 14.2 mm x 19.6 mm tall
Thin Encoders: base diameter: 14.2 mm x 19.6 mm tall
Knobs fit on 6.5mm D shaft pots, check the diagram above to select the right variant for your gear.

Ease of Install:

Chroma caps are very easy to install and require no expertise or hardware. To remove your old knobs use a small plastic object to lever them off without bending the shaft. Avoid metal objects since they might damage the finish on your device.

People commonly use Chroma caps as: DJ knobs, Mixer knobs, on DJ mixers, as replacement knobs, as Pioneer knobs, as EQ knobs, and as Potentiometer knobs. Chroma caps are great DJ Accessories

Warranty:
Every cap is guaranteed against defect and will be replaced immediately and without any cost to the customer within the first year.

Notes: DJ Tech Tools have taken their Chroma Caps and made them shiny and gold.

Super-shiny reflective coating makes these their wildest caps yet.

Durable metal-like exterior coating.

They look great with lighting at indoor gigs and gleam brightly in the sun at outdoor DJ seshes.

Completely Redesigned, More Playable Knobs

Every last detail was upgraded in the redesign to increase playability, including: rounded corners and bright colors with large clear markers for better visibility, and increased widths for a more natural grip.

Knobs You Can See In a Club

Don't kill the dancefloor cause you can't tell the gain from the EQ knob. Chroma Caps come in a wide range of bright colors and materials that makes controls stand out. No more needless mistakes.

Label Functions By Colour

Label functions by color for more playable gear. It's 10X easier to tell an EQ from a filter when everything is labeled by color or material. This means you can focus on the music, not the lighting, while adding a personal touch to your beloved gear.

Technical Details

Sizes:

Note: Diagram shows knobs viewed from below

Encoder knob base diameter: 18.5mm x 15.4 mm tall
Faders: 22mm long x 12mm wide x 14.25mm tall
Faders MK2: 22mm long x 12mm wide x 14.25mm tall (improved fit for P-Lock Pioneer faders)
Fatty knob base diameter: 18.5mm x 16 mm tall
Super knob base diameter: 14.2 mm x 19.6 mm tall
Thin Encoders: base diameter: 14.2 mm x 19.6 mm tall
Knobs fit on 6.5mm D shaft pots, check the diagram above to select the right variant for your gear.

Ease of Install:

Chroma caps are very easy to install and require no expertise or hardware. To remove your old knobs use a small plastic object to lever them off without bending the shaft. Avoid metal objects since they might damage the finish on your device.

People commonly use Chroma caps as: DJ knobs, Mixer knobs, on DJ mixers, as replacement knobs, as Pioneer knobs, as EQ knobs, and as Potentiometer knobs. Chroma caps are great DJ Accessories.

Warranty:

Every cap is guaranteed against defect and will be replaced immediately and without any cost to the customer within the first year.

Review: Reissued by quality-focused new age time capsulists Ebalunga Records, 'Wilderness America' is a curious album from the mid-1970s that bore one of the first musical responses to climate change and global warming in the United States. It does what it says on the side of the mountain, and practises what it preaches. Much like the collective action and ego-abandoning required to fight unchecked growth, 'A Celebration of the Land' charts myriad (tens) of contributions from guest musicians - including Iasos, Doug Lunn and John Blakeley - to produce a sonic manifesto against the "steel and concrete madness" of city living, and a return to nature.

Review: Cult guitarist Gabor Szabo's Live in Cleveland 1976 album is 50 minutes of some of his finest work. This one was originally captured for radio broadcast and is a real joy. It is the sound of an artist really embracing playing live - and sounding quite different from how he does on record. In 1976 his quartet comprised George Cables (or Joanne Grauer) on piano, Tony Dumas on bass and Sherman Ferguson on drums, so had real clout. This concert was part of a series of 13-hour concerts broadcast on more than 40 FM radio stations.

Review: A Monster's Expedition + Earlier Adventures is a double disc collection of music from four different video games (namely A Monster's Expedition, Sokobond, Cosmic Express and A Good Snowman Is Hard to Build) all composed by Eli Rainsberry, Allison Walker, Nick Dymond, and Priscilla Snow. Each one is utterly unique to the game and each one comes laden with beautiful soothing atmospheres delicately coloured with ponderous and whimsical melodies that will distract you from whatever you are doing they are so gorgeous. This is music to get lost in and it comes with superbly serene artwork from Andre Rodrigues.

Review: There is a new hound in the pound of Berlin label 777. Dogpatrol bares his teeth with this razor sharp EP of visceral electro. The brilliantly titled 'Came Back From Hell & I Feel Good' opes up with roaming synths and slivery percussive slices over booming drums and broken beats. There is more space in the nimble drums of 'Safari Simulator' while 'The Deep Valley Of Self-Neglect' has a heavy, pounding and linear groove. 'Usingmyquirk' brings a haunting vibe with its low end oscillations and shimmering pads and 'Granular Memory Experience' is a wonky and kinetic machine workout for the afters.

Review: It was big news when Daft Punk were enlisted to record the soundtrack to Disney's remake of Tron. While the film has perhaps faded from view slightly, the soundtrack remains a popular notch in the French duo's latter-day legacy. Here, we get treated to a reissue of the big budget remix collection which came out in 2011. It's a neat snapshot of the electronic music landscape at the time, ranging from The Glitch Mob to M83, Moby to Paul Oakenfold, Boys Noize to Photek and the late, great Avicii. You certainly wouldn't get the same cast of characters together for a similar package now, making this a document of the era as well as an essential collection of premier league dance music.

Review: Shigeru Suzuki has been involved with plenty of cult, hard-to-find albums from Band Wagon to Pacific and they have all been reissued of late. Next up is Reservation Calendar alongside Sunset Hills Hotel, another glorious synth work that transports you to a place of pure and clean musical bliss in an instant, as does so much jazz from the Far East. This record takes in mellifluous downbeat pieces like 'Silver Snow Shining' as well as lovably kitsch 80s tunes like 'April First' and the more introspective sounds of 'November Eyes' with its lush tropical percussion and yawning soft rock riffs.

Review: Finnish producer Vladislav Delay is releasing their sophomore album as an industrial drone narration of the juxtaposition of returning to urban life after exploring the northern arctic (an idea explored in his previous works). After a long walk or meditative experience of peace, the moment when we thrust ourselves out the front door onto the main road - that is Isoviha. No track better encapsulates the synthetic incessant noise of city life than 'Isonuha' with it's synthetic incessant noise. Industrial crushing and experimental cymbal crashes fight each other in this bloodsport of a track. 'Isoviha' is intense and heavy on the soul, a reflection of it's anti-synthetic narrative.

Review: New Jersey hardcore punk supergroup, Beach Rats, deliver a knee slap to the temple of any and all would be contemporaries on their infectious, anthemic debut full-length, Rat Beat. Boasting a line-up of seasoned veterans including Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Ari Katz (Lifetime), plus members of The Bouncing Souls and Let It Burn, the band have regrouped in their Asbury Park basement headquarters to craft a rapturous collection of to-the-point, old school hardcore that delivers tenfold on the promise of their 2018 debut EP, Wasted Time.

Review: Lenzman's North Quarter label continues to represent for a particular strain of crisp, moody but broadly appealing D&B, and they're welcoming back London-based Freddie Dixon for another EP mere months after the collab 12" with Satl. There's loads to catch a hold of on this record, not least the rabble-rousing 'Mama Told Me' featuring Hella spitting bars over a moody slice of neuro. 'Shawn Kemp' is a taut workout which teases peaks and troughs of intensity around a razor sharp lead line, while 'Double Drizzle' gets a little wobbly in the upper mids for a peak-time mid-set roller. 'Sails' rounds things off on a sentimental tip, letting FD's melodic instincts take the reins with stunning results.

Notes: The Zomo Earpad set made of velour in many colours is suitable for the headphones Technics RP-DJ1200 and RP-DJ1210. With these pads you can leave a creative note on your headphones and you can give an old headphone a new look within seconds.

Also, you can save the stable value and the great look of your professional Technics DJ headphones. Velour Earpads are very comfortable to wear even if it's getting hotter and the normal earpads are full of sweat.

Features:

Perfect fit
Simple mounting
Comfortable velour material
Comfortable to wear for hours

Technical data

Material: Velour (100% Polyester)
Weight: 18 g
Suitable for
Technics RP-DJ1200
Technics RP-DJ1210

** The illustrated or mentioned headphones are not included in delivery.

Notes: Creative little desktop noise synth based on some unique ideas. Generate tones with conventional oscillator, noise source and oscillating delay feedback, then mix it all through a final delay.

Supplier's Notes:
Synamodecs Levitate is a desktop synthesizer that is made for noise and experimental music making.

It's divided into three blocks Legus, Neura and Nxpctd. Legus consists of two delays in series. Those delays offer time, level, feedback and dry/wet parameters. Due to it's layout it is capable of generating sounds without any input signals. The ouput of the first delay can modulate the delay time of both or just the other one. The Neura section is a sound and noise generator with frequency, texture and waveform controls and outputs on two different independent outputs. Last but not least the NXPCTD block is a third delay through which the Legus ad Neura pass through. It gives control over dry/wet, time and feedback control.

Additionally the Levitate offers an external audio input for extra fun.

All in all a fun little box for weird and crazy sound exploration. Dc power adapter included.

Dimensions: 20 × 30 × 10 cm

Notes: You've heard of parametric EQ, now meet the paranormal filter. Filter on steroids with experimental six-band EQ, delay and loads of LFO modulation. A powerful, creative take on a filter box.

Supplier's Notes:
Dementor Paranormal Filter is a powerful analogue filter with infinitive of option to modulate the sound, it's perfect to create field soundlandscape and introduce in the dark side of the sound with noise and harmonics feedback sounds.

The Dementor is a unique filter, EQ and delay that takes your signals and makes sure to add spice and character to your sound.

You send one or two signals through the machine by using the two independent signal inputs with level control. The special filter features cutoff and resonance control is LFO controlled - in fact, it's three LFOs for cut-off, resonance and time modulation. You also get an experimental six-band EQ called Nuances (not a usual EQ!) with level control and feedback. The echo/delay, is also LFO controlled.

Dimensions: 20 × 30 × 10 cm

Notes: The Synadrone consists in four combined oscillators that create powerful and organic sounds.

The mix of the four oscillators as well as their arrangement can be varied by acting on the switches. Oscillators modulate each other in a complex way, but you can control the results of this modulation manually with the pots.

The oscillation section includes after the oscillation section a low pass filter with cutoff and resonance controls.

Cutoff and resonance allow to change from very powerful and "full" bass sounds to delicate and very refined highs.

It has the option to send the filter output signal to a delay, with repeat and level controls.

The Synadrone also incorporates a built-in LFO with rate and level controls to modulate the delay time.

Specifications:
Power supply +9v (center Positive)
4 oscimodulations
Filter - cutoff - resonance
LFO
Analogue delay

Notes: Astrogorus is an standalone compact synthesizer focused to harsh noise and drones. Huge sound with infinte possibilities. Easy to operate and built into alluminium case.

Compact synthesizer ideal for harsh noise and drones, three independent oscillators with rate control -a fourth oscillator is the sum of the three previous ones plus noise mixer of the four oscillators + noise

Six controls to select the type of noise on the fourth oscillator

Harmonics

Six band filter/eq
Feedback and level control

Distortion

Distortion level
Feedback
Two band tone control

Power supply

Transformer 24 v positive to the center (included with the device)
1/4" mono jack output

Review: It's the album that catapulted 'These Boots Are Made For Walkin'' to fame. Nancy Sinatra's debut album, Boots, was originally released in 1966 to worldwide acclaim. The new reissue comes in limited red and white editions, and includes two bonus tracks recorded during the album sessions, the non-album b-side "The City Never Sleeps At Night" and the previously unreleased "For Some."

Review: On this second, more expansive sampler for his forthcoming album Spaces & Places, Kerri Chandler treats us to tracks inspired by - and by the wonders of mobile recording technology, produced inside - clubs including Dublin's District 8, Glasgow institution Sub Club, Lux of Lisbon and NYC's Output. Of course, the standard is uniformly high throughout - it's classic Chandler from start to finish - but our picks of a very fine bunch include the soulful piano house shimmer of 'Change Your Mind', the thrusting, bass-heavy pump of 'Subbie (Rattle The Subbie Mix)', the effortlessly slick and soulful 'Tenacity (Full Vocal Mix)' and the ludicrously sub-heavy snap of 'See The Light (Dub)'. To borrow an old cliche, this is very much, 'all killer, no filler'.

Review: Black Moon was a vital hip-hop collective from the East Coast. They were making waves at the same time as peers such as Jeru The Damaja and of course the legendary Mobb Deep. They shared plenty of sonic characteristics - the low-slung beats, the dark sense of soul, the pervading menace and moodiness that makes the tunes so alluring despite being stripped back. The bars of course are the icing on the cake and here rapper Buckshot is in fine form on 'Who Got Da Props?' with its funky bass and liquid chords, then on the swaggering, late-night vibes of 'How Many MC'S' with its plucked guitar riffs and snappy boom bap.

Review: The Reflektor is a lesser known alias of U.S. based producer Gabriel Reyes-Whittaker, aka The Abstract Eye/Gifted & Blessed. Some of you may have heard his release under this moniker on Kyle Hall's Wild Oats label a little while back. Technoindigenous Studies serves as a platform for his many alter egos and side projects with this new EP titled Taino, a tribute to his own indigenous Caribbean ancestors. Whether it's the heady electro sounds of opening cut 'Bajacu' (Morning Light) on the A side, or the mesmerising deep techno cut 'Mucaro' (Night Owl) on side B, or the introverted late night computer funk of 'Karaya' (Moon) - this is what makes Gifted & Blessed what it is

Review: Talk Talk are true totems of the British synth-pop tradition, and they certainly took an interesting path into experimental realms from the midpoint of their career, but it all began right here. The Party's Over is grandiose in all the best ways, capturing an era of exquisite songwriting which was groundbreaking and traditionally rooted at the same time. Like ABC, Talk Talk knew how to deliver bombast and sentimentality without losing the depth of their work, and now, 40 years on, this spectacular album is being given a reissue on white vinyl.

Review: Neil Young recorded Toast in 2001 and has never previously released it. It is one of his numerous one-off genre-experiment albums and half of the tunes on it made it onto his Are You Passionate? in only slighted revised form. Made with backing from the soul legends Booker T. and the M.G.'s and Young's normal rock band Crazy Horse, there are hard hitting and hard rocking tunes like 'Timberline' next to more R&B leaning cuts and 'Gateway of Love,' a 10-minute guitar workout that is one of the best you will not have heard before.

Review: Cappo is one of Nottingham's finest and now he's back once again, this time with a drum heavy hip hop weapon that has been produced by Doctor Zygote and Jazz T. 'I Go Off' has hard bars and dark beats with a lingering and menacing sense of soul. As the dusty, stripped back beats set an imposing groove, Cappo flows over the top with great wordplay delivery in his inimitable Midlands twang. On the flip is an instrumental that hits hard, but it's the original a-side that you want here.

Review: In the spring of 2020, during the UK's first COVID-19 lockdown, Nichol Thompson and Shawn Lee decided to join forces and make an album inspired by their love of smooth jazz, fusion and turn-of-the-'80s jazz-funk. The results, credited to the Super Highway Band and collected together on this essential debut album, are little less than spectacular. Both Thompson and Lee are highly talented multi-instrumentalists with a deep love of the sounds they're emulating (think CTI Records, George Duke, Quincy Jones and the Crusaders), and you can genuinely tell. Funky, polished, brilliantly performed and blessed with some genuinely righteous horn arrangements, it's a hugely enjoyable romp full of memorable moments and floor-fillng workouts. Oh, and quite a bit of languid trombone.

Review: There is never anything less than exquisite that comes from the Dutch label Bordello A Parigi. And this new one from Faxe is only short but it really packs a punch. Time For Change sis the dazzling Italo disco opera with shooting arps, tinny retro future synths and 80s drum machines sound powering it along. Steamy vocals add further allure. The Vanzetti & Sacco instrumental in the flip is perfect body music for floors that want to get in a sweat. As always this is a must cop from one of the day's best disco labels.

Review: Rock A Shaka, hailing from Japan, go strong in their mission to reissue various reggae 45s. This one hears a revived new one from The Melodians, 'Sweet Rose', which previously only made it to some now very dusty old rocksteady 45's. Prince Glen's 'Hog In A Minty' - formerly 'Hog In Mintea' - meanwhile gets a downtrodden B-side pressing, with Glen singing mournfully of having nowhere to go. But with this release, he'll be crooning into the void no longer!