Studio Equipment

Notes: This desktop version of Apogee's high-end Symphony interface offers the same pristine sound quality found in the flagship Symphony I/O Mk II, but in a more compact form factor.

Supplier's Notes:
Symphony Desktop for Mac and Windows packs the legendary sound quality of Apogee's rack-mount Symphony I/O Mk II into an elegant and inspiring 10x14 audio interface that sits on your desk and fits in your bag. With Symphony Desktop, musicians and producers are empowered to record, overdub and mix with the music industry's most respected AD/DA converters and mic preamps.

By combining superior performance, with new features like mic preamp emulation, the Apogee Channel FX plugin and ultra low latency recording with hardware DSP and Apogee native FX plugins, Symphony Desktop will amplify your creativity in your studio or on the go and give your recordings the Apogee sound quality Advantage.

Symphony Desktop not only delivers the music industry's most sought after and respected sound quality with its Symphony I/O Mk II pedigree, it offers the inspiring and elegant usability of the iconic Apogee Duet and Quartet.

Apogee FX Plugins included with Symphony Desktop:

Symphony EQ - Native and hardware versions
Symphony Compressor - Native and hardware versions
Symphony Reverb - Native version

Mic Preamp Emulations included with Symphony Desktop:

British Solid State - Class A console sound - Inspired by the Marinar "Round can" input transformer and discrete transistor design of the Class A Neve 1066 mic preamp.
American Tube - Lush, 50s Tone - This emulation offers the lush, larger-than-life sounds of the 50s era Ampex 601 preamp, carefully restored and modded for lower noise and greater dynamic range.

In the Box:

Symphony Desktop
12V DC power supply
USB Type C to A cable
USB Type C to C cable
Quick start guide

Notes: This is the Behringer SYSTEM 100 121 DUAL VCF Module. An authentic reproduction of the original System 100M circuitry from the 80s that can fit in a standard Eurorack case, at a very affordable price. Mix the 121 DUAL VCF in with your existing rig or start your modular synth journey from here.

The 121 DUAL VCF features 3 CV inputs and 3-channel mixers per VCF; allowing you to independently mix all input signals. All of these inputs have their own attenuators to provide you more control over each signal that goes into the module.

Each VCF has its own output accompanied by a resonance slider that boosts resonance frequencies and a cutoff control to adjust the cutoff frequency of the lowpass filter. The 121 DUAL VCF also features a 3-mode Fixed HPF switch where you can select between Off, 1 (1 kHz), 2 (2 kHz) or 3 (5 kHz). Combine this with the resonance and cutoff sliders to create intricate and interesting patches.

Installing the 121 DUAL VCF is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 121 DUAL VCF to be mixed with other synth modules for a truly unique set up.

Notes: This is the Behringer SYSTEM 100 140 DUAL ENVELOPE/LFO. An authentic reproduction of the original System 100M circuitry from the 80's that can fit in a standard Eurorack case. The best part? It's at a very affordable price. Mix the 140 DUAL ENVELOPE/LFO in with your existing rig or start your modular synth journey from here. Either way you're sure to have a lot of fun.

The 140 DUAL ENVELOPE/LFO features 2 independent ADSR envelope generators that can be controlled via an external gate or manual triggering. Each envelope generator comes with a Manual Gate that you can press and hold to start the envelope cycle; independent Attack, Decay, Sustain and Release controls to adjust the rate of these parameters and 3.5 mm envelope outputs that allows you to send up to two positive wave forms out to two modules and one negative wave form.

The LFO on the 140 comes with 5 waveforms: sine, triangle, square, ramp and saw tooth. The Frequency Range switch which sets the oscillating frequency of the LFO along with the Frequency and Delay sliders gives the 140 unparalleled flexibility when it comes to shaping LFO's. You can also connect an external trigger switch which can work with the Delay control to phase lock the LFO to your keyboard playing.

Installing the 140 DUAL ENVELOPE/LFO is designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 140 to be mixed with other synth modules for a truly unique set up.

Notes: This is the Behringer SYSTEM 100 150 RING MOD/NOISE/S&H/LFO. An authentic reproduction of the original System 100M circuitry from the 80's that can fit in a standard Eurorack case- at a very affordable price. Mix the 150 RING MOD/NOISE/S&H/LFO in with your existing rig or start your modular synth journey from here. Either way you're sure to have a lot of fun.

The 150 RING MOD/NOISE/S&H/LFO comes with a ring modulator to create some metallic and bell-like sounds that can be applied to any signal such as a sine wave or a signal from an LFO via the EXT SIG X/NOISE and EXT SIG Y/LFO jacks and out the RING MOD output. The LFO features 5 waveforms including sine, triangle square, ramp and sawtooth. Parameters can be further adjusted by the FREQ and DELAY sliders.

If you want to start layering your song on a droning note or maybe just create some ambience in your music, then you can connect any external signal source into the S&H circuit. A 3-way selector switch allows you to select which type of signal being introduced into the SIG IN jack whether its External Input, LFO or Noise.

Installing the 150 RING MOD/NOISE/S&H/LFO is designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 140 to be mixed with other synth modules for a truly unique set up.

Notes: This is the Behringer SYSTEM 100 173 QUAD GATE/MULTIPLES. An authentic reproduction of the original System 100M circuitry from the 80s that can fit in a standard Eurorack case. The best part? It's at a very affordable price. Mix the 173 QUAD GATE/MULTIPLES in with your existing rig to expand its capabilities and you're sure to have a lot of fun.

The SYSTEM 100 173 QUAD GATE/MULTIPLES Module features 4 signal gates (switches) with buffered audio inputs and outputs for immediate signal switching. This provides users the option to choose between a control gate operation, non-inverting (active high) input or an inverting (active low) input.

6-channel multiples, each with 4 floating parallel connectors, are available for optimal signal integrity. You can now send out your signal to other modules to help you create more intricate patches and deliver more compelling sounds from one source.

Installing the SYSTEM 100 173 QUAD GATE/MULTIPLES is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the SYSTEM 100 173 QUAD GATE/MULTIPLES to be mixed with other synth modules for a truly unique set up.

Notes: The Behringer EURORACK EARS (70 HP) is a pair of mounting brackets that allow Behringer synthesizers and other 3U format equipment to fit in all 70 HP EURORACK chassis.

Notes: The Behringer EURORACK EARS (80 HP) is a pair of mounting brackets that allow Behringer synthesizers and other 3U format equipment to fit in all 80 HP EURORACK chassis.

Notes: Behringer Eurorack Stand 3-Tier; desktop stand for mounting up to 3 Eurorack 104 cases (item 463669), or 3 Behringer synthesizers (e.g. Pro-1, Wasp Deluxe, K-2, Neutron, Model D, Cat).

Variable width (70 HP, 80 HHP or 104 HP); rugged aluminum/steel construction.

Notes: Enter the Behringer 903A RANDOM SIGNAL GENERATOR Module, a vintage-sounding noise generator from the '70s. An authentic reproduction of the circuitry from the "Modular 55" series used by the world's most famous pop, rock and jazz musicians. Now, musicians can build their very own, unique, synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match specific modules to create your personal, unique synth to complement the music you play or go all out and fill a room, from floor to ceiling, with modules that'll fulfill any synth geek's wildest dream.

Enter the Behringer 903A RANDOM SIGNAL GENERATOR Module, a vintage-sounding noise generator from the '70s. An authentic reproduction of the circuitry from the Modular 55 series used by the world's most famous pop, rock and jazz musicians. Now, musicians can build their very own, unique, synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match specific modules to create your personal, unique synth to complement the music you play or go all out and fill a room, from floor to ceiling, with modules that'll fulfill any synth geek's wildest dream.

The 903A RANDOM SIGNAL GENERATOR generates both white and pink noise via two 3.5 mm outputs each allowing you to send different signals to other modules in your rig.

Installing the 903A RANDOM SIGNAL GENERATOR is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 903A RANDOM SIGNAL GENERATOR to be mixed with other synth modules for a truly unique set up.

Notes: Enter the Behringer 904B VOTLAGE CONTROLLED HIGH PASS FILTER Module. A vintage-sounding authentic reproduction of the circuitry from the Modular 55 & 35 Series used by the world's most famous pop, rock and jazz musicians for their shows. Now, musicians can build their very own, unique, synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match specific modules to create your personal, unique synth to complement the music you play or go all out and fill a room, from floor to ceiling, with modules that'll fulfill any synth geek's wildest dream.

The 904B VOLTAGE CONTROLLED HIGH PASS FILTER allows you to attenuate low frequencies and accentuate higher ones in a signal. With the Fixed Control Voltage knob, also known as a cutoff frequency, determines the frequencies attenuated below a certain point. Switch the Frequency Range between Low (4 Hz to 20 kHz) or High (10Hz to 50 kHz) to select what frequencies the Fixed Control Voltage affects. You can use the 904B to let you cut through a mix for some searing lead tones or pair it with the Behringer 904A VOLTAGE CONTRLLED LOW PASS FILTER and be prepared to hear some very interesting sounds.

Audio in and out connectors are available on the 904B that let you process an incoming signal before sending it to another module via a 3.5 mm TS cable. You can also use the Control Inputs to connect voltage signals from other modules to affect the cutoff frequency. Use this module to add distinct tweaks to your patches so you can create more unique sounds.

Installing the 904B VOLTAGE CONTROLLED HIGH PASS FILTER is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 904B VOLTAGE CONTROLLED HIGH PASS FILTER to be mixed with other synth modules for a truly unique set up.

Notes: Clone of the Moog 921B module, a free-running LFO or oscillator driven by the accompanying 921A oscillator driver module. An affordable entry point to classic Moog-inspired sounds.

Supplier's Notes:
Enter the Behringer 921B OSCILLATOR. An authentic reproduction of the circuitry from the "Modular 55 and 35" series oscillators used by the world's most famous pop, rock and jazz musicians. Now you can build your very own, unique synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match with specific modules to customize your synth and complement the genre of music you play or go all out and have a room filled from floor to ceiling with modules that'll fulfill any synth geek's wildest dreams.

The 921B OSCILLATOR module is controlled by the Behringer 921A OSCILLATOR DRIVER or can be used as a free-running LFO. Separate Frequency and Range knobs allow you to adjust the frequency range in semitones and in octaves. The 921B along with the 921A modules form the foundation of a proper modular synthesizer and the basis for some really great music.

The 921B OSCILLATOR features independent audio outs for each of the 4 waveforms which include sine, triangular, sawtooth and rectangular which can be patched out to different modules to unlock even more creative possibilities. A dedicated oscillator sync input and switch can be used to sync the 921B to a signal introduced into the Sync In jack. Parallel link jacks allow the 921B to link to other 921B in the chain.

Installing the 921B OSICLLATOR is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 921B OSICLLATOR to be mixed with other synth modules for a truly unique set up.

Notes: Enter the Behringer 923 FILTERS. An authentic reproduction of the circuitry from the Modular 35 and 15 series filters used by the world's most famous pop, rock and jazz musicians. Now you can build your very own, unique synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match with specific modules to customize your synth and complement the genre of music you play or go all out and have a room filled from floor to ceiling with modules that'll fulfill any synth geek's wildest dreams.

The 923 features separate Low and High Pass filters each with their own dedicated frequency cutoff controls. The Low Pass filter control will roll off all frequencies above the set threshold frequency from 10Hz to 10KHz while the High Pass filter control will roll off frequencies below the set frequency. Each filter comes with their own 3.5 mm ins and outs giving you the ability to route incoming signals through the IN jack, through the filter and back out the OUT jack.

For you to shape an endless number of tones, the 923 comes with a white and pink noise generator. Use the parallel jacks for each of the noise sources to send out a white or pink noise signal and start sweeping frequencies to build tension and excitement in your songs, or use them to create some percussive sounds for a real groovy drum beat.

Installing the 923 is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and screw in the module using the included screws. This allows for the 923 to be mixed with other synth modules for a truly unique set up.

Notes: Enter the Behringer 961 INTERFACE Module. An authentic reproduction of the circuitry from the Modular 55 Series used by the world's most famous pop, rock and jazz musicians. Now, musicians can build their very own, unique, synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match specific modules to create your personal, unique synth to complement the music you play or go all out and fill a room, from floor to ceiling, with modules that'll fulfill any synth geek's wildest dream.

The 961 features an audio to V-Trig Converter, allowing you to plug in any audio source and transform it into a voltage trigger to drive other modules in your rig. Dual S-Trig to V-Trig and a multichannel V-Trig to S-Trig converters on the 961 can be utilized to switch or control a particular function on other modules.

Controls on the 961 include a Sensitivity knob that adjusts the gain of the audio signal coming into the module via the Audio In jack. Column B in each V-Trig In bank has a Switch-On Time knob you can use to manually control how short or long the "ON" duration is for S-Trig signals. This feature is normally used to drive the 911 envelope generator. Add a 960 sequential controller to release the full creative potential of this interface module.

Installing the 961 INTERFACE is simple as it was designed to fit into a standard Eurorack case. Just connect the power cables to the power supply and mount the module using the included screws. This allows for the 961 INTERFACE to be mixed with other synth modules for a truly unique set up.

Notes: Enter the Behringer 994 MULTIPLES Module. An authentic reproduction of the circuitry from the Modular 55 Series used by the world's most famous pop, rock and jazz musicians. Now, musicians can build their very own, unique, synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match specific modules to create your personal, unique synth to complement the music you play or go all out and fill a room, from floor to ceiling, with modules that'll fulfill any synth geek's wildest dream.

The dual 4-socket multiples of the 994 MUTLIPLES allows you to split CV or audio signals to multiple destinations. Now, one signal can control several modules.

Installing the 994 MULTIPLES is simple as it was designed to fit into a standard Eurorack case. This allows for the 994 MULTIPLES to be mixed with other synth modules for a truly unique set up.

Notes: Enter the Behringer 995 ATTENUATORS. An authentic reproduction of the circuitry from the Modular 55 and 15 series attenuators used by the world's most famous pop, rock and jazz musicians. Now you can build your very own, unique synthesizer that can fit in a standard Eurorack case for a very affordable price. Mix and match with specific modules to customize your synth and complement the genre of music you play or go all out and have a room filled from floor to ceiling with modules that'll fulfill any synth geek's wildest dreams.

The 995 features three separate attenuators each with their own independent inputs and outputs. The attenuators can be used to adjust the level of the input signal passively from - 8 to unity gain and accept both audio and CV signals. Connecting a single signal to the first input will allow it to pass to all 3 outputs for up to 3 variable outputs of a single signal source. Introducing a signal into the subsequent outputs will break the chain from the previous input. For example, if you have a signal in input 2, then this will feed into input 3 leaving input 1 to feed out of output 1.

Installing the 995 is simple as it was designed to fit into a standard Eurorack case. This allows for the 995 to be mixed with other synth modules for a truly unique set up.

Notes: Behringer B105D is a fantastic multi-purpose, 50-Watt speaker for vocal and keyboard monitoring, multi-media, press conferences and home recording studio use. Feel free to connect your iPod*, iPhone*, iPad* or any other audio-streaming device via Bluetooth for great sound.

Revolutionary Class-D amplifier technology provides enormous power, incredible sonic performance while also being super lightweight. With a 5" premium-quality and full-range driver, this product has ultra-low noise 3-channel mixer with 3-band EQ. 2 "Invisible" Mic Preamps comes with phantom power for condenser microphones and 1 instrument ready input.

Product contains a dedicated stereo input for keyboards, MP3, CD, and a Mic stand integration system for use with stand. In addition, it comes loaded with internal switch-mode power supply for noise-free audio, superior transient response and very low power consumption. Overall, this speaker is super-tough and have impact-resistant enclosure with integrated top carry handle great for a wide range of uses.

Notes: The BA 85A Super Cardioid dynamic microphone is a performer's and home recording enthusiast's dream come true! This professional-quality microphone is designed to capture your sounds with outstanding sensitivity and accuracy. With a Super Cardioid pickup pattern for excellent sound source separation and feedback rejection, this ultra-wide frequency response mic is an excellent choice for any performing or recording scenario. With an integrated shock mount system and spherical wind and pop noise filter and coming packaged with a mic stand adapter and an impact-resistant carrying case, the BA 85A is the only microphone you will ever need.

Dynamic mics have several advantages that make them ideal for live vocal applications and for recording amplified instruments. They're robust, resistant to moisture and can achieve high gain before feedback. The BA Series' Super Cardioid pickup pattern captures the source signal, such as a guitar amplifier or vocalist, while shunning off-axis sound. And best of all, dynamic microphones don't require any phantom power, so all you need is your mic and cable.

The BA 85A provides an amazingly flat frequency response while incorporating a smooth mid-frequency presence rise for excellent voice projection and includes a two-stage pop filter to minimize breath and pop noises. It features an extremely high output to get your voice out there! And with their tough metal construction and sturdy steel windscreen, you can count on the BA mics to come through after countless gigs and studio applications. We've even included a rugged hard case with a mic clip and stand adapter.
The BA 85A is built to be your go-to dynamic mics for years to come. It's high-quality components and extremely rugged construction can withstand the rigors of the bar circuit with ease. And with the included mic stand adapter and carrying case, the BA 85A travels along with all you need in style.

This microphone is an excellent choice for live and studio applications and is available at a price that will leave you with enough cash left over to secure other recording essentials. Check out the incredible BA 85A microphone at a dealer near you.

Notes: CB 100 is a very directional microphone, best at isolating from other nearby instruments on stage. You chose the right mic for your instrument to ensure the greatest sound which blocks out the bleed from other sound sources.

The placement of the mics can make a huge difference on the character of the sound you create. You have chosen the right instrument mic with flexible and stable gooseneck, now all you need do is to place the mic in the sweet spot for the best harmonics and enjoy the music you make.

CB 100 is the most versatile microphone which allows you to mic up every instrument- you won't ever need another microphone for miking up.

Notes: The EP2000 has become one of the best-selling power amps in the industry. Our proprietary Accelerated Transient Response (ATR) Technology gives the EP2000 the massive power reserves needed for deep and impactful bass response, which translates into a more natural sound quality that will bring your audience to its feet - and keep them there! With an amazing 2,000-Watts of output power (2 x 1,000 Watts @ 2 Ohms; 2 x 750 Watts @ 4 Ohms; 2,000 Watts @ 4 Ohms in Bridge mode), the EP2000 is the perfect amplifier for medium- sized club gigs, mobile PA systems, church services or public spaces.

The uber-simple front panel controls of the EP2000 provides all of your amp's vital signs at a glance. After flipping the Main switch, the Power LED will light when the amp is ready for action. Each of the 2 channels feature dedicated Gain controls and Signal LEDs, that light up when a signal is present at the input, as well as Clip LEDs to indicate when input adjustments are required.

It takes huge pulses of energy (current and voltage) to propel a woofer cone fast enough to match a bass beat. That's called ATR or Accelerated Transient Response and it's the holy grail of amp designers. By carefully selecting transistors with extremely high slew rates and optimizing other proprietary parts of our circuitry, our amps react instantly to even the most demanding bass impulses. If the woofers in your PA system can keep up, your audience will hear a tighter, crisper, more natural sound.

The rear panel of every EUROPOWER EP2000 sports an array of options to help you get the most out of your amp. The built-in Clip Limiter automatically senses when the amplifier is being driven into "clipping" and momentarily reduces the input level to avoid distortion. This all happens in mere micro-seconds, making it the ideal way to ensure perfect sound all the time.

Stage vibrations, mic thumps and wind noise can cause ultra-low frequency sounds, or infrasonics - and while technically inaudible, they can be a real drain on power resources. As a solution, the EP4000 features a defeatable Low Cut Filter that eliminates frequencies below either 50 or 30 Hz (depending on your PA system's capabilities) - for better sonic performance, as well as the ultimate in loudspeaker protection. The rear panel also contains the Stereo or Bridge (mono) mode switches.

There are lots of awesome features on the outside of the EP2000, but this amplifier's beauty goes much more than just skin-deep. Inside you'll find industry-leading components, such as world-class Toshiba/Fairchild power transistors, and a custom-designed, high-current toroidal transformer for ultra-high transient response and further reliability. Independent DC and thermal overload protection on each channel automatically protects both the amplifier and your speakers. The exhaust fan, visible on the back panel, is the final stage of an internal back-to-front cooling system that keeps the comfortably EP2000 within its normal operating range. Finally, an impact-resistant, all-steel 2U rack-mount chassis protects your investment from the rigors of the road.

There are lots of awesome features on the outside of the EP2000, but this amplifier's beauty goes much more than just skin-deep. Inside you'll find industry-leading components, such as world-class Toshiba/Fairchild power transistors, and a custom-designed, high-current toroidal transformer for ultra-high transient response and further reliability. Independent DC and thermal overload protection on each channel automatically protects both the amplifier and your speakers. The exhaust fan, visible on the back panel, is the final stage of an internal back-to-front cooling system that keeps the comfortably EP2000 within its normal operating range. Finally, an impact-resistant, all-steel 2U rack-mount chassis protects your investment from the rigors of the road.

Notes: Whether you're mixing a recording, monitoring a bass line - or just sitting back enjoying your favorite song, you want headphones that deliver a wide frequency response and high dynamic range. The HC 2000B headphones provide incredible high-resolution performance - at a price well within the reach of every budget.

HC 2000B headphones provide everything you need for comfortable listening. The oval-shaped ear cups contain high-resolution capsules that deliver every nuance of your sound. Featuring an ultra-comfortable headband and wireless connectivity.

With the amazing HC 2000B headphones, you get truly-exceptional, high-resolution sound reproduction.

Notes: Affordable all-rounders, designed for broadcast, gaming and other applications where a headset-style mic comes in handy. Cheap and cheerful, with decent sound quality for the money.

Supplier's Notes:
Whether you're mixing a recording, monitoring a bass line or enjoying a conversation with your friend, you want headphones that deliver a wide frequency response and high dynamic range. The Behringer HLC 660M headphones provide incredible high-resolution performance at a price well within the reach of every budget.

HLC 660M headphones provide everything you need for comfortable listening. The oval-shaped ear cups contain high-resolution capsules that deliver every nuance of your sound. Featuring an ultra-comfortable headband; and a 1/4" adapter for the 1/8" connector, HLC 660M headphones are compatible with everything from your smartphone - to your mixing console.

Notes: Whether you sing, play in a band, create DJ magic, or give awe-inspiring speeches - you want to share your passion. But to be heard by the world, you need to record it, right? The LINE 2 USB Interface Cable connects your keyboard, drum machine or other stereo line-level signal directly to music's present and future by plugging straight into your computer. Now when inspiration strikes, you can capture the moment in all its dazzling brilliance - and share it with everyone! It's also perfect for recording from the stereo output of an audio mixer - so your live performances can be captured, and relived again and again.

The incredible LINE 2 USB is the very essence of simplicity. Connect the stereo 14 " jacks straight into your mixer, keyboard, drum machine or other stereo line-level audio source and run the USB cable to your computer.

LINE 2 USB's long cable (6.6' / 2 m) provides the ultimate in convenience for your creative space, keeping everything within easy reach - and your workstation neat and tidy.

LINE 2 USB interfaces seamlessly with Windows* PC and Mac* operating systems and is ideal for use with low latency ASIO drivers (such as ASIO4ALL*) for PC and the built-in Core Audio drivers for Mac. Step into the virtual world of recording software, amplifier and effect plug-ins and create stunning soundscapes - that would otherwise require the keys to one the world's top recording studios. LINE 2 USB works with virtually all popular 32-bit compatible recording software including Avid Pro Tools, Ableton Live, Steinberg Cubase, etc., so you can record tracks directly into your favorite DAW - and mix and master to your heart's content.

LINE 2 USB supports both 44.1 kHz and 48 kHz sample rates for maximum flexibility, so whether you are recording the next global smash hit or a heart-pounding video soundtrack, it's all you need.

Notes: The reference-class MDX4600 is a marvelous 4-channel Expander/Gate/Compressor/Peak Limiter that is ideal for: compressing mono/stereo signals and providing virtually inaudible noise suppression, without loss of high frequencies; increasing vocal presence and energy; and limiting, or smoothing out extremely-high signal peaks. Additionally, the MDX4600 features an integrated Dynamic Enhancer and Low-Contour filter to provide the ultimate in signal enrichment. Put simply, the MDX4600 can do amazing things for your vocals or instruments - providing virtually everything you need for studio-quality dynamics processing.

Here are just a few of the MDX4600's outstanding capabilities:

Switchable IKA (Interactive Knee Adaptation) - provides program-adaptive compression, combining all the advantages of both hard and soft-knee compression

IRC (Interactive Ratio Control) Expander/Gate - ideal solution for noise floor reduction vs. applying notch filters and various equalizers for virtually inaudible noise suppression

Enhancer - lets you emphasize the Bass, Midrange and Hi output at selectable frequencies for maximum punch, clarity and detail - without raising overall volume

IGC (Interactive Gain Control) Peak Limiter - combines clipper and program limiter for reliable, inaudible protection against signal peaks

Stereo Couple - links 1/2 and 3/4 channels, allowing dials and switches of Channels 1 and 3 to provide dynamics control over Channels 2 and 4, respectively (true stereo processing)

The MDX4600 features amazingly-accurate, 8-segment LED meters for In/Out Level and Gain Reduction, switchable +4 dBu or -10 dBV operating level, Side Chain I/O, and servo-balanced XLR and 1/4" Inputs and Outputs. Best of all, the MULTICOM PRO-XL MDX4600 takes up just a single rackspace.

Notes: The BEHRINGER X32 has changed the game by completely rethinking what is possible from a digital mixer, with tens of thousands of users enjoying the results every day. That means the X32 faders are seeing a lot of action in concert halls and recording studios all over the world! They're tough to stand up to almost anything, but even X32 's high-endurance motorized faders will eventually reach the end of their service life.

Designed to provide flawless performance for up to 300,000 cycles, the X32 MOTOR FADER is the exact same 100 mm fader that came in your X32 Digital Mixing Console. They feature premium Nickel-Silver wiper fingers that float gently on the surface of a high-precision 10 kO linear resistive track for unparalleled longevity and accuracy.

X32 MOTOR FADER's Mabuchi drive motor is recognized by professional engineers the world over as being ultra-responsive, quiet and long-lived. Adding to the quiet operation of the motor, the nylon gear and belt that moves the wiper assembly is crafted of the highest-quality nylon for fast and smooth performance and reliability.

Notes: The POWERPLAY P1 Personal In-Ear Monitor (IEM) Amplifier puts control where it's most useful - right at the artist's fingertips. Whether on stage or in the studio, the P1 provides performers and recording artists with a dependable and affordable personal monitoring solution.

The P1's high-power headphone output ensures that as the band gets louder, you'll still be able to hear every nuance of your performance. And the P1's simple user interface makes it easy for everyone to dial in a perfect mix every time.

Using the P1 also helps protect your hearing in two ways. First, thanks to a built-in current limiter, unexpected peaks in signal level won't get to your ears. Second, the simple act of wearing headphones or earbuds helps isolate your ears from loud stage volume of instrument amps and monitor wedges. With the P1, you can clearly hear your own performance and blend in the ideal amount of the rest of the band.

Dual XLR inputs allow 2-channel, mono or stereo operation with a convenient mix function which allows you to run two sources into the P1 and dial-in exactly what you want to hear as you perform. Two simple controls, Level and Balance, help you achieve the perfect mix in an instant. The P1 lets you take control of what you hear and allows the engineer to concentrate on providing the audience the best listening experience. Plus, setup is so fast and easy, letting you concentrate on putting on the best performance when you hit the stage.

One little 9 V battery lasts up to 12 hours, so the P1 will go as long as your next show or studio recording session! Or, use the optional PSU-SB DC power supply for the ultimate in dependable power. And the P1's metal chassis is built like a tank to handle even your most-demanding and energetic performance. Small enough to hang on your belt - or mount on a mic or drum stand, the P1 puts complete balance and volume control in your hands.

Notes: The EURORACK RACK is ideal for any Behringer Eurorack-style synthesizer or equipment. This desktop/rack-mount kit converts a 19" rack into an 84 HP Eurorack chassis. A compact 4 HP power supply with two flying bus boards are included together with a 3A universal power adapter. 52 sliding nuts allow you to easily position your modules so you can freely position your synth wherever you need it.

Notes: The Behringer Pro-1 is a clone of the popular retro classic Sequential Circuits Pro-One which was once conceived to be a monophonic Prophet-5. Those who know and love recordings of Depeche Mode and Yazoo, will enjoy recognizing a lot of those sounds with the Pro-1.

The two assertive oscillators, each based on a CEM3340 chip, have sawtooth and square waveforms, an octave switch, fine tuning and pulse width control. Oscillator A can be synchronized to oscillator B, the second tone generator is additionally equipped with the triangle waveform and can be switched to low mode as well as decoupled from the pitch control. Both VCOs are brought together in the mixer, where the noise generator is also located, which can be replaced by an external signal. The beautiful basic sound is processed with a characterful 24dB lowpass filter, also known as Curtis VCF. It behaves similar to a Moog filter, but due to the IC CEM3320 it sounds different than the transistor cascade. The two crisp ADSR envelopes are assigned to the filter and VCA. An LFO with three waveforms is connected to the targets via the modulation bus. The special features of this instrument include the waveforms that can be activated simultaneously in both oscillators and in the LFO.

The modulations are assigned on the left side of the control panel. The filter envelope, oscillator B and the LFO, each with their own attenuator, are available in parallel as sources. These are assigned to the targets frequency oscillator A+B, pulse width oscillator A+B and cutoff directly or via the modulation wheel (or midi controller). Wild oscillator drifts, sync sounds, sirens, FM for filter and/or oscillator A as well as pulse width modulation are possible if used with care. If you turn everything up at once, it gets really wild! The modulation bus is the hottest feature of the Pro-1 next to the sound.

The ingeniously simple sequencer provides access to two patterns, each of which can be up to 40 steps long; pauses can also be programmed. The notes are played via a connected MIDI keyboard. After the input, the patterns can be transposed with the keyboard. The Arpeggiator primarily offers the playback modes Up and Up&Down, but can also be integrated into the pattern. Synchronization to other equipment is done via the analog clock input or MIDI/USB.

Notes: The PSU6 power supply is required for proper operation in your part of the world, and one of a wide range of power supplies offered by Behringer specifically for your device.

Notes: You know what this one is. Behringer's long-awaited tribute to the mighty 808 offers classic analogue drum sounds and sequencing at the most affordable price point ever. Essential.

Supplier's Notes:
Classic Analog Drum Machine with 16 Drum Sounds, 64 Step Sequencer, Wave Designer and Dual-Mode Filter

The RHYTHM DESIGNER RD-8 provides all the tools you need to become a master beat-maker, including: 16 drum sounds; a 64-step sequencer; Wave Designer and dual-mode filter - for a full-fledged drum machine that'll shake the house! Whether you're new to drum programming or a seasoned pro looking to upgrade your setup, the RD-8 has everything you need to step up to the big time.

Great care has been taken in designing the RD-8 to achieve new possibilities in beat creation by reviving a timeless analog design from one of the most-classic drum machines of yesteryear. By taking a fresh and modern approach on a classic drum machine, the RD-8 gives you the power to harness the phenomenal sound of the 808 and tap into some new features as well. Colossal bass drums through to sizzling hi-hats can be manipulated to elevate your rhythm performance to the next level. This is an analog beat-making monster!

Built to enhance the way you perform, the RD-8 boasts all-new features for live use in each of the sequencer modes including step repeat, note repeat, real-time triggering and live step-overdubbing. This makes it easy to enable recording in pattern launch mode, so you can build song structures on-the-fly and switch back to manual mode at the touch of a button. Then you are free to add some excitement with the autofill feature and to introduce more variations. You can even cue up another song from memory without interrupting playback, allowing you to perform entire sets from start to finish - just using your RD-8!

Notes: The SL 85S Cardioid dynamic microphone is a performer's and home recording enthusiast's dream come true! This professional-quality microphone is designed to capture your sounds with outstanding sensitivity and accuracy. With a Cardioid pickup pattern for excellent sound source separation and feedback rejection, this ultra-wide frequency response mics is an excellent choice for any performing or recording scenario - and it's rugged enough to go the distance. With an integrated shock mount system and spherical wind and pop noise filter and coming packaged with a mic stand adapter and an impact-resistant carrying case, the SL 85S is the only microphone you will ever need.

Dynamic mics have several advantages that make them ideal for live vocal applications and for recording amplified instruments. They're robust, resistant to moisture and can achieve high gain before feedback. The SL Series' Cardioid pickup pattern captures the source signal, such as a guitar amplifier or vocalist, while shunning off-axis sound. And best of all, dynamic microphones don't require any phantom power, so all you need is your mic and cable.

The SL 85S provides an amazingly flat frequency response while incorporating a smooth mid-frequency presence rise for excellent voice projection and includes a two-stage pop filter to minimize breath and pop noises. It features an extremely high output to get your voice out there! And with their tough metal construction and sturdy steel windscreen, you can count on the SL mics to come through after countless gigs and studio applications. We've even included a rugged hard case with a mic clip and stand adapter.

The SL 85S is built to be your go-to dynamic mics for years to come. It's high-quality components and extremely rugged construction can withstand the rigors of the bar circuit with ease. And with the included mic stand adapter and carrying case, the SL 85S travels along with all you need in style.

This microphone is an excellent choice for live and studio applications and is available at a price that will leave you with enough cash left over to secure other recording essentials.

Notes: The incredible SONIC EXCITER SX3040 will make your live performances and recordings more powerful, dynamic and superbly articulate. Equipped with a special phase-compensating Bass Processor and Sonic Exciter, the SX3040 adds amazing depth, punch and sparkling clarity to dramatically enhance sound quality. And thanks to SX3040's twin channels, you process a stereo signal, or a bass in one channel - and a keyboard, vocal or guitar in the other.

The ultimate sound improvement tool for home and professional recording studios, DJ systems, PA systems and webcasting, the SONIC EXCITER SX3040 is also an amazing addition to your 5.1 surround and hi-fi setups.

In the recording studio, the sound is the only thing that matters - and it has to be just right! The SX3040 provides the tools to fine-tune the perfect recording session, whether you're working on a single track or mastering your completed project for distribution or duplication. For that professional finishing touch, the SX3040 opens up the full sonic spectrum allowing you to add sizzle to drum overheads, tighten up the bass - and bring unparalleled focus to vocal tracks and instrument / amp-miking applications.

The 2-channel SX3040 features a Bass Processor and Sonic Exciter per channel, providing the perfect way to add stunning clarity and incredible low-end punch to your live sound system. By adding sparkling high end and super-tight bass, without the need for additional speakers or amps, the SX3040 breathes new life into any PA, nightclub or DJ system. You'll easily master the simple controls to bring out the very best in your sound - whether you're mixing a duo in a coffee house, or dialing a massive outdoor concert.

lYou'd be hard-pressed to find another single piece of gear that can improve the sound of your recordings or live shows more than the SONIC EXCITER SX3040. And this mastering marvel is so very affordable, you'll want 2 or 3 for your studio, and a couple more for your live rack. And SX3040's internal switch-mode power supply (100 - 240 V~) works anywhere in the world, providing noise-free audio and low power consumption.

Notes: Only produced from 1981 to 1984, the Roland TB-303 was a tremendous commercial flop as a replacement for the bass guitar, however it soon found its place as one of the most-loved synthesizers for what became known as Electronic Dance Music (EDM). An ultra-affordable and faithful homage to the iconic synthesizer that spawned house music, plus an all-new Distortion circuit, the TD-3-BK lets you conjure up virtually any sound with incredible finesse and ease. With its pure analog signal path, 16-step Sequencer and authentic VCO, VCF and VCA filters, the TD-3-BK is sure to become one of your favorite synthesizers.

Great care has been taken in engineering the TD-3-BK, including the true to the original VCO, VCF and VCA designs and pure analog circuitry with matched transistors. This highly-focused attention to detail is what gives TD-3-BK its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones to stunning effects - all the way out to the otherworldly sounds of your imagination.

Your TD-3-BK comes ready to rock, thanks to its default signal routing that doesn't require lifting a single patch cable to instantly create amazing sounds. The highly-intuitive layout lets you easily tap into the inspired sounds of 1980s and '90s progressive rock, wave, EDM and synth-pop music tracks that made rock and roll history - or to design incredibly fat and original sounds that will make you a legend in your own right.

The very heart of TD-3-BK's sound is its versatile 24 dB/octave filter, which lets you freely experiment with the low-pass Cutoff frequency and Resonance settings to dial in the perfect sound.

TD-3-BK's authentic Voltage Controlled Oscillator (VCO) with transistor wave-shaping circuitry is ultra-easy to use and provides your choice of reverse-sawtooth or pulse waveforms for the ultimate in sound creation.

The onboard sequencer with 7 tracks allows you to program up to 16 steps of notes and rests and save them as a Pattern. You can record, save and recall up to 250 patterns, all of which can be stored in the 4 Groups. Your sequences can be played either in Keyboard mode, where you create and store the pattern, or Step mode which allows you to interact while composing a pattern.

When you want to add even more power to your performance, just flip the Distortion On/Off switch and dial in the perfect amount of Drive to push the envelope to the max.

While it is a monophonic instrument (one note at a time), TD-3-BK's 16-note Poly Chain function lets you combine multiple synthesizers for up to 16-voice polyphony - plus provides vastly improved reliability and stability over its 1970s and '80s predecessors.

TD-3-BK has 11 controls and 28 switches to give you direct and real-time access to all important parameters, all laid out in a highly-intuitive format that puts the joy back into your music creation. And you can expand TD-3-BK's tone-sculpting capabilities beyond your wildest dreams by utilizing the multi-I/O patchbay to connect external devices.

Notes: Yellow version of Behringer's take on the classic Roland TB-303 analogue bass synth, the sound of acid house and much more. A true icon of electronic music, reborn at an affordable price.

Supplier's Notes:
Only produced from 1981 to 1984, the Roland TB-303 was a tremendous commercial flop as a replacement for the bass guitar, however it soon found its place as one of the most-loved synthesizers for what became known as Electronic Dance Music (EDM). An ultra-affordable and faithful homage to the iconic synthesizer that spawned house music, plus an all-new Distortion circuit, the TD-3-AM lets you conjure up virtually any sound with incredible finesse and ease. With its pure analog signal path, 16-step Sequencer and authentic VCO, VCF and VCA filters, the TD-3-AM is sure to become one of your favorite synthesizers.

Great care has been taken in engineering the TD-3-AM, including the true to the original VCO, VCF and VCA designs and pure analog circuitry with matched transistors. This highly-focused attention to detail is what gives TD-3-AM its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones to stunning effects - all the way out to the otherworldly sounds of your imagination.

Your TD-3-AM comes ready to rock, thanks to its default signal routing that doesn't require lifting a single patch cable to instantly create amazing sounds. The highly-intuitive layout lets you easily tap into the inspired sounds of 1980s and '90s progressive rock, wave, EDM and synth-pop music tracks that made rock and roll history - or to design incredibly fat and original sounds that will make you a legend in your own right.

The very heart of TD-3-AM's sound is its versatile 24 dB/octave filter, which lets you freely experiment with the low-pass Cutoff frequency and Resonance settings to dial in the perfect sound.

TD-3-AM's authentic Voltage Controlled Oscillator (VCO) with transistor wave-shaping circuitry is ultra-easy to use and provides your choice of reverse-sawtooth or pulse waveforms for the ultimate in sound creation.

The onboard sequencer with 7 tracks allows you to program up to 16 steps of notes and rests and save them as a Pattern. You can record, save and recall up to 250 patterns, all of which can be stored in the 4 Groups. Your sequences can be played either in Keyboard mode, where you create and store the pattern, or Step mode which allows you to interact while composing a pattern.

When you want to add even more power to your performance, just flip the Distortion On/Off switch and dial in the perfect amount of Drive to push the envelope to the max.

While it is a monophonic instrument (one note at a time), TD-3-AM's 16-note Poly Chain function lets you combine multiple synthesizers for up to 16-voice polyphony - plus provides vastly improved reliability and stability over its 1970s and '80s predecessors.

TD-3-AM has 11 controls and 28 switches to give you direct and real-time access to all important parameters, all laid out in a highly-intuitive format that puts the joy back into your music creation. And you can expand TD-3-AM's tone-sculpting capabilities beyond your wildest dreams by utilizing the multi-I/O patchbay to connect external devices.

Notes: A professional 8-channel audio mixer designed specifically for fixed installations, the rack-mountable ULTRAZONE ZMX8210 zone mixer can distribute your music programming and announcements to up to three zones (rooms). Typical applications include restaurants, office spaces, health clubs and houses of worship, just to name a few.

The ZMX8210 lets you take up to 8 input signals and route them to any, or all of 3 destinations. Maybe you want to play stereo music for clients waiting in the lobby of your office complex and page people in the work area. Another example might be the small church that wants to play soft music in the foyer, mic the preacher in the sanctuary, then send the sermon and music to the nursery. These are all perfect applications for the ZMX8210 - multiple sound sources, multiple zones, total flexibility!

Here are some examples of the ZMX8210 mixer in action - let's say you own a restaurant and want to:

Play the audio from the televised game in the bar
Present soft background music in the dining area
Play up-tempo music in the lobby/waiting area and page patrons
The ULTRAZONE ZMX8210 is the ideal way to create the perfect environment for your customers, or even for distributing music throughout your own home.

You can also set the ZMX8210 to automatically lower the volume level of the program music in specific zones during announcements. Referred to as "ducking", this feature allows the voice message to take precedence over the musical program, without turning the music off completely. This ensures that even the softest voice will be heard in the selected zone(s). As an added benefit, remote volume controls can be installed in areas where even more control is needed.

You can use any microphone with the ZMX8210 including professional-grade condenser mics, thanks to the onboard phantom power. The 8 Inputs feature high-quality mic preamplifiers for absolutely pristine sound quality. A master 4-band equalizer is provided to ensure voice intelligibility and address any potential feedback. And if you need more than 8 channels, two ZMX8210s can be linked together to provide a total of 16 inputs.

Thanks to its intuitive control panel, even inexperienced users will find the ZMX8210 easy to operate and its professional features will give you total control over your sonic environment - and the ZMX8210 is ultra-affordable.

Notes: Based on a quirky British cult favourite from the late 70s, this is well worth a closer look as an alternative to the more common Moog- and Roland-inspired synths. Monophonic weirdo goodness.

Supplier's Notes:
Legendary Hybrid Synthesizer with Dual OSCs, Multi-Mode VCF, 16-Voice Poly Chain and Eurorack Format

Notes: These fader knobs are identical to the ones that ship on our award-winning X32 mixing consoles. They are the ideal replacements for your BEHRINGER digital mixer fader knobs, should you need one - or 20.

Notes: Filtro is a 4 pole HP/LP VCF. Its performance-oriented design makes it a playable FX unit that allows for dynamic use of its features both in studio or live environments. Switchable HP/LP mode, tap tempo and a wide range of LFO waveforms provides a large variety of filter effects.

Audio output: impedance balanced 1/4" TRS Jack

Audio input: impedance balanced 1/4" TRS Jack

DC Input: 12VDC, 500mA, centre positive, 2.1mm*5,5mm barrel type connector

Dimensions: 145mm x 130mm x 60mm

*PLEASE NOTE*: This product requires a 12VDC 1A power supply, which is not included.

Notes: The Spring Amp II allows using spring-reverb tanks with standard audio mixers. It combines a HiFi amplifier for spring reverb tanks with a 2 pole VCF that can be used to shape and equalize the spring's output. Different kinds of spring tanks can be used with Spring Amp II offering a wide selection of possible reverb tones.

Audio output: impedance balanced 1/4" TRS Jack

Audio input: impedance balanced 1/4" TRS Jack

DC Input: 12VDC, 1A, centre positive, 2.1mm*5,5mm barrel type connector

Dimensions: 145mm x 130mm x 60mm

*PLEASE NOTE*: This product requires a 12VDC 1A power supply, which is not included.

Notes: Clever take on bit crushing, sample rate reduction and all-round lo-fi goodness. Crunchy retro digital sounds with a neat option to tune the sample rate to the key of your song.

Supplier's Notes:
Buzz. Beep and bloop. Electro Harmonix are high on the lo-fi sounds of "old-school" games, toys and terminals and the Mainframe Bit Crusher takes us back in time to when Pac Man and Donkey Kong ruled the arcades, to when the Commodore 64 was high tech.

It provides sample rate reduction ranging from 48kHz to 110Hz. A little background- the sample rate is the number of times per second that a sample or snapshot of an analog signal is taken. For example, CDs (remember them?) had a sample rate of 44.1kHz which means that the original analog signal is sampled 44,100 times per second.

Notes: Unique synth voice based around a digital triangle wave oscillator with percussive element, dual filters, envelope, LFO, spring reverb and touch pads for performance.

Supplier's Notes:
The Quandrantid Swarm module is a versatile and unique synth voice for sound designers and musicians looking to explore exquisite and unfamiliar timbres that range from subtle to outrageous, nebulous to shimmering.

It features a digital synthesizer voice with a percussive element, an analog 2-pole filter, an LFO with eight waveforms, and a spring reverb. The 8 touch keys can be used as a mono keyboard, polyphonic keyboard or an eight step sequencer. The synth interfaces with other instruments via MIDI, and CV/Trig inputs. The semi-modular design allows you to get hands on immediately, but you can and should use patch cables to fully explore the potential of this instrument.

Power consumption: 170mA at +12 V and 70mA at -12 V

HP : 40

Notes: Since its beginnings Erica Synths has promoted experimental electronic music and has developed instruments that enable musicians to explore it.

When it comes to standalone instruments, one of the most encouraging instruments in experimental music was Synthi AKS, so Erica Synths have teamed up with engineers from Riga Technical University to develop a synthesizer with a user interface inspired by Synthi AKS.

SYNTRX [sintrex] is developed from scratch all analogue synthesizer (no part of schematics is cloned from Synthi AKS) with digitally controlled patch matrix. Unlike most of patch matrixes around, that mechanically connect signals, our 16x16 matrix utilizes 32 (!!!) 16 channel analogue switch ICs AS16M1 (made in Latvia, Alfa RPAR) and is a mixer/buffered multiple with 3 level attenuation (gain 1, 0,6 and 0,3) in connection points. It has 256 patch memory, automatic patch switching in performance mode or via MIDI messages.

SYNTRX has 3 highly accurate VCOs that track great over 8 octaves, noise generator with "colour" filter, resonant VCF, ring modulator, spring reverb, looping envelope generator, joystick controller, input amplifier with adjustable gain for microphone to line level signals, 3 VCAs, output signal filter, analogue CV/audio signal level indicator and built in speakers. Extra features, not found on Synthi AKS, are Sample & Hold circuit with individual clock, octave switch for VCO1, synchronization of VCO2, AD mode on the envelope generator, as well as MIDI that accepts CV, Gate, Modulation wheel messages and program change messages for the matrix control. The SYNTRX comes in aluminium enclosure with ash tree side panels.

SYNTRX will inspire users to explore the space and travel to previously undiscovered audible realms.

Notes: Logic Bomb is a Boolean logic module with two independent but identical sections.

Both sections feature addressable Boolean logic, with a choice of any one of:

NOT A

NOT B

AND

NAND

OR

NOR

XOR

XNOR

Logic gate type may be chosen either via knob or via CV input.

When addressed via CV, the knobs become attenuators. CV range is 0V to 5V.

Notes: Not just 'another' distortion pedal. Classic natural, dynamic overdrive and heavier rock distortion, but with a unique narrow-band midrange boost for sweet sustain and bite.

Supplier's Notes:
What's this, another touch-sensitive, dynamic, natural sounding overdrive/distortion to confuse the marketplace?

Nope, this is the Fulltone Secret Frequency. Secret Freq. for short. Although it does the gig-friendly clean boost and OD thing as good as any, it goes well past that when asked to, right into Rock territory while retaining a natural sound.

Dynamic asymmetrical clipping gives the Secret Freq. a sweet, musical clean boost, juicy overdrive, and rich, touch responsive high gain sounds. Not like the PlimSoul, nothing like the OCD, and not like any other pedal, but worth the price of admission were you to use it simply as is for your bread and butter OD/Distortion pedal.

But the 'Freq has WAY more tricks in its bag than your average transparent OD/Distortion... it just may knock a handful of OD/Distortions right off your 'board and straight on to Ebay thanks to another innocent looking knob labeled Freq.

What's this "Freq." knob?

Turn it Clockwise and my proprietary circuit adds as much as 20db of active narrow band juicy MIDRANGE right where it does the most good, it's like installing a wah-wah right where the distortion is being generated. But unlike turning on your wah-wah along with a distortion pedal, with the 'Freq. the bass and treble frequencies don't disappear... Very unique, and not to be confused with a simple active or passive midrange control tacked on to the end of the circuit, as is the case with all other pedals you've tried with a Mid control. Adding the 'Freq's midrange imparts WAY more sustain and lets you easily place the guitar in the mix where you want it, irrespective of volume... soundman's not going to bury you anymore.

What's it sound like?

Along with a slew of basic great OD/Distortion pedal sounds, it allows you to replicate a very, very wide range of your favorite guitar & amp sounds. Remember that when the 'Freq. knob is fully-counter-clockwise the Midrange enhancement effect is OUT of the picture and the pedal is a truly versatile and natural sounding pretty transparent OD/Distortion! At low to mid overdrive settings, turning the 'Freq knob up a little gets hammer-of-the-Gods penetrating PUNCH!

At more extreme (clockwise) Freq settings?

Brings a smile to your face an evokes the coolest Jimmy Page, Brian May, Michael Schenker, Robin Trower, Tom Scholz tones that you just couldn't previously get without a bunch of studio EQ, just the right setting on a great wah-wah, or a slew of British amps.

Notes: Designed with versatility in mind, the Fold 6 is a six-stage wavefolder with simultaneous series and parallel outputs, dual signal inputs and voltage-controlled folding and overdrive shaping.

Supplier's Notes:
Often considered to be the opposite of filters within a modular system, wavefolders are designed to fold a signal over itself multiple times. This generates additional harmonics, resulting in rich timbres.

While there is a bewildering array of filter types within the synthesiser world, most wavefolders fall within only a few categories. Diode wavefolders in particular come in just two variants: series and parallel circuit topologies. Choosing a specific folder also means being limited to specific sounds and capabilities.

For the first time, Fold 6 puts forward a 6-stage hybrid series/parallel topology, yielding a greater sonic palette than ever in just 4 HP. Having both main (series) and alternate (parallel) outputs means a single module now gives access to just about all wavefolding tones imaginable.

To take things even further, an integrated symmetrical soft clipper limits the output signals to approximately 10 Vpp, keeping the amplitude within typical Eurorack levels and making it easier to create overdriven sounds at high fold ratios. This clipping stage can be driven continuously using the shape parameter, smoothly transforming the folded waveforms into pulse waves for even more harmonic content.

Two signal inputs are included, to mix audio signals or add in a DC voltage for asymmetric folding. The symmetry can also be manually controlled using the dedicated knob. Of course, both fold and shape parameters feature voltage control, to enable continuous timbral modulation.

Moving beyond simple signal processing, Fold 6 also lends itself perfectly for feedback patching, CV folding or frequency multiplication; its modest size belies the sonic capabilities within.

Notes: Superb in-ear monitoring option from a trusted brand. Audiophile-quality sound and up to 40dB isolation to ensure clarity. Ideal monitoring for vocalists.

Supplier's Notes:
When you need to hear yourself and everything else as clearly as possible on stage, in-ear monitors are the ultimate solution. MP Series Professional In-Ear Monitors offer the clarity and bass response you need to perform your best while being comfortable enough to wear all night.

Mackie have been helping artists perform their best for decades with our renowned loudspeaker designs, and now that signature sound has been brought straight to your ears. The precision-tuned drivers, ergonomic design, and rugged construction ensure you'll never miss a beat. When you want to hear yourself clearly on stage without all the noise that comes with it, MP Series In-Ear Monitors have got you covered.

Like its sibling above, MP-360 features a 3-way crossover but instead of dynamic drivers, this model is all custom-designed balanced armature. With the precise nature of this driver type, you will experience breathtaking clarity and detail. This is great for vocalists that need to hear themselves and their mix as faithfully as possible and makes listening to your favorite music a brand new experience.

Notes: The AD999's Delay tone is pure analog heaven - rich, round and three-dimensional, it reacts to your playing and breathes life into your performance.

The AD999 is loaded with eight custom Bucket Brigade IC's for 900 milliseconds of warm, organic analog tone. These BBD's are clocked extremely low to achieve the longest delay time possible, creating a HUGE delay tone that recalls early 70's Pink Floyd with stunning accuracy.

Yet the real magic of the AD999 is in the Delay repeats - they exhibit a slightly overdriven tonality that sits perfectly behind dirty tones and adds depth and dimension to clean sounds. This distortion reacts dynamically to your pick attack, making the initial repeat pop slightly while the remaining repeats blend seamlessly with your original notes.

The repeats also feature a slight EQ spike at around 1.5 kHz, preventing them from getting muddy or non-descript. This also allows the AD999 to maintain presence in a mix without having to raise your volume.

While there are more affordable and more feature-laden Delays out there, you'd be hard-pressed to find one that sounds better than the AD999. When players wax poetic about the mojo and mystery of analog delay - THIS is what they are talking about.

TECH TALK:
A high impedance input buffer passes signal to a Compander stage that acts as a compressor/expander, bringing the input signal up to an ideal level and keeping it there as it decays. This is good for signal-to- noise ratio and also gives the delay chips a clean, strong signal to work with.

The eight x Maxon MC4107D BBD delay IC's are controlled by 2 of the 3 clock drivers in the pedal. These drivers are running the BBDs at a very low clock rate to achieve maximum delay time. This rolls off a fair amount of high frequencies, giving the AD999 its big, warm delay sound.

The delayed signal hits another Compander to level everything out and then goes to a mixer/amplifier that blends the clean and delayed signals and provides a low impedance output.

The AD999 features Mechanical True Bypass switching on both outputs via a Fujisoku 4PDT switch.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms or less

Residual Noise: -95 dB (input shorted, IHF-A weighted)

Delay Time: 40 mSec 900 mSec

Control: Delay Time, Repeat, Delay Level

Switch: Normal/Effect (4PDT mechanical true bypass)

I/O: Input, Output (Mix in mono, Wet only in stereo), Dry Output

Current Consumption: 46 mA at 9VDC / 48 mA at 10VDC

Dimensions: 117 (W) x 150 (D) x 60 (H) mm

Weight: 600 Grams

Notes: With a circuit based around the Panasonic MN3207 Bucket Brigade IC, the CS550's "straight-outta '79" chorus effect is bold and resonant without sounding harsh. Unlike the sterile chorus sounds of the 80's, the 550 has an edgy, almost grainy quality that keeps your tone articulate and prevents wash-out.

The CS550's custom-tuned oscillator circuit provides enough speed for authentic rotary speaker simulation, and just the right amount of modulation for a lush vibrato that won't leave you feeling queasy.

With its Delay Time control the CS550 can venture into Flanger territory, adding a resonant, hollow quality to the effect that's great for solos.

A rear-mounted Blend control allows you to adjust the level of the Chorus effect to set it back in the mix against your dry signal.

A unique feature of the CS550 is its ability to create spatial effects that add dimension to your guitar tone without the traditional Chorus wobble. With Speed and Depth set low and the Delay Time at max, the 550 thickens your sound much in the manner of a double-tracked guitar, adding girth and life without excessive modulation.

The CS550 features stereo outputs for mono, stereo, or inverted mono signal routing.

The CS550 is about as close as you're going to get to the legendary Boss CE-1 chorus/vibrato sound, and also offers many additional sounds unattainable with that vintage gem.

TECH TALK:
The CS550 circuit is similar to the Arion SCH-1 Stereo Chorus, or an updated Boss Chorus Ensemble. A high-impedance input buffer passes next into a Compander stage that acts as a compressor/expander, bringing the input level of the signal up to an ideal output level and keeping it there as the signal decays - this provides a good signal-to-noise ratio and gives the chorusing section a nice, steady signal to modulate.

The Chorus effect is produced by a Panasonic MN3102 low-voltage clock driver IC and a Panasonic MN3207 BBD IC which is controlled by the MN3102.

The Delay Time control exhibits an inverse relation between the delay time and the frequency shift of the chorus - as the delay time increases, the frequency that is shifted decreases. This inverse relation creates "double level" and "cancellation" peaks and notches at particular frequency points to create an amazingly realistic, three-dimensional chorus effect. In addition, the Delay Time control is interactive with the Rate and Depth controls, so that if you increase the Depth, the Delay Time range increases, and if you increase the Speed, the Delay Time changes faster.

After the Chorus section, the signal hits another Compander to level everything out and is then fed to an output buffer.

At the end of the circuit the signal is phase-split and sent to the two low-impedance stereo outputs - Output A is in-phase and Output B is phase inverted (90 degrees out of phase).

The CS550 features Mechanical True Bypass switching on both outputs via a Fujisoku 4PDT switch.

* Please note: Maxon has discontinued the AC210 AC Adapter. Due to this, the Maxon Vintage series pedals will no longer ship with power supply included. The Maxon Vintage Series Pedals can be run with a standard 9vdc Center Negative Adapter. The PA-9 Power-All is receommended.

Input Impedance: 500K Ohms

Input Jack: 1/4 inch standard phone jack

Output Impedance: 10K Ohms or less

Output Jack: 1/4 inch standard phone jack (2)

Output: 2Residual Noise: -100 dB (Level, VR Min)

Maximum Output Level: +5 dB

Delay Time: 0.8 mSec 6.3 mSec

LFO Speed: 0.4 Hz 8 Hz

Controls: Delay Time, Depth, Speed, Mix-Level

Switch: Normal/Effect

Power Voltage: DC10 V (AC-adaptor)

Current Consumption: 21 mA (10 VDC)

AC Adaptor: AC210N (option) Input: AC120V Output: DC9V/200 mA Center - / Sleeve +)

Dimensions (whole): 117 mm (W) x 150 mm (D) x 60 mm (H)

Weight: 500 g

Accessories: Maxon AC210N Adaptor (9VDC/200mA)

Non-skid pad: x 1

Warranty Card: x 1

User's Manual: x 1

Notes: The EH Big Muff Pi defined the guitar tones of the 70's and then re-defined them in the 90's. Yet for all its legendary pedigree, the Pi of today is a far cry from the triangle knobs and ram's heads that came before it.

Originally released in 1974, the D&S Distortion & Sustainer creates the same silky, compressed fuzz that those vintage Muffs are famous for. Yet where Muffs have a tendency to "blanket" your original guitar tone, the D&S retains more of the original sound and feel of your instrument and amp.

By using hand-selected low-noise transistors, the D&S actually offers more gain than a vintage Black & Red, yet with a lower noise floor. That's right - MORE distortion with LESS noise.

The smooth EQ sweep of the D&S Tone control covers a frequency range that is narrower yet more useful than the Pi's - This tighter, more focused EQ provides superior note definition, even when playing chords.

The combination of these elements gives the D&S the ability to produce huge amounts of distortion with minimal alteration to your guitar's tone.

One big wall of raw, grungy nastiness in a box - the D&S takes the sound of the greatest vintage Muff and turns it up to 11.

TECH TALK:
The secret to the D&S' smooth tone and natural response lies in two areas of its circuit. First, the Hi boost/Hi cut Tone control retains low end response while adding top-end clarity to notes. Next, high-grade, low noise Toshiba 2SC1815 transistors offer more intense distortion with minimal noise and signal degradation.

The D&S features buffered, JFET bypass switching with a low impedance output, allowing it to drive long cable lengths or other effect units without loss of signal.

Input Impedance: 500K Ohms

Input Jack: 1/4 inch standard phone jack

Output Impedance: 10K Ohms

Output Jack: 1/4 inch standard phone jack

Output: 1

Controls: Distortion, Tone, Balance

Switch: Normal/Effect

Noise (IHF-A): -110 dBu

Max Amplitude: 40 dBu

Power Supply: 9V Manganese dry cell battery (S-006P) or special AC adaptor

Power Voltage: DC9 V (Battery) / DC10 V (AC-adaptor)

Current Consumption: 6 mA (9V) / 7 mA (10 V)

AC Adaptor: AC210N (option) Input: AC120V Output: DC9V/200 mA Center - / Sleeve +)

Dimensions (main body): 61 mm (W) x 112 mm (D) x 35 mm (H)

Dimensions (whole): 70 mm (W) x 112 mm (D) x 55 mm (H)

Weight: 260 g

Accessories: 9V Manganese dry cell battery (S-006P) x 1

Non-skid pad: x 1

Warranty Card: x 1

User's Manual: x 1

Notes: Despite its modest array of controls, the DS830 is one of the most flexible distortion boxes you will ever encounter.

The DS830 can generate insane amounts of gain while still retaining remarkable evenness and transparency. Yet far from being a one-trick pony, the DS830 is also capable of lightly overdriven blues tones and even semi-clean solo boosts at lower Gain settings.

Clarity and punch may seem like self-canceling traits, yet the DS830 provides both. The high-gain settings don't force a particular color on your tone - a great trait if you're pleased with your particular guitar/amp combination.

The DS830's dual tone controls are surgically effective and highly interactive. The Bass knob contributes low-end muscle that makes a combo sound like a stack and turns a full stack into a wrecking ball. The Treble control dials in just the right amount of bite without excessive top-end sizzle. Between the two, you can get everything from penetrating bite to an obese square-wave bordering on fuzz.

This additional tone-shaping makes the DS830 ideal for use with Bass Guitar, generating an edgy, aggressive tone that retains the note clarity and character of your instrument.

For full-bodied distortion with an amp-like feel and a huge variety of useable tones, the DS830 Distortion Master is unrivaled in its sonic range.

*Please note: Maxon has discontinued the AC210 AC Adapter. Due to this, the Maxon Vintage series pedals will no longer ship with power supply included. The Maxon Vintage Series Pedals can be run with a standard 9vdc Center Negative Adapter. The PA-9 Power-All is recommended.

TECH TALK:
The DS830's gain section features a dual-stage clipping design that combines the classic "808" clipping (diodes in feedback loop) with a pair of diodes to ground ala' the SD-9 and RAT. This design effectively clips the signal twice, and the round smooth clipping of the feedback loop followed by the edgier diodes to ground adds a degree of "chewiness" to the pedal's voice.

The DS830 features a complex tone control which acts like an active two-band filter by changing the gain of the treble and bass frequencies going into the Op Amp. The Bass and Treble controls are highly interactive and complementary. For example; turning up the Bass doesn't just add low-end, but will also help to smooth out any harshness in the Treble frequencies.

The DS830 features buffered, Mechanical bypass switching with a low impedance output, allowing it to drive long cable lengths or other effect units without loss of signal.

Input Impedance: 500K Ohms

Input Jack: 1/4 inch standard phone jack

Output Impedance: 10K Ohms or less

Output Jack: 1/4 inch standard phone jack

Output: 1

Equivalent Input Noise: -114 dB (VR Max)

Residual Noise: -110 dB (Level, VR Min)

Maximum Gain: +59 dB (VR Max) (At 1 KHz)

Controls: Gain, Bass, Treble, Level

Switch: Normal/Effect

Current Consumption: 8 mA (9 V)

Dimensions (whole): 117 mm (W) x 150 mm (D) x 60 mm (H)

Weight: 500 g

Accessories: 9V Manganese dry cell battery (S-006P) x 1

Non-skid pad: x 1

Warranty Card: x 1

User's Manual: x 1

Notes: The FA10 Fuzz Elements Air accurately recreates the distinctive square wave clipping and octave harmonics of one of history's most desirable dirt boxes, the Super Fuzz.

The original Super Fuzz was created by Shin-Ei, but saw later incarnations under brands such as Apollo, Shaftesbury, JAX, Tiesco, Memphis, and most famously, Univox.

It was used on countless recordings in the late 60's & 70's, most notably the Who classic Live at Leeds. Long out of production, the Super Fuzz saw resurgence in the 90's during the Grunge & Alternative Rock era, appearing on the Beastie Boys' Gratitude, Mudhoney's Big Muff Super Fuzz album and Monster Magnet's stoner-rock classic, Superjudge.

The Super Fuzz used dual germanium diodes and a unique full-wave rectification circuit to produce sizzling upper octave harmonics as well as subtle lower harmonics that filled out the guitar sound.

The FA10's analog circuitry nails the Super Fuzz's crushing, compressed tone with surgical precision, and includes the two position Tone switch to toggle between flat and scooped EQ curves. These settings produce wildly different sounds, offering stark contrast to one another and effectively making the FA10 two pedals in one.

A unique aspect of the FA10 is its ability to reproduce rhythm or lead lines with equal clarity, yet without changing settings on the pedal.

Featuring authentic Vintage tones and modern features, the Fuzz Elements Air is the perfect vehicle to make your playing soar.

TECH TALK:
The FA10 features mechanical true bypass switching, Effect LED Indicator, and 9-Volt DC Battery or external adaptor operation.