Effects units

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

12VDC 1A power supply included.

Notes: Fingertip looping for progressive music creators:
Perfect for club performers, electronic musicians, and beatboxers, the RC-202 packs powerful BOSS looping and multi-effects in an amazingly compact tabletop unit. Based on the popular RC-505 Loop Station, the two-track RC-202 offers the distinctive look and fingertip interface style of its big brother, plus a host of new features. Four Input FX and four Track FX are available at once, and loops can be saved to memories in real time for seamless creative expression while performing. Expanded foot control and MIDI capabilities are also included, ideal for looping musicians who have their hands occupied with guitar, keyboards, and other instruments.

Two Stereo Tracks and 64 Phrase Memories:
The RC-202 offers two stereo loops with dedicated fingertip controls and animated status indicators. You also have 64 phrase memories for storing and recalling your live loop creations, organized in eight different banks for easy access while performing. As you work, you can save your loops to the current phrase memory without ever stopping playback. This convenient feature lets you seamlessly save and switch memories to perform different song structures and ever-evolving arrangements.

Intensive FX:
Equipped with powerful multi-effects capabilities, the RC-202 offers more real-time processing than any other looper. Four Input FX and four Track FX are available simultaneously, with numerous effects types on tap for loop creation and playback. As you record, you can enhance the sound with Input FX like P. Shift, Lo-Fi, Ring Mod, and more. Track FX such as Beat, Filter, Slicer, and others provide DJ and sampler effects for high-impact processing during playback. The effects can be quickly adjusted with large, easy-to-grab knobs, and turned on/off as you go via dedicated panel buttons.

Powerful Performance Control:
The RC-202's panel is filled with hands-on buttons and knobs for maximum creative control while looping. There's also a jack for connecting up to two footswitches or an expression pedal. Via MIDI, extensive control is possible from a MIDI foot controller or keyboard. MIDI also allows for synchronization with an RC-505 or a second RC-202, as well as drum machines and other devices.

Audio Connections and USB:
The RC-202 is outfitted with an XLR mic input, mono/stereo instrument inputs, and a stereo aux input. All inputs can be used at once, letting you capture and mix multiple audio sources as you build loops. It's also possible to send a click track to headphones only, a great feature for monitoring while performing. Via USB, you can plug into your computer to archive WAV loops or load up RC-202 phrases with live backing tracks or sounds for sampler-style triggering. The RC-202 also functions as a USB audio/MIDI interface, making it easy integrate with music software for stage performing with a laptop, audio recording, MIDI sync, and more.

Notes: Second-generation version of Boss's excellent looper gives you five stereo tracks, four simultaneous effects, hands-on control and full MIDI support. Ideal for live use but also a creative studio tool.

Supplier's Notes:
Looping Magic at Your Fingertips

Packed with inspiring tools for on-the-spot music creation, the RC-505mkII brings next-generation power and flexibility to the world's most popular tabletop looper. Elevate your performances with five stereo tracks and four simultaneous Input FX and Track FX, and soar even further with customizable buttons, expanded I/O, increased mixing control, and other enhancements requested by long-time RC-505 users. Built for free-flowing expression on stage and in the studio, the RC-505mkII is a dream machine for beatboxers, vocalists, multi-instrumentalists, and other fearless looping artists.

More to Love

The RC-505mkII retains everything that made the original so loved and adds a wealth of new features to make the looping experience even more creative and free flowing. The faders provide longer throw for finer adjustments, and they also have a more solid feel under the fingers. And each track now has dedicated FX and Track buttons, making it easier to colour and control your loops in the heat of the moment. Undo/redo has also been enhanced with a Mark Back function that lets you instantly jump back to a previous loop state while performing.

Customize Your Workflow

While the original RC-505 was very customizable, the RC-505mkII takes things to the next level with a vast range of user-configurable controls. You can assign various CTL parameters to the FX and Track buttons and trigger them with a press, hold, or double-click. Pressing the Undo/Redo button reveals a secondary layer, doubling your options. Two external control jacks are also available for connecting footswitches or expression pedals, and each has its own dedicated set of parameters. Crave even more? Then tap into the Assign screens to set up 16 different targets for hardware control and MIDI operation.

More Sonic Colours for Inspired Looping

Sonic variations help make loop performances more compelling, and the RC-505mkII provides a greatly expanded FX palette to colour your sounds during recording and playback. There are 49 Input FX and 53 Track FX types to choose from-including powerful new vocal harmony effects-and you can use up to four in each section at once. Going further, groups of four Input FX and Track FX can be stored in four banks for quick recall, along with toggle or momentary button settings for each type. A step sequence function is also available in some FX to automate parameter changes for dynamic real-time movement.

SPECIFICATIONS

Sampling Frequency: 44.1 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point

Recording/Playback
Number of Tracks: 5
Data Format: WAV (44.1 kHz, 32-bit float, stereo)
Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)

Rhythm Type: 200 types or greater
Rhythm Kit: 16 types

Effect:
INPUT FX: 49 types
TRACK FX: 53 types
MASTER FX: 2 types
Memory: 99
Nominal Input Level: MIC 1, 2 INPUT: -40 dBu/INST 1, 2 INPUT: -10 dBu
Maximum Input Level: MIC 1, 2 INPUT: 0 dBu/INST 1, 2 INPUT: +7 dBu/+20 dBu (selectable)
Input Impedance: MIC 1, 2 INPUT: 3k ohms/INST 1, 2 INPUT: 1 M ohms/25 k ohms (selectable)
Nominal Output Level: MAIN OUTPUT: -10 dBu/SUB 1, 2 OUTPUT: -10 dBu
Maximum Output Level: MAIN OUTPUT: +7 dBu/SUB 1, 2 OUTPUT: +7 dBu
Output Impedance: MAIN OUTPUT: 1 k ohm/SUB 1, 2 OUTPUT: 1 k ohm
Recommended Load Impedance: MAIN OUTPUT: 10 k ohms or greater/SUB 1, 2 OUTPUT: 10 k ohms or greater

Controls:
TRACK1--5 REC/PLAY button, TRACK1--5 STOP button, TRACK1--5 TRACK button, TRACK1--5 FX button, ALL START/STOP button, UNDO/REDO button, TAP TEMPO button, RHYTHM START/STOP button, RHYTHM EDIT button, INPUT FX A--D button, INPUT FX EDIT button, TRACK FX A--D button, TRACK FX EDIT button, MENU button, LOOP button, ENTER button, EXIT button, PAGE buttons, 1--4 knobs, OUTPUT LEVEL knob, TRACK1--5 LEVEL Faders

Display:
Graphic LCD (128 x 64 dots, backlit LCD)

Connectors:
MIC IN 1, 2 jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max
INST IN 1, 2 jacks, MAIN OUT jacks, SUB OUT 1, 2 jacks: 1/4-inch phone type
PHONES jack: Stereo 1/4-inch phone type
CTL1,2/EXP1 jack, CTL3,4/EXP2 jack: 1/4-inch TRS phone type
USB port: USB B type
MIDI (IN, OUT) connectors
DC IN jack

Power Supply: AC adaptor
Current Draw: 1.0 A (with phantom power), 0.9 A (without phantom power)
Accessories:

AC adaptor
Owner's Manual
Leaflet "USING THE UNIT SAFELY"

Options (sold separately):
Footswitch: FS-5U
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5

SIZE AND WEIGHT

Width: 420 mm/16-9/16 inches
Depth: 234 mm/9-1/4 inches
Height: 67 mm/2-11/16 inches
Weight: 1.8 kg/4 lbs

Notes: The CE22 is a professional multi-band enhancer/exciter designed for various applications.

This unit combines 2 processors to align the phase and focus of bass frequencies, improve the response of mid-high frequencies and add harmonic content to any "dull" sounding audio.

The surround processor utilises the phase alignment engine to give a greater perceived width to the stereo field.

Notes: Polyvox PF3 double-stereo filter utilizes the classic Soviet filter chip for a unique and iconic filter tone. Two independent 12dB multi-mode filters that can be controlled by a single cutoff knob. Turning the filter into a 24dB filter, when connected in series. When connected in stereo, you can achieve interesting effects by using different modes to each channel. A noise generator is on board pre-filter and can be used separately as a source of white and pink noise. Volume as well as clean and processed signal balance per channel. Can be used as two independent filters or stereo mode.

FILTER modes - Lowpass, Bandpass, Hi-pass, Notch.
NOISE generator - pink, white and channel balancing.
FILTER 1 and FILTER 2 - CV controls.
LINK switches to control two filters and CV at the same time with one slice knob.
SOFT/HARD cutoff control

Notes: Classy stuff from the London label's debut collab with one of our favourite synth brands. Classy stereo delay with analogue filtering and creamy valve distortion. Perfect for studio or live use.

Supplier's Notes:
Ninja Tune - an English independent record label based in London and Erica Synths have teamed up to create a custom dub delay effects unit, the Zen Delay.

Features
Controls: delay time, feedback, delay mod (5 presets), tap button, dry/wet, bypass switch, filter cutoff, resonance, drive, input level, filter mode

Inputs
Stereo In: 2x standard jack

MIDI In: standard MIDI socket

CV In: standard jack

Outputs

Stereo Out: 2 x standard jack

Delay times: 1-5000ms with 1/8...x8 of clock/tap rate in beat mode

Inspired by a trip to Berlin's trailblazing music hardware trade show Superbooth, Coldcut's Matt Black and longtime friend Dr Walker (Liquid Sky artist collective / Air Liquide) envisaged the exciting possibilities of a custom hardware effects unit. The result is the creation of the Zen Delay i the first-ever hardware effects unit produced in collaboration with an electronic music label.

Bringing together the best of the digital and analogue worlds, the Zen Delay is a BPM-synced stereo delay line, combining extreme feedback ranges for dub and experimental lo-fi effects with a multi-mode 24 dB synth filter and valve overdrive.

Created and manufactured by Erica Synths, the unit is housed in a metal case with Erica Synths' signature bakelite knobs and a valve circuit for extra analogue warmth. While sonically versatile, it is incredibly easy to use each function has a physical knob that you can play around with without diving into manuals or scrolling through menus on a tiny screen.

Crafted in close collaboration with DJs and producers, the Zen Delay was uniquely developed with both live and studio use in mind and is suitable for many different performance situations, musical styles and instruments. While most delay devices are designed as 'stomp boxes' for guitarists, the device is equally powerful in the hands of electronic music producers, artists and DJs, adding a unique, warm and powerful sonic character to drum machines, loops, vocals, synths, samples or any other source. Even full tracks or a live stereo mix can be enhanced by the combination of analogue and digital circuitry, breathing new life into iPad performances and giving traditional digital synths and drum machines a huge kick.

The Zen Delay is a product of our expertise on vacuum tube designs, our powerful, custom DSP platform and the great sound of our filter ICs made and developed in Latvia. It by far exceeded expectations in terms of how it sounds and feels when played. - Girts Ozolin

The Zen Delay is the analogue delay unit I've been waiting for. Stereo warmth, tone and texture. Perfect for live abusage, and studio madness love it - The Bug

The Zen excels at the sort of extreme dub possibilities Coldcut love. Feed it back! - Matt Black

For years I have dreamed of a state-of-the-art stereo valve dub delay for my MPC that perfectly masters all sound aesthetics from "badass" to "psychedelic hypnotically trashed" and now, have a look! There it is... the Zen Delay! - Dr Walker

Power: 12v (power supply for worldwide use is included)
In/Out levels: 3.2v peak to peak
DAC
114 dB dynamic range

-100dB THD+N

ADC
108 dB dynamic range

-98 dB THD+N

Dimensions: 21 x 15 x 5 cm
Weight: 870g

Notes: *** NO POWER SUPPLY INCLUDED - USES GENERIC 12VAC ADAPTER ***

Basically, the Ekdahl Moisturizer is a spring reverb where the springs are exposed so they can be played/hit/fiddled with. As well as being capable of creating sound in itself, you can of course also play sound through the springs like a regular spring reverb - this makes for happy-fun-time finger-modulation of the reverb on whatever audio that's going through it. On top of this there's an analog multimode filter that can be used to attenuate or exaggerate certain frequencies in the sound, this is real handy while playing the springs as you can - for instance - cut all the highs and just make thunderous doomy sounds or do the opposite; cut all the lows and make that ear piercing high frequency special love. Also, it incorporates an LFO that's internally routable to the filter and that also has some external routing-stuff. The Ekdahl Moisturizer has tons of CV / Expression pedal options on the back for even more hillarious moments. The Moisturizer is a mono unit.

The Moisturizer was developed with the help of Jason Willett (Half Japanese, Leperchaun Catering), Martin Schmidt (Matmos, Instant Coffee), Joshua Atkins (Polygons, Major Powers), mom & dad and many more.

The Ekdahl Moisturizer contains exactly:
Preamp (up to 10 times gain)
Reverb
Reverb / Preamp wet/dry crossfader (Knob & CV/EP controllable)
State variable filter with
Lowpass/Bandpass/Highpass seamless crossover (Knob, CV/EP & LFO controllable)
Cutoff (Knob, CV/EP & LFO controllable)
Resonance (WITHOUT resonance limiter)
LFO with
Speed control (Knob & CV/EP controllable)
Square / Triangle crossover
External output with output amplitude knob
Filter / No filter wet/dry crossfader (Knob & CV/EP controllable)

The preamp section is designed for a max of 10 times gain, this to accomodate for low level output instruments such as guitars etc. The reverb tank has normal reverb signal gain on it, meaning that if you hit the springs hard they'll distort like crap which is real nice, if you hit them softly the sound won't be distorted.

The filter in the Ekdahl Moisturizer is abrasive, the fact that it doesn't have any resonance limiting makes it possible to get the filter to sound *really* bubbly & metallic (way more then any filter i've ever heard), but it's also of course capable of sounding completely "normal" - it all depends on the amount of resonance and/or gain. The fact that you can seamlessly fade inbetween lowpass, bandpass or highpass filter (or lowpass+bandpass and highpass+bandpass) makes the unit pretty damn versatile and by using the wet/dry filter/no filter crossfader there's some neat shit that can be done too. Now it should be said that due to the fact that there's no resonance limiter, if using very high gain, with high resonance and turning the cutoff frequency very high the filter might cut out - not to worry, just turn the cutoff back a bit and the filter pops in again. This happens because the filter gets overloaded and can be avoided with a resonance limiter, however if i had one of those all the super-awesome bounce would be gone and it'd sound like all the other filter out there.

The Ekdahl moisturizer has six CV/Expression pedal related jacks on the back, one of them is a LFO output so you can control other shit with The Moisturizer's LFO. All the other jacks are inputs and takes either CV or Expression pedal, they are: Reverb Mixture, VCF Cutoff, VCF Filter Mode (LP/BP/HP), Filter Mixture and LFO Speed.

Notes: A powered-up mini kaoss pad 2, the mini kaoss pad 2S ("S" for sampler) is a powerful DJ effect unit that fits in the palm of your hand. It includes the familiar KORG touchpad, which allows you to intuitively control 100 different effects, and a sampler function that makes it easy to load and trigger a variety of sounds. Whether you are playing or performing, you'll have more fun than ever with the powerful mini kaoss pad 2S.

The newly added sampler function let you prepare sound effects or voice samples, and use them in your DJ work or live performance. According to your needs, you can choose from three methods of playback: One Shot, Gate, and Loop. You can also change the playback speed (pitch change) and specify the playback start position (cue point). In addition, the sample recorder lets you capture sounds that are input via either the line in or the built-in mic.

You can also use the unit as a conventional audio player; save your favorite songs on a card and use the mini kaoss pad 2S to apply effects for fun. No other equipment is required.

You can intuitively control effects in real-time by stroking the touch pad with your fingertip. There are one hundred built-in effect programs, ideal for DJ mixing and controlling the sound.

Numerous other functions indispensable for DJ work are also provided:
-When you take your finger off the touchpad, the FX RELEASE automatically adds a delay effect so that the effect blends smoothly into your song or performance, and avoids abrupt effect dropouts.
-Excellent for DJ use and live performance, the mini kaoss pad 2S provides three Program Memories for instant recall of your favorite effects.
The Hold function freezes the effect parameters based on your finger's current location on the touchpad for hands-free operation.
Auto BPM detection syncs the applicable effects to the tempo of the song, so that everything continues to move in sync for a professional performance.
The built-in mic lets you apply effects to your voice.

Many convenient functions are now available for enhanced usability and enjoyment:
Record your mini kaoss pad 2s performances in WAV format using .the master recorder function.
Battery operation and a built-in speaker let you perform anytime, anywhere.
6 Preset audio demo loops are stored in the internal memory. These demo loops provide a handy audio source that can be used to immediately audition the various effect programs, without having to hook up an external audio player.

Notes: Cleverly designed modular guitar effects processor, allowing you to create virtual pedalboards to process your instrument. Hands-free control for performance freedom.

Supplier's Notes:
Three performance modes optimized for hands-free usage:

Navigation mode
Control mode
Tool mode
Specifications:

Quad Core ARM A35 CPU at 1.3GHz, 1GB RAM, 8GB storage
3 endless knobs, 3 footswitches (with LEDs), 3 pushbuttons and a menu button
2.9" LCD display
Dimensions: 105*202*54mm (L*W*H)
Weight: 800 grams
I/Os:

Dual 6.35mm TRS independent audio inputs, with gain configurable from -12dB to +35dB, 1M Ohm input impedance, unbalanced
Dual 6.35mm TRS independent audio outputs, with gain configurable from 0dB to -127dB, balanced or unbalanced
3.5mm TRS Headphone output, with gain configurable from -33dB to +12dB
3.5mm TRS MIDI type-A input and output
USB Type-B Device port for connecting to a computer
USB Type-A Host port for MIDI controllers, Bluetooth and Flashdrives
Control Chain port for MOD peripherals
Power input on a 5.5*2.1*10mm barrel connector
Protective case:

Dimensions: 240*250*72mm (L*W*H)
Weight: 280 grams
Endless rigs to-go
Assemble as many pedalboards as you want and organize them in banks using a computer or tablet.

Navigate and control them directly from the standalone device or with a MIDI controller.

Optimized for hands-free use
Snapshot Mode
Snapshot (Navigation Mode)
Instantly switch between different snapshots that store the states of all parameters in your pedalboard.

Editing Mode
Pedalboard (Navigation Mode)
Navigate through all available pedalboards in your device.

Control Mode
Control Mode
Tweak and control adressed parameters inside your pedalboard with precision and speed.

Editing Mode
Tool Mode
Access useful tools such as the tuner or the tempo tool.

Total creative freedom
Build complex pedalboards with a limitless and intuitive graphical interface. Any kind of routing is possible no matter how complex so the sky is the limit.

Open as many parallel paths as you want, assign the parameters to your preferred controllers and enjoy the truly modular DNA of the MOD platform.

Vast and expanding plugin offer
From pristine and polished simulators created by professional developers to indie experimental granular units from collective open source efforts, the Plugin Shop has it all for you.

New plugins are constantly released, so you'll never get bored with your sounds.

Coders and sound designers can use and share their own plugins.

Plugins for everything
Experiment with the classics or go crazy with innovative gear to nail your tone without any restrictions.

Load samples, loops and IR files.

Use switchboxes and mixers to control the audio flow.

Patch it anywhere
Assemble patches from the graphical interface using any tablet or computer.

With an intuitive drag & drop usage, nailing your sound was never so easy and fun.

Just plug it
A full set of analog and digital IO's allows you to connect almost every possible musical instrument or gear to the MOD Dwarf.

Fits everywhere
Every musician has different setups and workflows.

With its multiple IO's and free routing internal patcher, the MOD Dwarf can be set up for all the different contexts you can imagine, from a single pedal in a traditional guitar set-up to a vocal and synth live set station.

Small, tough and reliable. Road ready.
The rock-solid monolithic aluminum enclosure is forged to last. You've never seen anything so powerful and resistant fit in your jacket pocket.

What's in the box:

MOD Dwarf
USB cable
Power supply
USB Drive
Rubber strips
Velcro strips
Protective case
Premium Guitar Plugins Pack
OverTone DSP
DT-1 Distortion
CR-1 Chorus
PH-1 Phaser
WAH-1 Auto Wah
Guitarix
Cream Machine Amplifier
Designed and Engineered in Berlin Assembled in Germany

Notes: An interesting take on multi-effects here, with Mooer's 'intelligent pedal' allowing you to hook up a guitar then use the free app to control presets, record to mobile devices and monitor via a headphone jack.

Supplier's Notes:
Say goodbye to bulky effects pedals and clunky power supplies, the Prime P1 fits comfortably in your pocket and provides an input and output jack, headphone out, and a USB charging port that also doubles as an USB-OTG port for recording directly to a mobile device. Preset selection and volume control is handled by a single clickable knob on the front of the P1 for a simple user interface and quick effect selection.

Users can download the Prime App which is available for Android and iOS devices and is completely free. Simply download the app and pair it with your Prime P1 to customize your own presets and load up to 4 tones (A/B/C/D) simultaneously. The mobile app also includes common guitar tools such as a metronome, tuner, drum machine, and looper. The firmware at launch is designed to be used with bass guitar and electric guitar. MOOER plans to update the firmware in the future to support other instruments like acoustic guitar. You can follow MOOER on all social media platforms for the latest news regarding software updates.

The Prime P1 also supports MOOER's F-series wireless footswitches which can be paired via Bluetooth for hands-free preset switching.

Specifications:

Input: 1/4" mono audio jack, impedance 2MO
Output: 1/4" mono audio jack, impedance 100O
Headphone output: 1/8" stereo audio jack, impedance value 32O
USB cable type: USB-C to USB-A cable
Bluetooth version: 5.0
Battery capacity: 1900mAh
Battery life: 4.5 hours
Charging requirements: DC 5V/1A
Wireless control: 2.4G
Weight: 100g
Dimensions: 99.3mm(D) x 55mm(W) x 21mm(h)
Accessories: Quick guide, USB-C to USB-A cable

Notes: BAM is a stereo reverb processor inspired by the late 70s / early 80s digital reverberator units.These units are sought after by sound engineers, producers and musicians for their grainy, warm and musical reverberations.

The audio signal was severely high-cut filtered (10 kHz was standard at that time) because of the limited sample clock. Some units used 12 bit gain stepping converters to achieve a 15 bit resolution and others used the first 16 bit converters. Then the samples were digitally processed through a 16 to 20 bit fixed-point CPU with limited memory. The algorithms had to be simple but efficient to create the most musical and versatile reverberation from these limitations. And the hardware itself added grain and warmness to the sound.

The technology used in BAM is very close to the one used in these early digital reverberator units : 16 bit converters, 20 bit fixed-point processing, analog filtering and even an input transformer transient simulator. Some of the 7 reverb algorithms are influenced by the early structures, and some are brand new.

BAM is a very musical and unique reverb processor. It combines the sound quality of a vintage reverb processor with the playability of a desktop effect in a compact format with MIDI control and 36 user presets.

Notes: Ultra-characterful 80s grit from this unique stereo delay. The BIM's 12-bit circuitry gives all that vintage colour with modern features like perfect stereo balance, MIDI control and tap tempo.

Supplier notes:
BIM is a 12-bit stereo delay unit inspired by some studio delay processors built in the early 80s. These monophonic processors have been renowned for the quality and musicality of their sound. The processing was mainly analog (companders, limiters, low-pass filters, feedback path,...), and the signal was converted to digital just for the delay section, using 12-bit AD/DA converters and some RAM memory chips.

The advantage of this technology is particularly obvious when the sound is feedbacked many times through the whole analog and 12-bit circuitry. You'll hear a sweet degradation and dark damping that the 100% digital delay boxes can't offer. BIM was designed with the purpose of creating a unique, modern and versatile effects processor based on this 80's technology.

The sound of an old 12-bit digital delay has been mixed with modern features such as stereo processing, extra FXs, many user presets, MIDI control, tap tempo, compact size- therefore BIM is the best of both worlds!

BIM is the perfect companion for the musician, producer, sound engineer or live performer who is looking for a unique, warm and musical delay processor.

Notes: BOUM is a full analog stereo warming unit, combining an easy-to-use compressor, a versatile distortion generator and a smooth low-pass filter. BOUM is the perfect tool when you need to add warmth, thickness, and character to your sounds, but also apply severe distortion and extreme compression treatments.

BOUM is based on an original and unique circuit, including the following stages :

INPUT GAIN : boost your signal up to +18db to adapt BOUM to various signal levels, and also improve the distortion content and the compression sensitivity.

COMPRESSOR : with a single knob, control the 3 essential parameters of a compressor, threshold, ratio and makeup gain, without thinking about how a compressor works ! The ratio ranges from 1:1 (no compression) to inf. :1 (limiter), but also negative compression up to 1: -1 !
6 different Attack and release times are available for fine tuning.

LO CUT FILTER : attenuate the distortion content of the bass frequencies with this 6 dB/Octave lo cut filter, making your distorted sound easier to mix with the original one.

DISTORTION GENERATOR : choose one of the 4 different distortion circuits :
BOOST : soft clipping amplifier, perfect for subtle harmonic enhancement.
TUBE : asymmetrical tube distortion emulator based on MOSFET technology. Generate mostly a second harmonic distortion.
FUZZ : symmetrical hard clipping amplifier, similar to an overdriven mixer preamp.
SQUARE : pure square wave generator based on a comparator. The ultimate fuzz !

HI CUT FILTER : soften the high frequencies with this smooth and musical 12 db / octave low pass filter.

NOISE GATE : remove the noise coming from the different treatments, or use it for interesting chopping effects.
All these analog effects are packaged in a compact format, with 36 user presets and full MIDI control.

BOUM will give you a wide range of compression, distortion and filtering effects, ranging from subtle harmonic enhancement to an insane square distortion, and everything in between!

Notes: SPICE is a modular saturation unit capable of a huge variety of sounds and colors. From subtle tube warmness to extreme fuzz distortion.

Features:

Rackable (38HP eurorack) modular desktop unit.

8 CV inputs with led level indicators.

6 main functions: Prefilter / Digital / Analog / Mixer / Envelope Follower / Feedback

Prefilter: High Pass and Low Pass filters to shape the sound before being processed. Both controllable via fader + CV input.

Digital: 12 bit Bit Crusher / Bit mute, Biswap and Bit inversion + Sample Rate reducer. Both controllable via potentiometer and CV inputs. It also offer an analogue input control with led clip indicator and a low pass filter to smooth the output signal. All the code will be Open Source

Analog: 7 analogue distortion circuits selectable with a rotary encoder + a sweet resonant state variable filter. Drive and Cutoff parameters are controllable via potentiometer and CV inputs. 2 of the circuits use the new Korg NU-TUBE.

Mixer: Dry and Wet controls to mixed the processed signal with the clean one of the input. Both controllable via fader + CV input.

Envelope Follower: A dedicated envelope follower with gain control and normal and inverted outputs to convert an incoming signal to an envelope. With its output you can control any of the CV parameters and shape the processed sound in many creative ways.

Feedback: a triple feedback section that sends the Wet input to the Prefilter, Digital and Analog sections. It's capable from a subtle resonance to a collapsed hardcore self generating tone.

Semi-modular architecture with pre-patched sections that can be restructured using patch cables. Each section (minus the feedback) can be used as an independent function from the rest.

Notes: From Roland's creative AIRA range, the E-4 is a vocal effects box that adds harmonies, pitch effects and glitches as well as classic vocoder sounds and looping. A vocal all-rounder.

Supplier's Notes:
The E-4 Voice Tweaker is an outrageously jammable box of fun that harmonizes, auto-pitches, vocodes, loops, and glitches your voice and anything else you feed it. Flip through hands-on controls to manipulate the sound, and chain in AIRA Compacts and other electronic instruments and let them ride in perfect sync.

Inspiring Roland vocal processing

The E-4 combines powerful voice transformer tools and standard vocal effects with a tactile interface that's meant to be played. This lean, mean machine puts a treasure trove of top-quality processing in a go-everywhere gadget that's endlessly enjoyable and amazingly affordable.

Perform with sound

By working the E-4's inviting panel, you can go from traditional vocal enhancements to punchy beatboxed grooves to striking alien soundscapesiall in a single performance. Select different sonic shapers, trigger looper controls, cycle through Scatter effects, and tweak pitch, formant, and more in the flow.

Harmonic explorer

Take your singing to the next level with automatic harmony effects. Set the key and chord voicing on the fly and bring head-turning flair to any song. And with Auto Pitch, you can dial in everything from subtle tuning fixes to the hard-tuned sounds heard in mainstream pop tracks.

Loop and scatter

Turn one voice into an entire orchestra using the 24-second looper. Overdub layer after layer with the E-4's effects to create wild, vocal-driven rides. Then slice and dice with the expressive Scatter knob, which chops your sound into colorful bits that you control with a twist.

Channel your inner robot

Use direct-access tools to instantly change your vocal gender, conjure sounds from outer space, or transform yourself into a mechanical persona (good or evil is up to you). There's also a powerful vocoder, which you can drive from a large pool of onboard synth waveforms, the E-4's pitch functions, or an external MIDI keyboard for an endless variety of textures.

Link up and go

Connect a handheld mic to the front input for performing, or use a gaming headset or the inline mic on your earbuds to bring fresh vocal fun to your next livestream or podcast. Sync with other AIRA Compacts like the T-8 Beat Machine and J-6 Chord Synthesizer to expand your range. Or interface with computer DAWS, mobile music apps, and hardware instruments via USB-C or MIDI.

Everywhere at once

The E-4 creatively accentuates vocals anytime and anywhere. The lithium-ion battery provides up to 3.5 hours of power per charge, and the rugged Roland build will support inspired magic and mayhem for a long, long time.

Specifications

Effect Type: AUTO PITCH, HARMONY, VOCODER, PITCH FORMANT, SCATTER, REVERB, LOOPER
Maximum Recording Time: Approximately 24 seconds
Display: 7 segments, 4 characters (LED)
Connectors: SYNC (IN, OUT) jacks: Miniature phone type, MIX (IN, OUT) / HEADSET jacks: Stereo miniature phone type (Stereo, CTIA), MIDI (IN, OUT) jacks: Stereo miniature phone type, MIC IN jack: Stereo phone type, USB port: USB Type-Cr (Audio, MIDI)
Power Supply: Rechargeable lithium-ion battery, Obtained via USB port (USB bus power)
Current Draw: 500 mA
Expected battery life under continuous use: Approx. 3.5 hours * These figures will vary depending on the actual conditions of use.
Expected battery charging time: Approx. 3 hours * To charge the unit, use the USB port of a computer or a commercially available USB power supply adaptor (5 V, 500 mA or higher).
Accessories: Leaflet "Read Me First", USB Type-C to USB Type-A cable

Size & weight

Width: 188 mm / 7-7/16 inches
Depth: 106.5 mm4-1/4 inches
Height: 41.7 mm / 1-11/16 inches
Weight (including batteries): 290 g / 11 oz

Notes: The VT-4 is an effect processor for the instrument inside us all, the human voice. And like the human voice, the VT-4 is easy to use, yet devastatingly effective. Whether you're a solo electronic artist, DJ, or singer in a band, the VT-4 lets you craft and shape your own unique vocal sounds, from subtle augmentation to radical transformation. Everything is hands on, with no menu diving or programming to get in the way. Jaw-dropping effects like harmonizing, vocoding, pitch shifting, hard tuning, and more are just a push, slide, or turn away. And with its compact size and five-hour battery life, you can use the VT-4 anywhere.

Insanely Creative:

Today's musical styles increasingly use unusual vocal sounds with heavy processing, making them stand out and grab the listener's attention. With the VT-4, you have a wealth of modern and retro vocal effects at your fingertips, with no need to resort to a complicated setup with a computer and plug-ins. All the effects are top-notch, with everything from delay and reverb to mind-bending formant and vocoding effects. Better still, the VT-4's performance-oriented interface lets you ride the controls while you sing to constantly alter the sound to suit the track and enhance the vibe of your performance.

Be Who You Want to Be:

Great-sounding pitch and formant effects are hard to come by, especially without a computer. And real-time tweaking of these effects often results in nasty artifacts and other unpleasantness. With the VT-4 you have totally smooth, instant control over both pitch and formant, with dedicated faders for each. Dramatically change your entire persona from male to female, big to small, or good to evil - the choice is yours.

Transformative Effects:

Achieving complex vocal effects is easy with the VT-4, and you can even use multiple effects at the same time. Use the central Auto-Pitch knob to dial in just the right amount of hard-tuned effect, then press the Megaphone button for some lo-fi raunchiness. Or run the vocoder through a tape delay or vintage chorus. Each effect has a selection of one-touch variations, so you can get different vocoder characteristics, various lo-fi effects, multi-part harmonies, and distinct kinds of reverb and delay. Chain your effects, set the controls just how you like them, and then simply hold down a preset button to save that setup for later. Changing presets and tweaking controls is smooth and immediate, with no jarring artifacts, glitches, or dropouts.

MIDI Control:

The VT-4 works great on its own and can harmonize and vocode without any input other than your voice. But plugging a MIDI keyboard into the VT-4 opens even more expressive possibilities, letting you control the Auto-Pitch, harmony, and vocoder engines in real time with the notes you play. You can hard-tune your voice to specific notes as you sing, or create instant multi-part harmonies with voicings that follow your chords. The VT-4's small footprint sits nicely on most keyboards and is easy to integrate into your setup, dishing out huge backing vocals and funky vocoded leads by the bucketload.

Fun and Games

Whether it's a weekly podcast or nightly multiplayer battle, if you're broadcasting your voice on the internet, you only have so many ways to stand out. The VT-4's combination of small size, simple controls, and USB-audio capabilities make it uniquely suited to altering your voice for YouTube broadcasts, game streaming, podcasting, and more. Take on the persona of different characters in diverse locations, or sound larger than life when taunting your foes. Add humour, danger, wit, and variety to your streaming broadcasts - your imagination is your only limitation.

Notes: The Touellskouarn "Sil Kontrollet" tabletop module is a LowPass voltage-controlled filter (VCF) The filter is a 12dB per octave low-pass filter that can be self-oscillated, this way it can produce a sine wave with V/Oct tracking capability. This filter has a unique and distinctive sound, characterized by its aggressive resonance and its ability to self-oscillate. Cutoff can be cv controlled. The enclosure is all aluminium and the circuit is made with quality components such as Nichicon/Panasonic caps and alpha pots. The module is powered thru a 2,1mm negative pin power jack, compatible with Boss and Ibanez standard power supplies.

Power supply: 9V DC, negative tip, 20mA

Notes: The DSR-3 - dual spring reverb - is a professional spring reverberation unit for use with stereophonic sound sources. Besides this function, the unit offers additional parallel and serial operational modes for advanced and creative applications

As in our valve based model ReTubeVerb, the classic VSR-3 and the creative Retroverb Lancet, the DSR-3 relies on finest quality reverberation springs manufactured by AccuBell (formerly Accutronics). To assure perfect stereo sound, the springs were carefully selected and hand-matched.

Each channel offers two band equalization with bass and treble control being matched to the specific frequency spectrum of the springs. By this, the effect can easily be adapted to your personal sound preferences.

The DSR-3 offers TS in- and output jacks as well as balanced XLR in- and outputs. Balancing the outputs is carried out by specially designed and manufactured output transformers with excellent sound characteristics. This also qualifies the unit to be used as a first class DI box.

The three operational modes allow both spring reverb channels to be used in interaction or independently:

Stereo for the use with stereophonic sound sources - For perfect channel matching, the first spring reverb channel's physical controls are used to define both channels settings.
Dual mono for use with two independent sound sources - Each DSR-3 channel works as an independent unit.
Serial for experimental reverberation effects - Here, the first spring reverb channel is fed into the second channel. This allows creation of long lasting reverberation tails.

The DSR-3 is carefully assembled by hand in our electro acoustic manufactory in Erlbach, Germany.

The Vermona DSR-3 allows creating full, deep and rich reverberation effects at highest quality breathing the charm of former days.

*For sound samples, please visit - http://vermona.com/index.php/dsr-3-53.html

Notes: Gorgeous analogue goodness in this all-rounder, featuring overdrive, filter, envelope, LFO and a nice retro spring reverb among others processing options. Tons of character.

Supplier's notes:
Today's digital effects and plug-ins can create almost perfect room simulations. However, when it comes to characteristic and charismatic reverb, analogue effect-processors are yet to beat. The reverberating sound of a spring is so lively and unique that its sound is almost impossible to recreate in the digital domain. In addition to this, Retroverb Lancet is not just a spring reverberation system - it is an analogue multi-effects-processor. It offers overdrive, filtering, VCA, envelope and LFO to manipulate the spring sound and create different sounds like auto-wah, tremolo, distortion, delay, gater and of course reverb.

The typical spring reverb sound is generated by a Belton/Accutronics type 4 spring tank with 3 individual springs. It can be placed pre or post the VCF/VCA section and equalized by the Tone parameter.

The Crash function generates the popular thunder effect that occurs when kicking an amplifier with spring tank. You don't have to kick Retroverb Lancet you simply can achieve this effect by pressing the Crash button. It also can be triggered by a Gate voltage.

The multimode filter works as lowpass or highpass with a slope of 24 dB per octave or as bandpass with 12 dB per octave. It is followed by a voltage controlled amplifier. The filter and amplifier can be modulated individually by different sources.

The Retroverb Lancet offers 3 internal modulationGorgeous analogue goodness
in this all-rounder, featuring overdrive, filter, envelope, LFO and a nice retro spring reverb among others processing options. Tons of character. sources:

Envelope follower: the envelope follower converts the amplitude characteristic of the audio input signal into a control voltage.
Envelope generator: the envelope generator can be triggered by the input signal itself, a second audio signal or a gate voltage. Depending on the trigger source it works as Attack-Decay or as Attack-Sustain-Release envelope.
LFO: the LFO offers saw up and saw down, square, sine as well as sample&hold. Additionally it can use the envelope generators settings as waveform. It can oscillate freely or reset by different trigger sources.

The Retroverb Lancet also offers a CV/Pedal input which can be feed by external control voltages or can be used with expression pedals.

Notes: Finally the VSR 3.2 is here! It is the enhanced successor of the Vermona VSR-3 - Vintage Spring Reverb.

Most of the features, like the AccuBell spring tank (type 9), the TONE control as well as in and output stages are equal.

What has been improved is the way EFFECT STOP is working. Compared to its predecessor VSR 3.2 offers the possibility to determine where EFFECT STOP cuts the signal path: PRE or POST the spring tank. In the new PRE mode the input of the spring tank is cut from the signal path, so the reverb's decay isn't abruptly stopped when pressing EFFECT STOP and still can fade out.

The VSR 3.2 is suitable for all kinds of input signals like synthesizer, organs, guitars, vocals etc. It's available as of now from stock. It is already listed in our latest price list from 2015-05-01.

*UK 3-pin power adapter included.