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Your typical passive feedback loop. the loop switch engages the effects loop while the feed switch shoots the output back to the input. the amount fed back is controlled by the one and only knob. the result can be aggressive, difficult to control and frankly, unpleasant. perfect for the experimentalist in all of us.

uninitiated should take caution. feedback loops are hard to predict. some pedals will render the feedback useless, others will allow unique sounds that would be impossible to achieve otherwise.

experimentation is key. type of effect, pedal placement and gain structure are all important parameters. mix it up, but always beware your speakers and ears

Z8 SPECIFICATIONS

Sampling formats: 24- or 16-bit at 44.1kHz, 48kHz and 96kHz with 64-times oversampling A-D converter and 128-times oversampling D-A converter. Memory: 16MB as standard, expandable to 512MB using 168-pin DIMMs. Polyphony: 64 voices (32 voices when system clock is set to 96KHz). Multitimbrality: 128 parts. Envelope generators: three digital envelope generators. Filters: three two-pole filters with resonance, 32 filter types. LFOs: two multi-wave LFOs. Connections: Record In (two balanced quarter-inch jacks), Stereo Out and eight assignable analogue outs (all on balanced quarter-inch jacks), headphones, two MIDI Ins, two MIDI Out/Thrus, SCSI (50-pin connection), S/PDIF digital I/O, two USB sockets (one host socket, one slave). Multi-effects: four-buss design with more than 40 effect types. MIDI: 32 channels.

EXAMPLE SAMPLING TIMES

WITH 16MB OF RAM

Mono/44.1kHz/16-bit: Three minutes. Mono/44.1kHz/24-bit: Two minutes. Mono/96kHz/16-bit: One minute, 23 seconds. Mono/96kHz/24-bit: 55 seconds.

WITH 512MB OF RAM

Mono/44.1kHz/16-bit: One hour, 34 minutes, 42 seconds. Mono/44.1kHz/24-bit: One hour, four minutes, 28 seconds. Mono/96kHz/16-bit: 44 minutes, 25 seconds. Mono/96kHz/24-bit: 29 minutes, 37 seconds.

The EB4JS effects board (which is standard on the Z8, but not on the Z4) offers up to four simultaneous effects in a four-buss design that is simple to understand and easy to set up. You can route Programs and Multis to the effects via the four busses (A to D) but if you want to connect effects in series you can also choose to route the output of one effect into another. For extra flexibility, the output of each effects processor can be individually assigned to any of the physical outputs. Effects inputs are always in mono and outputs in stereo, so if you configure effects in series then the output of the first effect is summed to mono before being fed to the second (though the output of the second effect is still in stereo). For true stereo operation (for instance when working with stereo samples) you can link FX1 with FX2 and/or FX3 with FX4, in which case you'll be limited to being able to use just one effects type per pair.

There are more than 40 individual effects algorithms on offer, all capable of handling up to 24-bit/96kHz resolution, and all effects are programmable, with the number of tweakable parameters restricted to a maximum of six

The Roland G-202 guitar is the least known of all the vintage Roland guitar synthesizer controllers. The unusual G-202 is a bit of a Fender/Gibson hybrid. While the body shape and neck are the same as the Fender-inspired G-505, the G-202 has a fixed bridge with humbucker pickups. The knobs are the same ones as used on the G-303/G-808 guitars, but the Roland PU-120H pickups and TP-130 bridge appear only on the G-202. For people who like the Fender design, but do not want the issues involved with a floating, tremolo bridge, the G-202 is their "go to" vintage Roland guitar synthesizer controller.

The G-202 has the distinction of having more finishes than any other vintage Roland guitar: natural, white, red and blue. The natural finish is noted in the 1982 Roland Guitar Synthesizer catalog, but the 1984 catalog does not include natural as an option. In keeping with the theme of the G-202 being the entry level Roland guitar synthesizer controller, the blue and red finishes are solid colors, and not the metallic red and metallic blue finishes of the G-505. While it would presumably be easy to bolt a rosewood neck onto the G-202 body, there is no rosewood neck option for the G-202, unlike its big brother the G-505.

This is not a digital modeling guitar, it is an electric guitar with a 24 pin output to control Roland 24 pin analogue guitar synth

The Roland SDE-1000 was one of the Japanese company’s first effects unit – a digital delay line. Roland DDLs became fairly common in London studios in the 1980s and were some of the first Japanese-made effects to be found in studios

The SDE delays were quick & simple to use with a very straightforward front panel & interface. If you look at contemporary products from the likes of Korg and Yamaha you’ll see clear influences of the SDE-1000 and SDE-2000

Despite being early, cutting-edge devices, these Roland delay lines were great units and proved to be extremely reliable. Sound quality was excellent with a smooth, very analogue sound. Maximum delay time is 374 mS in standard mode (747 mS in x2 mode) and 605 / 1210 mS using the x1.5 rear panel control. The sound of the SDE in X2 mode is quite reminiscent of a slow tape delay, and increasing feedback results in a gradually decaying, dulling repeat – again, like tape. It sounds great

A common feature of early digital delays was the ability to double the delay time (and halve the bandwidth) by changing the clocking. The SDE-1000 goes one better with a hidden rear-panel delay time control which is variable from x1 to x1.5.

Delay time is displayed on a 4-digit blue fluorescent display with an Up – Down rocker switch to alter delay settings. The VCO has speed & depth controls. This can give deep chorusing effects or a gently shifting delay with phasing. Unlike the SDE-2000, the 1000 has memories to store user presets

The SDE-1000 looks more generically Roland than the SDE-2000. Partly this is due to the adoption of the usual Roland control knobs – also found on late SDE-2000s – and partly due to the large number of 1U devices coming to market. It’s hard to make 1U devices distinctive, but Roland achieved it with the SDE range. The front panel is a masterpiece of industrial design, laid out with Germanic simplicity, with clear labelling in white on a black front panel

Rack version of the Korg M1

The M1 was and still is a popular and widely used digital synthesizer and music workstation. The M1 features built-in AI Synthesis for full digital generation and processing using 4MB of PCM sampled and synthesized waveforms which can be shaped using analog-style editing. The M1 is capable of creating acoustic instruments with clarity, nice digital sounds and good buzzy techno sounds. The M1 is sort of like a workstation-version of the Roland D-50.

In addition to its acclaimed sound, it has a somewhat sophisticated 8-track sequencer. It holds 10 songs and 100 patterns and up to 7,700 notes, and offers full quantizing and editing. Full MIDI implementation suites the M1 ideally for studio production and MIDI system use. Up to 8 parts of multitimbrality with the 8 track sequencer makes for a powerful machine. Add to that a host of digital multi-effects and you've got one of the most widely and professionally used Korg synthesizers around.

Polyphony - 16 voices Oscillators - 4MB PCM waveforms (144 multisampled sounds) Effects - Digital multi-effects: reverb, delay, overdrive, EQ, chorus, rotary speaker, and more. Filter - VDF: Variable Digital Lowpass Filter, velocity sensitive (non-resonant) VCA - VDA: Variable Digital Amplifier; 3 independent 4-stage ADSR envelope generators Keyboard - 61 keys with Velocity, Aftertouch, Multi, Layer, Split modes Memory - 100 patches Control - MIDI (8 parts) Date Produced - 1988-94

Dual footswitches. Expression control. Parametric EQ. High-gain and low-gain flexibility. It’s all here. And as well as combining the best features of the PDF-1 and PDF-2 in a single pedal, the PDF-1X also comes with a shiny new feature – a volume knob. This helps it play nicely with other pedals, and opens up a new range of tonal options across the clean and dirty channels. The gain control is now an internal trimpot, which is pre-set to PDF-1 territory but can be ramped all the way up into PDF-2 high-gain anarchy if that’s your bag.

With that added versatility, the PDF-1X gives you boost, overdrive, distortion, and fuzz in one pedal. Not to mention the parametric EQ control and expression pedal functionality for precise tweaking and phaser or wah sounds. It’s a lot. But you’re worth it. And you get to decide if it’s a set-and-forget, always-on secret sauce for your playing, a versatile scalpel for finding the perfect tone in the studio, or anything in between.

The Filter Factory is a stand-alone 2-unit rack module stereo/mono analog filter. Use it to filter drum loops, synth arpeggiations, vocal tracks or entire mixes! It features notch, low-, high- and band-pass filtering modes. It functions as a stereo filter with a 2-pole slope, or in mono with a 4-pole slope. Big fat knobs allow hands on real-time tweaking of the Frequency Cutoff, Resonance, LFO Depth and Speed, Distortion and more. Plus it's totally MIDI equipped for recording, triggering and sequencing tweaks of the various parameters.

The Filter Factory is great for DJ's and for Musicians. It sounds great and IS analog with digital control, stability and features. 'Momentary' buttons allow you to drop in or tap in an effect, either the filter or the distortion which is great for live situations! The LFO section allows you to generate nice sweeping filter effects or other weird modulations. There's a Tap-Tempo to match the LFO to the stuff your filtering too. Truly worth getting! It has been used by U2, John Digweed, Freddy Fresh, La Peste, Peace Off, Hellfish & DJ Producer, DJ Pure, and the Chemical Brothers.

The FilterQueen is a 2-unit half-rack design with just a few knobs and buttons and is most likely suited for DJs and easy-access live use. It's still a stereo analog filter with switchable notch, band, low and highpass filtering, envelope follower, LFO and the Momentary button. There's also a large bypass ("Engage") switch. The knobs control the filter cutoff, resonance, LFO speed, depth and more. There is no MIDI, no patch storage, no external audio input or gain controls. The EQ Killer is another 2-unit half-rack design for DJs and performers. It's basically three independent bandpass filters which can be used to filter out or isolate certain frequency ranges of music. These sold for about $300 each.

The Syncussion SY-1M kit is a faithful reproduction of an extremely versatile drum synthesizer from the late 1970's. With 6 Oscillator Modes per channel it is capable of a wide range of sounds, from the classic 70's disco "peeoww" to tight bells, thunderous Kick drums and Gnarly Bass sounds. Whilst retaining the original CV and Trigger inputs, the addition of per channel MIDI controlled Triggering, Pitch and Decay greatly expands the possibilities. The kit contains 2 Printed Circuit Boards, a Powder Coated and Screen Printed Steel Case, 16 Slide potentiometers, 16 Slider Caps, 47uH RF Choke (necessary for the power supply filter) and a pre-programmed ATMEGA328.

Polyphony - 16 Voices Oscillators - 2 VSM oscillators: sine, triangle, sawtooth, pulse and noise LFO - 2 LFO's (triangle, sawtooth, random) control OSC 1 or 2, filter, pulse-width, ADSR envelope Filter - 12 dB/oct 2-pole lowpass, 24dB/oct 4-pole lowpass / bandpass / highpass (both with cutoff, resonance, env amount, env velocity, key tracking, ADSR envelope) VCA - ADSR envelope and Amplifier Gain control Keyboard - 49 keys (velocity sensitive) Memory - 99 patches (59 preset, 40 user), 99 performances, 10 drum kits Control - MIDI (4 parts), all knobs and controls send MIDI CC data Date Produced - 1997

Retroaktiv MPG-50 is a fully featured MIDI programmer for the popular Roland Alpha Juno 1 and 2, and the MKS-50 rackmount synthesizer. The MPG-50 is a compact 370mm (14.5") x 149mm (6") x 40mm (1.5"). It features 37 sliders and knobs which control all of the features included on the original PG-300 plus more. The unit is housed in a high-quality rugged powder-coated metal enclosure. Optional powder-coated rack ears are available

MPG-50 is more than just a controller. Here's what else it can do:

Translates CC to Juno sysex, and transmits CC and SYSEX in any combination. Controls 2 Alpha Juno/MKS-50 from one unit Intelligent patch generator creates pads, drums, basses, synths, strings, brass, and more with the touch of a button. Operating system is always being updated with new features. OS updates are done using a simple MIDI file! Access to all patch menu parameters (MKS50) and ability to select programs. Create user CC maps to use MPG-50 as a generic controller. Assignable matrix allows users to control multiple parameters with one slider for expressive effects. Also allows expression pedal, mod wheel, aftertouch, and breath control of any Alpha Juno parameters. Scratch patch generator and "manual mode" Crossfade between 2 Alpha/Junos MIDI data filtering High quality metal case. Sliders have dust covers. Durable rubber feet. Chord Mode Midi data filter. Individual toggles to filter note, mod wheel, prog change, pitch bend, aftertouch.

Retroaktiv MPG-50 is a fully featured MIDI programmer for the popular Roland Alpha Juno 1 and 2, and the MKS-50 rackmount synthesizer. The MPG-50 is a compact 370mm (14.5") x 149mm (6") x 40mm (1.5"). It features 37 sliders and knobs which control all of the features included on the original PG-300 plus more. The unit is housed in a high-quality rugged powder-coated metal enclosure. Optional powder-coated rack ears are available

MPG-50 is more than just a controller. Here's what else it can do:

• Translates CC to Juno sysex, and transmits CC and SYSEX in any combination.
• Controls 2 Alpha Juno/MKS-50 from one unit
• Intelligent patch generator creates pads, drums, basses, synths, strings, brass, and more with the touch of a button.
• Operating system is always being updated with new features. OS updates are done using a simple MIDI file!
• Access to all patch menu parameters (MKS50) and ability to select programs.
• Create user CC maps to use MPG-50 as a generic controller.
• Assignable matrix allows users to control multiple parameters with one slider for expressive effects. Also allows expression pedal, mod wheel, aftertouch, and breath control of any Alpha Juno parameters.
• Scratch patch generator and "manual mode"
• Crossfade between 2 Alpha/Junos
• MIDI data filtering
• High quality metal case. Sliders have dust covers. Durable rubber feet.
• Chord Mode
• Midi data filter. Individual toggles to filter note, mod wheel, prog change, pitch bend, aftertouch.

Retroaktiv MPG-50 is a fully featured MIDI programmer for the popular Roland Alpha Juno 1 and 2, and the MKS-50 rackmount synthesizer. The MPG-50 is a compact 370mm (14.5") x 149mm (6") x 40mm (1.5"). It features 37 sliders and knobs which control all of the features included on the original PG-300 plus more. The unit is housed in a high-quality rugged powder-coated metal enclosure. Optional powder-coated rack ears are available

MPG-50 is more than just a controller. Here's what else it can do:

Translates CC to Juno sysex, and transmits CC and SYSEX in any combination. Controls 2 Alpha Juno/MKS-50 from one unit Intelligent patch generator creates pads, drums, basses, synths, strings, brass, and more with the touch of a button. Operating system is always being updated with new features. OS updates are done using a simple MIDI file! Access to all patch menu parameters (MKS50) and ability to select programs. Create user CC maps to use MPG-50 as a generic controller. Assignable matrix allows users to control multiple parameters with one slider for expressive effects. Also allows expression pedal, mod wheel, aftertouch, and breath control of any Alpha Juno parameters. Scratch patch generator and "manual mode" Crossfade between 2 Alpha/Junos MIDI data filtering High quality metal case. Sliders have dust covers. Durable rubber feet. Chord Mode Midi data filter. Individual toggles to filter note, mod wheel, prog change, pitch bend, aftertouch.

Korg released the MS-10 in 1978 as an entry-level, simple monophonic single-VCO analog synthesizer.

With the authentic look of a mini-modular its single VCO is patchable using standard 1/4 inch patch cords to the VCF and VCA. It really is a powerful little mono-synth with plenty of knobs and a compact 32-note keyboard. It is CV/Gate controllable.

A very cool feature is its external input to filter which allows you to filter external sound sources! Following the MS-10 came the double-oscillator version, the MS-20.

The MS-10 is used by The Orb, SkyLab, the Chemical Brothers, Astral Projection, Autechre, Juan Atkins, Underworld, Sneaker Pimps, Luke Vibert, JunkieXL, and Add N to (X).

Flagship MIDI controller that connects directly to both traditional 5-pin and 1/4 inch MIDI devices. COMPACT - Allowing for easy integration into pedalboards and rigs - 224mm x 125mm x 50mm

The MC8 rewrites the rules of hands-free MIDI control, allowing you to connect directly to both traditional 5-pin and 1/4 inch MIDI devices. With 4 brand new Omniports, you decide whether each 1/4 inch port acts as a MIDI output, Aux switch input or Expression pedal input. 30 dual-paged banks of 8 switches give you quick access16 fully programmable presets simply by pressing [B+C] to toggle page.

CONTROL ANYTHING WITH MIDI As are all Morningstar MIDI controllers, the MC8 is compatible with and able to control any device that accepts MIDI. With the new Omniports, you are now free to also connect directly to 1/4 inch MIDI devices for even more control possibilities.

FULLY PROGRAMMABLE 30 dual-paged banks with 8 switches Quickly access 16 presets per bank simply by toggling

MIDI MESSAGES TYPES Each switch can send up to 16 different MIDI messages through 16 different MIDI channels. Choose from a wide range of useful MIDI message types including PC, CC, Note on/off, SysEx, MIDI Clock (preset or tap), Preset Scroll, Bank Up/Down, Toggle Page and more.

4 OMNIPORTS 1/4 inch MIDI Out, Aux Switch Input or Expression Pedal Input The choice is yours

5-PIN MIDI IN Receive MIDI messages to control the MC8 Receive messages from other devices and relay them through the 1/4 inch and 5-pin MIDI outputs

5-PIN MIDI OUT Send MIDI messages from the MC8, and relay messages received through the MIDI IN port Phantom power via pins 6 & 7

LARGE LCD DISPLAY Interactive real-time visual feedback on important information such as current bank, active preset and expression pedal position

USB CLASS COMPLIANT Drivers not required With MIDI over USB, control your DAWs and software like Ableton Live and Logic Pro USB - Send MIDI messages over USB to your PC, Mac, phone or tablet Also you can power the MC8 via USB 9VDC IN - Power the MC8 with a 9-12VDC power supply Requires at least 250mA

EASY EDITING Easily program the MC8 on the device itself, or with the Morningstar MIDI Editor for windows or OSX Programming the MC8 has never been easier

Featuring 128-voice polyphony and 32 MIDI channels allowing it to handle even your most complex MIDI sequences. It ships with a whopping 32 MB of sample ROM memory which is expandable up to 128 MB using four internal ROM slots! The sounds it ships with are called the "Composer" soundset, offering you 1,536 presets (1,024 ROM, 512 user). The sounds cover the whole spectrum of synthesizer type sounds, from real instruments to bizarre sounds and effects.

Featuring 128-voice polyphony and 32 MIDI channels allowing it to handle even your most complex MIDI sequences. It ships with a whopping 32 MB of sample ROM memory which is expandable up to 128 MB using four internal ROM slots! The sounds it ships with are called the "Composer" soundset, offering you 1,536 presets (1,024 ROM, 512 user). The sounds cover the whole spectrum of synthesizer type sounds, from real instruments to bizarre sounds and effects.

There are six individual polyphonic outputs. But unlike its predecessors there are now multi-mode resonant filters (plus 50 Z-Plane filters passed down from the Morpheus and UltraProteus). Plus four real-time controls allow you to access any of up to 12 parameters, giving you instant control over your sounds right from the front-face of the module. The Proteus 2000 is a light, compact module designed for use with sequencers. It can be your main sound module, or one of many.

Cirklon is a best in class multi-track hardware sequencer. With MIDI, CV and USB connectivity Cirklon is designed to be the beating heart of your hardware MIDI, analogue or hybrid set up - whether in the studio or on the road.

With rock solid timing, intuitive workflow and superb build quality, Cirklon is designed, manufactured and tested in Berlin to exacting standards.

The user-interface is based around:

240x64 pixel graphic LCD display. 19 rotary encoders with push-switches. 2 assignable knobs. 35 high-quality Cherry keys with integrated LEDs. A further 35 tri-colour status LEDs. Basic model has 5 fully independent MIDI in and out ports. CVIO option adds 16 CV and 8 gate outputs. Movable rear panel allows desktop or rackmount use.

Wooden end cheeks sold separately.

he SDS9 is a 5-drum kit, comprising bass, snare and 3 tom-toms, triggering up to 40 complete “drum kits” (20 factory and 20 programmable presets).

Hitting a specific pad triggers the corresponding channel on the ‘electronics’. A microprocessor controls the dynamic (or volume) of each individual ‘hit’ giving a sensitivity to playing previously unheard of in electronic drums: a ‘real’ drum feel, in fact!

The Simmons SDS9 gives you the sounds, feel and control of acoustic drums plus all the sounds and advantages of electronic drums.

To add to all this ‘reality’, the small pads (snare and toms) have a floating head, the snare also has a rim shot/cross stick facility and the bass pad is piston loaded – giving you the feel and playability of acoustic drums.

The SDS9 electronically synthesises the sounds of each drum. The bass, snare and toms use different methods of synthesis – each the most appropriate for the sound and control you require. The bass is software generated directly by the computer. The snare/rim are digital samples of acoustic drums. The tom-toms are synthesised using analogue circuitry. The tom also have unique ‘second skin’ switch to match the sound and response of a double headed acoustic tom.

The program/store memory facility allows you to build up your own drum sounds. These programmed sounds can be saved to tape, giving you almost limitless capacity to store new sounds, or recall previously stored sounds.

There is also a sophisticated automatic trigger that allows sounds to be reviewed without hitting the pads, and a mode where the drums can be triggered by button tapping.

The SDS9 is the first drum kit that has a built in MIDI interface. This is completely assignable in terms of voice changes and note values. By using the MIDI interface you can directly interface with many available keyboard synthesisers and play their voices from the pads. You can also use MIDI real time recorders/sequencers to record your playing and then playback the SDS9 exactly as you played it.

Another interesting feature of the SDS9 is its built in programmable echo. This programmable effect can be used for single slap-back echo or for long repeating echoes to produce stunningly unique rhythmic-ic-ic patterns and eff-eff-ects-ects.

We have done a lot of work using the latest high technology and computer aided design tools to develop the SDS9 – a new instrument, using new voicing techniques and new materials to give you everything any acoustic kit has to offer and much more besides – the kit that’s destined to add a whole new dimension to your art

The Roland Jazz Chorus JC-77 is a 80 watt solid-state guitar combo amplifier with two 10" speakers and an on-board chorus effect, and is a smaller version of the Roland Jazz Chorus JC-120.

The Mission Engineering EP1-KP switching expression pedal gets the most out of your Kemper Profiler and Remote.

The linear potentiometer is matched exactly to the specifications of the Kemper Profiler for a precise and natural response. The pedal has a toe switch to turn effects on and off without requiring a separate footswitch.

The EP1-KP is available in green or black finish, and works with both the rack and head versions, and the Remote floor controller.

Polyphony - 25 voices, expandable up to 75 voices Oscillators - 5 oscillators per voice (Pulse with Pulse Width Modulation, Sawtooth, Triangle, Sine, 2 wavetables with 128 waves each and sub-oscillator per alt-wave); Noise generator Memory - 300 single programs, 100 multi programs, 20 drum-maps Filter - 2 Filters (including FM and distortion): Low Pass (12dB/24dB), Band Pass (12dB/24dB), High Pass (12dB/24dB), Notch (12dB/24dB), Comb Filter (positive/negative feedback) VCA - 4 envelopes, enhanced ADSR configuration with loop and one shot function, bipolar; different trigger modes for each envelope, poly, mono, dual, unison, manual trigger etc. Modulation - 3 LFOs up to audio range; Modulation Matrix with 16 slots, freely routable, pre-routed modulation destinations, sources selectable Effects - 2 effects per program, up to 5 effects in Multimode (Effects: Chorus, Flanger, Phaser, Distortion, Delay, 5 FX, Vocoder) Arpeg/Seq - Arpeggiator with 16 preset plus 1 user pattern, including accents, timing information, swing, glide, chords and more Control - MIDI In/Out/Thru (16 parts) Date Produced - 2000-2001

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