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The MIDI Solutions MultiVoltage T8 is a 1-in 8-out MIDI Thru Box. All MIDI messages appearing at the T8's MIDI input are passed to each of its eight MIDI Thru outputs. Active circuitry cleans up any skewing of MIDI data bits that has occurred at the input, ensuring reliable operation in setups that require daisy chaining or long cable runs.

The T8 is MIDI-powered, and requires no batteries or power supply to operate with most MIDI products (for more information read the Power FAQs). A MIDI indicator LED lights up when the product is powered and flashes when MIDI data passes through it.

MIDI Solutions MultiVoltage products are compatible with both the original 5V and new 3.3V MIDI specifications, for more information read the MultiVoltage FAQ.

Weight: 1.9 kg (4.2 lb) Dimensions: 483 x 171 x 44 mm (19" x 6.75" x 1.75")

As MIDI devices are daisy-chained together, MIDI signals gradually lose their integrity due to passage through optoisolaters at the devices' MIDI inputs. MIDI Solutions Thru boxes can be used to clean up the MIDI signal at any point in the chain where it is starting to become unrecognizable (actually all MIDI Solutions products clean up MIDI data in this way). Be careful of other Thru boxes that amplify errors along with the signal; MIDI Solutions Thru boxes actually read in the data and re-clock it out at the correct baud rate, eliminating any errors that have accumulated due to daisy-chaining or long cable runs.

The MIDI Solutions MultiVoltage T8 is a 1-in 8-out MIDI Thru Box. All MIDI messages appearing at the T8's MIDI input are passed to each of its eight MIDI Thru outputs. Active circuitry cleans up any skewing of MIDI data bits that has occurred at the input, ensuring reliable operation in setups that require daisy chaining or long cable runs.

The T8 is MIDI-powered, and requires no batteries or power supply to operate with most MIDI products (for more information read the Power FAQs). A MIDI indicator LED lights up when the product is powered and flashes when MIDI data passes through it.

MIDI Solutions MultiVoltage products are compatible with both the original 5V and new 3.3V MIDI specifications, for more information read the MultiVoltage FAQ.

Weight: 1.9 kg (4.2 lb) Dimensions: 483 x 171 x 44 mm (19" x 6.75" x 1.75")

The MIDI Solutions MultiVoltage T8 is a 1-in 8-out MIDI Thru Box. All MIDI messages appearing at the T8's MIDI input are passed to each of its eight MIDI Thru outputs. Active circuitry cleans up any skewing of MIDI data bits that has occurred at the input, ensuring reliable operation in setups that require daisy chaining or long cable runs.

The T8 is MIDI-powered, and requires no batteries or power supply to operate with most MIDI products (for more information read the Power FAQs). A MIDI indicator LED lights up when the product is powered and flashes when MIDI data passes through it.

MIDI Solutions MultiVoltage products are compatible with both the original 5V and new 3.3V MIDI specifications, for more information read the MultiVoltage FAQ.

Weight: 1.9 kg (4.2 lb) Dimensions: 483 x 171 x 44 mm (19" x 6.75" x 1.75")

A collaboration between Yamaha and guitar legend Allan Holdsworth, the Yamaha UD Stomp is an innovative guitar effects stompbox that provides the ultimate in modulation and delay. This incredible guitar effects processor is like having 8 of the world's finest rack mount delay units in one rugged design.

Digital Section • 8-Band Delay (Delay Time: 696msec max per band) • Delay Time, Loop Filter (High Cut, Low Cut), Feedback, Tap, Pan, Level parameters can be set for each individual Effect Band. • Effect Bands can be connected in series or parallel • Effect Bands can be grouped together • Maximum delay time (8 bands grouped) is 5890msec • The same number of delay outputs as the number of delays used in the Group are available. • Tap Tempo Function (Delay Time) • Loop Sampling Function • Individual Modulation Settings (Speed, Depth) for each Effect Band are available. • Two types of modulation waves can be set simultaneously (Sine + Triangle/Saw Up/Saw Down). • Modulation sync between bands is available.

MIDI Functions Receive: Program Change (Program Change Table can be created), Control Change, Bulk In Transmit: Program Change, Control Change, Bulk Out, Merge Out

Controller Switch Top Panel Push Switch x17 UP, DOWN, UTILITY, STORE, EFFECT BAND (1 - 8), CONNECT, GROUP, SYNC, WAVE,

FUNCTION Knob x14 ASSIGNABLE CONTROL, TIME COARSE, TIME FINE, LOW CUT FILTER, HIGH CUT FILTER, FEEDBACK, DIRECT LEVEL/PAN, TAP, SPEED, DEPTH, PAN, LEVEL, EFFECT LEVEL, OUTPUT

Footswitch x4 1, 2, 3, BANK Rear Panel STAND-BY ON/OFF, INPUT LOW/HIGH Display 7 Segment LED (3 digit) x1 Push Switch LED x17 Foot Switch LED x4 Connections/Jacks INPUT: Standard Monaural Phone Jack OUTPUT L/MONO, R: Standard Monaural Phone Jack PHONES: Standard Stereo Phone Jack EXP. PEDAL: Standard Stereo Phone Jack DIGITAL OUT: COAXIAL (Samplling Rate : 44.1 kHz) MIDI IN, MIDI OUT: 5 pin DIN A/D Converter 20 bit + 3 bit Floating D/A Converter 20 bit Sampling Frequency 44.1 kHz Memory Allocations Preset: 90 User: 90 Input Level/Impedance (When using preamp bypass) INPUT HIGH: -25dBm/1MΩ INPUT LOW: -15dBm/1MΩ Output Level/Impedance OUTPUT L/MONO, R: 0dBm/1kΩ PHONES: 0dBm/47Ω (47Ω load) Power Exclusive Power Adaptor (AC-10) AC Output: AC12V, 1000mA Power Consumption 15W Dimensions (WxHxD) 280x70x184mm (11.0”x2.8”x7.2”) Weight 2.2kg (4lbs 14oz)

The Malekko Wiard series of modules offer the same great sound, ergonomics, musicality, and quality that made the Wiard 300 series legendary at a fraction of the cost and size in Eurorack modular format.

The Borg is a versatile audio processor. The concept comes from a marriage of two divergent influences, the Buchla 292 Low Pass Gate and the Korg MS20 filter.

The Borg is different from most filters in that, at its heart, is a vactrol. Vactrols are combination light sensor/light resistors that possess interesting sonic traits. Often described as “rubbery” or smooth in quailty, vactrols are also know for their relatively slow response. This response creates a natural, very musical decay. In Low Pass Gate (LPG) mode, the Borg will act as a filter and a VCA simultaneously. in combination with the characteristic vactrol response, this creates a signature sound that is desired amongst many synth enthusiasts, especially when used with very short, percussive patches.

But the Borg is no one-trick pony, and LPGs are not for every patch. When the resonance knob is turned “on” with a click, the Borg becomes a 12db filter with loads of personality. Gorgeous resonance, influenced by the MS20 and shaped by the vactrol design swells from subtle warmth, to a roaring howl that is unique to the Borg!

A continuously adjustable low pass to high pass control is provided (a notch filter is a mix of these two). There are two audio inputs, and two CV frequency inputs (one with attenuation). Two outputs are provided, output 2 has a slightly more aggressive resonance. Removing a jumper on the back of the Borg makes the resonance “scream” even more!

The Borg I (white knobs) has a slower response and a more mellow sound compared to the Borg II (black knobs). Thanks to its longer decay time, the Borg I is best for recreating the famous Buchla bongo patch, and the Borg II is best for a faster, more aggressive response.

The Borg is 12hp wide, 25mm deep, and consumes approximately 35mA power.

Wiard Synthesizer Company

1999 Aria Pro II Avante Series 6 String Fretless Steve Bailey Signature Model Electric Bass

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.

Four analog bandpass filters in parallel which stamp a strongle vocal character to your audio. The filters can't be controlled individually, in fact a special CV processor is used to determine first the size of the "mouth" and second to select the vocals.

A very stunning module with a special character and an awesome, liquid, organic sound.

Details

If you get involved in phonetic vocal trapezoid and how vovels are generated in the mouth the principle of the Grendel Formant Filter becomes clear: The Size parameter influences the size of the virtual mouth by shifting all filter cutoff frequencies parallelly. The parameters Articulator X and Y refer to the international phonetic vovel diagram (see links) and select the desired vovel. All three parameters can be voltage controlled and are optimized to -/+5V voltages (but can handle up to -/+10V), yet the articulators work best either in the range of 0...5V or -2.5V...+2.5V

Frequency-rich signals like sawtooth and noise is recommended. Great for close simulation of human vocals are asymetrical triangles with leading edge shorter than the trailing edge. This can be achieved with function generators like Maths and Function or the RS-95e VCO. connectors

audio: input and output CV inputs: Size, Articulator X and Articulator Y dimensions

3U Eurorack module, 12HP wide, 30mm deep power consumption: each 65mA @ positive and negative rail Weight 0.3 kg Article Number GRff

This is a high quality single channel voltage controlled amplifier designed around an all discrete transistor core. It is based on the 4019 sub-module which is found in the classic 2600 semi-modular synthesiser.

Two signal inputs are provided, one DC coupled and the other AC coupled. The former allows audio and low frequency signals to be processed. While the latter provides a DC block to process only alternating frequencies. Both inputs can be used simultaneously and each one features an input level control.

The unit features both linear and exponential control voltage (CV) inputs. Both can be used together or individually.

A gain control is also available to provide a fixed bias to set the initial gain of the VCA. This way a negatively going CV can reduce the overall gain of the VCA. The gain pot can also be used a volume control.

Current draw with a +/-12V supply is around +/-20mA with no output signal. A standard eurorack power header is provided on the board.

Digital Destruction for Eurorack

Our flagship Geiger Counter guitar pedal turned Eurorack module. Added features include direct input to bypass the gain and tone circuits and CV control over every parameter. The Eurorack Geiger Counter is fully DC coupled and will accept audio and CV signals. Run a slow LFO into the direct input, tweak the wave table knob and see what happens!

Direct Bypass Input CV Control over Every Parameter Fully DC Coupled Accepts audio and CV Signals

https://www.wmdevices.com/collections/eurorack-modules/products/geiger-counter-eurorack

Modules A-130 and A-131 provide voltage-controlled amplification. For audio signals, you would normally use the exponential VCA (A-131), and for control voltages, the linear VCA (A-130). It doesn't always have to be that way, though.

The amount of amplification the VCAs provide is determined by the voltage at the CV input, and the position of the gain control, which sets the overall gain in the system. The VCA has two audio inputs, each with an attenuator. They are amplified by an amount determined by the combination of the gain and the two CV controls.

Module A-105 is another voltage-controlled low-pass filter with 24dB/octave slope. The A-105 is very similar to the A-122 that is made with a CEM chip. But in contrast to the A-122 the A-105 is made with the legendary SSM filter chip SSM2044. This chip was used e.g. in these synthesizers: Korg Polysix, Korg Mono/Poly, Fairlight II, PPG Wave 2.2 und 2.3, Emu SP-1200, Siel DK600, Siel Opera 6. The first Prophets used the SSM2040 - the precedessor of the 2044 - that generates a very similar sound. The special feature of the 4 pole low pass SSM2044 is the patented so-called "true open loop design that delivers a characteristic fat sound not available from other devices" (extract from SSM2044 data sheet). The module will feature voltage controlled resonance and a sensitve audio input to obtain distortion - if desired. Regarding to the functions, controls and in/outputs the module is identical to the 24dB low pass filter A-122 that is built around a CEM chip. But the sound, the resonance behaviour and the distortion behaviour are completely different for both modules.

Dave Smith Instruments OB-6 Module is a 6-voice, all-analog, desktop synth inspired by Tom Oberheim's classic SEM circuits from the 1970s. Tom and Dave packed the OB-6 Module with everything on your wish list. With two voltage-controlled oscillators and sub oscillator per voice, a state-variable filter, 64-step polyphonic step sequencer, twin digital effects engines, and more, Dave Smith Instruments OB-6 Module delivers fat, punchy, in-your-face sonics that will power your music to new heights.

The OB-6 Module rocks six discrete analog voices with two oscillators and a sub oscillator per voice. Naturally, OB-6 Module is equipped with Dave's infamous X-Mod (two sources, five destinations). On top of all that, there's a 64-step polyphonic step sequencer, two digital effects engines (with studio-grade reverbs, delays, chorus, flangers, and accurate re-creations of Mr. Oberheim's renowned ring mod and phase shifter), and an advanced arpeggiator. To control all this firepower, you have a knob-per-function top panel that makes for quick, intuitive on-the-fly tweaks. From funk-laden basses and snarling, in-your-face leads to gloriously celestial pads, the OB-6 Module will make your synth dreams come true.

Heart of the beast: Oberheim's classic SEM Oberheim's original SEM (Synthesizer Expansion Module) formed the core of Tom's renowned 4-voice and 8-voice synths of the 1970s. The SEM, in updated form, is also the core of the OB-6 Module analog sound engine. With two discrete voltage-controlled oscillators and a sub oscillator per voice, the OB-6 Module gives you the flexibility of waveshapes that are continuously variable between sawtooth and variable-width pulse. Oscillator 2 also sports a triangle wave. The classic Oberheim-style state-variable, 2-pole resonant filter features lowpass, highpass, bandpass, and notch functionality. The all-analog signal path is completed by the OB-6 Module's voltage-controlled amplifiers.

X-Mod, Poly Step Sequencer, and Arpeggiator The OB-6 Module is spec'd out with Dave Smith's brilliant X-Mod, which makes it easy to achieve killer sounds via modulation. The filter envelope and oscillator 2 are the sources, and they both give you bi-polar control. The five destinations are oscillator 1 frequency, oscillator 1 waveshape, oscillator 1 pulse-width, filter mode, and filter cutoff. The polyphonic step sequencer lets you program polyphonic sequences (up to 64 steps, up to six notes per step), complete with rests, and sync them to external MIDI clock. The full-function arpeggiator can also be synced to external MIDI clock. You can configure the OB-6 Module's Unison Mode voice count for up to six voices. And to maximize your sonic firepower, the OB-6 Module is spec'd with a poly chain feature the lets you pair any two OB-6s for 12-voice operation.

Dave Smith Instruments OB-6 Module is a 6-voice, all-analog, desktop synth inspired by Tom Oberheim's classic SEM circuits from the 1970s. Tom and Dave packed the OB-6 Module with everything on your wish list. With two voltage-controlled oscillators and sub oscillator per voice, a state-variable filter, 64-step polyphonic step sequencer, twin digital effects engines, and more, Dave Smith Instruments OB-6 Module delivers fat, punchy, in-your-face sonics that will power your music to new heights.

OB-6 Module Features:

• 2 oscillators and sub oscillator per voice
• Continuously variable waveshapes
• State-variable filter
• 64-step polyphonic step sequencer
• Full-function arpeggiator
• 2 digital effects engines
• Knob-per-function top panel
• Poly chain feature lets you pair any 2 OB-6s for 12-voice operation

The OB-6 Module rocks six discrete analog voices with two oscillators and a sub oscillator per voice. Naturally, OB-6 Module is equipped with Dave's infamous X-Mod (two sources, five destinations). On top of all that, there's a 64-step polyphonic step sequencer, two digital effects engines (with studio-grade reverbs, delays, chorus, flangers, and accurate re-creations of Mr. Oberheim's renowned ring mod and phase shifter), and an advanced arpeggiator. To control all this firepower, you have a knob-per-function top panel that makes for quick, intuitive on-the-fly tweaks. From funk-laden basses and snarling, in-your-face leads to gloriously celestial pads, the OB-6 Module will make your synth dreams come true.

Heart of the beast: Oberheim's classic SEM Oberheim's original SEM (Synthesizer Expansion Module) formed the core of Tom's renowned 4-voice and 8-voice synths of the 1970s. The SEM, in updated form, is also the core of the OB-6 Module analog sound engine. With two discrete voltage-controlled oscillators and a sub oscillator per voice, the OB-6 Module gives you the flexibility of waveshapes that are continuously variable between sawtooth and variable-width pulse. Oscillator 2 also sports a triangle wave. The classic Oberheim-style state-variable, 2-pole resonant filter features lowpass, highpass, bandpass, and notch functionality. The all-analog signal path is completed by the OB-6 Module's voltage-controlled amplifiers.

X-Mod, Poly Step Sequencer, and Arpeggiator The OB-6 Module is spec'd out with Dave Smith's brilliant X-Mod, which makes it easy to achieve killer sounds via modulation. The filter envelope and oscillator 2 are the sources, and they both give you bi-polar control. The five destinations are oscillator 1 frequency, oscillator 1 waveshape, oscillator 1 pulse-width, filter mode, and filter cutoff. The polyphonic step sequencer lets you program polyphonic sequences (up to 64 steps, up to six notes per step), complete with rests, and sync them to external MIDI clock. The full-function arpeggiator can also be synced to external MIDI clock. You can configure the OB-6 Module's Unison Mode voice count for up to six voices. And to maximize your sonic firepower, the OB-6 Module is spec'd with a poly chain feature the lets you pair any two OB-6s for 12-voice operation.

Dave Smith Instruments OB-6 Module is a 6-voice, all-analog, desktop synth inspired by Tom Oberheim's classic SEM circuits from the 1970s. Tom and Dave packed the OB-6 Module with everything on your wish list. With two voltage-controlled oscillators and sub oscillator per voice, a state-variable filter, 64-step polyphonic step sequencer, twin digital effects engines, and more, Dave Smith Instruments OB-6 Module delivers fat, punchy, in-your-face sonics that will power your music to new heights.

The OB-6 Module rocks six discrete analog voices with two oscillators and a sub oscillator per voice. Naturally, OB-6 Module is equipped with Dave's infamous X-Mod (two sources, five destinations). On top of all that, there's a 64-step polyphonic step sequencer, two digital effects engines (with studio-grade reverbs, delays, chorus, flangers, and accurate re-creations of Mr. Oberheim's renowned ring mod and phase shifter), and an advanced arpeggiator. To control all this firepower, you have a knob-per-function top panel that makes for quick, intuitive on-the-fly tweaks. From funk-laden basses and snarling, in-your-face leads to gloriously celestial pads, the OB-6 Module will make your synth dreams come true.

Heart of the beast: Oberheim's classic SEM Oberheim's original SEM (Synthesizer Expansion Module) formed the core of Tom's renowned 4-voice and 8-voice synths of the 1970s. The SEM, in updated form, is also the core of the OB-6 Module analog sound engine. With two discrete voltage-controlled oscillators and a sub oscillator per voice, the OB-6 Module gives you the flexibility of waveshapes that are continuously variable between sawtooth and variable-width pulse. Oscillator 2 also sports a triangle wave. The classic Oberheim-style state-variable, 2-pole resonant filter features lowpass, highpass, bandpass, and notch functionality. The all-analog signal path is completed by the OB-6 Module's voltage-controlled amplifiers.

X-Mod, Poly Step Sequencer, and Arpeggiator The OB-6 Module is spec'd out with Dave Smith's brilliant X-Mod, which makes it easy to achieve killer sounds via modulation. The filter envelope and oscillator 2 are the sources, and they both give you bi-polar control. The five destinations are oscillator 1 frequency, oscillator 1 waveshape, oscillator 1 pulse-width, filter mode, and filter cutoff. The polyphonic step sequencer lets you program polyphonic sequences (up to 64 steps, up to six notes per step), complete with rests, and sync them to external MIDI clock. The full-function arpeggiator can also be synced to external MIDI clock. You can configure the OB-6 Module's Unison Mode voice count for up to six voices. And to maximize your sonic firepower, the OB-6 Module is spec'd with a poly chain feature the lets you pair any two OB-6s for 12-voice operation.

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.

The traditional bass style of the 4003S - with dot inlays and no binding - was prized by Paul McCartney and Chris Squire when they got their first 4001S models in 1964. Players cherish its traditional look and rounded edges that many claim make it more comfortable than the 4003. The updated 4003S version comes with the improved dual trussrod system. Of course, the famous solid bass tones, ringing sustain and treble punch make it a dream. Iconic curves of maple form the body with a traditional Rosewood fingerboard. Dot inlays and no binding make this stand out from the standard 4003.

SPECS:

Body Type: Solid No. Frets: 20 Scale Length: 84.5 cm (33 1/4'') Neck Width at Nut: 42.9 mm (1 11/16'') Neck Width at 12th Fret: 54.0 mm (2 1/8'') Crown Radius: 25.4 cm (10'') Body Wood: Maple Neck Wood: Maple Fingerboard Wood: Rosewood Weight: 4.1 kg (9.0 lbs.) Overall Length: 113.8 cm (44 13/16'') Overall Width: 34.3 cm (13 1/2'') Overall Depth: 31.8 mm (1 1/4'') Neck Binding: No Fret Marker Style: Dot Tailpiece: RIC Bridge: RIC Neck Type: Through body No. of Pickups: 2 Type of Pickups: Single Coil Output Type: Mono Machine Heads: Schaller Deluxe

Yamaha AN1x, produced by Yamaha Corporation from 1997 to 1998, is a DSP-based analog modeling synthesizer (a.k.a. virtual analog synthesizer) and was marketed as an "analog physical modeling control synthesizer".

The AN1x has a maximum polyphony of 10 notes, although the actual polyphony depends upon whether the voice is Single (monotimbral; a single Scene) or Dual (two scenes layered or split), whether it is in Mono or Poly mode, and whether the note-multiplying Unison mode is active. Dual mode halves polyphony to 5 per voice, dividing each of the two 5-note processors in the synth to one Scene respectively. In Mono or Dual modes, Unison uses five notes per key per Scene for a Single voice (1 processor x 5 notes) or two notes per key for a Dual voice (2 processors x 1 timbre per processor); thus, in Dual/Mono/Unison mode, the synthesizer is monophonic for each of the two Scenes. In Poly mode, Unison is only possible for Single voices (each key takes 2 notes, of the same timbre, one from each of the two processors).

The voice architecture is based on a twin-oscillator with multi-mode filter design. Available waveforms are: Pulse-Width Modulation, Saw, Square, Saw2 (behaves in a different way than "Saw" when used with PWM), and Saw/Square "mix". Additional waves (Inner1-3) are available for OSC1 in oscillator sync mode. Triangle and Sine are achieved by altering the Edge of Pulse Waves. The Edge tool (wave shaping), also enables extensive intermediate waves. OSC1 additionally has a tuneable 'slave' (Sub) oscillator when activated via multiple 'sync algorithms'. The AN1x has 4 FM Frequency Modulation algorithms, where OSC1 is modulated by OSC2. Finally there is ring modulation and white noise.

For each Scene, amplitude, filter, and pitch envelopes plus a 3 band equaliser affect the combined two oscillators on a per-note basis, and two LFOs, the first with more capabilities (21 waveforms), affect all notes at once (i.e. monophonic LFOs). The AN1x also offers a non-resonant high-pass filter in series as well as a multimode resonant filter, offering: LPF (-12db, -18db, -24db), HPF (-12db), BPH & BEF, which is capable of self oscillation. feedback from the VCA is routed back to the mixer of oscillators before the main filter, and frequency modulation can be used alongside oscillator sync. Finally, a digital multi-effect, reverb and delay system can process the output of the Scene(s). Effects are assigned per patch/voice.

The AN1x also features both an arpeggiator with 30 preset patterns and a step-sequencer with 16 steps. Both can output to MIDI and sync to MIDI timecode, and the arpeggiator can also be applied to incoming MIDI data. Furthermore, the notes may be fixed or transposed via the synth's own keyboard or MIDI input. The step sequencer can be used to send control data, such as filter cutoff value or notes, to the synth's own tone generator or to MIDI output. A "Free EG" allows the user to record knob movements for up to four parameters for a duration of up to 16 seconds each, or 8 bars that are tempo linked. (NOTE: If the tempo were set to 40bpm, with a 4/4 count, this would result in: 1 beat every 1.5s = 1 bar every 6 secs. 6s x8 (bars) would equate to 48 seconds of sequence). These parameter changes can then be applied to live performance.