Pièce maitresse des producteurs hip hop et house des 80's.
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Korg Volca Sample
Sequence and modify your samples easily. The Volca Sample allows you to read and modify your samples easily. You can also create rhythmic or melodic patterns with the integrated sequencer directly from the famous Electribe series. Is it useful to boast more about its qualities?
E-MU - Ultra Proteus
High quality samples, very powerful filtering. A studio beast in 1U 19" Rack format. Optional front panel sound cards are still available. 14500 Francs in 1994. A very nice opportunity at a good price-quality ratio nowadays. 297 "Z-Plane" filters including flangers, parametric, translation, etc. A few notes and we understand all the E-MU genius.
THE LEGENDARY SAMPLER JOINS FORCES WITH AN ICONIC SEQUENCER Designed for the stage, the SP-404A Linear Waveform Sampler expands the sound horizon of the Roland AIRA TR-8 Rhythm Performer through a combination of percussive synthesis with sampled sound. The fast, direct handling that is so popular with the SP Series samplers complements the Roland AIRA TR-8 Rhythm Performer's rhythm effects and step sequencer. The SP-404A offers all the features of the popular SP-404SX, including 16-bit linear sampling, 29 internal effects, smooth switching between effects, and 12 professional-quality performance pads. In addition, a sound library prepared by the industry leader, Loopmasters, is provided on an SD card. Whether you use it standalone or control it from the TR-8, the SP-404A is sure to expand the possibilities of your AIRA instruments. This is a new must-have for DJs, musicians and producers.
MC-808 The "groovebox" from Roland, sampler sequencer
Midi Timepiece AV
The MIDI Timepiece AV is an industry standard MIDI interface. Provides 8 MIDI in, 8 MIDI out, 128 MIDI channels and is "plug-and-play" compatible with all Macintosh and Windows software. Software consoles for both Mac and Windows platforms provide comprehensive routing, merging, and muting with 128 battery backed memory locations. Full Time Code and MIDI Machine Control (MMC), video synch and full ADAT implementation, make this interface a must-have for professional facilities with needs beyond that of a plain MIDI interface.
Reflex Dynamic Midi Reverberator
For many people, Lexicon is the definitive brand name for digital reverberation units. With the EMT, Lexicon dominated the market in the 1980s, producing realistic reverberation simulations in a variety of formats ranging from simple rack-mount units like the PCM70 and Lexicon 200 to high-end units with LARC remotes, including the 224XL and 480L. Following their initial success, Lexicon developed its own digital reverb processor, the Lexichip, which allowed them to build cheaper and more compact effects processors. A new version of this processor, the Lexichip II, gave birth to the Lexicon PCM 80 and Reflex. The Reflex is not only a reverb processor. It has a wide variety of programs and, unlike the Alex, a complete Midi specification allowing real-time control of parameters via Midi. Lexicons as old as the PCM70 offer Midi control, but the Reflex is the first to be offered in this price range. The Reflex is designed to be fast and easy to use with 16 presets and 128 user memories (Alex: 16 memories). The front panel is very simple with a signal LED, Input / Mix / Output controls, (Mix varies the mix of effect and dry signal), a Store / Clear button, a Parameter / Learn button (to select the parameter to be edited or to enter APM - Advanced Programming Mode), a Value button (to edit this parameter), a digital display and a Register / Preset button to select a program. The Learn function allows you to patch the Midi signals to control a parameter. Enter APM mode by pressing and holding the Parameter / Learn button, select the parameter to be controlled, send a Midi message and the assignment is made. Each preset has up to 10 parameters that can be edited (Alex: 3), two from the front panel and the rest via the APM. The edited programs can be saved in one of the 128 user memories.
The MOTU Audio 24I/O interface fulfills the promise of host-based hard disk recording: recording, editing, mixing and mastering multitrack recording projects entirely inside the computer. It provides 24 high-quality, 24-bit/96kHz analog inputs and outputs in a single rack-space, cost-effective package, allowing you to connect and record from up to 24 simultaneous analog sources. The MOTU 24I/O can be purchased as an expansion for an existing PCI-424-based MOTU audio system, or as a base system that includes the PCI-424 card and Audiodesk workstation software. This is the complete base system, not just the expander interface.
TC Electronic specializes in the design and manufacture of high quality signal processing equipment for broadcast, live sound reinforcement and audio post-production. Featuring the Dynamic-Delay feature introduced with the popular TC 2290 Studio Delay, the D-Two allows the user to input rhythmic patterns (up to 10 taps) as well as a delay of up to 10 seconds. Designed for both studio and stage use, the D-Two comes with 50 factory presets and 100 user-set storage slots. In addition to the traditional delays, "Strait" mode allows you to control the exact number of repeats, and Rhythm mode allows you to enter the desired repetition rate per tap. A multicoloured 23-character display with 250 STN-LCD icons shows important information such as input levels, preset name, rejection filter, delay and dynamics. Two knobs on the front panel allow you to adjust the input level and output mix. The tap and rejection buttons are used in conjunction with the knob to set the repeat and delay attributes. Other front panel push buttons are used to enable/disable the Spatial function, filter functions, chorus, reverse delay, ping-pong and dynamic delay. Eight other push buttons and thumbwheel, allow quick recall, configuration, save, bypass and navigation.
One year after the success of the original Yamaha SPX-90 (released in late 1985/early 1986), Yamaha launched the Yamaha SPX-90II. The two processors are identical in terms of specifications and effects offered, the only difference is that the Yamaha SPX-90II has twice as much memory for delays. The Yamaha SPX-90II is a blend of advanced acoustic research and digital technology designed to offer musicians and home recording enthusiasts a wide range of exciting effects. The Yamaha SPX-90II digital multi-effects processor uses highly refined Large Scale-Integration (LSI) technology to create natural reverberation. Not only is its assortment of 30 presets complete enough to suit most studio and performance applications, the SPX90II also allows you to create up to 60 additional effects and store them for instant recall. The SPX90II can create effects that go beyond simple reverb, although the quality of the reverb itself is truly superior. A variety of echo, delay and special effects - each with full parameter settings - are accessible at the touch of a button. And because the SPX90II is MIDI compatible, it can be programmed to apply separate reverb effects to a variety of MIDI-compatible instruments. The Yamaha SPX90II digital multi-effects processor is extremely useful in a wide variety of applications: acoustic, electric, PA, MIDI instruments, and home recording systems.
One of the features of the M-480 is that it actually has only 24 slices. The trick is that one slice processes two inputs at a time. Each of these inputs has a mono jack on the rear panel (line level -30dB), a dual potentiometer for gain and pan settings, a saturation indicator (LED), and a mute switch. Based on the principle that the timbre works more and more inside the sound generator (who mentioned the FTV of the S-770/D-70/MV-30?), the M-480 has no EQ stage. Instead, the emphasis has been on processing possibilities. Here, the M-480 has six aux sends. The first four are "post-fader", and the other two are pre/post switchable for the entire console. While the sends are exclusively mono (+4 dB), the returns are either mono or stereo (with +4/-20 dB switching), depending on whether one or two jacks are connected (cutoff jack detection). Three double potentiometers take care of the send levels, and three others take care of the return levels. These effect sends, as well as the general volume potentiometer, are therefore common to both channels of the same slot. Each of the slices then goes to one and/or the other of the two stereo outputs: master and sub. These outputs are accompanied by a pan and a volume (two independent knobs for the master and a double knob for the sub). As for the monitor output, it is duplicated by a headphone jack on the front panel, while including a double volume knob (no panning). The signals sent to it come from the master bus or the sub bus. In addition, each slice has a cue switch, equivalent to a solo function (mono and pre-fader) on this monitor output. While activating the solo function (represented by a LED) does not affect the assignments of the slices to the master and sub busses, it does disconnect the link between the master and sub busses and the monitor circuit. To end the routing, a "mute" switch cuts the output of the master bus, but not its sending to the monitor. One of the unique features of Roland consoles is the ability to "cascade" (chain) multiple Roland models. The M-480 is no exception, with 12 +4dB input jacks (master L/R, sub L/R, monitor L/R, aux 1-6) reserved for this purpose.
A rare product from the 80's, the Dynacord DRP 20 is a high quality stereo digital reverb tool from the same era as the classic Lexicons. The Dynacord DRP 20 is a two-channel construction with stereo inputs and outputs. They allow it to be used as a true stereo device (stereo in stereo), as a transformer-balanced two-channel device (2x mono in mono) or as a normal stereo device to be used (mono in stereo). The digital signal processing is carried out in a new NEC Dynacord signal processor, developed and manufactured by NEC, with 32-bit floating point technology, which achieves a dynamic range of 770 dB internally. Thus, internal consuming operations are performed quickly and precisely, imperceptibly. The 16-bit A/D and D/A conversions correspond to the current CD standard and allow for excellent moderate sound quality in the studio. There are 100 factory presets and 128 additional user memories available free of charge. You can supplement the user banks with their Midi settings stored on compact cassette or other tape, or keeper loaded into the Dynacord DRP 20. The Dynacord DRP 20 has a very comfortable Midi department which the advanced Midi user himself offers completely new possibilities.
The PCM 91 offers the highest quality Lexicon reverbs in a compact and affordable package, with a powerful interface that gives the sound designer easy access to a multitude of programming possibilities. All the features of the popular PCM 90 are included, as well as full AES/EBU inputs/outputs, dual reverb algorithms and presets with dynamic spatialization effects for 2-channel or surround applications (available for the PCM 90 on a PC card). One of the amazing advances of the PCM 91 is the ability to create incredibly realistic small spaces. For the sound of music and movies, it is often vital to have the ambience of a phone booth or a very small battery. In the PCM 91, you can create them with a reality never before heard by any processor other than a Lexicon.
Based on S-DISC (TM) processing technology, the true stereo effects processor uses a 44.1 kHz sample rate and 18-bit conversion to provide a myriad of tools including stereo reverbs, multi-tap delays, choruses, flashes, tremolos, detuning, and parametric equalizers. With 99 factory programs included, up to 99 user-defined program combinations can be easily edited and recorded via the Studio Twin's simple user interface. The processor also responds to MIDI, so programs can be changed on the fly via a simple user interface.
The Emagic AMT8 (Active MIDI Transmitter 8) is a professional MIDI interface designed in 1997 for time-proven live and studio applications. Created by the same company that originally created the ubiquitous DAW Logic, the AMT8 has 8 MIDI inputs and outputs, with scalability up to 64 inputs/outputs for a total of 1024 MIDI channels. LED indicator lights provide real-time feedback for all 8 channels, easily visible in fast-paced concert scenarios and studio sessions. The AMT8 is fully compatible with any standard MIDI software on Mac and Windows 95/98 (drivers for Windows NT and Windows 2000 are under development). With its full range of connectors such as USB for Mac and Windows, RS232 (Windows) and RS422 (Mac), the AMT8 integrates quickly into any computer environment. Up to eight * devices can be stacked and they will only work as a big 64 x 64 MIDI interface (Mac: Emagic software or Unitor8 SGD driver required) with AMT technology to ensure razor-sharp synchronization on each port. AMT8 and Unitor8 can be combined in any combination; this allows, for example, the connection of a non-USB Unitor8 from a computer with USB via an AMT8.
In the early 2000s, the world of computer audio was just beginning to blossom for home users and small studios. Hardware was becoming more accessible and the power and speed of computers were beginning to reach a level where it was possible to make a decent amount of multitrack recordings with fairly large sessions. The launch of the 001 changed things dramatically, and it was suddenly possible to use Pro Tools much more extensively. The 001 consisted of a PCI card that connected to a 1U rackmount box via a multi-pin umbilical cable that had 8 analog inputs and outputs (the first two channels had mic/line preamps on XLR/Jack Combi jacks). An additional 8 channels were available via optical ADAT ports on the PCI card, plus stereo coaxial Spdiff and MIDI io's on the rear of the case. If you paired the 001 with an 8-channel ADAT converter, you had 16 analog io's and could record an entire tape at once, which was big enough for non-TDM Pro Toolers at the time.
SP-505 Groove Sampling Station
The SP-505 is an advanced entry-level sampling workstation aimed at the electronic, hip hop and dance market that fits somewhere in between the economical BOSS SP-303 and the professional Roland SP-808. The SP-505 is centered around working with one-shot samples, loops, grooves and drum beats through a fairly basic set of sampling, sequencing and performance-oriented features. The machine has 8 voices of polyphony and 4MB of internal sample memory that can contain up to 250 samples organized among 16 sound banks (4 preset and 12 user). Sampling specs are limited to CD-quality 44.1 kHz (which yields about 2 minutes of sample-time) as well as 22.050 and 11.025 kHz sample rates (more sample time, but less sound quality)
The K-Station is a whole new take on the original Bass Station Keyboard that put British synth makers Novation on the analog synth map! Essentially, the K-Station is an extremely well laid-out and superbly designed 2-octave keyboard version of their new A-Station rack module. It features 8 voices of analog modeled sounds with FM, 12-band vocoder, arpeggiator, reverb and delay effects, 400 user rewritable program memories, and more. Unlike the crowded interface and puny LCD display screen found on the A-Station, the K-Station has a beautiful layout with easy access to its knobs, sliders and buttons. And finally there's a large LCD display!
Rample waves systemEurorack 4-voice sample player & audio processorVersatile sample machine :From percussive drum-machine kits to synth samples, breakbeats to sound FX, backing tracks to hour-long audio music, Rample can play up to 4 .wav files on independent audio outputs :These samples are stored inside the provided SD card, and organized as kits, from A00 to Z99... allowing up to 2600 banks of 4 voices, with on-the-fly loading! The SD card is preloaded with tons of samples, and we made it very easy to import your own kits.Thanks to the DC coupled audio outputs, it's also possible to play CV waveforms. Effects rack :Each voice has its own “rack” of effects, and all audio effects can be enabled at the same time, allowing you to manipulate your samples in real time, from a gentle lowpass to massive destruction!pitch - a great sounding pitch engine, based on a 6-pole interpolator, which ranges from -1 octave to +1 octave.bits - two different bitcrushing algorithms, based on sample rate and resolution reduction. It produces distortion and warms the audio signal.filter - a low resonance filter, DJ-style, cutting off the high frequencies or the low frequencies.freeze - sample and loop a fraction of the played waveform, creating a glitching effect.levels - decrease the gain or drive the signal.It’s also possible to edit ‘advanced parameters’ like the start point, sample length, attack/decay and run mode, and create mute groups without breaking a sweat.Finally, thanks to the 4 CV inputs, any of the effects (or advanced parameters) can be assigned to create amazing modulations!Multi-layer sampling :One of the key feature is the ability to "multi-sample" your kits, multiplying Rample’s potential. Each voice supports up to 12 samples, can be played randomly or in a controlled fashion. It’s a great way to add complexity and variations, to create organic/acoustic sounding drums, or simply to increase the number of samples per kit (up to 48).As an example, we are providing a multi-layered drum kit, with 12 different recordings of a kick, 12 different recordings of a snare, etc. Sequencing them randomly leads to a more natural drum playing.We are also providing an other kind of multi-layered acoustic drum kit, where each drum is recorded with 12 levels of velocity. Controlling the layer to be played leads to intricate, convoluted drums programming.Of course, it’s very easy to create your own multi-layered kit, and you can use this method to perform multiple synth chords, sound glitches, voices, breakbeats...CV/Gate and Midi interface :Rample is designed to be the perfect rhythmic companion of your eurorack system thanks to its Gate (trig samples) and CV (modulate samples) connectivity.You can also use it as a standalone midi machine, without using the CV/Gate connectivity: the midi in port allows you to trig & control all samples parameters + effects values at the same time. Each Rample comes with a ‘stereo jack to midi DIN’ and ‘stereo jack to jack’ adapters, easing the chaining of multiple modules in order to create an 8-voice, 12-voice, 16-voice (or more) midi drum machine!