Special Deals – Verified One-Offs & Exclusive Offers
In our Special Deals section, you'll find selected B-stock products, demo units, customer returns, one-off items, and special offers from our portfolio.
Every product is carefully inspected and described as accurately as possible. This allows you to purchase high-quality professional audio equipment at attractive prices, with transparent condition reports and personal support.
From studio monitors and outboard gear to audio interfaces, microphones, and accessories: it's worth checking back regularly for new opportunities.
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ATC SCM 45 A Pro - B-Stock
ATC SCM45A Pro The ATC SCM45A Pro is a high-performance 3-way active studio monitor designed for professional recording, mixing and mastering environments. It combines compact dimensions with high output capability and exceptional detail resolution, making it suitable for nearfield and midfield monitoring in demanding studio applications. The system features two 6.5-inch low-frequency drivers, a 3-inch soft-dome midrange driver, and a 1-inch dual-suspension tweeter, all designed and manufactured by ATC. These drivers are powered by a built-in discrete MOSFET Class-A/B tri-amplifier, ensuring precise control and low distortion across the entire frequency range. Thanks to its symmetrical cabinet design, the SCM45A Pro can be used both as a stereo monitor and as a center speaker in LCR or surround monitoring systems. Sound Character The SCM45A Pro delivers extremely transparent, dynamic and detailed sound reproduction with outstanding midrange accuracy. ATC’s renowned soft-dome midrange driver provides exceptional clarity for vocals and instruments, while the dual woofers deliver deep, controlled bass. The dual-suspension tweeter adds smooth, extended high-frequency detail. This combination results in stable stereo imaging and reliable monitoring for critical mixing and mastering decisions. Highlights ✔ 3-way active studio monitor for nearfield and midfield monitoring ✔ dual 6.5" / 164 mm ATC bass drivers ✔ 3" / 75 mm ATC soft-dome midrange driver ✔ 1" / 25 mm dual-suspension soft-dome tweeter ✔ discrete Class-A/B MOSFET tri-amplification ✔ 235 W total amplifier power (150 W LF + 60 W MF + 25 W HF) ✔ 4th-order Linkwitz-Riley active crossovers ✔ adjustable input sensitivity and bass lift control ✔ balanced XLR input ✔ hand-built in England Typical Studio Applications ✔ midfield monitoring in professional control rooms ✔ nearfield monitoring on meter bridge positions ✔ LCR monitoring for surround studios ✔ recording, mixing and mastering environments ✔ broadcast and post-production facilities Technical Specifications ✔ speaker type: 3-way active studio monitor ✔ drivers: 2× 6.5" / 164 mm carbon-paper bass drivers 3" / 75 mm soft-dome midrange 1" / 25 mm dual-suspension tweeter ✔ amplifier power: LF: 150 W MF: 60 W HF: 25 W ✔ frequency range: 42 Hz – 25 kHz (-6 dB) ✔ frequency response: 70 Hz – 17 kHz (±2 dB) ✔ maximum SPL: 112 dB @1 m ✔ crossover frequencies: 380 Hz / 3.5 kHz ✔ input: 1× balanced XLR ✔ input sensitivity: 1 V rms ✔ dimensions: 353 × 600 × 375 mm ✔ weight: approx. 36 kg per speaker
Floatingpoint Instruments Multiclock - Retoure
Floatingpoint Instruments Multiclock - Retoure - aus Retoure, minimale Gebrauchsspuren möglich, volle Garantie -Die Multiclock von Floatingpoint Instruments ist eine allumfassende Lösung zur hochpräzisen Synchronisation von elektronischen Musikgeräten zu einer Master-DAW. Sie wandelt alle Arten von Taktsignalen ineinander um und bietet wahlweise mittels mitgeliefertem Plugin hochgenaue Synchronisation über die Soundkarte einer DAW oder erzeugt die Masterclock gleich selbst. Sie verfügt über vier Kanäle, die sich individuell in der Zeit verschieben und mit Shuffle versetzen lassen. Dies erlaubt die präzise Kompensation von Verzögerungen einzelner Maschinen und den direkten Einfluss auf den Groove. Die Multiclock unterstützt Hot-Plug&Play für MIDI, DIN, Modular Clock und Analog LFO und hat zusätzlich ein eingebautes 4-Kanal USB-MIDI Interface (class compliant). Sämtliche MIDI Daten werden von dort an die einzelnen MIDI Buchsen weitergeleitet. Und wem das noch reicht, der verwendet unbelegte Knöpfe einfach als MIDI Controller per MIDI-Ausgang oder USB MIDI. Die Geschwindigkeit kann von 30-300 BPM eingestellt werden, der Verschiebungsbereich beträgt ±400ms, die Auflösung 20μs. Die Multiclock wird mit einem EU-Netzteil ausgeliefert! Es kann mit einem 9-12V DC-Netzteil mit beliebiger Polarität betrieben werden.
Knif Audio Eksa - USED
Knif Audio Eksa- slight signs of rack mounting, 1-year warranty -The Knif Audio Eksa is an uncompromising 5-band stereo parametric equalizer for mixing and mastering, combining exceptional precision with highly sophisticated analogue circuitry. Designed and manufactured in Finland, Eksa is the active counterpart to the passive Knif Audio Soma and is intended for engineers who require maximum control over tonal balance while preserving dynamics, spatial information and signal integrity.While the fundamental concept takes inspiration from legendary Sontec equalizers, Eksa is considerably more sophisticated in its implementation. Its circuitry has been designed so that noise and wideband gain remain virtually independent of the selected Q setting. No fewer than 28 proprietary discrete Class-A operational amplifiers designed by Knif Audio are employed throughout the circuit.All essential parameters are controlled using premium Elma rotary switches. Each band provides 24 precisely defined frequency positions, gain is adjusted in 23 steps and Q or Shelf characteristics are selected using an 8-position switch. The standard ±4.5 dB gain range can be extended to ±9 dB using x2 mode.An integrated Mid/Side matrix allows the centre and side components of a stereo signal to be processed directly within the unit. Audio switching is handled by hermetically sealed subminiature relays with gold-plated contacts, with approximately 100 relay contacts employed per channel. Knif Audio also uses high-grade polypropylene capacitors throughout the filter circuits.Sound CharacterThe Eksa is fundamentally designed for transparency, precision and exceptional sonic integrity. Rather than imposing a permanent tonal signature on the signal, it is engineered to perform musical EQ adjustments while preserving dynamics, transient structure and stereo imaging.Its five parametric bands overlap extensively and together cover frequencies from 14 Hz to 35.8 kHz. This provides enormous flexibility, ranging from fundamental sub-bass adjustments to extremely subtle shaping well beyond the conventional audible spectrum. For mastering applications in particular, broad tonal changes can be made without individual frequency areas sounding isolated or unnatural.With a specified frequency response extending from 2 Hz to 120 kHz at -1 dB, extremely low noise and harmonic distortion of just 0.0001% under the specified measurement conditions, Eksa is engineered for exceptional signal fidelity. Its integrated M/S circuitry also employs discrete Class-A amplifiers together with carefully calibrated DC servos featuring extremely long time constants to minimise their influence on the audio range.Highlights✔ uncompromising 5-band stereo parametric equalizer✔ designed for professional mixing and mastering✔ inspired by classic Sontec equalizer concepts✔ substantially developed proprietary Knif Audio circuit design✔ 28 proprietary discrete Class-A operational amplifiers✔ integrated Mid/Side matrix✔ discrete Class-A amplifiers throughout the M/S circuitry✔ five extensively overlapping parametric frequency bands✔ total EQ range from 14 Hz to 35.8 kHz✔ adjustable filter Q from 0.5 to 5✔ Low Shelf option on bands 1 and 2✔ High Shelf option on bands 3, 4 and 5✔ 24-position frequency selection per band✔ 23-position Boost/Cut adjustment✔ standard gain range of ±4.5 dB✔ x2 mode for ±9 dB gain✔ 8-position Shelf/Q selection✔ premium Elma rotary switches for all rotary controls✔ polypropylene capacitors throughout all filter circuits✔ hermetically sealed subminiature relays with gold-plated contacts✔ approximately 100 relay contacts per channel✔ exceptionally low distortion✔ extremely wide frequency response✔ high maximum operating level of +25.5 dBu✔ optional Linked Controls✔ external linear power supply✔ substantial 19" 3U construction✔ designed and manufactured in FinlandTypical Applications✔ high-end mastering✔ stereo mastering✔ mix-bus equalization✔ precise tonal balance correction✔ broad musical EQ shaping✔ surgical frequency correction✔ sub and bass processing✔ precise midrange shaping✔ air and high-frequency processing beyond the audible spectrum✔ Mid/Side equalization✔ independent centre and side processing✔ stem mastering✔ premium analogue mix-bus chains✔ hybrid mixing✔ hybrid mastering✔ professional recording and mastering studios✔ applications demanding maximum transparency and channel consistencyTechnical Specifications✔ product type: active 5-band stereo parametric equalizer✔ channels: 2 / stereo✔ frequency bands: 5 per channel✔ band 1 frequency range: 14–229 Hz✔ band 1 Q: 0.5–5 + Low Shelf✔ band 2 frequency range: 58–910 Hz✔ band 2 Q: 0.5–5 + Low Shelf✔ band 3 frequency range: 256 Hz–4.03 kHz✔ band 3 Q: 0.5–5 + High Shelf✔ band 4 frequency range: 800 Hz–12.6 kHz✔ band 4 Q: 0.5–5 + High Shelf✔ band 5 frequency range: 1.55–35.8 kHz✔ band 5 Q: 0.5–5 + High Shelf✔ frequency selection: 24 positions✔ Boost/Cut: 23 positions✔ standard gain range: ±4.5 dB✔ x2 gain range: ±9 dB✔ Shelf/Q selection: 8 positions✔ input impedance: 20 kΩ✔ maximum input level: +25.5 dBu✔ maximum output level: +25.5 dBu✔ output impedance: 44 Ω, quasi-balanced✔ frequency response: 2 Hz–120 kHz (-1 dB, 1 kHz reference)✔ harmonic distortion: 0.0001%✔ noise, bands off / A-weighted: -104 dBu✔ noise, typical usage: -93 dBu✔ crosstalk at 1 kHz: -100 dB✔ crosstalk at 10 kHz: -90 dB✔ inputs: Neutrik 3-pin XLR, gold-plated✔ outputs: Neutrik 3-pin XLR, gold-plated✔ power supply: external linear power supply✔ mains voltage: 115 / 230 VAC selectable✔ mains frequency: 50 / 60 Hz✔ power consumption: 57 W✔ Eksa dimensions: 430 × 352 × 132 mm✔ rack height: 3U✔ Eksa weight: 7.9 kg✔ power supply dimensions: 275 × 175 × 90 mm✔ power supply weight: 2.9 kg✔ warranty: 1 yearThe Knif Audio Eksa ranks among the most uncompromising analogue equalizers available for professional mixing and mastering. Its combination of five fully parametric bands, precisely stepped Elma switches, integrated M/S matrix, proprietary discrete Class-A amplifiers and elaborate relay architecture provides exceptional precision and repeatability.Its defining strength is not obvious coloration, but its ability to perform even substantial tonal adjustments while remaining transparent, spatially stable and musical. For mastering studios and sophisticated hybrid systems, Eksa provides an exceptionally refined equalization platform for applications ranging from minute corrective adjustments to extensive tonal shaping while maintaining outstanding signal integrity.
Mellotron M4000D Black - B-Stock
Mellotron M4000D Black The Mellotron M4000D Black is the premium black edition of the legendary digital Mellotron, handcrafted in Sweden. It combines the unmistakable character of classic Mellotron and Chamberlin tape instruments with modern digital technology, providing direct access to the iconic sounds heard on countless rock, progressive, film and pop recordings over the past six decades. The Black version shares the same technology as the standard M4000D while adding an exclusive black finish and premium cabinet options. At its core is a proprietary streaming engine reproducing approximately 100 original Mellotron and Chamberlin sounds in uncompressed 24-bit quality sourced directly from the original tape archives. Two simultaneously accessible sound banks can be blended continuously, enabling classic combinations of strings, choir, flute and many other historical sound sources. The instrument features a custom-built wooden keyboard inspired by the original Mellotron M400, complete with velocity sensitivity and polyphonic aftertouch. Dual high-resolution displays, extensive MIDI implementation and professional balanced outputs make the M4000D Black a modern production instrument with authentic vintage character. Sound Character The Mellotron M4000D Black delivers the warm, floating and slightly imperfect character that made classic tape-based instruments famous. Its faithfully recreated string, choir, flute, brass and orchestral sounds retain the organic movement and emotional depth associated with the original Mellotrons of the 1960s and 1970s. From iconic progressive rock textures to cinematic and ambient soundscapes, the instrument offers an exceptionally authentic vintage sonic experience. The Half-Speed mode, pitch controls and dual-sound blending capabilities further expand its palette, allowing sounds that range from traditional Mellotron timbres to modern atmospheric textures. Highlights ✔ premium black edition of the legendary digital Mellotron ✔ approximately 100 original Mellotron and Chamberlin sounds ✔ uncompressed 24-bit playback from original tape sources ✔ dual sound-bank architecture with A/B mixing ✔ authentic Half-Speed playback mode ✔ custom Mellotron-style wooden keyboard ✔ velocity sensitivity and polyphonic aftertouch ✔ dual high-resolution TFT displays ✔ Compact Flash expansion slot for additional sounds ✔ professional balanced XLR outputs ✔ MIDI In, Out and Thru ✔ handcrafted in Stockholm, Sweden Typical Applications ✔ progressive and classic rock productions ✔ film scoring and soundtrack composition ✔ ambient and cinematic sound design ✔ vintage keyboard recording ✔ live performance with authentic Mellotron sounds ✔ orchestral layering and sampling textures ✔ retro and psychedelic music production Technical Specifications ✔ device type: digital Mellotron / sample playback instrument ✔ sound engine: 24-bit streaming playback engine ✔ included sounds: approx. 100 Mellotron and Chamberlin sounds ✔ expansion: Compact Flash slot for additional 100 sounds ✔ keyboard: 37-note wooden keyboard ✔ velocity sensitivity: yes ✔ aftertouch: polyphonic ✔ displays: dual TFT color displays ✔ outputs: 3 × balanced XLR plus additional line outputs ✔ headphone output: yes ✔ pedal inputs: sustain, expression, volume ✔ MIDI: In, Out, Thru ✔ dimensions: 859 × 501 × 135 mm ✔ weight: approx. 17.5 kg ✔ origin: Stockholm, Sweden
Moog Minimoog Model D Reissue 2016 - Used
Moog Minimoog Model D Reissue 2016 - Used - nearly mint condition, minimal signs of use, including original accessories and original packaging, 1-year warranty, item is subject to the margin scheme according to § 25a German VAT Act. Therefore, VAT cannot be shown separately. - The Moog Minimoog Model D Reissue (2016) marks the return of one of the most legendary synthesizers in music history. More than 30 years after production had ended, Moog brought the original Model D back into production – built according to the original circuit schematics and featuring the same discrete analog signal architecture, enhanced with modern features such as MIDI, Velocity and Aftertouch CV, a dedicated LFO, and improved connectivity for today's studio and live environments. With three voltage-controlled oscillators, the legendary 24 dB Moog Ladder Filter, the classic mixer with its characteristic overdrive, and a fully analog signal path, the Minimoog Model D delivers exactly the sound that has shaped generations of musicians – from Kraftwerk and Pink Floyd to Herbie Hancock, Trent Reznor, and modern film composers. Each synthesizer is hand-assembled and calibrated, combining the sound of the original with the reliability of modern manufacturing. Sound Character The Minimoog Model D is still regarded today as the benchmark for analog monophonic synthesizers. Its sound is exceptionally warm, powerful, and organic. The three discrete oscillators produce massive basses, creamy leads, and wide unison sounds with beautifully animated beating. The legendary Ladder Filter delivers silky highs, warm mids, and the unmistakable Moog punch in the low end. Pushing the mixer levels creates the famous natural saturation that makes the Model D so musical and capable of cutting through any mix. Whether expressive lead sounds, aggressive synth basses, or cinematic textures, the Minimoog responds instantly to every playing nuance and offers a level of dynamics and presence that remains the reference standard for analog synthesizers. Highlights ✔ faithful reissue of the legendary Minimoog Model D ✔ fully analog signal path ✔ three discrete Vintage Moog oscillators ✔ classic 24 dB Moog Ladder Filter ✔ authentic analog mixer saturation at high levels ✔ dedicated analog LFO in addition to Oscillator 3 as a modulation source ✔ Fatar keyboard with Velocity and Aftertouch (CV outputs) ✔ MIDI In, Out, and Thru ✔ extensive CV and Gate connectivity for modular systems ✔ external audio can be processed through the filter and VCA ✔ hand-built and calibrated in Asheville, North Carolina (USA) ✔ identical signal architecture and circuit design to the original vintage instrument Typical Applications ✔ legendary Moog bass sounds ✔ classic analog lead sounds ✔ progressive rock and electronica ✔ ambient and cinematic music ✔ techno, house, and synthwave ✔ film scoring and sound design ✔ hybrid studios with modular synthesizers ✔ studio and live performance Technical Specifications ✔ Synthesizer type: monophonic analog synthesizer ✔ Sound generation: fully analog ✔ Oscillators: 3 Vintage Moog VCOs ✔ Noise generator: White / Pink Noise ✔ Filter: 24 dB/octave Moog Ladder Lowpass Filter ✔ Envelopes: 2 ADS envelope generators (filter and amplifier) ✔ LFO: dedicated analog LFO ✔ Keyboard: 44 keys (Fatar TP-9) ✔ Connections: Audio Out, Headphone Out, External Audio In, MIDI In/Out/Thru, CV/Gate I/O, Velocity CV, Aftertouch CV, Pitch CV, Modulation CV ✔ Modulation: Mod Wheel, Pitch Wheel, Oscillator 3, or LFO ✔ Construction: aluminum chassis with wooden side panels ✔ Weight: approx. 14 kg ✔ Hand-assembled in Asheville, North Carolina (USA)
Moogerfooger MF-104M Analog Delay - USED
Moogerfooger MF-104M Analog Delay - USED - Two units available in total, price per unit, used once, like new, including original accessories and original packaging, 1-year warranty. This item is subject to margin taxation in accordance with § 25a UStG (German VAT Act); therefore, VAT cannot be shown separately. Trade-in item. -The Moog Moogerfooger MF-104M Analog Delay is one of the most sophisticated analogue delay processors in the classic Moogerfooger series. It combines a genuine bucket-brigade delay line (BBD) with up to 800 ms of standard analogue delay time, a comprehensive multi-wave LFO, Tap Tempo, CV/expression control and unusually deep MIDI implementation. The result combines the organic behaviour of a traditional analogue delay with a degree of control more commonly associated with digital processors. Unlike many compact analogue delay pedals, the MF-104M was conceived as a complete studio and performance processor. Alongside Delay Time, Feedback and Mix, it provides adjustable input drive and output level, an external feedback insert, a dedicated delay output and extensive control-voltage connectivity. The input Drive control offers 35 dB of adjustment, allowing the MF-104M to accommodate different signal levels while also making deliberate analogue overdrive part of the creative process. The “M” version significantly expands the traditional Moogerfooger concept with MIDI. Delay time, feedback, mix, LFO parameters and numerous additional functions can be controlled remotely. MIDI Clock allows delay and modulation to follow a master tempo, while MIDI Note messages can even be used to control delay time musically. This makes the MF-104M much more than a guitar effect: it is an exceptionally flexible analogue delay for synthesizers, drum machines, modular systems and DAW-based studios. Sound Character The MF-104M delivers the unmistakable character of a high-quality analogue BBD circuit: repeats progressively become softer, darker and more organic as they circulate through the delay line. Its Range switch provides two deliberately different operating ranges. Short mode covers 40 to 400 ms with a brighter response, while Long mode extends from 80 to 800 ms with darker filtering. Feedback ranges from isolated repeats to levels beyond unity gain. At high settings the MF-104M enters self-oscillation, turning the delay into an interactive sound source in its own right. Changing the delay time produces the characteristic pitch-shifting behaviour of a true BBD circuit, allowing the processor to be played almost like an instrument. Another defining feature is its integrated multi-wave LFO, which modulates the delay time. Its range extends from subtle movement and chorus-like modulation through vibrato to extreme pitch and time-warp effects. MIDI provides access to an expanded selection of modulation shapes, including sample-and-hold-derived variations. For experimental sound design, the BBD line can also be pushed beyond its normal delay-time range using MIDI and Tap Tempo functions. As the analogue delay is clocked progressively slower, increasingly pronounced lo-fi artefacts emerge. Rather than digitally emulating this behaviour, the resulting textures originate directly from the physical operation of the analogue BBD circuitry. Highlights ✔ genuine analogue BBD delay ✔ standard delay times up to 800 ms ✔ Short range: 40–400 ms ✔ Long range: 80–800 ms ✔ different filtering characteristics for Short and Long ranges ✔ warm, organic analogue delay character ✔ feedback extending beyond unity gain ✔ controllable self-oscillation ✔ authentic pitch effects when changing delay time ✔ 35 dB input Drive range ✔ adjustable Output Level ✔ continuously variable Wet/Dry Mix ✔ integrated multi-wave LFO ✔ extensive delay-time modulation ✔ Tap Tempo ✔ MIDI Clock synchronisation ✔ extensive MIDI CC control ✔ delay time controllable from MIDI Notes ✔ musical clock divisions ✔ extended lo-fi delay times via MIDI/Tap functions ✔ CV and expression-pedal control ✔ external Feedback Loop / Insert ✔ external processors can be inserted into the repeat path ✔ dedicated Delay Out ✔ configurable Spillover/Trails operation ✔ suitable for instrument and line-level sources ✔ classic rugged Moogerfooger enclosure ✔ ideal for guitar, synthesizers, drum machines and modular systems Typical Applications ✔ classic analogue echoes ✔ warm BBD guitar delays ✔ synthesizers and analogue keyboards ✔ drum machines and sequencers ✔ dub and feedback effects ✔ ambient and experimental music ✔ shoegaze and dream pop ✔ modulated delays ✔ chorus- and vibrato-style textures ✔ self-oscillation and noise sound design ✔ pitch and time-warp effects ✔ processing effects inside the feedback loop ✔ MIDI-synchronised synthesizer systems ✔ modular and CV-based setups ✔ DAW hardware inserts ✔ live performance and studio production Technical Specifications ✔ product type: Analog Delay / Moogerfooger Effects Processor ✔ delay technology: analogue bucket-brigade delay line (BBD) ✔ standard Short delay range: 40–400 ms ✔ standard Long delay range: 80–800 ms ✔ Short/Long switch: also selects different delay filtering ✔ Short mode: brighter delay response ✔ Long mode: darker delay response ✔ Feedback: zero repeats through beyond unity / self-oscillation ✔ Input Drive: 35 dB adjustment range ✔ Output Level: adjustable ✔ Mix: continuous Dry/Wet crossfade ✔ modulation: integrated LFO ✔ LFO controls: Rate + Amount ✔ LFO waveforms: multiple periodic and random/S&H-derived shapes, with additional access via MIDI ✔ Tap Tempo: yes ✔ MIDI Sync: yes ✔ MIDI control: extensive CC implementation ✔ MIDI Note control: delay-time control supported ✔ CV/expression inputs: extensive control of delay and modulation parameters ✔ Feedback Insert: Send/Return ✔ dedicated Delay Output: yes ✔ Bypass: footswitch and MIDI control ✔ Spillover: configurable ✔ audio architecture: mono ✔ enclosure: classic Moogerfooger desktop/pedal format ✔ indicators: Time, Level and Bypass LEDs
Neumann M 49 V Set - B-Stock
Neumann M 49 V Set The Neumann M 49 V Set is a faithful reissue of one of the most iconic studio microphones ever made. Originally introduced in the 1950s, it was one of the first microphones to feature continuously variable remote-controlled polar patterns, revolutionizing studio workflows. The modern version is based on the final M 49 c revision, enhanced with improved noise performance, updated tube technology, and better RF shielding. Sound Character The M 49 V delivers a luxurious, smooth, and highly musical sound: Mids: rich and forward Highs: silky and refined Low-end: full and natural It is often described as “big, three-dimensional, and elegant”, making it one of the most desirable microphones for high-end productions. Highlights ✔ faithful reissue of the legendary M49 ✔ tube large-diaphragm condenser microphone ✔ K49 capsule ✔ continuously variable remote polar pattern control ✔ classic transformer-based output stage ✔ low-noise modern tube design ✔ includes PSU, cable, yoke mount, and case ✔ handcrafted in Germany
RME DTOX-16 I/O
RME DTOX-16 I/O The RME DTOX-16 I/O is a professional passive 19-inch analogue breakout panel designed to convert multichannel 25-pin D-Sub connections into convenient XLR connectivity. The I/O version provides eight XLR inputs and eight XLR outputs, connected to two separate 25-pin D-Sub connectors using the Tascam pinout. It is an elegant solution for recording studios, broadcast installations and professional racks where multichannel converters or audio interfaces need to be permanently and conveniently presented on XLR connectors. Instead of relying on loose D-Sub-to-XLR breakout looms, DTOX-16 I/O provides a rugged rack-mounted connection point. Eight female XLR connectors accommodate incoming signals, while eight male XLR connectors provide the outputs. On the D-Sub side, the eight input and eight output channels are carried by their own dedicated 25-pin connectors. DTOX-16 I/O is not restricted to RME hardware. It can be used with professional equipment featuring appropriately wired analogue D-Sub I/O following the relevant Tascam/RME pinout. RME specifically lists products including the ADI-8 QS, ADI-8 DS Mk III, M-32 AD/DA, M-16 AD/DA and M-32 Pro series among the compatible devices. Sound Character As a purely passive breakout solution, the DTOX-16 I/O has no sound character of its own. There are no microphone preamps, converters, active amplifier stages or DSP processing inside the unit. Its purpose is simply to provide a reliable physical connection between balanced analogue D-Sub and XLR formats. This straightforward architecture is particularly desirable in professional installations: audio performance remains determined by the connected converter, interface, preamp or outboard equipment, while DTOX-16 I/O provides an organised and mechanically robust connection point. RME uses Neutrik XLR connectors, making the panel particularly well suited to professional environments where connections may be changed regularly and mechanical reliability is essential. Highlights ✔ professional analogue XLR ↔ D-Sub breakout panel ✔ 8 analogue XLR inputs ✔ 8 analogue XLR outputs ✔ 16 analogue audio channels in total ✔ 2 × 25-pin D-Sub connectors ✔ one D-Sub carries eight input channels ✔ one D-Sub carries eight output channels ✔ Tascam/RME-format D-Sub pinout ✔ high-quality Neutrik XLR connectors ✔ balanced analogue signal paths ✔ completely passive architecture ✔ no A/D or D/A conversion ✔ no electronic or DSP processing ✔ no drivers or software required ✔ no power supply required ✔ professional rack-mounted alternative to breakout looms ✔ simplifies studio cabling and troubleshooting ✔ ideal for permanently wired studio installations ✔ universally applicable to appropriately wired analogue D-Sub equipment ✔ compatible with numerous professional RME converters and interfaces Typical Applications ✔ multichannel A/D and D/A converters ✔ professional audio interfaces with D-Sub I/O ✔ connecting converters to analogue outboard equipment ✔ patchbay integration ✔ mixing-console and summing-system connectivity ✔ analogue insert systems ✔ recording studios ✔ mixing and mastering studios ✔ broadcast installations ✔ post-production facilities ✔ live and touring racks ✔ permanent installations ✔ replacing D-Sub/XLR breakout looms ✔ centralised professional XLR connectivity ✔ RME ADI-8 QS and ADI-8 DS Mk III ✔ RME M-16 and M-32 systems Technical Specifications ✔ product type: passive analogue breakout panel ✔ version: DTOX-16 I/O ✔ audio format: balanced analogue ✔ total audio channels: 16 ✔ inputs: 8 × female XLR ✔ outputs: 8 × male XLR ✔ XLR connectors: Neutrik ✔ D-Sub connectors: 2 × DB25 / 25-pin ✔ D-Sub input group: 8 channels ✔ D-Sub output group: 8 channels ✔ D-Sub pinout: Tascam format / RME compatible ✔ Ground: pins 2, 5, 8, 11, 16, 19, 22 and 25 ✔ Pin 13: not connected ✔ active electronics: none ✔ A/D-D/A conversion: none ✔ DSP: none ✔ external power: not required ✔ software/drivers: not required ✔ installation: 19-inch rack ✔ compatibility: analogue D-Sub I/O equipment with corresponding pinout ✔ RME-listed compatible products: ADI-8 QS, ADI-8 DS Mk III, M-32 AD, M-32 DA, M-16 AD, M-16 DA, M-32 Pro AD and M-32 Pro DA
Royer Labs R-122 Matte Black - Einzelstück
Royer Labs R-122 Matte Black One unit only, new, full warranty The Royer R-122 MKI Matte Black is the original version of Royer's legendary phantom-powered Active Ribbon™ microphone, first introduced in 2002. According to Royer Labs, the R-122 was the world's first phantom-powered active ribbon microphone, addressing one of the traditional limitations of passive ribbon designs: their dependence on exceptionally quiet, high-gain microphone preamplifiers with suitable input impedance. Importantly, this is the original R-122 – now commonly referred to as the R-122 MKI – rather than the later R-122 MKII. Consequently, the MKI does not feature the switchable -15 dB pad or 100 Hz bass-cut filter introduced with the MKII in 2015. Royer itself states that with both switches disengaged, the MKII operates essentially as an original R-122. This Matte Black version combines the original R-122 architecture with Royer's dark Black Chrome finish. At its heart is a 2.5-micron aluminium ribbon, figure-8 polar pattern, Royer's patented offset-ribbon transducer and active electronics powered from standard 48 V phantom power for impedance conversion and increased output. Sound Character The R-122 MKI combines the warm, natural and smooth high-frequency response associated with a classic Royer ribbon microphone with considerably higher output than a conventional passive ribbon design. Its active electronics also ensure that the ribbon element sees a consistent, optimised load regardless of the characteristics of the following microphone preamplifier, making the R-122 compatible with a much broader range of preamps. Compared with the passive R-121, the R-122 family's active architecture and transformer design contribute to a somewhat more open top end and tighter, more focused low-frequency presentation. This makes the microphone particularly versatile not only for electric guitar cabinets but also for acoustic instruments, percussion and drum overheads. Royer's patented Offset Ribbon Technology positions the ribbon closer to the front of the microphone rather than directly in the centre of the magnetic structure. This provides greater room for ribbon movement under high-SPL conditions. It also creates a useful tonal variation: at close distances, the rear side of the microphone is slightly brighter than the front. Beyond approximately three feet, the tonal difference essentially disappears. With a frequency response of 30 Hz to 15 kHz, the R-122 avoids exaggerated presence peaks or artificial “air” boosts. The result is a natural, full-bodied and phase-coherent presentation that can tame aggressive guitar cabinets, brass and percussion while retaining transient definition and musical detail. Highlights ✔ original Royer R-122 / MKI ✔ originally introduced in 2002 ✔ world's first phantom-powered Active Ribbon™ microphone, according to Royer ✔ Matte Black Chrome finish ✔ active ribbon microphone ✔ powered by 48 V phantom power ✔ significantly higher output than traditional passive ribbons ✔ active impedance matching ✔ substantially reduced dependence on microphone-preamp input impedance ✔ suitable for quiet as well as extremely loud sources ✔ 2.5-micron aluminium ribbon ✔ rare-earth neodymium magnet assembly ✔ classic figure-8 polar pattern ✔ patented Offset Ribbon Technology ✔ rear side provides a subtly brighter response at close distances ✔ high-SPL capability ✔ extremely low high-frequency phase distortion ✔ excellent off-axis phase linearity ✔ natural, smooth high-frequency response ✔ compact and rugged construction ✔ low output impedance suitable for long cable runs ✔ no pad or bass-cut switches – unlike the later R-122 MKII Typical Applications ✔ electric guitar amplifiers ✔ acoustic guitar ✔ drum overheads ✔ percussion ✔ piano and grand piano ✔ strings ✔ upright and acoustic bass ✔ brass instruments ✔ woodwinds ✔ saxophone ✔ vocals ✔ Foley and sound design ✔ room and ambience recording ✔ M/S and Blumlein configurations with appropriate microphones ✔ high-quality studio recording with reduced preamp-gain requirements Technical Specifications ✔ microphone type: active ribbon microphone ✔ version: Original R-122 / MKI ✔ acoustic operating principle: electrodynamic pressure gradient ✔ polar pattern: Figure-8 ✔ generating element: 2.5-micron aluminium ribbon ✔ magnets: rare-earth neodymium ✔ frequency response: 30 Hz–15 kHz ±3 dB ✔ sensitivity: -36 dB re. 1 V/Pa ±1 dB ✔ self-noise: <18 dB ✔ output impedance: 200 Ω balanced ✔ rated load impedance: 1 kΩ minimum ✔ maximum SPL: 135 dB SPL at 30 Hz ✔ output connector: 3-pin male XLR ✔ polarity: Pin 2 Hot ✔ power requirements: 48 V phantom power only ✔ supply current: 4 mA ✔ pad: none ✔ bass cut: none ✔ front/rear response: subtly different at close distances due to Offset Ribbon Technology ✔ finish: Matte Black Chrome ✔ active electronics: balanced impedance-conversion/output system ✔ construction: compact Royer R-Series body
Royer Labs RSM-SS1 Sling-Shock - Einzelstück
Royer Labs RSM-SS1 One unit only, new, full warranty The Royer Labs RSM-SS1 Sling-Shock is a professional microphone suspension shock mount specifically designed for Royer's slim-bodied ribbon microphones. It provides effective isolation from floor-borne noise, stand vibration, mechanical shock and resonance. Unlike conventional shock mounts, Royer eliminates rubberised components, elastic bands and synthetic bushings that can stretch, deteriorate or change their damping properties over time. Instead, the patented Sling-Shock system employs non-resonant nylon cable and damped steel springs. The RSM-SS1 is designed for cylindrical microphones measuring approximately 1 inch / 25.4 mm in diameter. It accommodates the Royer R-121, R-122, R-122 MKII, R-122V and SF-12, as well as other cylindrical microphones of a similar diameter. Its microphone chamber holds the microphone securely while protecting its finish. An important aspect of the Sling-Shock design is its resistance to shock-mount self-resonance. In high-SPL applications such as close-miked electric guitar cabinets, conventional elastic suspension systems can develop their own resonances and introduce unwanted mechanical interference. Royer's design specifically addresses this problem while isolating the microphone from vibration transmitted through the stand. Sound Character The RSM-SS1 naturally performs no electrical processing and therefore adds no sonic coloration of its own. Its sonic benefit comes from mechanically isolating the microphone from its environment. Footfall, microphone-stand movement and other low-frequency disturbances are significantly less likely to reach the microphone. This is particularly valuable when working with high-quality ribbon microphones. In addition to reducing externally induced vibration, the Sling-Shock construction avoids the self-resonance associated with some traditional elastic suspension designs. An integrated microphone cable clip further helps prevent vibration travelling through the connected microphone cable and into the microphone body. Highlights ✔ professional shock mount for Royer ribbon microphones ✔ compatible with R-121, R-122, R-122 MKII, R-122V and SF-12 ✔ accommodates cylindrical microphones approximately 1" / 25.4 mm in diameter ✔ patented Sling-Shock suspension system ✔ excellent isolation from mechanical vibration and shock ✔ reduces low-frequency rumble ✔ minimises shock-mount self-resonance ✔ particularly effective in high-SPL applications ✔ no traditional elastic rubber bands ✔ no rubber bushings to stretch or deteriorate ✔ suspension based on non-resonant nylon cable and damped springs ✔ adjustable suspension tension ✔ secure microphone mounting ✔ integrated cable clip reduces cable-borne vibration ✔ flexible microphone positioning ✔ solid brass stand adapter for long service life ✔ rugged powder-coated construction ✔ Matte Black finish ✔ designed and built in Burbank, California Typical Applications ✔ Royer R-121 ✔ Royer R-122 / R-122 MKII ✔ Royer R-122V ✔ Royer SF-12 ✔ other cylindrical microphones around 1" in diameter ✔ electric guitar cabinets ✔ bass cabinets ✔ drum overheads ✔ percussion ✔ piano and grand piano ✔ acoustic instruments ✔ brass and woodwinds ✔ room and ambience recording ✔ recording on vibration-prone floors ✔ live and stage applications ✔ professional recording and broadcast installations Technical Specifications ✔ product type: Microphone Suspension Shock Mount ✔ model: RSM-SS1 Sling-Shock ✔ operating principle: mechanical microphone isolation ✔ suspension: non-resonant nylon cable + damped springs ✔ conventional rubber suspension bands: none ✔ microphone diameter: approx. 1" / 25.4 mm ± 1/8" ✔ compatible Royer microphones: R-121, R-122/R-122 MKII, R-122V and SF-12; earlier Royer documentation additionally lists the SF-1 ✔ stand thread: 5/8"-27 ✔ stand adapter: solid brass ✔ integrated microphone cable clip: yes ✔ finish: Matte Black ✔ coating: durable powder-coated finish ✔ dimensions: approx. 4" × 4" × 4" / 10.2 × 10.2 × 10.2 cm ✔ weight: approx. 7 oz / 198 g ✔ active electronics: none ✔ power requirements: none ✔ patent: US Patent No. 8,571,250 ✔ manufactured in Burbank, California, USA The Royer RSM-SS1 Sling-Shock is therefore considerably more than a conventional microphone clip. Its durable mechanical suspension system is specifically engineered to overcome the weaknesses of traditional elastic shock mounts while providing effective vibration isolation for premium Royer ribbon microphones. For R-121 and R-122 users in particular, the RSM-SS1 is a natural addition to a professional studio or recording setup.
Rupert Neve Designs MBT Master Bus Transformer - Retoure
Rupert Neve Designs MBT Master Bus Transformer The Rupert Neve Designs MBT Master Bus Transformer is a high-end stereo transformer processor for mix bus and mastering applications, designed to bring classic Rupert Neve transformer tone into modern production workflows. It adds harmonic depth, controlled saturation and analog dimensionality to stereo mixes, stems and subgroup processing. At its core are custom Rupert Neve Designs output transformers, which can be driven for subtle coloration or stronger harmonic saturation. This is combined with the well-known Silk circuit, allowing additional tonal shaping through selectable harmonic structures. The MBT operates entirely in the analog domain and is designed for both subtle enhancement and deliberate analog coloration in professional studio environments. Sound Character The MBT produces harmonic density, controlled transient shaping and increased stereo depth. Depending on the settings, the effect ranges from subtle transformer enhancement to clearly audible saturation with extended harmonic content. The combination of transformer drive and Silk circuitry allows different tonal signatures, from dense low-mid warmth to more open high-frequency presence. This makes the unit highly suitable for stereo bus processing, stem treatment and mastering chains where analog depth is desired without conventional compression. Highlights ✔ stereo master bus transformer processor ✔ discrete Class-A signal path ✔ custom Rupert Neve Designs output transformers ✔ variable transformer saturation control ✔ Silk Red / Silk Blue harmonic modes ✔ Texture control for harmonic shaping ✔ continuous input and output trim ✔ precise stereo processing for mix bus and stems ✔ hard relay bypass ✔ detented controls for repeatable settings ✔ fully analog design ✔ 1U rackmount format
Rupert Neve Designs RNDI-M - B-Stock
Rupert Neve Designs RNDI-M The Rupert Neve Designs RNDI-M is a compact active mono DI box designed for professional studio, live and broadcast applications. Despite its reduced size, it uses the same transformer-based design philosophy as the larger Rupert Neve Designs DI models and delivers the characteristic musical tone associated with the brand. At its core is a custom Rupert Neve Designs output transformer, providing high linearity, excellent headroom and highly natural signal transfer. The RNDI-M handles both high-output active instruments and sensitive passive sources while maintaining optimal impedance matching. Its rugged housing and compact footprint make it equally suitable for studio installations and mobile live setups. Sound Character The RNDI-M delivers a very open, detailed and harmonically rich direct signal. The transformer provides controlled low-frequency extension, stable transients and natural harmonic development. Compared with many standard DI boxes, low-end remains fuller and upper frequencies retain more detail and clarity. This makes the RNDI-M especially effective for instruments where full dynamics and tonal depth must be preserved. Highlights ✔ compact active mono DI box ✔ custom Rupert Neve Designs output transformer ✔ discrete Class-A signal path ✔ very high input impedance ✔ high headroom for synths, keyboards and active basses ✔ +20 dB higher headroom than many conventional DI boxes ✔ 48 V phantom powered ✔ thru output for amplifier routing ✔ balanced XLR output ✔ rugged metal housing ✔ compact pedalboard-friendly format
SSL AWS 900+ δelta - USED
Solid State Logic SSL AWS δelta 948 Dual Path Channel Offered for sale on behalf of a customer. In very good condition, currently connected and fully operational for demonstration and testing. This item is sold under the German margin scheme in accordance with § 25a UStG (German VAT Act); therefore, VAT cannot be shown separately. If you are interested, please get in touch with us.Additional Purchase Options:Complete SSL console cabling, including 4 x Signex CPT96 patchbays and patch cables – €2,500.00Matching custom studio desk with two side racks – €1,000.00The SSL AWS 900+ δelta (Analog Workstation System) combines the legendary sound of a classic Solid State Logic SuperAnalogue™ console with a modern DAW workflow and true analog summing. It was designed for studios seeking the sonic character, tactile operation, and workflow of a large-format SSL console while benefiting from the flexibility of today's computer-based production environments.The AWS δelta series expands the proven AWS concept with an innovative plug-in-based analog control system, allowing every analog channel parameter to be automated, recalled, and stored directly within the DAW.
Strymon Deco Midnight Edition - USED
Strymon Deco Midnight Edition - USED - mint condition, including original accessories and original packaging, 1-year warranty, item is subject to the margin scheme according to § 25a German VAT Act. Therefore, VAT cannot be shown separately. -The Strymon Deco Midnight Edition is the limited all-black version of Strymon's acclaimed Deco Tape Saturation & Doubletracker. Sonically and technically identical to the corresponding standard Deco generation, the Midnight Edition features an exclusive black enclosure and black controls. Strymon produces its Midnight pedals in limited quantities. Deco is inspired by the reel-to-reel tape machines of classic 1950s and 1960s recording studios. Rather than simply emulating a conventional tape delay, it recreates the interaction between two studio tape decks. The Tape Saturation section provides analogue-style compression, harmonic coloration and overdrive, while the Doubletracker recreates the timing and pitch variations between two tape machines to produce doubletracking, slapback echo, chorus and through-zero flanging. Sound Character The Strymon Deco Midnight Edition provides everything from subtle analogue-style enhancement to dramatically modulated vintage tape effects. The Tape Saturation section can gently smooth transients and add harmonic density at conservative settings. Increasing Saturation introduces progressively more compression and tape-style distortion, allowing Deco to function as anything from a subtle always-on sweetener to a transparent tape overdrive. The Doubletracker recreates the creative possibilities of running two tape decks together. Very short Lag Time settings create flanging and chorus-like textures, while longer settings produce classic slapback echoes and short tape delays. The Wobble control introduces the subtle speed variations associated with mechanical tape machines. Its Wide Stereo Mode can create an expansive stereo image by distributing the two virtual tape decks across the left and right outputs, making Deco particularly effective in stereo guitar, synthesizer and studio setups. Highlights ✔ limited Midnight Edition all-black finish ✔ Tape Saturation and Doubletracker in one pedal ✔ detailed recreation of classic studio tape machines ✔ warm tape saturation and natural compression ✔ tape-style overdrive at higher Saturation settings ✔ adjustable doubletracking Lag Time ✔ tape chorus and flanging ✔ slapback and short tape echo effects ✔ Wobble control for tape-speed variation ✔ Sum, Invert and Bounce modes ✔ Through-Zero Auto-Flange ✔ Wide Stereo Mode ✔ independent Saturation and Doubletracker footswitches ✔ stereo output ✔ selectable True or Buffered Bypass ✔ Studio Mode for hotter line-level signals ✔ suitable for guitar, bass, synthesizers and studio processing ✔ designed and built in the USA Typical Applications ✔ shoegaze and dream pop ✔ indie and alternative ✔ ambient and post-rock ✔ always-on tape saturation ✔ chorus and doubletracking ✔ slapback delay ✔ tape flanging ✔ guitar and bass ✔ synthesizers and keyboards ✔ studio processing and reamping Technical Specifications ✔ type: Tape Saturation / Doubletracker ✔ internal processing: 32-bit floating point ✔ A/D and D/A conversion: 24-bit / 96 kHz ✔ input impedance: 1 MΩ ✔ output impedance: 100 Ω ✔ signal-to-noise ratio: approx. 109–110 dB, depending on generation ✔ input level: instrument / line via Studio Mode ✔ input: ¼" jack, TRS stereo capable ✔ outputs: 2 × ¼" L/R ✔ bypass: True Bypass / Buffered Bypass ✔ expression connection: yes ✔ power: 9 V DC, centre negative ✔ current requirement: minimum 250 mA (V1) or 300 mA (V2) ✔ dimensions: approx. 114 × 102 × 44 mm ✔ finish: limited black Midnight Edition
Strymon El Capistan Midnight Edition - USED
Strymon El Capistan Midnight Edition - USED - mint condition, including original accessories and original packaging, 1-year warranty, item is subject to the margin scheme according to § 25a German VAT Act. Therefore, VAT cannot be shown separately. -The Strymon El Capistan Midnight Edition is the limited all-black version of Strymon's legendary El Capistan dTape Echo. Featuring a black enclosure and black controls, the Midnight Edition combines its distinctive appearance with one of the most detailed recreations of classic tape echo machines available in pedal format. Rather than simply applying tape-style EQ to a conventional delay, El Capistan recreates the behaviour of the entire mechanical tape system, including saturation, tape ageing, wow and flutter, bias, tape irregularities and different playback-head configurations. El Capistan provides three different tape machine types – Fixed, Multi and Single – with three operating modes for each machine. This allows everything from classic single-head echoes and rhythmic multi-head patterns to moving-head tape effects. An integrated Spring Reverb and Sound on Sound mode further extend the concept, recreating the creative possibilities of vintage tape machines for overdubbing and looping. Sound Character The El Capistan Midnight Edition delivers exceptionally organic and characterful tape delay sounds. Repeats can remain relatively clean and articulate or become dark, soft and heavily aged. Tape Age controls the bandwidth and character of the virtual tape. Lower settings reproduce the fuller frequency response of fresh tape, while higher settings progressively soften high frequencies for darker vintage echoes. Wow & Flutter introduces mechanical speed variations, ranging from subtle movement to pronounced pitch instability. Additional parameters including Tape Crinkle and Tape Bias allow the virtual machine to be transformed from a carefully maintained studio unit into an ageing, unstable and heavily coloured tape echo. This organic degradation makes El Capistan particularly effective for shoegaze, dream pop, ambient, indie and post-rock. Increasing feedback gradually blends the repeats into moving atmospheric textures, while Infinite Repeats can push the effect toward self-oscillating soundscapes. Three Tape Machines Fixed recreates a traditional fixed playback-head tape echo. Delay time is changed by adjusting the virtual tape speed, while three head positions provide different delay ranges. Multi uses multiple playback heads simultaneously to produce complex rhythmic repeats and classic multi-head echo patterns. Single recreates a moving-head tape machine. Tape speed remains fixed while the record-head position determines delay time. This configuration also provides access to the integrated Sound on Sound tape looper. Highlights ✔ limited Midnight Edition black finish ✔ detailed recreation of classic tape echo machines ✔ Strymon dTape™ technology ✔ three tape machine types: Fixed, Multi and Single ✔ three modes for each tape machine ✔ classic single- and multi-head tape echoes ✔ extensive virtual tape-machine adjustment ✔ Tape Age control ✔ Wow & Flutter control ✔ Tape Crinkle for mechanical tape irregularities ✔ Tape Bias adjustment ✔ Low End Contour ✔ integrated Spring Reverb ✔ Sound on Sound tape looper ✔ up to 20 seconds of Sound on Sound recording ✔ Infinite Repeats via Tap footswitch ✔ Tap Tempo ✔ stereo output ✔ analogue dry path ✔ True Bypass or Buffered Bypass ✔ suitable for instrument and line-level applications ✔ designed and built in the USA Typical Applications ✔ shoegaze and dream pop ✔ ambient ✔ indie and alternative ✔ post-rock ✔ classic tape echo ✔ dub-style feedback delays ✔ slapback ✔ rhythmic multi-head delays ✔ atmospheric delay textures ✔ guitar and bass ✔ synthesizers and keyboards ✔ studio processing and reamping Technical Specifications ✔ type: dTape Echo / Tape Delay ✔ tape machines: Fixed / Multi / Single ✔ modes: 3 per tape machine ✔ processing: SHARC DSP ✔ A/D and D/A conversion: 24-bit / 96 kHz ✔ signal-to-noise ratio: 115 dB typical ✔ dry signal: fully analogue dry path ✔ Sound on Sound: up to 20 seconds at slow tape speed ✔ input impedance: 1 MΩ ✔ input: ¼" jack ✔ outputs: 2 × ¼" L/R ✔ Expression/Favorite connection: yes ✔ bypass: True Bypass / optional Buffered Bypass with trails ✔ power: 9 V DC, centre negative ✔ current requirement: minimum 250 mA ✔ dimensions: approx. 114 × 102 × 44 mm ✔ finish: limited black Midnight Edition
Studio Electronics Midimini V30 - USED
Studio Electronics Midimini V30 - USED - Used once, like new, including original accessories and original packaging, 1-year warranty. This item is subject to margin taxation in accordance with § 25a UStG (German VAT Act); therefore, VAT cannot be shown separately. Trade-in item. -The Studio Electronics Midimini V30 is an uncompromising monophonic analogue 4U rackmount synthesizer that brings more than three decades of Midimini heritage into a substantially expanded semi-modular architecture. At its core are three analogue oscillators, a classic 4-pole / 24 dB-per-octave low-pass ladder filter, dual envelopes and the immediate, largely one-control-per-function signal flow for which the original Midimini instruments became renowned. The V30, however, is deliberately more than a recreation of a classic Minimoog-style architecture. Studio Electronics expands the traditional three-oscillator concept with oscillator sync, cross modulation, hardware ring modulation, Amp Drive, adjustable output feedback, a MIDI-syncable multi-wave LFO and 14 front-panel 3.5 mm patch points. The result sits somewhere between a classic American analogue synthesizer, a serious studio rack instrument and a semi-modular sound-design system. Hardware construction is an important part of the V30 concept. Studio Electronics uses through-hole construction on every PCB, metal-shaft potentiometers and robust Mountain Switch toggles, with hand-wired PEC controls employed in critical audio areas. It is a deliberately substantial approach to analogue instrument construction, reflecting the philosophy of classic synthesizers and high-quality studio hardware. Sound Character Sonically, the Midimini V30 clearly belongs to the tradition of powerful American three-oscillator monosynths: substantial bass, articulate leads, strong midrange presence and a ladder filter capable of combining resonance with highly musical tonal shaping. Yet the V30 significantly expands this foundation. Studio Electronics itself highlights cross modulation, ring modulation, feedback and deep gain staging as defining parts of its architecture. All three VCOs can be independently balanced in the mixer, alongside white or pink noise and hardware ring modulation. Oscillator 2 can be hard-synchronised to Oscillator 1 and subsequently swept or cross-modulated from Envelope 1 or Oscillator 3. This extends the sonic vocabulary far beyond conventional bass and lead patches, allowing metallic harmonics, sync sweeps and aggressive, complex analogue textures. The extensive gain-staging architecture is particularly important. Amp Drive, derived from Studio Electronics' Boomstar Modular amplifier circuitry, provides analogue saturation and overdrive, while a dedicated Feedback control routes the synthesizer's output back into its signal path. The two functions interact dynamically, ranging from subtle thickening to extremely dense, raw and unstable analogue tones. Another distinctive feature allows the Oscillator 1 triangle waveform to bypass the filter and feed the amplifier directly. Among other uses, this can compensate for low-frequency energy lost at high filter-resonance settings, making it possible to create heavily resonant patches without sacrificing their fundamental bass weight. Highlights ✔ monophonic fully analogue synthesizer ✔ modern evolution of the classic Studio Electronics Midimini ✔ 3 analogue oscillators ✔ classic 4-pole / 24 dB-per-octave low-pass ladder filter ✔ voltage-controlled filter cutoff ✔ Oscillator 2 hard sync to Oscillator 1 ✔ ENV1 → OSC2 cross modulation ✔ OSC3 → OSC2 cross modulation ✔ hardware Ring Modulator ✔ white/pink noise generator ✔ extensive oscillator waveform selection ✔ dedicated multi-wave LFO ✔ audio-rate LFO modulation ✔ MIDI-syncable LFO ✔ LFO routing to VCO and VCF ✔ Boomstar Modular-derived Amp Drive ✔ adjustable analogue output feedback ✔ OSC1 triangle filter-bypass function ✔ dual primary envelopes with additional release functionality ✔ independent VCF and VCA release ✔ ENV1 inversion ✔ Envelope 2 Master mode ✔ VCF envelope multi-trigger ✔ VCF and VCA Dynamics functions ✔ Linear/Exponential Glide ✔ Low/Last/High note priority ✔ Drone mode for indefinite sustain ✔ front-panel external audio input ✔ 14 × 3.5 mm patch points ✔ CV and Gate integration ✔ MIDI In and Thru ✔ MIDI Learn including Mod Wheel and Aftertouch functionality ✔ through-hole construction on every PCB ✔ 39 potentiometers and 32 switches ✔ substantial 4U 19-inch rackmount construction Typical Applications ✔ massive analogue synth bass ✔ classic and modern lead sounds ✔ sequenced bass lines ✔ synth funk and electro ✔ techno and electronic music ✔ hip-hop and contemporary production ✔ drone and feedback textures ✔ aggressive sync leads ✔ metallic ring-modulated sounds ✔ analogue FX and noise textures ✔ modular and semi-modular systems ✔ Eurorack integration via CV/Gate ✔ processing external audio sources ✔ MIDI-controlled studio setups ✔ experimental analogue sound design ✔ sampling and creation of custom analogue sound libraries Technical Specifications ✔ synthesis: analogue, monophonic, semi-modular ✔ format: 19-inch rackmount, 4U ✔ oscillators: 3 × analogue VCOs ✔ OSC2 Hard Sync: yes ✔ cross modulation: ENV1 → OSC2 and OSC3 → OSC2 ✔ Ring Modulation: analogue hardware ring modulation ✔ noise: White / Pink ✔ filter: 4-pole, 24 dB/octave low-pass ladder ✔ filter cutoff: voltage controlled ✔ filter key tracking: switchable 1/3 + 2/3 ✔ filter resonance: continuously variable ✔ Amp Drive: analogue, switchable and adjustable ✔ Feedback: adjustable output-to-input feedback loop ✔ LFO: multi-waveform ✔ LFO MIDI Sync: yes ✔ audio-rate LFO modulation: yes ✔ Glide: Linear / Exponential ✔ note priority: Low / Last / High ✔ external audio processing: yes ✔ patch points: 14 × 3.5 mm ✔ patching: CV, Gate, oscillator, LFO, noise and envelope functions ✔ Main CV Input: -10 to +10 V; internal CV ±5 V ✔ Gate Output: 8.2 V ✔ front-panel Audio Input: 3.5 mm TS ✔ Audio Input voltage: 10 mV minimum to 10 V maximum ✔ nominal input impedance: 100 kΩ ✔ Audio Output: 1/4-inch TS, rear panel ✔ typical output voltage: 0.5 V ✔ maximum output voltage: 4.2 V peak-to-peak ✔ nominal output impedance: 3 kΩ ✔ MIDI: 5-pin DIN MIDI In + Thru ✔ controls: 39 potentiometers, 32 switches, 14 patch jacks ✔ PCB construction: through-hole ✔ dimensions: 19 × 6.125 × 7.5 in / 482.6 × 155.6 × 190.5 mm ✔ rack height: 4U ✔ weight: approx. 9 lbs / 4 kg ✔ power: 100–240 V AC, 50/60 Hz, 500 mA
UDO Audio Super 8 Keyboard white - B-Stock
UDO Audio Super 8 Keyboard (White) Hybrid Synthesizer The UDO Audio Super 8 Keyboard (White) is a modern 16-voice polyphonic hybrid synthesizer featuring a binaural signal architecture and bi-timbral design. Positioned between the Super 6 and Super Gemini, it combines portability with advanced sound and performance capabilities. It features two independent synth engines (layers) that can be split, layered or combined. The high-quality 61-key FATAR keyboard with polyphonic aftertouch provides expressive performance control, making it ideal for both studio and stage use. The intuitive knob-per-function interface allows direct control without menu diving. Sound Character The Super 8 delivers a wide, immersive and three-dimensional sound. In binaural mode, its 16 voices are paired into 8 true stereo voices, enabling independent left/right modulation and highly animated soundscapes. Its sonic range spans from warm analog-style pads to complex modern textures. Low frequencies are deep and controlled, while mids and highs remain clear and detailed. It excels particularly at layered sounds, pads and evolving stereo textures. Highlights ✔ 16-voice polyphonic hybrid synthesizer ✔ binaural stereo architecture (8 stereo voices) ✔ bi-timbral dual-layer structure ✔ 61-key FATAR keyboard with velocity & polyphonic aftertouch ✔ FPGA-based DDS oscillators + analog signal path ✔ wavetable morphing, sync, cross-modulation and ring modulation ✔ analog lowpass filter + highpass + drive ✔ built-in chorus and delay effects ✔ integrated arpeggiator and step sequencer ✔ flexible modulation system Typical Applications ✔ electronic music production (ambient, techno, synthwave) ✔ sound design and scoring ✔ live performance with splits and layers ✔ stereo pads and evolving textures ✔ hybrid studio workflows Technical Specifications ✔ Synthesis: hybrid (digital FPGA + analog signal path) ✔ Polyphony: 16 voices (8 binaural stereo voices) ✔ Multitimbral: bi-timbral (2 layers) ✔ Keyboard: 61 keys (FATAR, velocity + polyphonic aftertouch) ✔ Oscillators: 2 per layer (DDS, wavetable, sync, FM, ring mod) ✔ Filters: analog lowpass + highpass + drive ✔ Modulation: LFOs, envelopes, modulation matrix ✔ Effects: chorus, delay ✔ Sequencer: step sequencer + arpeggiator ✔ Presets: approx. 256 ✔ Connectivity: stereo outputs (layer + mix), MIDI, USB, pedals ✔ Dimensions: approx. 1040 × 400 × 95 mm ✔ Weight: approx. 13.4 kg
Universal Audio Bock 251 - B-Stock
Universal Audio Bock 251 The Universal Audio Bock 251 is a premium large-diaphragm tube condenser microphone designed by renowned microphone engineer David Bock. Inspired by the legendary ELA M 251, one of the most revered microphones in recording history, the Bock 251 combines vintage tube microphone tone with modern precision manufacturing and upgraded components. Each microphone is handbuilt in the UA Custom Shop in Santa Cruz, California, featuring a German-made CK12 capsule, a large Cinemag output transformer and a NOS ECC85 vacuum tube for authentic classic microphone performance. With switchable polar patterns and extended low-frequency response, the Bock 251 is designed for premium vocal recordings and high-end studio applications. Sound Character The Bock 251 delivers a smooth, open tube sound with airy high frequencies and deep, full low-end response. Its combination of CK12 capsule, tube circuitry and large output transformer produces a natural transient response and a wide, three-dimensional soundstage. The microphone’s extended low-frequency response down to approximately 10 Hz allows recordings to retain depth and weight. This tonal character makes the microphone particularly suitable for lead vocals, acoustic instruments, strings and room recordings. Highlights ✔ large-diaphragm tube condenser microphone ✔ inspired by the legendary ELA M 251 design ✔ German-made CK12 capsule ✔ NOS ECC85 vacuum tube circuitry ✔ large Cinemag output transformer ✔ switchable polar patterns Omni / Cardioid / Figure-8 ✔ handcrafted in the UA Custom Shop (USA) ✔ extended low-frequency response down to 10 Hz ✔ includes external PSU, shock mount, cable and vintage case Technical Specifications ✔ microphone type: large-diaphragm tube condenser ✔ polar patterns: omnidirectional / cardioid / figure-8 ✔ frequency response: 10 Hz – 18 kHz (±2 dB) ✔ maximum SPL: 118 dB SPL (1% THD) ✔ sensitivity: -34 dB (19 mV/Pa) ✔ output impedance: 150 Ω ✔ tube type: NOS ECC85 ✔ connection: Tuchel connector (mic) to XLR via PSU ✔ power supply: external PSU included
Wagner U47w - USED
Wagner U47w - USEDOffered for sale on behalf of a customer. In very good condition. If you are interested, please get in touch with us.The Wagner U47w is a meticulously handcrafted reproduction of the legendary Neumann U47 tube microphone. Developed by microphone specialist Gunter Wagner, the U47w takes an unusually uncompromising approach to recreating the original. Rather than merely imitating its appearance or general tonal character, Wagner recreates the critical mechanical and electrical components that defined the classic U47. Wagner has specialised in restoring vintage U47 microphones for decades and began manufacturing authentic replacement components for them in 1989. At the heart of the U47w is an authentically reproduced M7 dual-diaphragm capsule, manufactured using procedures and materials closely matching the historic Berlin M7. The M7 is standard, while a K47 configuration can be supplied on request. A selected EF12 steel tube is combined with a BV8 output transformer manufactured according to the original specifications, materials and winding techniques. Even the body mechanics, multilayer head grille and numerous individual components are recreated to match the vintage microphone. One important improvement over an original vintage U47 is the power supply. Instead of recreating the old unregulated Neumann supply, Wagner uses a carefully regulated and actively filtered power supply with a custom Haufe mains transformer. This maintains stable operating voltages despite fluctuations in AC mains voltage and provides significantly more consistent performance. Sound Character The Wagner U47w is intentionally not designed as a modern, clinically neutral microphone. Its purpose is to recreate the distinctive interaction between the M7 capsule, tube amplifier and BV8 transformer that gives a classic U47 its unmistakable personality. Vocals are reproduced with remarkable size, body and presence. The bass and lower midrange provide substantial weight and warmth, while the upper midrange offers enough presence to place a vocal naturally at the front of a mix. Treble remains smooth and organic rather than artificially bright. One of its defining qualities is the combination of intimacy, scale and detail. The classic U47 architecture can make a vocal sound extremely present without becoming thin or aggressive, while its proximity effect provides additional weight at close recording distances. Reports from U47w users similarly describe a combination of warmth, open presence and exceptionally balanced tonality. Beyond lead vocals, the U47w is equally at home on acoustic guitar, piano, strings, brass, percussion and numerous other acoustic sources, particularly where body, presence and natural spatial depth are required. Highlights ✔ handcrafted recreation of the classic Neumann U47 ✔ developed by U47 specialist Gunter Wagner ✔ large-diaphragm tube condenser microphone ✔ authentically reproduced M7 dual-diaphragm capsule ✔ optional K47 capsule configuration ✔ selected EF12 steel tube ✔ authentic BV8-style output transformer ✔ BV8 manufactured using historic materials and winding techniques ✔ cardioid and omnidirectional polar patterns ✔ authentically recreated U47 mechanical construction ✔ classic multilayer head grille ✔ regulated and actively filtered external power supply ✔ custom Haufe mains transformer ✔ high-quality 6-pin Tuchel connection ✔ power supply, microphone cable, shock mount and flight case included Typical Applications ✔ lead vocals ✔ voice-over ✔ acoustic guitar ✔ piano ✔ strings ✔ brass ✔ percussion ✔ room and ensemble recording ✔ high-end studio recording Technical Specifications ✔ type: large-diaphragm tube condenser microphone ✔ polar patterns: Cardioid / Omnidirectional ✔ capsule: Wagner M7 Berlin dual-diaphragm capsule ✔ optional capsule: K47 ✔ tube: EF12 ✔ output transformer: BV8, manufactured to historic specifications ✔ frequency response: 30 Hz – 15 kHz ✔ sensitivity: 2.8 mV/Pa ✔ output impedance: 200 Ω ✔ recommended load impedance: ≥1 kΩ ✔ self-noise: approx. 24 dB(A) ✔ connector: 6-pin Tuchel ✔ power: external regulated tube microphone power supply ✔ microphone weight: approx. 800 g ✔ length: approx. 240 mm ✔ maximum diameter: approx. 60 mm
Walrus Audio Meraki Delay - USED
Walrus Audio Meraki Delay - USED - nearly mint condition, minimal signs of use, including original accessories and original packaging, 1-year warranty, item is subject to the margin scheme according to § 25a German VAT Act. Therefore, VAT cannot be shown separately. -The Walrus Audio Meraki is an exceptional true stereo analogue delay that combines classic bucket brigade technology with modern performance features. Powered by eight MN3005 bucket brigade chips, it delivers up to 1,200 ms of genuine analogue delay time—an impressive achievement for a fully analogue design. At the same time, it offers MIDI connectivity, Tap Tempo, expression pedal support and sophisticated stereo routing, making it equally suited to contemporary live rigs and studio environments. Unlike many stereo delays, the Meraki features two completely independent analogue delay lines, allowing separate or linked control over delay time, feedback and rhythmic subdivisions. Three routing modes—Parallel, Ping-Pong and Series—enable everything from classic stereo echoes to highly complex rhythmic textures. A musical tilt EQ and an expressive modulation engine with selectable waveforms and adjustable phase further expand its sonic capabilities. Sound Character The Walrus Audio Meraki delivers a rich, spacious and unmistakably analogue sound. Its eight MN3005 bucket brigade chips create beautifully warm repeats with gentle high-frequency roll-off, natural compression and smooth harmonic character while remaining remarkably articulate—even at extended delay times. Its greatest strength is its true stereo architecture, producing expansive spatial movement and immersive depth that perfectly complements ambient, shoegaze, post-rock and cinematic soundscapes. The integrated modulation ranges from subtle chorus-like movement to lush vibrato textures, while the tilt EQ allows the repeats to be voiced darker and warmer or brighter and more present. Whether paired with stereo reverbs, chorus effects or synthesizers, the Meraki delivers one of the most refined analogue stereo delay experiences available today. Highlights ✔ true analogue stereo delay with dual independent delay lines ✔ eight genuine MN3005 bucket brigade chips ✔ up to 1,200 ms analogue delay time ✔ true stereo inputs and outputs ✔ Parallel, Ping-Pong and Series delay modes ✔ independent left and right delay times and feedback controls ✔ linked or independent delay operation ✔ Tap Tempo with instant self-oscillation function ✔ musical tilt EQ for the delay signal ✔ modulation with adjustable depth, waveform and phase ✔ MIDI In and MIDI Thru connectivity ✔ expression pedal or external tap tempo input ✔ selectable Trails or True Bypass operation ✔ designed and manufactured in the USA Typical Applications ✔ ambient and cinematic soundscapes ✔ shoegaze and post-rock ✔ stereo guitar rigs ✔ synthesizers and keyboards ✔ MIDI-controlled live performances ✔ studio delay and re-amping ✔ experimental stereo delay textures ✔ lush analogue modulation effects Technical Specifications ✔ device type: analogue stereo delay pedal ✔ circuitry: 8 × MN3005 bucket brigade chips ✔ delay time: 80–1,200 ms ✔ operating modes: Parallel, Ping-Pong, Series ✔ modulation: sine, square and random waveforms ✔ note divisions: quarter, eighth and dotted eighth per channel ✔ connections: stereo inputs, stereo outputs, MIDI In, MIDI Thru, expression/tap input ✔ bypass: True Bypass or Trails ✔ power supply: 9 V DC, centre negative ✔ current draw: 500 mA ✔ dimensions: approx. 127 × 146 × 57 mm ✔ weight: approx. 645 g ✔ made in the USA