Has standard Vintage Keys producer ROM with a selection of sounds

The module features:

• 3 stereo audio outputs
• 32 Voices
• 16 part multitimbral
• 16 midi channels
• 16 MB ROM samples
• 434 instruments
• ADSR
• Lowpass filter
• 512 patches (256 RAM, 256 ROM)

Samples include:

• ARP 2600
• ARP String Ensemble
• Chapman Stick
• Fender Rhodes
• Dyno‑My‑Rhodes electric piano
• Electric Sitar
• E-MU SP1200
• Emulator II & III samples
• Fairlight samples (12-Bit 1st-gen)
• Farfisa organ
• Fender Rhodes electric piano
• Hammond B3 tonewheel organ
• Hohner Clavinet
• Mellotron
• Moog Minimoog
• Moog Model 55
• Moog Taurus bass pedals
• Oberheim Matrix 12
• Oberheim OB‑X
• Prophet 5
• Roland DR-55
• Roland TR-808
• Wurlitzer electric piano
• Yamaha CP70 piano
• Yamaha DX7

In excellent condition with minimal marks & scratches. Original knobs, switches & rack ears. Refurbished. Photos show the synth for sale

The post E-MU Vintage Keys Plus V2.0, Refurbished – Encoder / Recap / Battery, #2 appeared first on BN1studio.

Tested & working 100%. Photos show the unit for sale

The module features:

• 3 stereo audio outputs
• 32 Voices
• 16 part multitimbral
• 8 MB ROM samples
• 249 instruments
• ADSR
• Lowpass filter
• 512 patches (256 RAM, 256 ROM)

Samples include:

• ARP 2600
• ARP String Ensemble
• Dyno‑My‑Rhodes electric piano
• Fairlight
• Farfisa organ
• Fender Rhodes electric piano
• Hammond B3 tonewheel organ
• Hohner Clavinet
• Mellotron
• Moog Minimoog
• Moog Model 55
• Moog Taurus bass pedals
• Oberheim Matrix 12
• Oberheim OB‑X
• Prophet 5
• Wurlitzer electric piano
• Yamaha CP70 piano
• Yamaha DX7

In excellent condition with minimal marks & scratches. Original knobs, switches & rack ears. Refurbished. Photos show the synth for sale

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The Dolby 361 was ubiquitous throughout the 1970s, 80s and 90s. It was the standard single-channel Dolby mother unit, compatible with the original 1965 Cat 22 Dolby A card and the later Cat 280 Dolby SR cards. Every studio had a couple of 361s but they are now surprisingly rare on the secondhand market

As a double-ended noise reduction system, Dolby A encoded the signal and applied reciprocal decoding on playback. If the tape machine was aligned correctly the system was pretty transparent and gave a significant noise reduction, particularly at higher frequencies

Post-digital, Dolbys are obsolete except for archiving and for doing the Dolby Trick. Dolby A splits the audio spectrum into four bands, applying varying amounts of compression to each. Compression is level-dependent so, as levels rise, compression backs off. At higher frequencies, where tape hiss is more obvious and average signal levels are relatively low, a fair amount of compression could be used, resulting in a dramatic perceived reduction in tape noise & hiss

These Dolby 361s date back to the 1970s & 80s and may have missing bulbs. This does not affect operation. Tested to encode only, working 100%. Supplied with a modified & tested Cat 22 (Dolby A) card

The Dolby Trick
The Dolby Trick uses the high-frequency compression of Dolby A as an audio effect. By encoding the signal, and not decoding it, it lifts the harmonics & airiness of sounds in an attractive way. It works like a charm on backing vocals but it’s also useful on guitars, drum ambience & etc

Used with standard Cat 22 cards the effect is subtle. We have modified the Cat 22, bypassing processing on the lower two frequency bands, to create a more pronounced effect

Photos to follow

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In excellent condition with only very minor marks. Refurbished with new battery. Pots & encoders cleaned & lubricated. Reset to factory settings. Tested & ready to go. Photos show the synth for sale

Expansion boards for the JV-2080 are here

 “The JV-2080 is everything you could expect from a modern sound module, but more!  A massive 64 voice multitimbral performance module that strives to offer the best all-around features for creating new and vintage sounds for any musical style.  Excellent acoustic sounds of all instruments both common and ethnic.  A massive amount of techno sounds complete with pulses, blips, sweeps, and the ever popular LFO, VCF and VCA type controls for patch editing and real-time editing“

The JV-2080 represents a significant upgrade from the JV-1080, with more patches, more outputs and more expansion slots (eight rather than four). It has a larger display and easier patch editing. Sonically, it’s virtually identical to the JV-1080, but it has additional effect options

The main differences between the JV-880, JV-1080, JV-2080 (in this auction) and later models are summarised in this table

The JV-2080 continues the typical Roland 2U rack style with a black, brushed aluminium front panel, large LCD display, headphone socket with volume control, data entry dial and a number of dedicated buttons.  It has eight sockets for SR-JV80 expansion boards (JV-1080: four) plus a front panel card slot for a Data card.  The Data card can be used for playback of sounds & samples or as a means of saving setups.  Data dumps via Sysex are available too

The JV-2080 has three stereo outputs and upgraded onboard effects, EFX, Chorus & Reverb, each of which has a dedicated on/off button.  The effects can be enabled on a per-voice basis and stored as part of a preset

 If you use synth modules to play presets, a fully-expanded JV-2080 might give you every sound you ever need.  The SR-JV80 expansion boards cover a very broad range of instruments, styles & genres and some, like Bass & Drums, Vintage Keys and the Vocal Collection, are awe-inspiring in the quality of the sounds & programming

In excellent condition with only minor marks. Refurbished with new battery. Pots & encoders cleaned & lubricated. Reset to factory settings. The JV-2080 has a universal 80-240 Volt power supply so is suitable for use worldwide

Tested & ready to go. Photos show the synth for sale

The post Roland JV-2080 Rackmount Synth Module, Refurbished, #18 appeared first on BN1studio.

This is the stereo version of what is, in my opinion, the best compressor ever made, the 1176. A lightning-fast FET compressor with ultimate pedigree and sonic excellence

Built in the familiar UREI style, the 1178 is a two-channel or stereo compressor but, as the channels share attack & release times as well as ratio, consider it a stereo unit. It has the usual 1176 input & output pots, threshold being a function of how much input you feed into it. Attack & Release go from super-fast to slow – very slow, in the case of release

You’ll find a setting that works just right for your drum sound by leaving it on fast release and varying the attack timing to give just the right amount of attack. Many users leave the 1176 & 1178 in 4:1 at all times, but there are different sounds to be had with other ratios – all-buttons-in gives classic over-the-top smashing compression but often it’s better to use 8:1 and more input gain

The 1178 is equally at home crushing drum mics as it is gently shaping backing vocals or stems. Like the 1176, it’s capable of lots of gain reduction without killing the vibe of a sound so it’s suitable for all kinds of singers. At 4:1, with attack at mid-position and fast release and plenty of input, it will sit a bass guitar in a track like no other compressor

In many ways an 1176 or 1178 is all the compressor you’ll ever need. They’re both super-fast, but can be super slow. Can do massive over-the top compression or massive, subtle compression. Tickle a sound or mangle it

In excellent condition with minor marks & rack rash. Supplied with newly-made XLR pigtails anchored to the rear of the compressor

Tested & working 100%. Metering aligned & pots cleaned. Photos show the compressor as it arrived

“I just got an 1178 and used it tonight, sounds so great. Very deep, sounds like a record. We used it on a mix buss, drum buss and lead vocals. Just great” – James Lugo, Gearslutz

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Has standard Proteus 2000 ROM with a selection of sounds

The module features:

• 3 stereo outputs
• SPDIF output
• 128-note polyphony
• 32 midi channels (midi 1 and midi 2 inputs)
• 32 MB sample ROM memory
• Four ROM slots
• 128 Multi-mode filters
• Four real-time controls
• 256 LFOs
• dual stereo effects processors
• 1536 presets

In very good used condition with minimal marks & scratches. Original knobs & switches. Refurbished. Photos show the synth for sale

The post E-MU Proteus 2000 Refurbished, #4 appeared first on BN1studio.

The power supply has been updated with much larger reservoir caps and better decoupling. The tiny audio coupling caps have been replaced with much larger bipolar caps which really improves the bass end, making it smoother & better defined. Even with quite a lot of gain reduction you can feel the weight of the bass

Our modified release timing shortens the fastest release time but still allows a relatively long release when set to maximum. The difference between the shortest & longest release settings is more pronounced and there is greater sonic variation

This is “the other” vintage compressor from Alesis. The Micro Limiter is a 1/3U stereo limiter which is famous for smashing drums, nuking snares, mullering cymbals and squashing bass guitar

Although Alesis call it a limiter, at low compression levels – when the green LEDs are lit – it uses a ratio between 2:1 and 8:1. With the yellow LEDs on CR is around 10:1 and, with the final red LEDs lit, 16:1. It uses a soft-knee approach, so there is always some compression going on, but higher input levels means more compression and a higher ratio

There’s no Threshold control – just Input, Release & Output controls and an In/Out switch. The back panel is equally minimal with input & output jacks and a power socket

Release time is the key here – with fast release times and lots of compression you get pumping & breathing but slowing up the release changes the character of the sound immensely. At long release times the Microlimiter is in gain reduction all the time but the depth of compression is still driven by the input signal. It’s possible to use huge amounts of gain reduction but still maintain articulation on signals like bass guitar. In this respect it’s more flexible than one of my favourites, the dbx 160X

The Micro Limiter has another big advantage over its competitors – it’s a stereo device. This means stereo drum ambience, parallel buses and backing vocals are all targets for some serious compression. It will do subtle compression as well as vicious but it excels at the nasty stuff. Use your RNC for Nice compression and the Micro Limiter for Dirty

“Well, thus far, my favourite use has been on overheads; you can squish ’em pretty hard without strange things happening to the sound”

“I still have three of them. I like them on drums, vocals and acoustic guitar”

“Really cool as a parallel comp on snare and voice”

“Squishes like there is no morning”

“What a fun little box! It sounds pretty good on everything I’ve tried it on”

“Super squasher, always good fun making the whole room come through the snare mic. Good for aggressive up front vocals too”

“I’m loving it as a parallel drum comp, really trashy but nice and thick sounding too”

Photos show the Micro Limiter for sale

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Old-School rack module from E-MU systems – quite a rare beast now! Carnaval was one of a trio of modules released by E-MU – the others being Dance Planet and Planet Phatt. They are aimed at dance & hip-hop music producers

Carnaval is aimed at Latin music but has hundreds of samples & loops in different styles, including guitars – acoustic, electric, 12‑string, nylon, steel, etc – and percussion including timbales, congas, bongos, cabasa, quica, shakers and more cowbell

“The whole point of an E-mu module is the synth engine and programming. Unlike the more refined and heavily efx processed Roland and Korg sounds, E-mu is like home cooking, and you only really get out of it what you put in”

“In a way, Emu have done the Carnaval a disservice in calling it a Latin sound module, because it encompasses a much wider range of sounds and styles than this tag implies. However, if your inclination is toward Latin styles, the Carnaval is an obvious choice because this is what it does best, and there’s very little else available quite like it” – Sound on Sound

In excellent used condition with minimal case marks or rack rash. Refurbished in our workshops with a recapped power supply, new backup battery and a new main encoder. Tested & working 100%. Photos show the synth for sale

The post E-MU Carnaval, Refurbished – Encoder / Recap / Battery, #4 appeared first on BN1studio.

Boss hit the ground running with the original Uber-Chorus, the legendary Boss CE-1, and has created many top chorus pedals & effects since. Boss is part of Roland, creator of the legendary Dimension D and the equally-legendary JC-120 guitar amplifier which both had epic chorus effects

The CE-300 Super Chorus is a rare 1U rack mounted chorus. It uses Bucket Brigade Devices (BBD) rather than digital circuitry to produce the chorus effect so is a true – and rare – “Analogue Chorus”

The CE-300 has one input and two outputs, the “stereo” output being a phase-reversed version of the main output

Inputs & outputs are on jack sockets on the front panel as well as on the back. Like all Boss choruses it’s important to drive them to just before the point of distortion to get the best effect. Some signals benefit from overdriving the input to get some distortion – it adds an edge to the sound. The correct level is very dependent on the source so don’t be afraid to ignore the metering

Front panel controls are simple: Rate and Depth control Modulation, the Level control sets the amount of chorus and the Effect switch is a master bypass. There’s a neat Direct Mute button which kills the dry signal so the output is effect-only

The key to the chorus effect is the modulation section. It’s possible to create very subtle effects, with movement but very little pitch modulation, or you can wind up the depth to get a traditional chorus with lots of detuning. Unlike simple stomp boxes, there’s lots of opportunity to shape the effect through experimentation

“Magnificent synths and electric guitars.” (transliterated from French)

“Good at all! If you like good chorus of Prince, this machine is for you. Unfortunately, it is difficult to get trs one, they are rare … Trs hot, and both the sound of icy Roland chorus. Use with caution in the mix, but when done right, sounded too good! “ (transliterated from French)

“These are highly sought and prized for their warm and lush chorus effects”

“People say it is ‘Juno-esque’”

“Sounds very 3-d in mono with the most rich chorus sounds i have ever been able to produce. been through boss, dod, dunlop, mxr, ada and several digital rack units and this ce-300 super chorus wipes the floor with all of them”

“Found one at the local Musicgoround and traded some pickups and WHAM!!!! It’s a beast! Some great smooth sounds in this monster… I think it’s a digital chorus, but I don’t even know… but it’s smooth and lush and has a great ‘tone’ knob to take out any amount of that high end spike I hear in a lot of choruses these days… “

“One of my favorite chorus sounds. Up there with the old rackmount TC Electronic Spacial Expander unit”

In excellent condition. The case has minor age-related scratches but the plastic front panel is in really good condition and the knobs & connectors are all original. Photos show the CE-300 for sale

The post Boss CE-300 Super Chorus #22 appeared first on BN1studio.

It’s very like a dbx 160X but with attack & release controls. It gives the same snap to drums as a dbx,and can be provoked into lovely pumping noise on snare drums & rooms. Release works best set at minimum and the attack control allows transients through when set slow, or flattens them on the fastest setting

It’s a peak-detecting compressor with no over-easy or RMS detector functions. The sidechain has send & return jacks so it’s easy to patch in a sidechain equaliser. There is provision for stereo linking

The Gain control sets threshold. Output Level control is active even in bypass. The rest of the controls (Ratio, Attack, Release) are conventional. Gain reduction is shown on an LED meter which has a useful yellow “Threshold” indicator to show the point at which the unit tips over into compression

This a flexible, adaptable,  Swiss Army Knife of a compressor at a bargain price

“That is my lead guitar compressor of choice…I was getting laughed at
the other day…I had to do a guitar solo and recut a bass…so I
brought a rack with an EAR 660 and an Ashley SC-50…the EAR was for the bass…(cost wise they are at different ends of the spectrum).” – Fletcher

“So I had the chance to us one of these compressors on drums and I love them! Also, super smooth on vocals. I had some other high end comps to use and this one won out on several occasions”

“The only compressor I’ve had for a few years now. Surprisingly good, and quiet”

“I have used them for a very long time and they are just great. For some reason they do not seem to get the love and attention that other brands receive”

Refurbished & recapped in our workshops: these turned up with some broken pots so they have mostly new pots, upgraded power supplies and have been recapped throughout with bipolar caps in the audio path. They have been switched to 220V for the UK / EU

Tested & working 100%.Photos show the compressor for sale

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