Switch may be used

This ebony fretboard can be used to build a Brian May Red Special guitar. - slotted ebony fretboard - 7,25" radius - 24" scale: 53,5cmx6,8cmx6mm This fretboard was manufactured by RS Customs/Everett Wood.

Denon POA 6600 power switch * Opérationnel - Operational * Achat hors Union Européenne me contacter avant de valider votre paiement  - Purchase outside the European Union contact me before validating your payment !! Condition General de Vente - General Condition of Sale: Mode de réglement – Payment choice: Paiement par virement bancaire et Paypal, (chèque bancaire: France uniquement). ====== Payment by bank transfer and Paypal (bank check: French only). ====== Pour les règlements par chèque bancaire (France) et après encaissement de celui-ci, un délai de 8 jours  supplémentaires sera appliqué avant l’envoi de la marchandise. Pour les achats hors zone Union Européenne me contacter avant de valider votre achat sous peine de voir votre commande immédiatement annulée. ====== For purchases outside the European Union zone, contact me before confirming your purchase, otherwise your order will be immediately canceled. Expédition Les envois sont expédiés 3 jours après validation du paiement (hors week-end et jours fériés). Un numéro de suivi sera communiqué par le biais d’. Aucune responsabilté ne sera assumé concernant les dommages et ou pertes pouvant survenir pendant le transport. Aucun réclamation de remboursement. ====== Shipments are dispatched 3 days after payment validation (excluding weekends and holidays). A tracking number will be communicated through. No liability will be assumed for damages and / or losses that may occur during transport. No reimbursement can be claimed. Autres – Others: A l'attention de la clientèle un peu trop exigeante: Vous êtes ici sur une plateforme spécialisé dans la vente d'occasion !! Les instruments proposés ici ont parfois plusieurs décennies d'existence. Même si ces derniers sont nettoyés et révisés globalement il est probable qu'il y ai de légère déviance; à méditer… ====== For the attention of customers a little too demanding: You are here on a platform specialized in second hand sales !! The instruments proposed here sometimes have several decades of existence. Even if these are cleaned and revised globally it is likely that there is slight deviance; to meditate… Les demandes de retours de marchandise ne sont pas acceptées. Aucune garantie sur les articles vendus ici. ====== Requests for merchandise returns are not accepted. No warranty on the items sold here.

Deal of the day: 02.02.2022 Consignement sale for: Focal Utopia Headphone New Packaging (with Carrying Case + 3 meters XLR Cable + 1.2 meter minijack cable) with Stand. Serial Number: A1BWJF000821 originaly purchase on 28th may 2020, under Warranty until 28th may 2025. Original Invoice will be supply to the New owner For sale separately: CHORD HUGO2 + 2go (see pictures N°2), email to me for inquiries. Terms of sales: consignement sale so The unit will be sent to Focal For quality control before the sale. please allow few days for that. Retail price 4300€ Save 800€

AKAI AMX6 Mélangeur De Puissance AMP. 1 - HI/MID/LOW EQUALIZER: Powerful 15dB boost or cut allows you to tailor the sound of each individual channel so the instrument blends more naturally in the mix. The HIGH EQ is a 12 kHz shelving type to add or cut b'"'sizzleb'"'. MID has a center frequency of 1.2 kHz, approximately in the vocal range. The LOW EQ is an 80 Hz shelving type, around the kick-drum frequency. 2 - EFFECT SEND (REV/FX): Controls the level of the signal sent to the internal digital effects and the FX SEND bus. This control comes after the LEVEL control, so the signal sent to internal or external effects will also be affected by changes in the LEVEL setting. 3 - MONITOR: Controls the level of the signal sent to the MONITOR bus and MONITOR OUT jack. This control is independent of the LEVEL control and is not affected by it. This means you can create a completely separate mix for on-stage monitoring. 4 - LEVEL: Controls the level of the input signal sent to the MAIN bus. Generally used for creating the mix sent to the audience. 5 - LINE/MIC INPUTS (Channels 1-4): Use the LINE input for instruments that provide line level signals such as synthesizers or drum machines. Use the MIC input for low level signal sources such as microphones. +48V phantom power is available for use with condenser microphones. You can also use both LINE and MIC inputs simultaneously for each channel. 6 - LINE/MIC INPUTS (Channels 5-6): LINE input functions as channels 1-4. LINE/MIC input accepts both XLR and phone jacks. You can connect a stereo signal to both phone jacks (LINE and MIC/LINE) for summing to a mono signal. 7 - DIGITAL EFFECTS: A selection of 16 powerful digital reverb and delay effects to add extra ambiance to your music. A foot switch may be used to turn the digital effects on/off for dramatic sonic changes while playing, and the green indicator lights when the effects are on. 8 - PHANTOM: Turns +48V phantom power on/off for condenser microphones connected to the MIC inputs of channels 1-6. The green indicator lights when phantom power is on. 9 - FX SEND: Controls the combined level of signals sent from the FX SEND bus to an external effects processor connected to the FX SEND jack. This control has no effect on the signal level sent to the built-in digital effects. 10 - TAPE/AUX IN LEVEL: Lets you adjust the level sent to the MAIN bus from the TAPE IN/AUX IN connectors. 11 - MAIN/BRIDGED SECTION: Graphic equalizer +/-12dB 7-band graphic equalizer adjusts the EQ curve of the MAIN bus signal sent to the AMP 1 A/B speakers. Use it to compensate for poor acoustics in a hall or to prevent feedback. REV/FX: Adjusts the built-in digital effects level sent to the MAIN bus. Set to b'"'0b'"' (or use a foot switch) to turn effects off. LEVEL: Controls the output level of the MAIN bus signal sent to the MAIN OUT jack and the internal AMP 1. Peak level indicators: Provides visual indication of the signal level at the MAIN OUT jack and AMP 1 input. 12 - MONITOR SECTION: Graphic equalizer +/-12dB 7-band graphic equalizer adjusts the EQ curve of the MONITOR bus signal sent to the AMP 2 A/B speakers. Use it to compensate for poor acoustics in a hall or on stage, or to prevent feedback. REV/FX: Adjusts the built-in digital effects level sent to the MONITOR bus. Set to b'"'0b'"' (or use a foot switch) to turn effects off. LEVEL: Controls the output level of the MONITOR bus signal sent to the MONITOR OUT jack and the internal AMP 2. Peak level indicators: Provides visual indication of the signal level at the MONITOR OUT jack and AMP 2 input. 13 - MODE: Allows you to select signal routing to the internal amplifiers. MAIN TO AMP 1/MONITOR TO AMP: Gives you a 200 watts mono MAIN (audience) mix and a separate 200 watts mono MONITOR (on-stage) mix, without the need for any external amplifiers. MAIN TO AMP 1 b'&' 2: Allows you to send a 200 watts per channel, 2- or 4-speaker mono mix to the audience. You can also have a separate on-stage mix by connecting another amplifier En savoir plus Collaboration commerciale.

NTP 575 Asynchronous Aes/ebu switcher: 16 x 16 aes/ebu switcher full broadcast-quality: •Fully Self-contained with built-in Control Panel and Power Supply. •Full Asynchronous Operation (28 - 54 kHz sampling rate). •All Inputs are Re-clocking types. •Transformer balanced inputs and outputs. •8-character displays for source- and destination-names. •Editing of source- and destination-names from build-in Control Panel. •Up to 10 set-ups can be memorized and activated with one key-stroke from the built-in Control Panel. •PC Software for remotely controlled operation Status displays. The frontpanel comprises three easy-to-read 8-character displays, indicating the actual source and destination status as well as any preset selections made. 8-character names may be used for source and destination identification. These names can be edited from the front panel or downloaded via a serial control port. Versatile control.The 575-100 is controlled via the front panel. The buttons are used for b'"'scrollingb'"' through the list of source and destination names, which are arranged in alphabetical order in the Preselect and Destination display. The Source display shows the source actually connected to the selected Destination.Pressing the TAKE or RELEASE button confirms the preset selections made. Up to 10 Set-up's can be memorized and activated with one key-stroke by means of the pushbuttons on the front panel.The 575-100 can be remotely controlled as well, via a serial port situated, on the rear (configurable as RS232 or RS422), or the NTP Network Interface, using a simple ASCII based control protocol.In this way, the 575-100 may be used as a b'"'stand aloneb'"' unit, or controlled from existing and future NTP switching system controllers. En savoir plus

SONY MB-806A TUNER BASE UNIT Wireless Microphone Frame Tuner Base. BON ETAT GENERAL GOOD GENERAL CONDITION SHIPPING POSSIBLE TO FRANCE, BELGIUM, UK, SPAIN, PORTUGAL, ITALY, LUXEMBOURG, NETHERLANDS, AUSTRIA. OTHER COUNTRIES ASK FOR SHIPPING COSTS. Features The Sony MB-806AUHF Tuner Base Unit features a modular design that conveniently accommodates up to six WRU-806A tuner modules. Up to six transmitters may be used simultaneously with six WRU-806A tuner modules installed. The rear panel provides six XLR (mic/line selectable) outputs and a stereo mix output. The MB-806A features a single 19" rack space design. Holds up to 6 "WRU" diversity tuner modules in 1 rack space. Compact modular design allows user configurability of one to six diversity tuners in a single rack space *WRU-806A tuner modules are sold seperately Built-In Active Antenna Divider Allows one pair of AN-820A or K1314 antennas to operate all six channels Supplies 9v DC antenna power to antenna jacks Output Level Switch Selects mic or line operating level for all outputs. Antenna Gain Switch Allows user to adjust antenna sensitivity to prevent overload of antenna section of receiver

Micro testé et marche bien. L'AKG D-109 est un microphone omnidirectionnel de haute qualité qui a été conçu électroacoustiquement pour des performances optimales lorsqu'il est porté monté sur une cravate. Instrument compact et léger, le D-109 associe une reproduction vocale précise à une apparence discrète. Le D-109 est également fortement recommandé pour une utilisation «mains libres» dans les églises, les écoles, les amphithéâtres et les salles de conférence. Contrairement à un microphone conventionnel (qui exagère les basses fréquences et atténue les hautes fréquences lorsqu'il est «adapté» pour une utilisation en cravate). le D-109 a une réponse en fréquence spécialement profilée qui lui permet de fournir une reproduction de la parole naturellement équilibrée lorsqu'il est placé contre la poitrine de l'utilisateur: la réponse est intentionnellement réduite en dessous de 300 Hz pour réduire la coloration tonale causée par la résonance de la cavité thoracique. De plus, avec le clip cravate en forme d'anneau relevé complètement au-dessus du niveau de la grille du microphone, la réponse est amplifiée entre 2 kHz et 6 kHz pour compenser à la fois l'absence de propagation haute fréquence sous le menton et l'effet de filtrage des vêtements qui peut être utilisé pour dissimuler le microphone. (Le pic à 6 k Hz peut être réduit selon les besoins en abaissant le clip cravate, comme indiqué dans les courbes de réponse en fréquence ci-dessous.) La grille en treillis métallique du D-109 et son boîtier en laiton robuste encapsulent efficacement l'élément transducteur contre les particules métalliques et la poussière. Microphone tested and working well. The AKG D-109 is a high-qual ity omnidirectional microphone that has been electroacoustically designed for optimum performance when worn lavalier-mounted. A compact and lightweight instrument, the D-109 combines accurate speech reproduction with unobtrusive appearance. The D-109 is also highly recommended for "hands-free" use in churches, schools, lecture halls, and conference rooms. Unlike a conventional microphone (which exaggerates low frequencies and muffles high frequencies when "adapted" for lavalier use). the D-l09 has a specially contoured frequency response that enables it to provide naturally balanced speech reproduction when placed against the user's chest: Response is intentionalLy rolled off below 300 Hz to reduce tonal coloration caused by chest-cavity resonance. Furthermore, with the ring-shaped lavalier clip raised fully above the level of the microphone grille, response is boosted between 2 kHz and 6 kHz to compensate both for the lack of high-frequency propagation below the chin and for the filtering effect of clothing that may be used to conceal the microphone. (The peak at 6 k Hz may be reduced as required sirnply by lowering the lavalier clip, as shown in the frequency-response curves below.) The D·109's wire-mesh grille and rugged brass case effectively encapsulate the transducer element against metal particles and dust.

Egaliseur Graphique Boss GE-231 2 x 31 bandes stéréo. Dynamique sélectable +/-15 dB ou +/-6 dB, Fréquences: tiers d'octave de 20Hz à 20kHz. Entrées et sorties Jack 6.35mm symétriques (peut être utilisé en asymétrique en utilisant des Jacks stéréo sans câblage du b'"'ringb'"'). Niveau sélectable +4dBU ou -10dBV. Alimentation interne 220V.. Format Rack 19 pouces, les équerres peuvent être démontées pour pouvoir le placer dans un meuble HiFi. Graphic Equalizer Boss GE-231 2 x 31 bands stereo. Selectable range +/-15 dB or +/-6 dB, Third octave frequencies from 20Hz to 20kHz. Symmetrical inputs and outputs Jack 6.35mm (may be used asymmetrical using stereo Jacks without connecting the b'"'ringb'"'). Selectable level +4dBU or -10dBV. Internal power supply: 220V.. Format rack 19b'"', lateral handles may be dismounted in order to place it in an HiFi furniture. En savoir plus Collaboration commerciale.

Filtre Polarisant Circulaire CPL Polarizing Filter pour Objectifs Photo 62mm Description: Filtre polarisant circulaire conçu pour les objectifs dotés du pas de vis à filtres de 62mm. Très bon état d’occasion. Vendu avec une boite de rangement Je vous invite à consulter mes autres ventes Description: Circular polarizing filter May be used on all lenses with 62mm filter thread size. Good used condition. Sold with its case  _gsrx_vers_827 (GS 7.0.13 (827))

Tube GP-5  is a glass-envelope beam power triode intended for use as a shunt regulator or pulse modulator in high-voltage systems. It features anode operating voltage of 30 kV and a plate dissipation of 37.5 watts. Originally intended for color-TV voltage stabilization, the GP-5 is similar to the Telefunken ED500 and may be used to retrofit equipment which uses the American type 6BK4 or other high-voltage beam triodes.  Near equivalent: ED500 and 6BK4. General characteristics: Name: GP5 Cathode: oxide-coated, unipotential Voltage (AC or DC), V: 6.3 (± 0.6) Current, mA: 210 (± 20) Heater-cathode voltage, peak, V: ±200 Amplification factor (nominal): 2750 Transconductance (nominal), uS: 700 Interelectrode capacitances (typical), with cathode grounded: - Input 4.0 pF - Output 1.5 pF - Feedback 0.1 pF Mechanical characteristics: Base standard magnoval, glass button Socket Svetlana SK509 or similar Anode cap approx. 3/8 in (9 mm) diameter Anode connector same as 6BK4 or 807 Operating position Any (vertical for convection cooling) Nominal dimensions: - Height of glass envelope 100 mm (3 7/8 in) - Diameter of glass envelope 46 mm (1 3/4 in) - Overall height 125 mm (4 7/8 in.) Net weight, g: 115 Maximum ratings: Anode voltage, kV: 30 Anode dissipation, W: 37.5 Anode current, continuous, mA: 2 Grid voltage, V: -450 Maximum grid-circuit resistance, megohms: 3 Envelope temperature, C: 250

I sell a AKAI AM U33 Integrated amplifier Fully functional May be used as a preamplifier or/and a power amplifier (Straps to remove at the back side) Phono MM input 2 Monitoring loops Excellent Signal to noise ratio: Phono 85 dB Line 102 dB Weight: 8 kgs Paypal Insured double packaging Buyers outside close  European countries (Germany, Belgium,Spain, Italy, Austria...), please ask for the transport costs before bidding  Je vends un ampli AKAI AM U 33 en excellent etat Utilisable aussi en preamplificateur ou ampli de puissance seul, en ôtant les straps de liaison situés à l arriere de l appareil Excellent rapport signal/bruit

This is is the now RARE AND DISCONTINUED reissue of the MUTRON PHASER II made by Mike Beigel himself (see signature on the pedal). This is actually one side of the mythical MUSITRONICS BI-PHASE. You can switch between 4 and 6 stages of phasing which is great. Has ton of headroom so you can use it with guitar, synth or line level. Purchased directly from Mu-Fx in 2017 after months of wait. MU-FX has now become back MU-TRON:) Condition almost like new with original box and goodies. Will be shipped with Express and Fully Insured Service. DESCRIPTION FROM MIKE BEIGEL: Mu-FX Phasor 2X The new Mu-FX Phasor 2X is the Modern Vintage Analog™ refinement of the original Musitronics® Phasor II pedal. The Phasor 2X is housed in our signature “mini-mu” enclosure, features retro graphics, and provides added functionality and reliability to the beloved sound of the original Phasor II. New functions include: 4 or 6 stages of optical phasing with independent controls, assignable expression pedal controls, and stereo output.   Description Controls (1) PHASE 1a) FEEDBACK (6 Stage): Sets the amount of effected signal fed back into the effect for a more pronounced effect 1b) FEEDBACK (4 Stage): Sets the amount of effected signal fed back into the effect for a more pronounced effect (2) SWEEP 2a) DEPTH (6 Stage): Controls the range of the phase sweep 2b) DEPTH (4 Stage): Controls the range of the phase sweep (3) PEDAL MODE SWITCH These two toggle switches (for the 6 Stage phasor and 4 Stage phasor respectively) allow the user to designate whether expression pedal control is (O) OFF, (EXP EXP) controlling SWEEP. 3a) EXP MODE TOGGLE SWITCH (6 Stage): (EXP (O): Turns off expression pedal control of any function (>EXP): Sets expression pedal to control the SWEEP of the phase 3b) EXP MODE TOGGLE SWITCH (4 Stage): (EXP (O): Turns off expression pedal control of any function (>EXP): Sets expression pedal to control the SWEEP of the phase (4) LFO 4a) RATE (6 Stage): Controls the speed of the LFO wave that controls the effect 4b) RATE (4 Stage): Controls the speed of the LFO wave that controls the effect (5) Footswitches 5a) FX BYPASS: Determines whether the Phasor 2X’s effect is engaged or true bypassed (active bypass can be selected internally) 5b) PHASE STAGE: Allows you to switch between 6 and 4 stages of phasing (and their respective control set). The adjacent LED indicates (by color) which PHASE STAGE is active (the knob colors also correspond to these designations). BLUE: 6 stage phasing GREEN: 4 stage phasing Note: Both BYPASS and PHASE STAGE are silent footswitches – relay switching of audio (6) Back Panel 6a) INPUT: A standard ¼” input jack for any instrument or audio input 6b) OUT 1 (Main audio output): A standard ¼” output jack – sending a mono output signal to whatever comes next in your signal chain 6c) OUT 2: A standard ¼” output jack – which, when used in addition to OUT 1 sends a second (and therefore stereo) signal to whatever comes next in your signal chain. It may also be used to achieve a varied phase effect 6d) EXP PEDAL: A standard ¼” TRS jack in which an expression pedal or (CV) can be inserted to access manual control of specific functions of the Phasor 2X 6e) POWER: The Phasor 2X runs on a 12V AC power supply for optimal headroom and hi-fidelity sound. DO NOT use with a DC supply.

Clone de la TB-303 modifié par Circuitbenders, en parfait état, hormis les stickers qui se décollent un peu. Fonctionne nickel. Moded by Circuitbenders clone of the famous TB-303. Fully working. Demo here: https://youtu.be/GSebDXf9rP4 Here are the specs: The MAM MB33 Retro is the latest version of the MB33 / FAT FREEBASS clone of the infamous Roland TB-303. As standard it features all of the original TB-303 controls, and also has an external audio input through the filter and VCA. Overlapping midi notes gives you that essential 303 note slide, and any midi note with a velocity of 120 or more will trigger the note accent. Realistically if this synth was programmed correctly, you would be VERY hard pressed to distinguish between this unit and a real 303 in a mix. In a side by side comparison i'd say it sounds a little meatier than the Behringer TD3, with a little more girth and analogue weight to the sound. We have modded this machine with our circuitbenders Acid FM mods to give a huge range of extra sounds, without diluting the essential TB-303 character. MODS INCLUDE: VCO On/Off Switch: Normally when you plug a jack into the external VCF input, the MB33's VCO is automatically removed from the mix. As there may be occasions where you don't want this to happen, or situations such as when you're using the filter lock mod (see below) when you want to be able to turn the VCO on and off yourself, we've added a switch to add manual control of this. VCO Drive: The MB33 retro seems to be designed to slightly distort the output stage at full volume, much like the TB303 did. The Drive mod boosts this distortion savagely for some grungy acid techno sounds. This mod increases the maximum amount of distortion at maximum volume. The intensity of the distortion can be set using the normal volume knob. Resonance Boost Switch: An annoying issue with these machines is that the resonance never reaches self oscillation (but then neither did the TB303) and also drops off considerably when the cutoff is over 3/4 of the way up. We've solved this problem by adding the resonance boost switch. With this switch activated the filter starts to squeal with the resonance about halfway up, and then just screams with self oscillation at any higher settings. The resonance boost is especially effective when used with the VCF FM mods. VCF FM: Essentially VCF FM (Frequency Modulation) allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters & sweeps. This effect works best with the resonance cranked up into self oscillation which is where the resonance boost mod comes into play. The FM controls allow you to select one of four sources for the FM signal. The first is the normal filter input socket round the back. This means you can run a sound through the filter section, but also use that sound to modulate the filter cutoff at audio frequencies at the same time. The second source is a new FM input jack on the right hand side of the case. Using this source allows you to run a sound through the filter from the VCF input or just use the internal VCO, and at the same time modulate the filter cutoff with an entirely independent sound source at the FM in jack. The actual audio from the FM in jack is not heard. The remaining two sources are the sawtooth and square wave signal from the main oscillator. These can be selected as sources completely independently of the setting on the VCO waveform knob The FM source select knob also has an 'off' setting. The amount of FM applied to the VCF is controlled using the VCF FM knob. VCF CV input: This mods adds 3.5mm jack on the right side of the machine that will accept an external CV to control the filter cutoff. The CV input should range from 0-5v. Higher voltages, or negative voltages are NOT recommended. This mod also adds a switch on the front to toggle between internal and external cutoff cont

Clone de la TB-303 modifié par Circuitbenders, en parfait état, hormis les stickers qui se décollent un peu. Fonctionne nickel. Moded by Circuitbenders clone of the famous TB-303. Fully working. Demo here: https://youtu.be/GSebDXf9rP4 Here are the specs: The MAM MB33 Retro is the latest version of the MB33 / FAT FREEBASS clone of the infamous Roland TB-303.  As standard it features all of the original TB-303 controls, and also has an external audio input through the filter and VCA. Overlapping midi notes gives you that essential 303 note slide, and any midi note with a velocity of 120 or more will trigger the note accent. Realistically if this synth was programmed correctly, you would be VERY hard pressed to distinguish between this unit and a real 303 in a mix. In a side by side comparison i'd say it sounds a little meatier than the Behringer TD3, with a little more girth and analogue weight to the sound. We have modded this machine with our circuitbenders Acid FM mods to give a huge range of extra sounds,  without diluting the essential TB-303 character.  MODS INCLUDE:  VCO On/Off Switch: Normally when you plug a jack into the external VCF input, the MB33's VCO is automatically removed from the mix. As there may be occasions where you don't want this to happen, or situations such as when you're using the filter lock mod (see below) when you want to be able to turn the VCO on and off yourself, we've added a switch to add manual control of this. VCO Drive: The MB33 retro seems to be designed to slightly distort the output stage at full volume, much like the TB303 did. The Drive mod boosts this distortion savagely for some grungy acid techno sounds. This mod increases the maximum amount of distortion at maximum volume. The intensity of the distortion can be set using the normal volume knob.  Resonance Boost Switch: An annoying issue with these machines is that the resonance never reaches self oscillation (but then neither did the TB303) and also drops off considerably when the cutoff is over 3/4 of the way up. We've solved this problem by adding the resonance boost switch. With this switch activated the filter starts to squeal with the resonance about halfway up, and then just screams with self oscillation at any higher settings. The resonance boost is especially effective when used with the VCF FM mods.  VCF FM: Essentially VCF FM (Frequency Modulation) allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters & sweeps. This effect works best with the resonance cranked up into self oscillation which is where the resonance boost mod comes into play. The FM controls allow you to select one of four sources for the FM signal. The first is the normal filter input socket round the back. This means you can run a sound through the filter section, but also use that sound to modulate the filter cutoff at audio frequencies at the same time. The second source is a new FM input jack on the right hand side of the case. Using this source allows you to run a sound through the filter from the VCF input or just use the internal VCO, and at the same time modulate the filter cutoff with an entirely independent sound source at the FM in jack. The actual audio from the FM in jack is not heard. The remaining two sources are the sawtooth and square wave signal from the main oscillator. These can be selected as sources completely independently of the setting on the VCO waveform knob The FM source select knob also has an 'off' setting. The amount of FM applied to the VCF is controlled using the VCF FM knob.  VCF CV input: This mods adds 3.5mm jack on the right side of the machine that will accept an external CV to control the filter cutoff. The CV input should range from 0-5v. Higher voltages, or negative voltages are NOT recommended. This mod also adds a switch on the front to toggle between internal and external cutoff con

Schoeps DSP-4 KFM 360 This unit is in good cosmetic condition and turns on, but I did not test it myself. I bought it used from the exclusive Schoeps French distributor Areitec in 2017, so it should be in good working condition. Invoice is available. I never had any opportunity to use this fantastic piece of gear. Sold as is. Comes in its original Schoeps wooden box with a Schuko power cord (France), a stereo XLR cable (5 pins) and a XLR split Y cable. The DSP-4 KFM 360 is a 24-bit processor unit. Together with the sphere microphone KFM 360 and two bidirectional compact condenser microphones CCM 8L, it forms a compact 5.1 surround recording system with excellent spatial imaging capability. The processor derives the six 5.1 surround channels from only four microphone signals (the two pressure transducers in the KFM 360 plus two figure-8s) and offers a wide range of selectable settings. The primary characteristics of the DSP-4 KFM 360 are:  – analog and digital inputs and outputs  – integrated 48 Volt phantom powering and microphone preamplification  – built-in equalization for the microphones  – digital processing can be performed during or after the actual recording  – analog control “feel”  – capability to store control “presets”  – directionality of the front and rear channel microphones is independently selectable  – the stereo basis width of the front channels is independently variable  – adjustable time delay and low-pass filtering for the rear channels  – sampling rate 44.1, 48 or 96 kHz, 24 bit In addition to amplifying the microphone signals, in the “B: SURR” operating mode the DSP-4 KFM 360 provides compensation for the low-frequency response of the figure-8 microphones and appropriate diffuse-field equalization for the pressure transducers. The front-channel outputs result from summing the outputs of the pressure transducers with the outputs of the figure-8s, while the rear-channel outputs result from subtracting these signals (see drawing on next page). The resulting “virtual microphones” face frontward and backward as do the actual figure-8s. The directional patterns of the front- and rear-facing “virtual microphones” may be set independently, from omnidirectional through cardioid all the way to figure-8 (though the extreme settings are of only limited usefulness). This permits flexible adaptation to the particular acoustic conditions of the recording venue, since the choice of directional pattern affects the amount of reverberant energy that will be picked up. If the unprocessed microphone signals are recorded (four channels), the effective directional settings can be chosen retroactively during post-production playback. The center channel signal is derived from the front channels by a matrix. An additional channel contains only a low-frequency signal up to 80 Hz, which is obtained by summing the pressure transducer outputs and reducing the total level by 6 dB. To prevent the disturbing effect of rear channel localization of sound sources, the rear channel signals can be reduced in level, delayed and/or processed by an adjustable low-pass filter. In addition to these primary functions, each selector switch also has a secondary function that allows, for example, the relative front-to-back channel gain or the left/right balance to be adjusted. While recording there is also a monitoring function which permits twelve different signals to be heard through Output III, as determined by the set- ting of the REC MONITOR knob.