Anything for music. In this compact and robust chassis, you will find: a 25-key Midi keyboard, 8 backlit MPC-type pads sensitive to velocity, 4 control knobs that can be stored in two banks and freely assigned to the parameters of your plug-ins or music creation software, as well as the classic function keys directly from the MPC family, Note Repeat and Full Level. In addition to the usual master keyboard functions, the MPK Mini Play features 128 tones, 10 drum kits and its own loudspeaker so you can use it without a computer, in a completely autonomous way. Versatility and freedom. Whether it's for use with your Mac or PC via a USB cable, to sing along by the fire by connecting to the campsite sound system, or to compose in secret in the bathroom using the headphone socket, the MPK Mini Play is the ideal keyboard to accompany your artistic fibre. Everything you need to make music is at your fingertips. Indeed, when not connected and powered by your computer via the USB cable, the MPK Mini Play recovers all its positive energy from 3 AA batteries. Compatible with everyone. Everything is simple and intuitive! An oLed display with a rotary encoder allows you to choose from 128 tones and 10 battery kits. Add a little extra dimension to your performances with the X-Y joystick for pitchbend and Midi control, as well as 4 knobs that can be assigned via two banks for a total of 8 separate controllers used to modify internal sounds or control the parameters of your software or virtual instruments. Thanks to the built-in arpeggiator, the MPKmini Play can produce complex arpeggios and patterns without tiring your fingers too much. If, on the contrary, you are hyperactive and the 25 keys are not enough for you, the octave change buttons will expand your expressive abilities up or down. Mini, but complete! The MPK Mini Play is designed for both experienced musicians, who already use music production software to improve their skills, as well as for beginner producers who will be able to gradually discover the wonderful world of computer music with the included software pack, MPC Essentials, the Hybrid 3 plugins from Air Music Tech and Wobble from Sonivox. It's all here for you to let your imagination run wild!

DJ S is certainly the most used cartridge in DJing (techno, cover, d'n'b, hip hop...) and for listening. It has become THE favoured choice of DJs around the world.Not only does the cartridge have a most sufficient tracking ability, it is also nearly unbreakable and provides the DJs with the most needed stringency. Furthermore, it equals very low record wear, an advantage for busy DJ. The DJ series has been known to many as the "jack of all trades," with improved tracking, alongside of accurate sound reproduction. Featuring a low wear stylus design, the DJ provides excellent groove handling, even with less weight applied. Compact, precise and robust, it has all the technical characteristics necessary for the practice of DJing in good conditions. It is equipped with a fine spherical diamond and its structure gives it incredible rigidity for faithful sound reproduction.

The Yamaha C40II classical guitar offers a level of quality, comfort and tone that only Yamaha is able to offer in this price range.  The quality of this guitar is certainly its greatest asset as the care, detailing and tone are simply unique for an instrument in this price range.  

Korg NTS-1 Korg has officially announced Nu:Tekt, a new brand with focus on DIY instruments, effects and utilities. The first offering is the NTS-1 synthesizer. The NTS-1 features a digital oscillator inspired by the Multi Engine found on the prologue and minilogue xd, along with a capable arpeggiator. There’s also a multimode filter, one EG, three LFOs, and three effects processors (reverb, delay, and modulation). The NTS-1 was originally introduced at Superbooth 2019, as a sort of Monotron on steroids:

The 250 Ohms Beyerdynamic DT 990 open face helmet is one of the references in its category.Light, comfortable and robust, it can be worn for several hours without being disturbed or having overheating problems.In spite of a small bump at 5k Hz in the treble, it remains very precise especially in the bass without distorting the sound.Perfect purchase to start in the mix/mastering in home studio and/or studio.

The ORLA Stage Starter Black is an Italian digital piano amplified in stereo for beginner, conservatory or self-taught use, with a high quality 88-key keyboard mechanism weighted with hammer mechanism as on a real acoustic piano. It can also be used as a master or stage keyboard. It features 16 different quality sounds that are easily selected with a combination of keys: Grand Piano (grand piano), Upright Piano (upright piano), Electric Piano (electric piano for modern blues, rock or pop compositions), Harpsi, Slow Strings, Fast Strings, Vocals (hearts), Brass (brass section), Nylon Guitar (classical guitar), Church Organ, Chapel Organ, Jazz Organ, Grand Piano mode mixed with a string layer, Grand Piano mode split with a string layer, electric piano mode split with a string layer, and finally classical guitar mode mixed with a string sound. A USB port allows you to connect it to a computer with the MIDI standard. It has a metronome with click and measure, perfect for piano studies from beginner to intermediate level. This eliminates the need to purchase a separate metronome. It has 2 headphone outputs, 2 pedal inputs, a stereo audio input to listen to the sound of a song, for example with a phone or MP3 player, and play at the same time. Another atypical didactic function: this keyboard allows you to play in TWIN mode with your teacher, at the same pitch. Very useful for courses. It is possible to add 2 sounds in a single layer or to split the keyboard in two with an instrument on the left in the bass and another on the right (split).  A keyboard key is used to select a more or less brilliant sound (Tone Control). Depending on your game and strength, it is possible to choose a sensitivity of 3 levels (Hard, Normal, or Soft). By default, the Piano sound is selected at a normal velocity. A chorus effect and 3 different reverbs are available (Room, Hall, Theatre, Room being the default). Finally, it is possible to transpose (practical in the event of an untimely change of key in a group, especially with brass accompaniment), and to tune differently the famous "LA" of reference. Key combinations are very easily set up because they are written in white on a black background just above the keyboard. So it is not even necessary to open the operating instructions.

Whether you play guitar, bass, keyboard, make beats, or work in the studio - most effects boxes are based on the same old classics. The Moogerfooger MF-105 MuRF is the antidote to generic, boring effects. MuRF stands for "Multiple Resonance Filter Array". What this means is the MuRF has 8 filters - their levels are controlled by 8 sliders. It looks like a graphic eq, but the sound of the filters are very different: warm and resonant. What is really unique is the ability to animate the levels of the 8 filters in up to 24 preset patterns. The rate of the patterns can be set by a knob, expression pedal, or plug a footswitch into the tap tempo input to match the rate to the tempo of your song. Rhythmic variations can be created by adjusting the levels of the filters. The Envelope control sets the shape of the modulation, which can be set for percolating techno rhythmic modulation or shimmering timbral morphing. Other controls include Input Drive, Output Level and Wet/Dry Mix. In addition to the full range of Control Voltage inputs, it also sports an extensive MIDI implementation. Create tempo-synced filter sequences with MIDI Clock Sync. Change patterns with MIDI Program Change messages. Control front panel knob settings with MIDI CC messages and play the filters in real-time with MIDI Note On commands. MuRF shares the musician-oriented features that are common to all Moogerfoogers. All the audio processing is 100% genuine analog, for warm, fat sound quality. Any line level or instrument level audio signal may be processed. Wide-ranging player parameters may be controlled from the panel knobs as well as from expression pedals or CV-compatible analog synthesis instruments. Components are rugged and long lasting, to withstand the rigors of stage and studio. The MuRF is housed in the classic Moogerfooger "double-wedge" enclosure that may be used on a table or on the floor. For all players, the MuRF will open up new sonic worlds for you!

The Trax RetroWave desktop monosynth was designed for musicians who want the warmth and power of classic analogue synthesizer sound, created by a real analogue instrument, as opposed to a digital system. It is equally at home on stage, or in the amateur or professional studio. Use it to recreate those classic synth sounds once made by Moogs, Korgs, VCS-3s, ARPs, etc., or make your own unique sound patches that are perfect for today's music. Using the RetroWave is very intuitive - just turn knobs and flip switches to get the sounds you want. Unlike a digital keyboard, you are not stuck with a set of presets to limit your creativity! Keyboard or Computer ControlPlay soaring lead lines and powerful basslines in real time, or use your computer programs and a USB to MIDI converter cable, to achieve stunning, intricate sound patterns. Connect any keyboard or sequencer with a 5-pin DIN MIDI out socket to the R-1's MIDI input socket, and you have an complete analogue synthesizer system for live gigs and recording - no MIDI setup to worry about, just plug in, select a channel and play! You can also use it free-standing to create your own electronic sound effects for TV, video, DJ events, stage plays, etc., or to expand your existing analogue synth system.   PatchingThe RetroWave's comprehensive "pot and switch" patching system lets you to set up sounds without recourse to endless menu screens. This way, you create electronic music from scratch - the way Carlos, Tomita, Jarre, Perrey and all the other pioneers did in the early days of sound synthesis. Inputs and OutputsThe rear panel has inputs for 24V dc power supply, MIDI (via 5-pin DIN socket), gate, VCO CV (control voltage), VCO PWM (pulse width modulation), VCF CV, VCA CV and external audio (all 1/4" jack sockets). Output jacks are also provided for CV, gate +5V, velocity and audio. The jack sockets can also be used in conjunction with the supplied patch lead, for extra interconnections between modules that are not catered for by the internal patching arrangement. Power Supply And AccessoriesThe unit is supplied complete with a universal 24V dc power unit that will work on any mains supply from 100 to 240V ac,. There are three interchangeable plug tops - just attach the plug pin assembly that matches your local power supply socket.   A long 1/4" (6.35mm) mono jack to jack output lead is supplied, for connection to an external audio amplifier.   A short patch lead is also included, for making extra connections between internal sections as described above, or for connecting external effects units. Case and ControlsThe retro-styled steel case has a powder-coated, black and white paint finish. The construction is solid and robust, making the unit ideal for live performance use. The controls and switches are laid out as ergonomically as possible, with plenty of space around the control knobs, making programming rapid and easy. We deliberately avoided putting any sockets on the front panel, to keep the unit neat and uncluttered when in use - let's face it, nobody needs a tangle of patch leads getting in the way when trying to set up sounds! All potentiometers are robust, full-size units, and all switches are good quality toggle type, as opposed to fragile and unreliable slide switches.

The iD22 is Audient's reference interface. It offers the audio performance of a studio console in a compact and stylish package. 

Perfect as a first guitar or the last guitar you’ll ever need, the PRS SE 245 Standard has a classic voice that is eminently recordable and gig-ready, thanks to its 245 "S" pickups and versatile control layout. Classic PRS appointments include a set Wide Fat mahogany neck, rosewood fretboard with bird inlays, PRS-Designed stoptail bridge and tuners. The 24.5" scale length makes this instrument instantly comfortable to players who prefer short-scale guitars. The all-mahogany body is reminiscent of Paul's first pre-factory instruments and offers a warm, woody tone.“With so many aspiring players struggling to stick with guitar past the first year, we knew we wanted to deliver an affordable quality guitar that players didn’t have to fight. We want the guitar to inspire you to play; it can’t be something you have to worry about staying in tune or simply working right. So while the [SE] Standards are our first foray into the below $500 price point, that doesn’t mean we compromised on tone, versatility, playability, or reliability,” said Jack Higginbotham, COO, PRS Guitars. “We’re very proud to offer these guitars to the world.”

The Grandmother is a playground that goes back to the roots of Moog modular synthesizers, in which the goal of synthesis is not only the result but an immersive journey into the world of discovery or experimentation. Able to create complex sounds and modulations, the semi-modular design of the Grandmother does not require a patch, allowing anyone, regardless of their experience and knowledge, to explore and discover the magic of analog synthesis. Inspired by the previous classic Moog modular synthesizers, the Grandmother's sound engine and integrated spring reverberation are completely analogical, providing access to an infinite range of sound, of incomparable beauty and power. In addition, the Grandmother also has an arpeggiator and sequencer for more fun. The additional patch and modular exploration capabilities will open up this playground to a new horizon allowing you to explore the infinite possibilities of module relationships. Patcher also allows you to redesign internal connections, each section can function as an independent module. In addition to its standalone functions, the Grandmother is also an ideal analog audio processor for processing external sound sources, as well as the perfect keyboard to accompany the Mother-32, DFAM or any modular system in Eurorack format.

Discover the guitars imagined by Sire in collaboration with jazz legend Larry Carlton!

Analogical tank from the 1978s with which we quickly spend hours on bass sounds, with 2 synchronizable VCOs. Rare with less than 650 copies, there is a grey version OB-1A. 1750 copies in total. The 6-page Oberheim OB-1 manual is typewritten (true, it can be found on the Internet), but it is not really needed in sound design, except perhaps to position the buttons to be able to record a sound on the 8 available memories (which store the positions of 33 potentiometers or buttons, almost all of them), as this cannot be invented. The OB-1 sends heavy, even if its keyboard is very cheap and makes a hell of a noise. In any case, it can be ordered with conventional CV-IN 1 volt per octave. The pinball pitch is huge. It is recommended in the instructions for use to wait 5 minutes for the circuits to be stabilized. This is clearly another way to conceive a sound, with fabulous surprises in the percussive basses, noise, boat engine noises, factory purring. Finally, no need to look for a MIDI interface on the OB-1. Source: vintage stock copy tested, service manual.

Semi-modular Phenol synthesizer from Kilpatrick Audio.

The Roland Jupiter-4 (JP-4) was an analog synthesizer designed and manufactured by Roland from 1978 to 1981. It was the company's first polyphonic synthesizer, and was known to have been the first synthesizer to provide digital controls to its analog circuits (under the term “Compuphonic” by Roland), allowing notable new functions such as programmable memories (digital recording of “patches”) and greater flexibility in the assignment of synthesized voices by the oscillators. It was sold for $ 2,895, so much cheaper than polyphonic synthesizers from competing brands of the same era (such as the Sequential Circuit Prophet 5 or the Oberheim OB X). Yet it was not as popular and remained less distributed than these competing machines. This disaffection was completely reversed when its successor model, the very popular Jupiter 8, was released on the market.