This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the Australia version of the site.
Would you like to switch to your local site?
Digital Subscriptions > MusicTech > Apr-18 > AJH SYNTH Gemini 2412, Mega-Phase 12 And Finaliser R-EQ

AJH SYNTH Gemini 2412, Mega-Phase 12 And Finaliser R-EQ

Continuing its line of great-sounding products, AJH Synth brings us three tasty new modules, with a hint of nostalgia and heritage. Dave Galeinverts phase…
£345 EACH

Contact AJH Synth | www.ajhsynth.com07867 008964

The Eurorack category is positively brimming with every conceivable module these days – so much so, that you’d think there are few places left to turn. So with this in mind, you have to doff your cap to Allan Hall, the mastermind behind AJH Synth, who has managed to come up with some more new angles on old classics, with plenty of surprises in sound and architecture.


The Gemini 2412 filter is a dual, two-pole/12dB, variable-state filter, which can be used in either series or parallel. As is the case with all other AJH modules, inspiration has been drawn from a classic source – in this case, it’s the Oberheim SEM filter, which was found on a variety of two-, four- and eight-voice synths. The big difference here is that the twinned design opens up all sorts of possibilities for sound exploration, in a way that was unachievable with an original SEM.

Both sides of the module are largely the same, offering low-, band- and high-pass filter types. These are accessed by selecting one of the dedicated outputs for each, or by using the main output – with the filter type being selected via a dedicated pot, offering the same three filter types, along with a variable option. Here, it’s possible to sweep from a low pass, through to a notch filter and on to a high pass, using the dedicated pot. Cutoff Frequency and Resonance are ubiquitously present on both sides, with the additional ability to control Resonance via CV, and to track the frequency cutoff from a dedicated volt-per-octave CV input. An attenuverter also allows for further CV-based cutoff control.

Purchase options below
Find the complete article and many more in this issue of MusicTech - Apr-18
If you own the issue, Login to read the full article now.
Single Issue - Apr-18
Or 449 points
Annual Digital Subscription
Only $ 3.75 per issue
Or 4499 points
Monthly Digital Subscription
Only $ 4.49 per issue
Or 449 points

View Issues

About MusicTech

Emulating the artists that inspired us in our many music-making ventures is as much about rekindling those feelings as it is knowing how the sounds were created. In our cover feature this month we show you how to get impossibly close to the sonic signatures left by your musical heroes. Continuing the theme we present our newest feature ‘Recording Spotlight,’ where we speak to Peter Franco, engineer on Daft Punk’s Random Access Memories, and gain insight into the complex, painstaking work that went into creating this modern classic. Additionally, we sit down with dance-music producer Stefano Ritteri and rising UK production star Rhiannon Mair, get into the meat of Cubase 9.5 and get hands-on with all the latest gear, tech and software. We hope you enjoy the issue…