Details on XILS-lab's The Eighty

You might remember the teaser video and announcement video.

The press release with additional details follows:

XILS-lab launches The Eighty as virtual Vangelis soundalike homage to iconic Seventies synth classic, faithful to the original and enhanced for the future

GRENOBLE, FRANCE: XILS-lab is proud to launch The Eighty — effectively acting as a virtual Vangelis soundalike homage to an iconic Seventies-vintage synth classic that the Academy Award-winning Greek musician, composer, and producer of electronic, progressive, ambient, and classical orchestral music made into his signature sound, thanks to its exceptionally complete performer expression features (such as a layered keyboard that was both velocity- and pressure-sensitive in action, albeit, unlike most keyboards of the time, that aftertouch could be applied to individual voices, and a ribbon controller allowing for polyphonic pitch- bends and glissandos), faithful to the original and enhanced for the future as the latest entry into the audio software company’s lengthening lineup of virtual instruments par excellence — as of January 14…

It is fair to say that Bladerunner — the now-classic Ridley Scott-directed sci-fi film from 1982 set in a dystopian future Los Angeles of 2019 — is, for many, inextricably linked with Vangelis’ BAFTA- and Golden Globe-nominated score, showcasing his superlative skills with that iconic Seventies-vintage synth classic that was arguably as ahead of its time as that trailblazing score to which its sound subsequently became inextricably linked in itself. Much missed, Vangelis left this mortal coil in 2022, sadly, while the relatively few remaining fully operational examples of Yamaha’s CS-80 synth — supporting true eight-voice polyphony, with two independent synthesizer layers per voice each with its own set of front panel controls, in addition to a number of hardwired preset voice settings and four parameter settings stores based on banks of subminiature potentiometers — that musically meant so much to him are highly coveted by high-flying collectors, commanding eye-watering prices extending into high five-figure territory, putting them well beyond the reach of mere musical mortals... not that many could comfortably carry one anyway as they weigh in at a back-breaking 100kg/220lbs (including built-in hard case), regardless of how deep their pockets may well be!

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Sonic Artefacts Introduces the Sonic Chessboard DIY Kit: Compose like John Cage!

video upload by Sonic Artefacts

"Play chess and compose music, at the same time! This Sonic Chessboard is a passive Optical Octophonic Audio Panner / light sensitive "chessboard", based on the design by Lowell Cross for John Cage's and Marcel Duchamps' musical chess performance Reunion (1968). It routes 16 audio signals via the 64 light dependent resistors to 8 separate audio outputs. Cover the squares on the board with chess pieces or your hands to make sounds roll through a room and add to the spatial distribution of all the different inputs. Best to be played with a strong bright light mounted on the ceiling above the chessboard.

Limited edition DIY Kit, available at: https://sonicartefacts.com/product/so... & https://patch-point.com/collections/s...

The materials were originally made in small series for Wouter Jaspers' installative sound performance "Indeterminate Structures (2023). Big thanks to ‪@Hainbach‬ for playing chess with me and ‪@Sonoscopia‬ for the original sound installation and of course to the great folks of ‪@patchpoint4043‬ for hosting us!"

Press release follows:

Berlin, Germany – Sonic Artefacts is excited to announce the release of the Sonic Chessboard, a unique DIY musical instrument that merges the worlds of chess and sound. Inspired by Lowell Cross’ design for John Cage’s Reunion (1968), the Sonic Chessboard offers a captivating way to create spatial sound experiences.

The Sonic Chessboard is a passive Optical Octophonic Audio Panner that routes 16 audio signals via 64 light-dependent resistors embedded in the squares to 8 separate audio outputs, changing the volume when a chess piece gets moved from one square to another. By strategically placing chess pieces on the board, users can control the volume and flow of sound, creating dynamic and immersive soundscapes.

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Ember by Aircraft Designs, Analog Mid/Side Eurorack Saturator

video upload by Aircraft Designs

"This is more than just another saturator. It’s the result of dedicated work by our team of engineers and musicians. In this video, we show how our unique saturation circuit adds depth, warmth, and character to any sound. Experience a whole new world of sound with Aircraft Designs."

"Add depth and character to your sound with our analog saturation processor. From subtle warmth to bold harmonic textures, Ember helps your tracks stand out with rich, musical coloration, cutting through the mix with that sought-after analog vibe—making it ideal for mastering, live performances, and mixing individual instruments.

One of the standout features of this saturator is its low noise floor and low self THD (Total Harmonic Distortion), which allows for a transparent and authentic saturation effect without undesirable artefacts. It brings warmth, rich harmonics, and character to your audio signals, elevating your sound to new heights.

● Unique Saturator Circuitry. Engineered to minimize self-noise and delivering an exceptionally clean saturation with vibrant sonic character.
● Stereo/Mono Operation. Allows for both stereo processing and mono configuration with left input being normaled to right.
● Separate Odd and Even Harmonics Control. Gain granular control over harmonic texture, shaping your sound with pinpoint accuracy.
● M/S Matrix. Apply saturation independently to Mid and Side channels, enabling complex audio processing while maintaining the original stereo field.
● Crossover with Frequency Control. Configure the threshold frequency for applying saturation, effectively preserving the low-end spectrum.
● Bypass. Compare processed and clean signals.
● Balance Control. Set the dry/wet mix ratio to achieve a seamless blend between the processed and unprocessed signals.
● Level Metering. See the levels or output signal so have more control before hitting next in the chain module.
● Modular and Line-Level Compatibility. Although designed to excel with modular-level signals, Ember is also compatible with standard line-level inputs."

https://aircraftdesigns.info

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Waveshape BETTER with Modulaire Maritime - Tarot La Coupe, a truly unique waveshaper.

video upload by Audiorial

Click CC on the bottom of the player for subtitles.

"Modulaire Maritime - Tarot La Coupe, truly unique waveshaper."



via Modulaire Maritime

Pseudo-paraphonic Waveshaper

Recently MM entered its 8th year of existence. For this occasion this very special module -Tarot « La Coupe » 🏆 is out now! This is the most complex and experiment oriented MM module to date. A true labyrinthe of timbres. It combines several wave shaping sections with voltage controlled morphing between them for a whopping amount of timbres, as well as some internal network of feedback routings from shaped waves throught frequency multiplies for some unheard sonic voices. Those are to be explored with typical oscillator’s waveforms or with all other audio. The module has CV controls over almost every parameter (even hidden ones 🗣️) although it conserves 12hp size.

From the mythic west-coast folding sounds, through tight basses, wild distortions, powerful chorus-pulse width modulated soundscapes and some colorful synth leads & pads Tarot LC can go downright to the harsh-noise territory or chiptune-like artefacts.

The additional small breakout module provides 6 individual outputs available simultaneously for some eventual complex sound designs, post processing, stereo patches, panning, etc. (although every section can be heard separately or in interaction with others through main (mix) Out (therefore the expander module is sold separately)

This Tarot carries well its name - there are many constellations to be explored finding different characters through the shuffling of its sonic deck of cards.

Details & use:

Tarot LC is rather a complex module, it is thought to be the only waveshaping module you would ever need in your rack: this module is like having 6 shapers in one module. You've probably noticed that names of some control knobs (Warp, Shape, Fold) are almost the synonyms, emanations of waveshaping techniques- that's intentional and is thought for that the user could more easily distinguish each shaping circuit separately since some controls are shared or some potentiometers have double functionality depending on the chosen mode.

The easiest way to get to know Tarot LC without reading the manual is if you have purchased the Breakaout module with separate Outs - you can just plug each Out, one by one, to see which controls are operable with corresponding circuit's output and than figure out which one is crossfaded with another thru 3-way switch (CF SWAP) giving mixed Out on the main Tarot LC module."

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Forge TME - VHIKK multi oscillator voice

video upload by Forge TME

"The vhikk is a multi-algorithm experimental synth voice for eurorack. It combines wavetable oscillators, filters and delay-based effects into one module with 9 different modes."


video upload by John Schussler

"The name of the company is Forge-TME. The module is VHIKK. No, I don't know what any of that means.

The module at its most basic is an oscillator. Several, actually, merged with a variety of self modulation, feedback, and delay connections that make it look, at first glance, like an all-in-one drone.

It ends up being more than that. It tracks 1v/oct just fine, so can be a melodic, even lead oscillator voice. I start this video with the basic drone side of things, but then move over to the sequenced pattern side, which is equally interesting.

I'm not going to try to explain the module in any detail, as its structure is too complicated. You're gonna have to RTFM for that (https://forge-tme.com/vhikk/). On the upside, that complexity doesn't make it hard to use. Wiggle the knobs and lots of great stuff comes out.

Sequencer: Stochastic IG. Envelope: Zadar

00:00 Intro
00:20 Drone - no pitch
04:45 Drone - pitch up
18:28 Slow sequence
23:00 Fast sequence"

"The vhikk twists, convulses and wails in a vortex haunted, spitting dirt and dust and time and raw energy. Rapid shadows, alien physics, pulsating artefacts, sometimes ridiculous, sometimes possessed.

The vhikk is a multi-algorithm sound source capable of traversing sonic planes complex, raw, dense, electric, erratic, dynamic.

The vhikk trades total control/comprehension/repeatability for a [hopefully fertile] dialogical experience and breadth of sonic palette. It is intrinsically ephemeral and is designed to encourage exploration and presence - with low cognitive overhead.

The vhikk is happy alone but thirsty for voltages. The produced output can be quite spectrally and temporally full and doesn't necessarily require [but definitely appreciates] further processing to synthesise musically useful material.

The Vhikk is a multi-algorithm experimental synth voice specialising in [but not limited to] complex drones and basses, rich textures, and dynamic sfx. It combines sound generation and effects processing into one module with 9 different modes.

The nature of the Vhikk makes it suitable for situations where a compact, ergonomic, and self-contained sound source would be welcome - for example smaller modular systems, or large systems where a strange sound source with minimised cognitive overhead would be desirable.

The general architecture consists of a bank of wavetable oscillators [the generator] sent through a filter section which then passes into a delay-based structure [the processor] - with the specific architecture and character of these sections dependent on the selected mode.

Some of the modes implement what is referred to here as 'cluster scanning' - a smooth crossfading scan through sets of frequency/wave pairs. Imagine a wavetable scan parameter but each distinct wave position also has an associated frequency offset. In the modes implementing cluster scanning these wave/frequency offsets are different for every oscillator.

The processor in general consists of a delay-based structure which can be smoothly transformed from something resembling a delay [distinct [albeit processed] repeats] to something resembling a reverb [diffused repeats, increasing echo density, modulation].

There is a frequency shifter integrated into the processor, either post delay-structure or in the feedback loop depending on mode and FEED position.

The X jack is a signal input which is merged with the generator pre-filter and passed into the processor. The graphic in the upper middle of the panel is a level indicator for the X input."

You can find additional details at https://forge-tme.com/vhikk/.

Nermal Eurorack modulated destructive distortion module by Neutral Labs

video by nyppy

Neutral Labs Nermal Eurorack modulated destructive distortion Eurorack module demo

video by nyppy

Prototpy demo posted here

via Neutral Labs

Nermal is a destructive distortion Eurorack module that has some unique sonic qualities. There are 3 levels of distortion ranging from subtle saturation to utter destruction. An integrated modulator can switch or even blend between these modes, with the modulation frequency going well into the audio range, in which case, interesting harmonics and artefacts can be created on top of the incoming audio. Nermal rewards experimentation and unexpected sweetspots can often be discovered along the way. In addition to the onboard modulator, there are external modulation options via control voltages (CV) for the most commonly used parameters. LFOs and envelopes work great, but audio signals are accepted as well and make for the most interesting patches.

Nermal is available from May 2021 as a full DIY kit from retailers. It's fairly easy to complete, with a moderate component count and no SMD or other tricky parts.

Best Ambient Synth Shootout #111​: Bastl Instruments XOR - Song 3

video by Christian's Sonic Spaces

"This is the third song with the Bastl Instruments XOR. It's a monotimbral, 6 voice polyphonic, wavetable-based synthesizer using bit operations to add harmonics to the sound. The resulting dirty digital modulation artefacts makes it unique sounding.

I used it for the recording in the following FX pedal chain:
XOR - Elektron Analog Heat - Pladask Elektrisk Fabrikat - Pladask Elektrisk Draume - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2. Depending on the recorded track some FX are deactivated

The signal went through a Presonus StudioLive 16.0.2 into the PC for recording. To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with a bit EQ and compression on some tracks and some limiting on the master track."

Best Ambient Synth Shootout #108​: Bastl Instruments XOR - Song 2

video by Christian's Sonic Spaces

"This is the second song with the Bastl Instruments XOR. It's a monotimbral, 6 voice polyphonic, wavetable-based synthesizer using bit operations to add harmonics to the sound. The resulting dirty digital modulation artefacts makes it unique sounding.

I used it for the recording in the following FX pedal chain:

XOR - Elektron Analog Heat - DigiTech Obscura - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2. Depending on the recorded track some FX are deactivated

The signal went through a Presonus StudioLive 16.0.2 into the PC for recording. To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with a bit EQ and compression on some tracks and some limiting on the master track."

Erica Synths SUPERBOOTH19 Announcements

"Erica Synths have prepared a lot of new products to present at this years Superbooth in Berlin. 13 new modules and... a new system! You read it right.

And this isn't even all that we have planned to release in the rest of 2019

Reminding that you can find us at the first floor lobby, booth E245.
Just look for all black everything!

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Best Ambient Synth Shootout #59: Evolution Synthesis EVS-1 - Song 3

Published on Oct 14, 2018 Christian's Sonic Spaces

"This is the third song with my latest addition, the Evolution Synthesis EVS-1. It's a 16-voice polyphonic, 8-part multitimbral, digital synthesizer featuring 4OP FM, 4OP Phase Distortion, Ringmodulation, Waveshaping, etc. It wasn't very successful when it came out in the early 90s. The reasons might be that one need a computer software to programm this synth, the sounds contain significant digital artefacts and it hasn't any filter and effects. But thanks to the 4 6-stage envelopes and 2 LFOs which all can be freely routed to each control two different parameters of the synth engine including LFOs themselves AND the "wavetable", it's a beast to create crispy, wobbling, glitchy, drony, weird, industrial-like soundscapes. The aliasing is here a significant part of the sound design ;-) I'm really impressed how versatile and "fresh" it still can sound.

BTW, all sounds I used for this song I've created myself ;-)

I used for the recording the following FX chain:
Evolution Synthesis EVS-1 - Alesis Philtre - Alesis Ampliton - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2 - Alesis 3630. Depending on the recorded track some FX are deactivated.

The signal goes via a small Behringer mixer straight into the pc.

To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with just a bit compression on some tracks and some limiting on the master track."

Best Ambient Synth Shootout #57: Evolution Synthesis EVS-1 - Song 2

Published on Sep 29, 2018 Christian's Sonic Spaces

"This is the second song with my latest addition, the Evolution Synthesis EVS-1. It's a 16-voice polyphonic, 8-part multitimbral, digital synthesizer featuring 4OP FM, 4OP Phase Distortion, Ringmodulation, Waveshaping, etc. It wasn't very successful when it came out in the early 90s. The reasons might be that one need a computer software to programm this synth, the sounds contain significant digital artefacts and it hasn't any filter and effects. But thanks to the 4 6-stage envelopes and 2 LFOs which all can be freely routed to each control two different parameters of the synth engine including LFOs themselves AND the "wavetable", it's a beast to create crispy, wobbling, glitchy, drony, weird, industrial-like soundscapes. The aliasing is here a significant part of the sound design ;-) I'm really impressed how versatile and "fresh" it still can sound.

BTW, all sounds I used for this song I've created myself ;-)

I used for the recording the following FX chain:
Evolution Synthesis EVS-1 - Alesis Philtre - Alesis Ampliton - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2 - Alesis 3630. Depending on the recorded track some FX are deactivated.

The signal goes via a small Behringer mixer straight into the pc.

To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with just a bit compression on some tracks and some limiting on the master track."

Song 1 here.

Introducing Blinksonic° FR3TZ° for Native Instruments Reaktor 6

Published on Sep 22, 2018 BLINKSONIC°

www.blinksonic.com/fr3tz

"Blinksonic family is growing with the release of a new breed ensemble for Reaktor 6.

Please welcome to FR3TZ ! String Harmonics meet Euclidean Beats... in a Granular Cloud.

FR3TZ is a self sequenced instrument which offers to play chromatically a full set of guitar harmonics samples, with the power of granular synthesis and a suite of 6 effects.
The 3 track-mono-step sequencer can be programmed in a similar way as an Euclidean rhythm generator.

FR3TZ is an unconventional piece of instrument for creating generative patterns both melodical and rhythmical, the whole being encapsulated inside a modern user interface, inspired by « Material Design », which reinforces the user experience.
This instrument can produce amazing mechanical or non linear melodic patterns but also percussive beats and generative soundscapes. 177 snapshots have been crafted to illustrate the kind of unstable loops and unusual phrases that can be created with it.

FR3TZ also explores the random concept again, in order to provide some humanized effects on your note patterns. The sequencer is coupled with a note selector (a 1 octave virtual keyboard. This selector allows to choose which sound of the map will be aleatory launched on any incoming gate events.

Travel over the waveform with the mouse to obtain glitchy effects.. Combine the 6 effects (Pitchshifter, Filter, Distortion, Delay, Chorus, Reverb) in order to sculpt the shapes of your tones.. Inject some crazy movement on the master mix with Binaural/Doppler effect... This extensive set of features combined between each other, provides a unique recipe for designing sounds.

FR3TZ, even more than a sound bank or a virtual instrument, is a real physical sonic palette.
You will discover how surprising it can be to use string harmonics as an oscillation source, transform them as an atonal percussive element. Thanks to granular synthesis, experiment how to sound big with the infinitely small.

THE CONCEPT

String harmonics have a particular sound rendering and easily provide one of the most mysterious and subtle sonic mental images when they are punctually used in a guitarist performance. Obtained with a slight pressure on the strings with the tip of the finger raised above the frets, the harmonics deliver one of the most fascinating sounds that can be extracted from a guitar.

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Best Ambient Synth Shootout #56: Evolution Synthesis EVS-1 - Song 1

Published on Sep 23, 2018 Christian's Sonic Spaces

Here's something you don't get to hear often. The EVS-1 rackmount synthesizer by Evolution Synthesis. There have only been two previous posts featuring the EVS-1, one, an auction with some pics, and the other a link to Rolamtech featuring various synth demos.

"This is the first song with my latest addition, the Evolution Synthesis EVS-1. It's a 16-voice polyphonic, 8-part multitimbral, digital synthesizer featuring 4OP FM, 4OP Phase Distortion, Ringmodulation, Waveshaping, etc. It wasn't very successful when it came out in the early 90s. The reasons might be that one need a computer software to programm this synth, the sounds contain significant digital artefacts and it hasn't any filter and effects. But thanks to the 4 6-stage envelopes and 2 LFOs which all can be freely routed to each control two different parameters of the synth engine including LFOs themselves AND the "wavetable", it's a beast to create crispy, wobbling, glitchy, drony, weired, industrial-like soundscapes. The aliasing is here a significant part of the sound design ;-) I'm really impressed how versatile and "freshh" it still can sound.

BTW, all sounds I used for this song I've created myself ;-)

I used for the recording the following FX chain:
Evolution Synthesis EVS-1 - Alesis Ampliton - Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2 - Alesis 3630

The signal goes via a small Behringer mixer straight into the pc.

To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with just a bit compression on some tracks and some limiting on the master track. Please note that I didn't use any filter and EQ for this song."

3 Modules #28: Maths, Clouds, Ripples

Published on Oct 23, 2017 Comparative Irrelevance

"Turn off the lights and get ready for some sedate dark ambient tones! I love this slow, pulsating movement, and the warm, heavy thud of Ripples' sine sub. I also like the effect of modulating Clouds' dry/wet blend here: it serves a dual purpose as a VCA for the bass notes and a sort of side-chain compression for the granular sounds.

Note: this recording contains a very wide range of frequencies, from very low bass to piercingly high treble. I recommend using good headphones or full-range speakers to hear it all.

Patch notes:
I'm using Ripples as an oscillator (with some occasional self-FM for richer harmonics) and feeding little snippets of sound into Clouds' buffer, which stays frozen most of the time here. I then tune Ripples to a nice bass frequency and leave the rest up to the modulation that's controlling Clouds.

Maths channel 4 (slow, looping envelope) is controlling Clouds' position, density and blend, which is the dry/wet mix in this case. This is set up so that the wet mix will quickly drop, letting Ripples' bass tone through, and then slowly drift back up to 100% wet while the density gets sparser (moving from counter clockwise towards noon setting) and the position moves forward through the frozen buffer.

Maths channel 1 (quicker looping envelope) is modulating Clouds' texture and size parameter, to create some interesting movements and sonic artefacts.

Occasionally I'll manually change Clouds' pitch setting for variation. I also load different buffers throughout the recording – both by unfreezing and recording new sound from Ripples, and by loading stored buffers from Clouds' memory. Actually, one of those recorded buffers contained something I'd stored forever ago, and I have a feeling it's sampled from Rings, but it sounded so pleasant I couldn't resist using it anyway. The other buffers contain only sounds from Ripples, that I recorded while setting up the patch.

Thanks for watching!"

Bastl Instruments Trinity XOR Synthesizer With MIDI

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"6 voice polyphonic synthesizer with MIDI Bastl module

Trinity is universal musical instrument and original sounding modular groovebox. It can function as any type of digital synthesizer, sequencer, controller, arpeggiator or almost anything that can be programmed into a micro-controller. Trinity is designed to be connected and combined with other Trinities of different functions in a chain, so you can create your own music making environment. It is ready to communicate with the outer world via MIDI and different sync and CV methods using MIDI Bastl. We are musicians passionate of exploring new fields of sonic experience - we already developed 4 different instruments for Trinity which work great together. They are sequencer, drum synthesizer, polyphonic synthesizer and monophonic FM synthesizer - and there is many more to come!

[XOR] is a logical statement but also bit operator which is sort of combination of & [AND] and | [OR] . By applying this modulation to the classical wavetables you can achieve very interesting harmonics added to the sound. Especially when more voices mix than it comes to really interesting dirty digital modulation artefacts. ^ [XOR] is intended to be used as a sound module for a MIDI keyboard and it doesn't produce any sound without the keyboard. It needs MIDI Bastl to interface the MIDI jack.

Features

6 voice polyphony
wavetable based - sine, saw, triangle, digi-noise
played ONLY by MIDI using MIDI Bastl
^[xor], &[and], [or] modulation
arpeggiator – gate and note modes, different shapes, adjustable speed, MIDI clock sync
8 different sound settings in one preset
6 presets
ADSR
LFO
full MIDI implementation (note, velocity, pitch bend, mod wheel sustain, CC, clock)"

SONICCOUTURE RELEASE GEOSONICS Ft. Chris Watson FOR KONTAKT PLAYER

Soniccouture Geosonics ft. Chris Watson Preview

Published on Aug 1, 2013 soniccouture·27 videos

Update: added the video above.

Soniccouture have announced a new virtual instrument: Geosonics.

A collaboration with award-winning field recordist Chris Watson, Geosonics delves deep into Watsons vast archives to form a library of rare sonic artefacts that cannot be found anywhere else.
Using this unique collection of audio as a starting point, Soniccouture created additional sound design material ; waves and sampled textures which, when layered and combined with Watson's original recordings create playable, musically useful soundscapes and pads.
Watsons recordings are divided into four categories : Ice & Water, Wind, Wires and Swamps. Recorded in locations as diverse as the North Pole, the Kalahari desert, the australian outback and madagascan swamps.

The Geosonics instruments follow the same categories, with over 400 Kontakt presets in total.

Library Specifications
6 GB library (with Kontakt NCW compression)
Contains 4.7 GB original Chris Watson recordings
400 sound design presets by Ian Boddy, Biomechanoid, Martin Walker, Andy Wheddon, Soniccouture
140 sound design sample sets
Custom Convolution IRs
FOCUS mapping function
24 bit 48 khz stereo recording / sampling
Compatible with free Kontakt Player 5 - VST AU RTAS Standalone

GEOSONICS INTRO OFFER
Get €20 / $ 30 Off Full Price
ENTER CODE : YA6ARGHW
Offer ends Midnight 24th August 2013

http://www.soniccouture.com

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