ST·OUT

NANO Modules 6HP
I/O UTILITY MIXER EQ

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Stereo modular-to-line output. Volume fader, tilt EQ and soft/hard drive feed two balanced 6.3mm TRS outs plus a headphone jack, with a stereo peak LED meter. 6HP, 40mm deep.

Patch Ideas · 4

Studio monitor hand-off
Send the modular mix out to your monitors or interface, unprocessed, with the fader as your master listening level.
Walkthrough
  1. Set Drive switch to Off so the signal stays clean.
  2. Set Tilt EQ to noon (flat).
  3. Set Volume fader all the way down before patching.
  4. Patch your stereo mixer L Out -> ST·OUT L In.
  5. Patch your stereo mixer R Out -> ST·OUT R In.
  6. Connect ST·OUT L Out (rear TRS) -> Interface input L with a TRS cable.
  7. Connect ST·OUT R Out (rear TRS) -> Interface input R with a TRS cable.
  8. Bring the Volume fader up until the peak LEDs sit just below the top segment.
Signal out ST·OUT L/R Out (rear TRS) — balanced line-level stereo, ready for monitors or an interface.
Listen for Your modular mix at proper line level. Pushing the fader higher lights the top peak LEDs; back off until they only tickle on loudest hits.
▸ Show diagram
Patch diagramPatch diagram with 3 modules and 4 connections. Modules: ST·OUT, Mixer, Interface. Signals: 4 cv.ST·OUTMixerInterfaceDrive: OffTilt: noonVolume: ~3 o'clockL IncvR IncvL OutcvR OutcvLcvRcvLcvRcvcv
Bus grit on the master
Slam the full mix into Hard drive for saturated bus tone, then tame the top end with a CCW tilt.
Walkthrough
  1. Flip Drive to Hard.
  2. Start with Tilt at noon and Volume at unity.
  3. Patch mixer L -> ST·OUT L In, mixer R -> ST·OUT R In.
  4. Connect ST·OUT L/R Out -> your recorder or interface (balanced TRS).
  5. Turn the fader up until the peak LEDs just start kissing clip, then back off a hair.
  6. Roll Tilt EQ slightly CCW (around 10 o'clock) to soften the treble bite the hard drive adds.
Signal out ST·OUT L/R Out — saturated, slightly darkened stereo bus feeding your recorder.
Listen for The mix thickens and peaks round off. Hard drive adds buzz on transients; the CCW Tilt keeps it from getting harsh.
▸ Show diagram
Patch diagramPatch diagram with 3 modules and 4 connections. Modules: ST·OUT, Mixer, Recorder. Signals: 4 cv.ST·OUTMixerRecorderDrive: HardTilt: ~10 o'clockVolume: ~2 o'clockL IncvR IncvL OutcvR OutcvLcvRcvLcvRcvcv
Silent-stage headphone cue
Send modular out to FOH over balanced TRS while using the front-panel phones jack as a performer cue — the Headphones knob is independent of the main fader.
Walkthrough
  1. Set Drive to Soft for a touch of stage warmth.
  2. Set Tilt to noon and Volume for your FOH send level.
  3. Patch mixer L/R -> ST·OUT L/R In.
  4. Connect ST·OUT L/R Out -> FOH or interface with balanced TRS cables.
  5. Plug headphones into the front-panel Headphones jack.
  6. Start the Headphones knob at minimum, then dial up to a comfortable monitoring level.
Signal out Main signal: L/R Out to FOH. Monitor signal: front-panel Headphones jack, level set locally.
Listen for Headphones give you a full stereo cue while the balanced outs continue feeding FOH untouched. Moving the Headphones knob never changes what the audience hears.
▸ Show diagram
Patch diagramPatch diagram with 4 modules and 5 connections. Modules: ST·OUT, Mixer, FOH, Performer. Signals: 5 cv.ST·OUTMixerFOHPerformerDrive: SoftTilt: noonVolume: unityHeadphones: ~1 o'clockL IncvR IncvL OutcvR OutcvHeadphonescvLcvRcvLcvRcvHeadphonescvcv
Saturated mono send to a pedal
Run a single mono source through Soft drive and a brightening tilt, then use just one balanced out to feed an external pedal or mixer channel.
Walkthrough
  1. Flip Drive to Soft.
  2. Start Tilt at noon and Volume low.
  3. Patch the mono source -> ST·OUT L In only (leave R In empty).
  4. Connect ST·OUT L Out -> your pedal input with a TRS (or TS) cable.
  5. Raise the Volume fader until peak LEDs sit mid-range.
  6. Rotate Tilt CW toward 2 o'clock for presence and air.
Signal out ST·OUT L Out — warmed, slightly bright mono send to the pedal chain.
Listen for The source gets thicker from Soft drive and brighter from the CW Tilt. R Out and the headphone path stay silent because R In is unpatched.
▸ Show diagram
Patch diagramPatch diagram with 3 modules and 2 connections. Modules: ST·OUT, Mono Source, FX Pedal. Signals: 2 cv.ST·OUTMono SourceFX PedalDrive: SoftTilt: ~2 o'clockVolume: ~1 o'clockL IncvL OutcvOutcvIncvcv

Behaviors

Modular to balanced line L/R patched, TRS cables at the rear outs

Scales hot modular ±10V swings down to a balanced line level suitable for studio monitors, interfaces or PA. Balanced sends reject long-cable hum when the receiving gear is also balanced; a TS cable still works and is simply unbalanced.

Stereo peak LED meter signal present on L or R

Dual-channel LED meter reacts to the post-drive signal so you can set the fader before the output stage starts limiting. Use the top LEDs to judge headroom — back the fader off when they light steadily.

Soft vs hard drive Drive switch position

Soft adds gentle analog warmth and rounds peaks for a subtle bus glue. Hard folds the top of the waveform for audible grit and buzz. Both stages run before the fader, so Volume tames the distorted signal at the output.

Tilt EQ as final polish Tilt EQ knob off noon

Single-knob mastering tilt: one direction brightens while simultaneously cutting bass, the opposite direction darkens. Useful to compensate for a dark monitoring room or to tame the high-frequency grit introduced by hard drive.

Controls

Main output Volume Fader sets level sent to both balanced line outputs. Headphone level is controlled separately.
Fader · taper scales ±10V modular signal down to line level
Main output Tilt EQ Single-knob DJ-style tone tilt. One end boosts highs while cutting lows; the other end does the reverse.
CCW: darker (bass up, treble down) · noon: flat · CW: brighter (treble up, bass down)
Main output Drive Three-position switch inserting an analog saturation stage before the output buffer.
Off · Soft (gentle warming) · Hard (harder clipping / grit)
Headphone output Headphones Independent level control for the front-panel headphone jack. Does not affect the balanced line outs.
0 – full · post-drive, post-tilt, pre-main-fader tap

I/O

IN · 2

  • L In ±10V max AUDIO
    Left channel modular-level audio input.
  • R In ±10V max AUDIO
    Right channel modular-level audio input.

OUT · 3

  • L Out (balanced TRS) AUDIO
    Left balanced line-level output on 6.3mm TRS jack. Connect to mixer / interface / amp with a TRS cable for the balanced send, or a TS cable for unbalanced.
  • R Out (balanced TRS) AUDIO
    Right balanced line-level output on 6.3mm TRS jack.
  • Headphones
    Stereo 6.3mm TRS headphone output on the front panel. Level set by the Headphones knob independent of the main fader.