250,00 € + VAT
The Masterone is the first Frap Tools module designed to be connected exclusively with non-Eurorack equipment.
It features four separate output sections with different Neutrik connectors and adjustable gain levels to suit the most common live and studio situations (and even some uncommon ones).
With no inputs and just large-format outputs, it pushes even further the concept behind the M module: being a Eurorack system’s gateway to the outside world.
Two XLR connectors (left and right) provide a balanced output with the expected 6 dB extra gain. In many cases, they can allow bypassing a DI box.
These outputs are very similar in concepts to the ones on the M module, but with large ¼” jack connectors. It is possible to patch standard TS cables and use them as unbalanced outputs, or use TRS cables to interface them with balanced equipment (the ground is routed to both the ring and the sleeve, for a better performance than regular unbalanced outputs).
If the two stereo outputs are too hot, a set of switches can attenuate them. The Line/Mic switch on the XLR outputs attenuates them by ~30 dB, while the Line/Inst switch on the TRS outputs attenuates them by ~15 dB.
The Headphones section allows you to monitor the Master output with an independent volume knob and, at the same time, take advantage of the PFL function on the Channels and the Groups. Rotate the PFL crossfader towards the blue section to blend the PFL modules with the Master sum and check if everything is okay before launching the next scene.
Should you need an extra monitor on stage, or run the whole system through a vintage amp in the studio for parallel processing, the auxiliary monophonic outputs is the answer. It provides the sum of both channels in a handy, pseudo-balanced output with a dedicated fader: attenuate the line level by 15 dB, or amplify it by 6 dB.
A detailed VU Meter monitors the signal amplitude from -40 to +15 dB with peak memory on the upper LEDs.
Master Family Comparison
VU meter peak memory
3.5 mm TRS
3.5 mm TRS
3.5 mm TRS with PFL
Pseudo-balanced mono output
¼" TRS with fader
Pseudo-balanced output level
Balanced output level
⌀ 20 mm
⌀ 20 mm
80 mA @ +12 V
80 mA @ -12 V
110 mA @ +12 V With headphones at high level (250 Ω)
105 mA @ -12 V With headphones at high level (250 Ω)
Recommended warmup time
¼" TRS output impedance
≥ 35 Ω (unbalanced)
≥ 70 Ω (pseudo-balanced)
XLR output impedance
≥ 220 Ω (line level)
≥ 440 Ω (mic level)
Maximum output level before clipping
≥ 17 dBu
Output gain scale referred to group output
Headphones gain scale referred to group output
0.01 to 40 KHz
< 0.3 %
More details on the Manualone.
website builder softwareOur modules are packed with high-quality components that demand a proper power supply and can get sensibly warm.
That is its normal temperature and we can guarantee their performance.
You always need at least one group if you plan to incorporate a master module in your setup. It is not possible to connect any channel module directly to a master module.
The CGM is designed to let you connect up to eight channels (C or QSC) to one group (G), but there is no way of connecting the same channels to two or more groups.
Yes, to take advantage of the Master module’s functions (PFL, headphones, final gain stage), you need at least one group.
I want to connect a QSC to my Group module, but the Link cable shipped with the group seems designed for mono Channels. Why? Can I still use it with the QSC?
We designed the group (G) module together with the classic mono channel (C), which is 6HP wide. After the QSC release, we developed a new Link System with wider plugs that allow you to connect more QSCs in a row.
If you need to connect more QSCs, check your local shop for cable availability!
If you just need to connect a QSC, the classic group-to-channel cable works great, too.
If you experience an abnormal panning on the CGM, check your case’s power supply and your system’s overall power consumption. We experienced that the CGM system sometimes has trouble working in a system close to its maximum Ampère output. An unbalanced power supply may cause the audio to be louder on one channel than on the other.
Try staying below 80% of the total amperage or switch to a more powerful PSU to solve this issue.
In Europe, we sell exclusively through our distributor: we do not have access to the individual shops’ orders or stocks.
In the rest of the world, we sell directly to the shops, but even in that case, there’s no way for us to know whether the modules that we’re restocking are sold, available, or reserved for another customer.
We restock every module at least once over a year: we focus on a module’s batch at a time, then we move on to the next one, and so on.
If you want an estimated delivery time for a specific module, drop us a line! We’ll be happy to answer you.
The Mute button closes the first VCA of the channel, thus preventing the sound from being routed through all the other VCAs (FX sends, pan, main fader).
The Solo in Place button isolates some channels and mutes the others. However, the mute function it performs is different since it affects the channel after the fader: the sound will still be routed to any pre-fader VCA such as Direct Output and FX Sends (when set to Pre-Fader Mode).
In other words, the Mute button works pre-fader, while the Solo in Place works post-fader.