Synth modules

Notes: XFADE 1U is a classic DJ-style stereo crossfader, with a few extra tricks up its sleeve. The 'A' and 'B' sides both have L+R inputs. The crossfader blends two stereo input signals together - crossfading one into the other depending on the position of the slider and the selected XFADE Shape. The blended output appears at the MIX L and MIX R output jacks.

In addition, XFADE 1U can be used as a modulation source for controlling other modules, since the crossfader also outputs control voltages from the CV A and CV B jacks. A switch determines whether these voltages are unipolar (crossfading from 0V to 5V; and 5V to 0V), or bipolar (crossfading from -5V to +5V; and +5V to -5V). The two LEDs indicate the polarity and relative levels of the CV A and CV B signals.

XFADE 1U uses a precision Innofader crossfader submodule, with moving capacitance technology for smooth and precise control. This is the same part found on many high-end DJ mixers.

Features:

Smooth and ultra-low friction Innofader Mini-Innofader module with moving capacitance technology
Stereo or Mono operation
DC coupled inputs and outputs
Three crossfade shapes: DJ cut, Constant Power and Linear
Unipolar or Bipolar CV outputs

Width: 26HP
Depth: 38mm
Power: 48mA @ +12V / 41mA @ -12

Notes: A rock-solid all-rounder of a VCO, the Cycle 5 is a triangle-core oscillator with morphable wave shapes as well as conventional sine, triangle, saw and pulse outputs. Switchable octaves and 5th transposition make the module even more user friendly.

Supplier's Notes:
A small Eurorack oscillator that packs a punch: that's the best way to summarise Cycle 5.

At its heart lies a refined high-stability triangle core voltage controlled oscillator (VCO), with performance matching or exceeding that of much bigger and costly oscillator modules.

Instead of a coarse frequency knob, a 7-position octave switch is provided. This in combination with a perfect fifth transposition switch and factory pitch tuning, makes Cycle 5 an exceptionally straightforward and musical VCO to use: simply centre the fine tune knob, and the module will be instantly tuned to reference C.

Meanwhile, its dual precision volt per octave inputs add a great deal of versatility. For example, one could be used for pitch sequencing and the other as a generic exponential FM input, or both sequenced together for transposition effectsithe dual inputs serving as a built-in precision adder.

Sporting all the classic waveforms, ranging from sine wave, triangle, saw and square/saw, as well as a hard sync input and low frequency oscillator (LFO) mode, Cycle 5 makes for a real workhorse VCO. The novel trigonometric waveshaper results in a very clean sine wave, ideal for sub bass duty.

Cycle 5's highlight however, is its vari-wave feature. By adjusting the vari-wave knob, the waveform on the matching output will smoothly morph from sine, to triangle, saw, square and finally a very narrow pulse. The vari-wave parameter can be CV controlled, up to audio frequencies for some intense timbres.

Equally at home as a modest modulation companion to big VCOs, as being in the spotlight in miniature or polyphonic systems, Cycle 5 might just be the most multi-talented tiny analogue oscillator yet.

6 HP | +12: 75 mA, -12: 70 mA

Notes: Great value from Xaoc's pingable dual VCA, capable of creating organic, acoustic-style decay curves which replicate the dynamics of real-life instruments. Ideal for processing audio as well as CV.

Supplier's Notes:
Xaoc Devices Lublin is a high-quality dual VCA module with exponential CV inputs. On top of that, its two identical channels feature additional inputs for pinging. These inputs use an elaborate analogue circuit to model the dynamic behaviour of vactrols, allowing you to trigger a carefully crafted gain response that mimics the natural decay of plucked and struck acoustic instruments. Unlike lowpass gate modules though, Lublin reduces gain while retaining the full frequency bandwidth, so it is perfect for harmonically rich signals, like our Odessa additive VCO. The vactrol-like behaviour is just a starting point as the envelope may be varied within a wide range using a switch (natural, shortened and prolonged response) and a potentiometer, so you are not stuck with one decay characteristic. Therefore, you can use it not only to create bongos, but also for fat compressed kicks! The built-in gain control circuit (saturating CV instead of the audio signal) prevents distortion from excessive amplification. Lublin is DC-coupled, so you can use it to process CV as well as audio signals.

Width 6HP, Depth 33mm (including cable bracket)
40mA/-20mA

Notes: Get glitchy with it.

The 2hp Slice is a compact beat repeat/glitch engine built to add clickless stutters, digital glitches, and more to your patch. With an onboard Triplet button, seamlessly switch between straight beat repeats to offset triplets, perfect for those trap style fills you can't live without. With massive repeat range, and CV/Gate inputs for complex glitch sequencing, Slice is everything you need to get glitchy with it, all in 2HP.

Tech Specs

Width: 2HP
Depth: 45mm
Power Consumption: +12V=83mA, -12V=8mA, +5V=0mA

The 2hp Slice will be available in both Silver aluminium and Black PCB front panels.

The 2hp Slice ships with a 10-16 power cable and 2 Silver M3 mounting screws.

Notes: Really nice stuff here. The filter circuit from ADDAC's 4 Voice Cluster module gets reimagined as a multi-mode stereo or dual mono filter module. A lot of filter action in just 6hp.

Supplier's Notes:

While developing the ADDAC105 4 Voice Cluster module, a new multimode filter to place after the summing mix stage- and the results were so postitive that it was released as a dedicated filter.

To make it more interesting, the circuitry was duplicated, to be able to use it in a stereo signal path.

To make it more versatile, a switch was added to set the working mode from Stereo to Dual Mono where both filters can be used independently.

In Stereo Mode the Left Cutoff is used to control the Right Cutoff.
In this case the Right Cutoff Knob and CV Input are simply bypassed and will have no impact on the Right Channel operation.
This allows immediate sync of both filter frequencies when the Stereo position is engaged.
Optionally there's a jumper in it's back that, when placed, connects the Right Controls back to the Right CV control allowing the possibility to control the offset of the Right Channel Cutoff.

Resonance is independent on both Modes and still has to be set manually to match both channels.

Both the Audio and CV inputs are normalled from the Left into the Right channels.
As standard plugging any input to the Right channels removes this connection.

Tech Specs:
6HP
4 cm deep
70mA +12V
70mA -12V

Notes: This useful module is a Bipolar Mixer, DC voltage source and Linear DC coupled VCA.

- With no input to channel 1 the Input 1 pot becomes a voltage source with a range of +/- 6V.
- The control pot and input for channel 4 can be switched to become an offset control and/or a second CV input for the VCA.
- Input 3 has 2x gain, so it can amplify lower level CV's too.
- All inputs are bipolar, which means that either non-inverted or inverted version of the input signal can be added to the mix depending upon the Input control being turned clockwise (non-inverting) or anti-clockwise (inverted). The 12'o'clock position is zero.

Notes: Play is a high-fidelity sample player with a full feature set.

Up to 32 samples can be loaded at a time and dynamically switched between using the file knob and associated CV input. Playback modes include one-shot, looping, or gated playback; all with extremely low latency. Transform your samples by pitching them up two octaves or down three octaves, all with a pitch knob that can be free running or quantized to semitones. The pitch CV input tracks volt per octave across its entire range and allows for musical sequencing of samples. Play ships with a pre-loaded SD card packed with loops, drum hits, and field recordings to get you up and running immediately.

Notes: Endless Processor (Ex)pander Kit opens new possibilities for Endless Processor!

Now, there is pitch control over both channels. You can shift one octave up or shift down to a full sound stop, covering multiple octaves, effectively replicating the variable speed replay effect. This allows for the creation of new textures from existing sounds.

Additionally, with the expansion PCB, the Endless Processor gains an SD card slot that enables you to store up to 5 sound banks. This means everything sustained in both channels can be saved to preserve those happy accidents! However, this is not just a simple save and recall process. It allows more performing possibilities: sustain new sounds, play with them, and then recall the stored ones, all with respect to the fade controls.

And if that's not enough, there's a bonus! With the help of our web tool, you can upload the sound banks saved on the SD card and extract clickless loops of each layer in WAV format. You can then import these loops into your DAW or hardware sampler to build your composition on top of the captured sounds.

Endless Processor Expander Kit contains:

Endless Processor Ex module
Expansion PCB for the Endless Processor
Cable to connect Ex module to the expansion PCB

Width: 4HP

Depth of Endless Processor with expansion PCB attached: 45mm

Depth of Endless Processor Ex module: 30mm

Notes: The SCM Plus is a clock multiplier with eight gate outputs and complex beat manipulation features. It combines the classic Shuffling Clock Multiplier (SCM) and SCM Breakout (SCMBO) into a single module using higher precision hardware than its predecessors.

Specs:

Electrical and Mechanical Specifications

12HP Eurorack format module
0.95" (24mm) maximum depth (includes power cable)
16-pin Eurorack power header

Power consumption
+12V: 52mA max
-12V: 15mA

Clock Input
2.5V threshold
40kHz maximum

Clock Outputs
12V gate outputs, rise/fall time approximately 1us
40kHz maximum
Jitter (x1 output): max 30us < 120BPM, max 5us >= 120BPM
Latency (clock in to x1 output): 8us worst-case, 3.5us typical

CV Inputs:
Rotate, Slip: Knob attenuates jack signal. Full range: 0V to +3.3V
Shuffle, Skip, PW: Knob offsets jack signal. Full range: -5V to +5V
Gate Inputs:
4x Fast, Mute: 2.5V threshold. Button toggles state.

Notes: Make quick changes to signal routing manually or with CV control. Any audio or CV signal can be routed via two outputs in series, parallel or reverse series. Quick, clever and easy to use.

Supplier's Notes:
Signal flow is an essential concept in modular synthesis: the path taken by audio or control voltages (CVs) may be long or short, branching or linear, intuitive or highly complex.

While the patch programmability of a modular system is its greatest strength, it can also be a weakness: quick experimentation is often hampered by the need to repatch the synthesiser to change the signal flow.

Pivot 2 offers a unique solution: a compact, fully voltage controlled variable signal router. At the turn of a single knob, any signal can be routed through two external modules in series, parallel or reverse series, as well as any combination in between.

Experiment with patching wavefolders before, after or alongside filters, shuffle multiple delay lines, precisely dial in two-stage audio compression or easily control intricate feedback patches.

Looking beyond the basic signal routing application, Pivot 2 will also function as a complementary pair of counter-acting linear voltage controlled amplifiers (VCAs), a voltage controlled crossfader or a voltage controlled panner.

Analogue voltage controlled send/return router.
Seamless transitions from series, through parallel on to reverse series effect routing.
Also functions as a complementary VCA pair, voltage controlled crossfader or panner.
Impedance-compensated outputs with dual-colour LEDs.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium.

4 HP | +12: 60 mA, -12: 60 mA

Notes: Vowel is a speech synthesis and formant oscillator. It synthesizes and approximates the human voice by generating vowel sounds. These can be manipulated to provide deep low baritones, or high pitched squeaks. Two unique algorithms provide separate takes on this exciting synthesis method and allow for a multitude of talking synth sounds.

Notes: The Tone Science Chance Delay is a unique concept in Eurorack modules as it combines chance and randomness, with pulse delay and pulse conditioning. It is a collaboration between electronic musician/composer Ian Boddy and AJH Synth.

It can perform as a Chance generator, but is also capable of pulse stretching for Trigger to Gate conversion, pulse shortening for Gate to Trigger conversion, Gate Delay, Sub Bass Generation and also "divide by n" clock division.

There is a wide range of control and all functions can be operated manually from the front panel or can be automated using external CV voltages. Chance can range between 0 to 100%. The Gate out can be delayed by anywhere between from 0.5mS to 30 Seconds, and the output Pulse length can also vary from 0.5mS to 30 Seconds.

The TRIG push button allows manual triggering of pulses, also determined by the Chance control, and a green LED shows the output pulse status.

Includes a handy "Gate pass through" mode; when the Length control is set to zero the incoming pulse or trigger will still be determined by the Chance and Delay controls, whilst the outgoing gate length will be the same as the incoming gate length.

Compact 8hp form factor and very low power consumption make this an excellent addition to any Eurorack system.

Key features:

Chance, Gate Delay time and Pulse Length can all be set manually or controlled using external CV voltages.

The 'TRIG' push button allows manual triggering, and Chance will be applied to any manual triggering too.

Fast processing allows operation into the lower audio range, so it can perform sub bass generation on drone type sounds. In this mode the Length pot (or an external Length CV) can be used to change the PWM of the output waveform.

After the initial trigger pulse has been acted on, further incoming pulses are ignored until the current cycle has finished. This useful feature allows it to perform "divide by n" division on gate pulses, so it can be used for clock division, and the delay function can be used to add a "swing" away from the rhythm.

Gate pass through mode - if the Length pot is set to zero, then the incoming gate length is preserved, so in this case the gate has Chance and Delay time applied to it, but the outgoing gate length is the same as the incoming gate length.

By setting Chance to 100% and Delay to zero (0.5mS) it can be used as a Gate to Trigger converter, or a Trigger to Gate converter, depending on the Pulse length set with the LENGTH control. We can also use an external Length CV to shorten or increase the length of the output pulse in real time.

Fast and slow ranges for both DELAY time and PULSE length - Fast range is 0.5mS to 2 Sec and Slow Range is 2 Sec to 30 Sec.

Green status LED shows when the output pulse is high.

Front panel controls

Chance Control and CHA Input

This sets the probability of an incoming trigger or gate being passed through to the Pulse Generator circuit. The chance can be set anywhere between 0% and 100%.

The CHA input allows an external control voltage (CV) to control chance remotely. In this mode the Chance control acts as an attenuator for the incoming CV. With the Chance control fully clockwise a CV of +5V will give 100% chance, and lower CV voltages reduce the Chance accordingly. For example, a +2.5V CV will give a 50% chance. The attenuator function is useful if we are using higher control voltages of for example 0 to +10V. If we set the Chance control to the 12 o'clock position it would then halve the incoming CV signal, so in this case +10V will give 100% chance and +5V will give a 50% chance. Negative CV voltages are ignored and will be treated in the same way as zero volts..

Delay Control and DEL Input

This sets the delay amount that is applied to the leading edge of the incoming Gate or trigger received at the IN jack (or a press of the Manual Trigger button), assuming that the "Chance" has been determined to be positive. With the Delay Time switch set to FAST the Delay range will be from 0.5mS to 2 Seconds. With the Delay Time switch set to SLOW the Delay range will be between 2 Seconds and 30 Seconds.

The DEL input allows an external CV voltage to control Delay Time remotely. In this mode the Delay control acts as an attenuator for the incoming CV. With the Delay control fully clockwise a CV of +5V will give the maximum Delay time of either 2 Seconds or 30 seconds depending on the position of the Fast / Slow switch. Lower CV voltages reduce the Delay Time accordingly, so if we apply a CV of zero volts then we will get the minimum Delay time. The attenuator works on any CV patched to the DEL input in the same manner as described for the Chance control.

Length Control and LEN Input

This sets the length, or rather pulse width of the output pulse. With the LENGTH Switch set to FAST the pulse length can be anywhere between 0.5 mS to 2 Seconds. With the LENGTH Switch set to SLOW the pulse length can be between 2 seconds and 30 Seconds.

The LEN input allows an external CV to control Delay Time remotely. In this mode the Length control acts as an attenuator for the incoming CV in the same manner as the Chance and Delay controls.

Setting the Length control to zero invokes "Gate pass through" mode - in this case the incoming gate length is preserved, so the incoming pulse or trigger will still be affected by the Chance and Delay controls, but the outgoing gate length will be the same as the incoming gate length. Turning the Length control slightly clockwise will then invoke the minimum pulse length around control position 1, and further clockwise rotation will increase the Pulse Length as expected. This behaviour also applies to external CV's patched to the LEN input, where a CV of 0V will enable Gate pass through mode.

Fast / Slow mode switches

These switches allow the selection of Fast or Slow mode for Delay time and pulse length, so these ranges can be selected independently for Delay and Length. Fast range is 0.5 mS to 2 Seconds, and Slow range is 2 Seconds to 30 Seconds.

TRIG Switch

The TRIG push button allows manual triggering, and Chance will also be applied to any manual triggering, so depending on the setting of the Chance control, pressing the button has a chance of not doing anything! Holding the button down keeps the incoming gate high for as long as the button is pressed, however this is only really relevant in "Gate pass through" mode - normally only the leading edge of the input pulse is used.

IN - input jack

Connect your input here - a gate, output from an LFO, or even waveforms from a VCO. Any negative component of the input voltage will be ignored, so unipolar or bipolar signals can be used.

OUT - output jack

This outputs the binary pulse (or stream of pulses) that are generated by the Chance Delay circuitry. The gate low level is 0V and gate high level is +6V. The green status LED shows if a pulse is currently being generated.

Module Width: 8hp
Module Depth: 26mm (Including power lead)
Current Usage: 25mA Positive, 6mA Negative

Notes: TriTone is a three section EQ plus saturator. Inner knobs control frequency and outer knobs control +- gain. All these sections Hi Shelf, Band Pass and Low Shelf are having + 20 db of gain and 30 db of reduction. Each section can work independently or they can be serially connected by the switches. Middle input in each section accepts CV for its frequency, so all three sections can be individually FMed by the external CVs.

If the inputs are fed with the modular level signals (+- 5V), then there is little room for "plus" EQ gains before saturation starts. In this case the input level should be attenuated first, if saturation is not desired and much "plus" gain is needed. Otherwise saturation drastically enriches the tone and the module works like very flexible overdrive FX.

When the switches are set to upper positions, then all three sections work independently. With the maximum gain reduction (CCW position) of the upper section (Hi Shelf) it becomes a useful kind of Low Pass filter. On the contrary - maximum gain reductions of the lower section (Low Shelf) makes it a High Pass filter.

Please note the internal routing done by the switches: the output of the uppers section is added to the input of the subsequent lower section. If nothing is connection to this lower sections' input, then only the upper section's output is processed. This makes it a 3 band EQ with the switches set to lower position. Having separated inputs opens up more possibilities over ordinary EQs.

6 HP, 45 mm deep
55 mA +12V
65 mA -12V

Notes: The EVEN VCO is a voltage-controlled oscillator that offers stability and high precision tuning over 10 octaves. A redesigned temperature compensation circuit maintains the oscillator stable against voltage and temperature drops.

Specifications:

Current needs: +12V: 36mA, -12V: 26mA
Width: 8 HP
Depth: 22mm, (28mm DIY) including power connector
Aluminium, heat-treated front panel.
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: The Erica Synths Black Low Pass VCF is designed for analogue purists, who take sound design seriously. It's highly stable, 24dB/oct resonant low pass VCF with voltage control over cutoff (two CV inputs, one is with an attenuverter) and resonance. Bonus features are built in post-filter overdrive circuit with user adjustable drive amount and the Black Filter Coupler connector.

When used in combination with the Black High Pass VCF and the Black Filter Coupler, you get a Holy Trinity of VCFs for an ultimate analogue modular system.

Cutoff

This is the main control of the module - manual cutoff frequency adjustment. The incoming CV is added to the cutoff knob position.

Drive

For extreme results, flip the drive switch on! This will apply post-filter drive. You can preset drive level to your taste by adjusting a trimpot close to the switch on the back side of the module.

Reso CV In

This is the resonance CV input.

In Level

Adjust the audio signal level.

Resonance

Adjust the resonance level manually. On settings over 1PM the filter will start to self-oscillate. The incoming CV is added to the resonance knob position.

CV1 Level

This is cutoff CV attenuverter. Adjust the CV level to your taste!

ResoCV Level

Adjust the resonance CV level to your taste.

CV1; CV2
These are the cutoff CV inputs. The CV1 level is adjustable by CV1 LEVEL attenuverter knob, CV2 is applied to the cutoff without attenuation.

Input

Patch your audio signals here.

Out
This is the audio output of the module.

SPECS:
Audio level 10Vptp
CV level -10V - +10V
Filter slope 24dB/oct
Power consumption +25mA, -29mA
Module width 10HP
Module depth 35mm

The Black Low Pass VCF has a hidden feature - the Black Filter Coupler connector. The Erica Synths Black Filter Coupler is a satellite module for the Black High Pass and the Black Low Pass VCFs, and it adds versatile Bandpass and Band Reject filter functionality to your modular system.

Please note, that the Black Filter Coupler works only with Erica Synths modules and you need both Black High Pass and Low Pass VCFs.

Remove the jumper and connect the Erica Synths Black Filter Coupler. 2x5pin ribbon cable is supplied with the Black Filter Coupler module. Use this trimpot to adjust post-filter overdrive to your taste.

Notes: Punch is the ultimate VCA-DECAY module for Eurorack

Specially designed to generate dynamic percussive sounds but also capable of basslines, leads, envelopes and more. The VCA has a built in voltage controlled Decay envelope that can be turned from smooth to more aggressive exponential responses and can be activated with triggers, gates or cv's.

Punch features two modes per channel to play, with a dedicated switch control: "vintage style drum machine mode" and "dynamic cv mode"

Punch is capable of creating AM sounds with control voltage on the "amount"

Each envelope can be inverted via dedicated switches on the front panel.

If you use an inverted envelope alongside the accent input you can create ducking effects like side-chain compression..

INSTALLATION:
* Disconnect your synth from the power source.
* Double check polarity from the ribbon cable, unfortanetly if you damage the module by powering in the wrong direction it will not be covered by the warranty.
* After connecting the module check again you have connected the right way, the red line should be on the -12V.

Notes: Two channel expander for Bartender

Mixer section

Each channel has the following:

Stereo or mono - Each channel can be treated as a stereo channel or a mono channel with two summed inputs.

CV inputs for both panning and level control

Two send buses - You can route each channel to one of two send buses. Each send bus is stereo. You can choose if you want the send to come before or after the level/panning controls.

Mute - The mute has both latching mute (up) and a momentary mute (down). The mute uses a capacitor to slow the turn off and on of the mute action. So it is mostly click-less, but you may find an occasional pop.

Cue bus - You can route each channel to the cue bus.

Expandable Mixer Series

Bartenders can be cascaded to create 8ch, 12ch, or 16ch mixer. The main level is what is sent the main level control can act as a group control.

Barbacks can be added to add 2ch to your mix. Barbacks can also be cascaded enabling up to a 16ch mixer configuration.

Send-VCA can be added for CV control of the level of the send.

DVCA, Cast Iron, Mingles, and USB-2CH can all be connected with Dupont cables (aka female to female breadboard cables) via pin headers on the back of the modules. Connecting the in and out pins will send/receive the audio into the next module.

Width: 10hp
12V: 125mA
-12V: 100mA

Notes: The Stereo I/O 1U is an all-in-one audio input/output module designed to bridge the gap between your Eurorack system and line-level devices. Whether you want to process external audio with your modules, monitor your patch with headphones, or connect your system to mixers or interfaces with line level - Stereo I/O 1U has got you covered.

Audio I/O allows you to effectively interface your Eurorack modular system to the balanced line-level world (+4 dBu). You can send and return to rack mount/desktop fx units, patch to external line-level instruments like synths and drum machines, interface to a DAW and much more.

The rear-mounted 3-pin CHAIN IN connector allows you to sum (in parallel) other audio sources to go from Eurorack level to the BAL LINE OUTPUTS. This could be from modules like the Mixup 3U, Xfade 1U, Stereo Mix 1U, and XY I/O 1U. You could also use this to connect with the 3-pin headers on the Palette and 7U cases audio i/o boards.

The rear-mounted 3-pin CHAIN OUT connector allows you to directly connect the level-shifted BAL LINE IN to the inputs of other compatible devices such as the Mixup 3U, Outs 3U, Stereo Mix 1U, XY IO 1U, and Headphones v2 1U. You could also connect the to the TRS jacks of the Palette and 7U cases audio i/o boards.

Dual Balanced ins and outs for the studio or the road. Interface your rack with the balanced line level world; send and return to pedals or desktop FX units; patch in and out of your DAW, external synths, drum machines and other line-level instruments.

A space-friendly, feature-rich, highly flexible solution for all your stereo line level input and output needs. Includes a dedicated headphone jack/volume and a clever cue bus for monitoring signals outside of the main output or to add a 2nd source to the main outputs.

Notes: Everything sounds better with compression - whether you need a bit of extra pressure for your drum sounds or just that extra touch to make your modular mix more nimble and tight, the Erica Synths Stereo Compressor will make your live performances a joy. The module is optimized for percussion sounds and will be a great addition to any Erica Synths Drum module rig. The Stereo sidechain can be used to animate melodic layers on the beat and to truly bring your Basslines to life.

Features

THAT chip-based stereo compressor
DC coupled sidechain
Gain, Threshold and Compression Amount (Ratio) settings
Stereo Link for level detectors
Bypass switch
8 segment output level VU meter

Specs

Audio input level -5...+5V
Threshold -40dB to +10dB
Makeup gain -12dB to +12dB
Ratio 1:1 to 8
Power consumption +60mA, -22mA
Module width 10HP
Module depth 35mm

INPUT LVL; Adjust the input signal level to your taste
GAIN; This knob adjusts the makeup gain of the compressor
THRESHOLD; Set the compressor threshold
COMP. AMT;This knob adjusts the compression ratio
STEREO LINK; Sending hard-panned or significantly different audio levels on the left and right channels into the audio inputs may result in undesired left-right panning on the output of the compressor, because the level detectors on each channel will ensure a different amount of compression. With the STEREO LINK switch on, the level detectors on both channels are merged and the min/max function is engaged. This ensures equal compression on both channels.
PROCESS; The bypass switch allows for turning off the compressor instantly
8 SEGMENT VU METER; 8 segment VU meter gives a visual reference of the output signal
IN L / IN R; These are the L and R audio inputs
OUT L / OUT R; These are the L and R outputs of the module
SIDE IN L / SIDE IN R; These are L and R sidechain inputs. You can process each channel individually
SIDE OUT L / SIDEOUT R; These are the sidechain signal outputs - they are buffered copies of the sidechain inputs

Notes: Module A-147-4 is a dual voltage controlled LFO (Low Frequency Oscillator). Each LFO has the five waveforms triangle, sine, rising and falling sawtooth, as well as rectangle available. The rectangle output features manually adjustable pulsewidth and pulsewidth modulation by means of an external control voltage. The core waveform is triangle. The other waveforms are derived from triangle by means of waveform converters. The frequency of each LFO can be adjusted manually and modulated by means of an external control voltage with associated attenuator and polarity switch. By means of a jumper the basic frequency range of each LFO can selected: about 0.02 Hz (~ 50 seconds) ... 2.5kHz or about 0.0017 Hz(~ 600 seconds) ... 220Hz. That way each LFO can be used also as a VCO with a max. frequency of about 2.5kHz. Each LFO features a reset input which can be used to reset the triangle signal.

The module has these controls and in/outputs available:

Control F : manual control of the frequency, for each LFO the frequency range can be selected by means of a jumper from two values (see technical notes)

frequency coverage of control F in the high frequency range: about 0.075 Hz (~ 13 seconds) ... 1,4kHz

frequency coverage of control F in the low frequency range: about 0.007 Hz (~ 140 seconds) ... 125Hz

Control CV: attenuator for the signal applied to the CV socket, by means of a jumper a small positive voltage can be applied to the switching contact of the /CV/ socket, as long as no patch cable is connected to /CV/ socket the CV control then works as fine control for the frequency

Switch CV Pol.: polarity switch for the signal applied to the socket /CV/

Control PW/PM: combined control for manual and CV control of the rectangle pulsewidth:

when no patch cable is connected to socket /P/ the control is used to adjust the pulsewidth (PW) manually

when a patch cable is connected to socket /P/ the control works as attenuator for the external CV signal with a basic pulsewidth of 50:50.

Socket /CV/: frequency control voltage input, in the factory the module is adjusted so that the sensitivity of this input is exactly 1V/octave when the CV control is fully CW.

Socket /R/: reset input, according to the associated jumper the reset input is edge triggered or level controlled (see technical notes for details)

Socket /P/: pulsewidth control voltage input

Sockets with waveform symbol: output of the waveform in question (triangle, sine, rising and falling sawtooth, rectangle)

The output voltage ranges are about -5V ... +5V (10Vpp), except the rectangle output

For the rectangle output one can choose by means of a jumper if the range is about -5V ... +5V or 0...+10V.

LED: visual control of the LFO (triangle)

The inputs of the module are labelled with white characters on black background (in the text included into two slashes). The outputs are labelled with black characters.
Technical notes and special features:

The basic frequency range of each LFO can be selected by means of a jumper. The settings correspond to two different capacitor values for the VCO circuit. The relation between the two ranges is about 1:11. When the upper range is selected frequencies from about 0.02 Hz up to 2.5kHz can be generated. For the lower range the values are about 0.0017 Hz ... 220Hz. To obtain these full frequency ranges external control voltages are required. With the frequency control F only the frequencies mentioned above are possible.

Apart from that the range for the manual control F can be reduced to obtain a finer resolutuion. For this a jumper has to be removed. The range of control F is then reduced to about 1:4.5 only.

In the factory the starting voltage of the triangle output after a reset is adjusted to 0V, i.e. the triangle starts from 0V with the rising slope after a reset. By means of a trimming potentiometer the starting voltage can be adjusted to another value (e.g. to -5V).

Another jumper is used to set the reset behaviour to edge triggered or level controlled. When set to edge triggered the rising edge of reset signal is used for the reset (independent of the duration of the "high" state of the reset signal). When set to level controlled the triangle output remains at the starting voltage as long as the reset signal is "high". Only when the reset signal turns "low" the triangle starts.

Dimensions
8 HP
45 mm deep

Current Draw
80 mA +12V
70 mA -12V

Notes: The MetaModule Audio Expander (MetaAIO) adds an additional 6 CV/Audio inputs and 8 CV/Audio outputs to your MetaModule patches, via a ribbon cable connected to the main MetaModule. The MetaAIO provides the same high-quality as the MetaModule's Audio/CV jacks (24-bit, 48kHz default, up to 96kHz).

Notes: The Erica Synths Black Ring-Xfade is an extremely versatile module for sound shaping. It consists of two unconventional ringmodulators/waveshapers, a crossfader that works both for audio and CV and a VCA. Unlike conventional ringmodulator that works only with a signal present on both signal and carrier inputs, the Black Ring-Xfade passes through the signal without alteration, if no carrier is present, but low level signals on the carrier input result in unique waveshaping. Add the crossfader between two ringmodulators (or as a separate unit) topped up with the VCA, and you have an amplitude modulation powerplant in 10HP!

Ring1 CV; Ring2 CV
These are the ringmodulator carrier (CV level) level controls. Unlike conventional ringmodulator, this one passes signal unaltered, if RING CV is turned down. With increasing Ring CV level a slight waveshaping turns into proper ringmodulation.

Xfade
This is a manual Crossfade control. This fades smoothly between signals patched into XFADE IN1 and XFADE IN2. The XFADE CV is added to the knob position.

Coupling
Set the Crossfader mode - AC is optimized for use with the audio signals, DC - for control voltages (but it will work fine with audio, as well).

Ring 1; Ring 2
The green LEDs give visual feedback on signal levels, applied to XFADE IN1 and XFADE IN2 respectively.

Vol CV
Select the VCA CV response. A 0-10V setting is intended for use with the envelope generator, a -5V - +5V setting - for nice tremolos with a LFO.

Xfade IN1; Xfade IN2
These are the Crossfader inputs. They are normalled to the Ringmodulator ouputs, so, if nothing is patched here, you can crossfade between two ringmodulated signals.

Xfade CV
This is the Crossfader CV input. The CV is added to the XFADE knob setting.

VOL CV
This is the VCA CV input. The VCA is post-crossfade - it controls the amplitude of a resulting signal after the crossfader. It will also work with low frequency control voltages applied to the XFADE Ins - nice for designing unconventional modulations.

Ring1 Out; Ring2 Out
These are the ringmodulator outputs.

Xfade Out
This is the Crossfader output and the main output of the module.

Ring2 In; Ring2 CV
These are the second Ringmoduator signal and carrier inputs respectively. These two are normalled to the RING1 inputs, and if no signal is patched here, the duplicate the first Ringmodulator. Interesting trick is to set RING CVs at different levels and crossfade between two ringmodulator signals.

Ring1 IN; Ring1 CV
These are the first Ringmoduator signal and carrier inputs respectively.

Fade L; Fade R
The red LEDs indicate the crossfader position.

Xfade CV LVL
This is a crossfade CV level attenuator. By adjusting it you can control a span of fading between inputs.

Specs:
Audio level 10Vptp
CV level (full span) -5V - +5V
Power consumption +38mA, -32mA
Module width 10HP
Module depth 35mm

Notes: MIXZ is a multi-channel mixing module for mixing audio, CV, and gate signals with excellent linear response and low noise. Balancing a clear visual layout and multiple mixers in a small footprint makes the MIXZ easy to use in a variety of configurations within a modular synth. Its high-quality analog mixing circuitry makes for a great sounding mixer with plenty of headroom, providing a smooth, organic merge of dynamics and excellent separation of mixing sections and channels. MIXZ has three sections:

Mixer A: a low-noise, 4-channel mixer with independent gain control for each channel.
Mixer B: a low- noise, 4-channel mixer with master gain control.
MixBus: a multi-channel mixer that mixes signals from modules utilizing the Tiptop MixBus.

Mixer A and B can be configured as either two independent, 4-channel mixers or as a single 8-channel mixer. If the output of Mixer A is not in use, then Mixer A will be routed internally to Mixer B forming the 8-channel mixer.

Tiptop MixBus is a new method we have developed to mix audio signals through the Eurorack power bus board without patch cables. A little bit of magic, eh? Although this technique is not ideal for a low-noise mix, we found it to be useful for some applications, including mixing our drum modules, which all have a MixBus-enabled output. The result is that your drum modules are always available and mixed on the master out of the MIXZ with a flip of a switch. This will save you time and frees up cables for repatching sound again and again, while keeping the channels of MIXZ free to bring other signals into the mix.

Combining the MixBus with Mixer A and B, the MIXZ sums dozens of channels in only 10HP.

Dimensions:
10 HP
36 mm deep

Current draw:
14 mA +12V
14 mA -12V

Notes: The Low Fat is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. It can be switched between 6dB (1 pole) response and 12dB (2 pole) response.

By patching a CV signal to the FCV input it can be voltage-controlled and used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. Feeding in a 1V/Oct pitch CV and setting the FCV pot to a suitable level allows it to track an incoming pitch CV, so the amount of High Pass filtering remains constant as the pitch of the incoming VCOs traverse up and down the frequency range. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines. Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter.

Dimensions:
2 HP
26 mm deep

Current Draw:
9 mA +12V
12 mA -12V
0 mA 5V

Notes: The aux mix 1U is a 3-channel stereo mixer module with a stereo auxiliary send bus. The routing options on this mixer module make using aux mix 1U for send FX, parallel processing, feedback mixing, and more possible. It is designed for audio signals only (not for mixing CV). It is AC-coupled, and uses audio-grade, logarithmic attenuators for a smooth, even response across the entire volume range.

Each channel has a dedicated pair of inputs for stereo audio sources. The left channel inputs are normalled to the right for mono audio sources. All three channels feature a precise level attenuator, a mute switch, and an LED input activity level indicator. The three stereo channels are mixed and summed to the main outputs, where they can be patched out to a wider Eurorack system or external pro-audio equipment. The output stage features soft-clipping diodes for smoother saturation when signal levels are very high.

In addition to the main mix controls, channels 1 & 2 also feature an aux level attenuator with a pre/post switch. These can be used to create an independent aux mix which is routed to another pair of outputs, separate from the main mix. The aux output stage also features the same soft-clipping diodes as the main output. aux mix 1U has four 3-pin connectors on the rear side for directly routing audio between other Intellijel cases & modules - without the need for patching cables. Connections include aux in, aux out, chain in & chain out. This also allows you to chain multiple aux mix 1U modules together to form even bigger mix chains.

Notes: Think of the MFD like a tiny DJ mixer: two stereo inputs, one stereo output, with the option to cue either input and crossfade between the two. A simple idea very well executed.

Supplier's Notes:
Inspired by DJ mixers, the MFD allows you to cue and crossfade between signals. Ideal for live performance as well as jamming out ideas in the studio.

Supplier's Notes:
The 'MFD' is a 2-channel stereo crossfader designed for live DJ-style mixing and jamming in Eurorack. Two mono or stereo inputs are mixed to a single stereo output via direct or voltage control. Additional Cue controls provide preview monitoring of either input pre-mix via dedicated Cue switches and an output.

Voltage control over the crossfade and DC coupling allow for further creative uses such as a high quality stereo VCA or as a mix processor for either stereo audio signals or CV.

The MFD is designed to have very low noise and cross bleed and employs equal power crossfading for smooth constant level blending between signal sources.

Features:

Two channel stereo crossfader with voltage control.
Approx equal power crossfading.
Cue output switches for direct monitoring of either stereo input (pairing well with HPO for headphone monitoring).
Can be used as a high quality stereo VCA.
DC coupled for use with both audio and CV.
Skiff friendly with reverse power protection.
Two year warranty.
Made in England.

Ideal For:

Smoothly blending and monitoring 'tracks' or 'scenes' during a live set.
High quality VCA use for stereo based sources.
Voltage controlled crossfading and mixing of both CV and Audio signals.
Other advanced uses including audio rate modulation, stereo panning effects and a CV controlled FX send.

Technical Specifications

Supply: +12V 70mA / -12V 70mA

Size: 6HP

Depth: 32mm

Notes: Erica Synths Black VC Clock is the beating heart of your modular system.

The beating heart of your modular system in 10HP.

This module generates several clock signals simultaneously and has some more advanced features like tap tempo, shuffle and divide, both for controlled rhythmic music production and for experiments with high level of uncertainty. You may also find the adjustable and even random duty circle of shuffling and random clock outputs interesting. Bonus feature - the module can be used as a performance time stopwatch.

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, design and usability was prioritised over module width. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

Technical specifications:

Max input level: -10V - +10V
Clock signal level: 0 - +5V
Clock rate: 30 - 400BPM
CV input level (full sweep): -5V - +5V
Power consumption: 40mA@+12V, 5mA@-12V
Module width: 10HP
Module depth: 25mm

Notes: The Erica Synths Black DADSR (Delay-Attack-Decay-Sustain-Release) is a fully analogue envelope generator that gives you extended control over events in your modular synth. It's a looping exponential envelope generator that has voltage control over each stage of the envelope. An independent Gate Delay section adds extra functionality to design advanced soundscapes, like delayed modulation e ects, wave morphing, etc.

SPECS:
Attack time (with max CV) 0...2,5" (4,4")
Decay time (with max CV) 0...5" (12")
Sustain level 0...10V
Release time (with max CV) 0...4,5" (10")
Gate delay time 0,7"
CV level (full sweep) -5V - +5V
Panel width 10HP
Module depth 30mm
Power consumption 42mA@+12V, 58mA@-12V


ATTACK
Set the attack time of the envelope

GATE
Patch the gate signal here to start the envelope. If nothing is patched here, the gate input is normalled to the gate

DELAY OUT
CV ATTENUATORS
These are CV attenuators for attack, sustain and release stages

SUSTAIN
Set the sustain level of the envelope

GATE DEL
Set the gate delay time

TRIGG
You can retrigger the envelope at any stage by applying trigger signal here. The trigger alone initiates an AD envelope instead of ADSR

DELAY OUT
This is the gate delay output. The gate delay section can be used independently to control other modules in your modular setup

D GATE
If you wish to use gate delay functionality, patch the gate signal here

BP OUT
This is the bipolar output - the CV here is centered against 0V and this output serves as an LFO

EG OUT
This is the envelope generator output

M. GATE
This is the manual gate button. A built in LED gives a visual reference of the output voltage

RELEASE
Set the release time of the envelope

DECAY
Set the decay time of the envelope

LOOP
This is a LOOP switch. When it's ON, the envelope generator outputs a signal for which the rise time is defined by the Attack setting and the fall time is defined by the Release knob setting.

Notes: For anyone who has ever struggled with finding their way around a Eurorack synthesiser on a dark stage or a dimly lit studio, Dim 2 presents an illuminating experience. In just 4 HP, it provides a complete solution to upgrade your modular system with a pair of dimmable console lights.

The high-efficiency PWM dimmers run at high frequency, ensuring flicker-free and noise-free operation. Additionally, extensive line filtering keeps your Eurorack power supply happy and clean.

Not limited to just manual control, both dimmers also feature control voltage (CV) inputs, turning the connected lamps from simple light sources to voltage controlled audio-visual spectacles.

While the use of the included BNC LED lamps is recommended in order to keep power consumption low, halogen lamps may be used as well. Provided your power supply is beefy enough, up to 6 W of power may be drawn from each output. This even makes it possible to drive 12 V LED strips, truly making your patches shine bright.

4 HP | +12: 150 mA, -12: 5 mA | JORD2

Notes: Super Sawtor is the module designed to produce unison like waveforms from the incoming signal. The best results are achieved using sawtooth, triangle or sine waveforms as an input signal. Unison spread has been tuned to give almost the same type of harmonics smearing as the famous Roland JP80X0 Supersaw oscillator. Thus feeding the Super Sawtor with a sawtooth waveform will result in a typical Supersaw output.

Though having some common features with sawtooth animators, Super Sawtor gives that vivid tension of the Supersaw waveform, which is different to imitation of the multiple oscillators sound most sawtooth animators capable of doing. The main difference is in the approach used: sawtooth animators tend to recreate continuously moving phase shift of the slightly detuned / drifting oscillators; super Sawtor in its turn creates additional pitched shifted harmonics to the input signal, which gives a different sonic character compared to sawtooth animators.

It is also should be mentioned that Super Sawtor is a completely analogue circuit free of aliasing.

No external modulation sources are required for proper operation of the module. However the user can add changes and modulation to the manually set "Spread" amount by using "Cv" input and adjusting "Cv" knob to the desired degree.

Specifications:
Input level: -5v... + 5v (can also accept inputs ranging from [-2.5v... +2.5v] To [-15v...+15v] Using onboard trimmers)
Output level: averages around -5v ... + 5v
Output impedance: 1 kohm
Module depth: 3 cm or 1,5"
Power consumption: +85 /-85 ma at +/-15 VDC through dotcom standard 6 pin mta-100 connector for dotcom format
+45 /-45 ma at +/-15 VDC through MOTM standard 4 pin mta-156 connector
+45 /-45 ma at +/-12 VDC through euro standard 10 pin connector
4HP

Notes: Introducing the HATS909, part of TipTop's new series of drum modules that brings those classic percussion sounds into the modular synth world, instantly turning your system into a self-contained music machine.

The HATS909 is the TR-909's original Closed and Open Hi-Hats circuits adapted for use in Eurorack modular synthesizer format and was designed to sound like a machine coming fresh off the assembly line back in the 80's. Improving on the original, TipTop have added some great new features that expand the sound palette that can be produced with this small, powerful module.

The original TR-909 circuit is made with a combination of low-fi sound samples that pass through a series of analogue elements to provide envelope and filtering to the source sound. The HATS909 module allows for manual and voltage control of the sample's tuning, which provides anything from crushed hats and short ticks to the original sound and anything between. Additional controls allow you to send a voltage control signal to either the tune input or the internal VCA for modulation with external control signals and, using a modulation switch, add AM or FM synthesis in the audio range from external oscillators, other drum sounds, or just about any other sound source. Lastly, HATS909 also offers a switch that allows you to tap directly into the raw output of the module for a unique sound source that can used throughout your system.

Just like the other drums in this series, the HATS909 high-powered output gain stage allows you to further harmonize the sound through distortion and clipping. On each gate input, Tiptop have designed a dual pulse-shaper circuit so you can trigger your HATS909 with trigger/gate signals from step sequencers, clock dividers, or any other pulse/clock sources.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 36mm
Power: +12V 33ma / -12V 22ma

Notes: 8HP Tides version 2

Fully calibrated.

Notes: Great value from this versatile percussion module, built around a noise generator and four linked envelope generators, each with its own VCA. Generate hi-hats, envelopes, shape drums or create modulation sequences.

Supplier's Notes:
Ricochet is a compact, fully analogue module featuring four interconnected decay envelopes, each with its own VCA and an integrated noise generator.

The module's design is inspired by the way skipping stones bounce on the water, creating a versatile tool for crafting percussive sounds.

The exponential envelopes are specifically designed to generate dynamic percussive tones. The unique linking function connects the end of one envelope's decay to the trigger of the next, enabling the subsequent envelope to activate once the previous one ends. This innovative feature allows you to create ratcheted envelope.

A front-panel trimmer lets you adjust the threshold for triggering subsequent envelopes, while a rear header enables connecting two Ricochet modules together, or linking the last envelope to the first. This feature transform the Ricochet to a weird sequencer where the steps length depend of the decay times.

Since Ricochet is fully analogic, trig inputs are velocity-sensitive, responding to a standard gates but also allowing attenuation to modify the envelope's velocity (you can play with the dynamic of your sound by attenuating the trigg input. Ricochet is also perfect to play with drum pads).

Each VCA features a gain control that can be pushed to achieve subtle saturation.

All envelopes and VCAs have separate outputs, but there are also mixed audio and envelope outputs. When an individual output is connected, it is removed from the mix. The decay modulation inputs are normalized between each other.

Last but not least, an analogue noise generator is normalised to the first input, so you can use ricochet on it's own to create hi hat kind of sounds

Main features:

- Fully analogue design so everything is responsive to the amplitude
- Unique linked envelopes feature
- Compact 4 envelopes 4 VCAs module
- Linkable to a second ricochet or looping back the last envelope to the first one

Some applications:

- Envelope generator
- Drum shaper
- Hi-hat
- Clap envelope shaper( with short ratcheted envelopes)
- Envelope sequencer
- Trigg delay
- Burst generator

Technical details:

- Fully Analogue design
- 14hp
- Skiff friendly
- Reverse power protection

Notes: Emulate the nostalgic sounds of old audio equipment with the 2hp Lo-Fi. Finding inspiration in quirks and happy accidents found in audio devices of the past, Lo-Fi can take any sound and give it the magic of tasteful degradation.

Lo-Fi carries two degradation modes: Analog and Digital. In the analogue mode, control the amount of wow and flutter for anything from subtle to dynamic pitch fluctuations, tickle the sonic spectrum with ASMR hiss and crackles, and warm up the coldest sounds with tape compression and saturation. In digital mode, dial in BitCrush amount, sample-rate reduction, and the wildest distortion in 2hp to cover your sound in digital crunch, or emulate blown out speakers.

With CV control over each function, and an ultra-crisp audio pass through, take your patch from hi-fi to lo-fi at a moment's notice. Get reel with the 2hp Lo-Fi!

Tech Specs: Width: 2HP, Depth: 45mm, Power Consumption: +12V=82mA -12V=4ma +5V=0mA

Notes: The Morphor Plectrum - Analogue BBD Pluck is the successor of Morphor's successful module. Now only 8 HP instead of 10 HP with additional CV-able feedback!

Plectrum is a high quality, fully analogue Eurorack module that can produce plucked string-like sounds. It is a compact all-in-one solution for generating amazing bass, acoustic guitar, percussion and other amazing sounds.

The module is based on the Karplus-Strong principle with a true analog audio path built with an authentic bucket brigade delay (BBD) circuit which is recognizable by its specific timbre. By using carefully chosen high quality components, this module has a rich, warm analogue sound.

Now being only 8 HP in width, you won't need a lot of space to get going and start creating some incredible sounds. If you're looking to fully sculpt the string-like sound, you can extend the internal Karplus-Strong loop by breaking out the signal and adding external modules like filters and/or FX modules to it.

Features

100% analogue
Karplus-Strong principle
Built with classic BBD chip
Break-out BBD loop
Internal/external loop switch
Trigger input
1V/oct input
Tune knob
Pitch modulation CV input
Feedback CV input
Colour CV input (i.e. internal loop LPF cut-off frequency)
Mono output

Specifications

Panel width: 8 HP
Panel height: 3 U
Module depth: 40 mm
Current draw: 12V : 40 mA | -12V : 40 mA | +5V : 0 mA
Dimensions: 128.5 x 40.3 x 40 mm
Weight: 259 g
Frequency Range: sub-audio range to roughly 800 Hz
Power Socket: 16-pin

Notes: *** Updated to v3 in February 2024 with improved hardware and circuitry ***

The Omen is a dual LPG with a bit more than you might be used to. This module was born out of the realisation that it was possible to make far more interesting LPG designs than the standard we've become so accustomed to.

In a convergence of old-school LPG design and more modern components, the Omen boasts two -6dB resonant filters, custom built vactrols, built in CV attenuation and no less than three cutoff modes per filter. Filter 1 is soft and light, imparting a gentle, naturally gated touch of filtering on your sound, while Filter 2 is darker and more resonant, and can turn downright growly and distorted when left wide open.

Designed to give you as many creative options as possible, the Omen has the unique ability to function as either two discrete LPG, or as one 4-pole resonant LPG. When plugging a signal in to Input 1, and with no signal plugged into Input 2, the output will be present at both Output 1 and Output 2, with Output 2 producing the signal as it passes through both filters. Tweaking both filters independently will generate a wide array of soft and sometimes harsh tones, ranging from Buchla bongos to early synthesis brass and organ sounds. There is much to love here.

CV is similarly handled, by plugging in only one CV source, it will act on both channels - this is useful for creating musically similar outputs as well as when using the dual filter operation. However, the dual filter mode greatly benefits from having two CV inputs: use an envelope in CV1 to act as a VCA, and an LFO in CV2 to create tremolo, for instance.

Using custom designed, hand built vactrols, care has been taken to mitigate the less desirable aspects of passive LPGs - in most modules, the user can expect zero bleed through on the LPG channels, and signal attenuation is minimal even with the 4-pole filter settings engaged. Of course, many of the natural features of vactrols remain, such as subtle memory effect when engaging the vactrol for long periods.

Finally, you receive maximum blinkenlights as LED's on the front panel simulate the action of the vactrols, so you'll always know what's going on under the hood. No collection of fancy LPG's is complete without the Omen.

Dimensions
4 HP
36 mm deep

Current Draw
Module does not draw current

Notes: 8HP Micromodule based on Opensource Frames.

This devices comes with Parasites 1.1 firmware

Notes: Swarm is a hyper-oscillator capable of an array of patch-filling sounds. Create super-saws, tonal noise hurricanes, and thick bass and lead lines.

Swarm is comprised of a large set of oscillators (up to 88 voices!). Control the number of available oscillators with the Voices control, and dial in the desired amount of pitch variance across the voices with detune. Take Swarm's oscillators from a rich thickening of sound to atonal chaos in the turn of a knob! Swarm also provides macro pitch control with the Freq knob, which also tracks 1v/oct through its CV input. A waveform toggle is also available for switching between sawtooth and pulse waveforms, expanding the timbral palette Swarm offers! Design pumping trance leads, minimoog style basslines, and more with Swarm!

Tech Specs:

Width: 2HP
Depth: 45mm
Power Consumption: +12V=82mA -12V=4ma +5V=0mA

Notes: Nive Grad is a level shifter designed for simplicity. Two Eurorack signals can be attenuated down to pedal and line levels, and two external line or pedal signals can be amplified up to Eurorack level. Integrating a drum machine, external synth, effects processor, or guitar with your Eurorack system has never been easier!

Nive Grad uses 1/8" jacks to save HP. If you want to use 1/4" gear with your system, ask your modular supplier about mono/TS 1/8" to 1/4" adapters or adapter cables.

Nive Grad pairs well with Noise Engineering's Xer Mixa system mixer, but can be used in any Eurorack system.

Type: Universal drum synthesizer
Size: Level Shifter
Depth: .9 inches
Power: 2x5 Eurorack
+12 V: 25 mA
-12 V: 25 mA
5 V: 0mA
Nive - level - from Latin niveum

Grad - step or degree- from Latin Gradus

Notes: A spectral processing playground.

Bandit is a fun combination of band-pass filters, VCAs, and routing options.

It serves multiple functions including equalizer, crossover, multiband VCA, 4 band spectral mixer, and spectral external FX insert point.

It allows you to:

Cut or emphasise different frequency bands of a signal, acting as a voltage-controlled equalizer/isolator.
Split a sound into four different frequency bands for external processing, and if needed, insert them back
Mix four different signals with predefined tone placement in the mix.
Create four different sounds from one sound source by modulating the volume with four different envelopes.
Create evolving timbres by modulating one or more frequency bands using LFOs or audio-rate modulation.

Specs

Current needs: +12V: 80mA, -12: 70mA, 5v:0
Width: 8 HP
Depth: 30mm (including power connector)

Notes: The Endorphin.es 1U Cockpit X Black is a newly designed 6-channel stereo mixer with transparent VCAs, featuring four inputs on the front and two auxiliary inputs on the rear. Sidechain ducking makes it easy to get a great balanced sound, just input the trigger of your sound and you are good to go.

The perfect mixer for summing signals in your system while patching, or even as an end-of-chain mixer to go into your interface, mixer... whatever you fancy.

Power consumption: 55mA at +12V and 35mA at -12V

Depth: 30 mm

24 HP

Notes: Simple, straightforward and cascadable, the ADDAC813 is all about no-nonsense stereo mixing. Four stereo channels with adjustable gain, one without, master output control, LED metering and mono send/return.

Supplier's Notes:
ADDAC813 is a straight forward stereo mixer. Featuring 5 stereo channels, 4 of them with attenuators, a mono send/return path for parallel processing plus stereo and mono outputs

Four channels with stereo input and gain knob. Fifth channel with stereo input without gain knob, which are the prefered inputs to cascade several ADDAC813s when more channels are needed. Master Output controls the level of the Inputs mix. Two LEDs monitor the inputs mix.

Mono Send / Return return path allows for easy integration of mono effects in a stereo chain. Plug your favorite module through it (filter, bbd delay, spring reverb...) or any mono pedal.

The Return Gain works in parallel with the Master Output, just like regular wet / dry controls.

The send output can be configured to be line or synth level via a jumper in the back.

Stereo output sums the Inputs Mix with the Return signal.

The Mono output is the sum of Left and Right outputs

Effect Pedals

Using the send output at Line level, the user can connect the send output directly into mono effect pedals and have the pedals output connected directly into the return input without the need of an attenuator/amplifier module.

Tech Specs:
8HP
4 cm deep
50mA +12V
50mA -12V

Notes: The Mutant Rimshot is a fully analogue rimshot and clave generator inspired by the rimshot found in the legendary 909 drum machine; a triple bridged-T oscillator coupled with a state variable filter. The clave sound (not a feature of the original 909 rimshot) is achieved by using just one of the oscillators.

Features

Three oscillator modes

Rimshot HI mode brings classic rimshot sounds
Rimshot LO gives a lower pitch range; try playing with the filter on this setting to get low tom and kickdrum sounds.
CLV (Clave) mode uses just one of the oscillators to give you a brighter, higher percussive sound.
A switch on the back lets you select between original and extended pitch modes. Original mode can give you rimshots exactly modelling that of classic machines (in Hi mode), whereas extended mode gives a wider range of pitch, at the expense of classic accuracy.

Three filter modes

Use the lowpass or highpass filter modes for classic sounding rimshots
Highpass and bandpass can give a wider range of clave and rimshot sounds, as well as completely different percussive elements (especially when turning the resonance up!)
VCF IN lets you blend the clave or rimshot with other sounds. Try adding some filtered noise for a more acoustic sounding rimshot, or for pseudo-snare type sounds.

Novel decay and filter mod controls

The MOD DECAY envelope controls the decay of the VCA envelope
The VCF MOD attenuverter allows you to modulate the filter cutoff with the MOD DECAY envelope
Alternatively, a switch on the back lets you modulate the filter cutoff with the pitch-controlled internal VCO, for filter FM style percussive hits.

Technical specifications

Width: 8HP | Depth: 30mm
Current draw: +45mA, -50mA @ 12V

Notes: Cutting Room Floor V3 Eurorack Module

(Vintage Reel-to-Reel Tape, Echo, and Stutter)

The Cutting Room Floor was designed to emulate the sound and functionality of vintage reel-to-reel tape overdrive and echo. This eurorack module reaches into the 21st century with customized features that traverse the world of modulation and delay. Imagine an abandoned factory with a fluttering tape machine left on repeat.

The Cutting Room Floor provides beautifully marred saturated tape tone, and ethereal repeats in a streamlined 6hp interface. Other features include a freeze button that traps any tone while still playing and CV control for time.

Designed and assembled in Seattle, Washington. Includes a limited 1-year warranty, if registered within 30 days of purchase.

6hp, 43mm deep, 150ma current draw.

Notes: Bleeding Hearts Eurorack Modular Device

(Random Sequencer, Rhythm Generator, Destroyer, and Filter)

The Bleeding Hearts is a device that starves, bit crushes, splatters, and filters audio sources like no other. Feeding a gate signal to the Bleeding Hearts enables a whole new world of strange and random analog-generated movement. Each position of the 8-step sequencer can bleed into each other and interact with the destruction effect, creating gated and filtered splatters, glitches, and crunches that move to the beat of your patch.

Designed and assembled in Seattle, Washington. Includes a limited 1-year warranty, if registered within 30 days of purchase.

20hp, 42mm deep.

Notes: Super Sawtor is the module designed to produce unison like waveforms from the incoming signal. The best results are achieved using sawtooth, triangle or sine waveforms as an input signal. Unison spread has been tuned to give almost the same type of harmonics smearing as the famous Roland JP80X0 Supersaw oscillator. Thus feeding the Super Sawtor with a sawtooth waveform will result in a typical Supersaw output.

Though having some common features with sawtooth animators, Super Sawtor gives that vivid tension of the Supersaw waveform, which is different to imitation of the multiple oscillators sound most sawtooth animators capable of doing. The main difference is in the approach used: sawtooth animators tend to recreate continuously moving phase shift of the slightly detuned / drifting oscillators; super Sawtor in its turn creates additional pitched shifted harmonics to the input signal, which gives a different sonic character compared to sawtooth animators.

It is also should be mentioned that Super Sawtor is a completely analogue circuit free of aliasing.

No external modulation sources are required for proper operation of the module. However the user can add changes and modulation to the manually set "Spread" amount by using "Cv" input and adjusting "Cv" knob to the desired degree.

Specifications:
Input level: -5v... + 5v (can also accept inputs ranging from [-2.5v... +2.5v] To [-15v...+15v] Using onboard trimmers)
Output level: averages around -5v ... + 5v
Output impedance: 1 kohm
Module depth: 3 cm or 1,5"
Power consumption: +85 /-85 ma at +/-15 VDC through dotcom standard 6 pin mta-100 connector for dotcom format
+45 /-45 ma at +/-15 VDC through MOTM standard 4 pin mta-156 connector
+45 /-45 ma at +/-12 VDC through euro standard 10 pin connector
4HP

Notes: Melodi generates sequences based on the mood you set so you can create the sound you're searching for- it can be tweaked to create anything from a powerful bassline to a sparkly melody.

Ships with version 2 of firmware

Improvements: Skip, tie, length are now LIVE knobs. Added a ping-pong trend line and a blues scale.

GENERATE

1. NEW - will prompt Melodi to generate a new sequence.
2. TRIGGER IN - accepts a trigger to prompt Melodi to generate a new sequence.

CYCLE

1. ON/OFF - determines if the sequence will loop or require retriggering.
2. TRIGGER - button and jack trigger the sequence to restart at the beginning.

TUNE

* While adjusting tunable parameters, the light bar will reflect the current selection. For continuous parameters the light bar shows amount from 0-100%, for quantized parameters the light bar shows steps.
1. SKIP (continuous) - sets the probability that a note will be skipped in a sequence.
2. PLUCK (continuous) - sets the length of the gate, from short plucks to gliding between notes (portamento).
3. TIE (continuous)- sets the probability that a note gets tied to the next (effectively making the note last two clock cycles).
4. TREND (continuous) - sets whether the sequence trends upwards or downwards in pitch.
5. SCALE (quantized) - select the quantization of the notes used in the sequence. Choose from perfect notes, pentatonic scale, diatonic scale, chromatic scale and completely unquantized.
6. RANGE (continuous) - sets the range of notes from 1 to 4 octaves (unquantized)
7. LENGTH (quantized) - select the number of notes to play in a sequence (from 1-16, or infinitely generating at the max position).
8. SPEED (continuous) - sets the tempo of the internal clock, between 20 and 2000 BPM.

OUT
1. GATE - outputs the gate of the notes in the sequence.
2. PITCH - outputs the pitch (in V/OCT) of the sequence.

CLOCK

1. SELECT - Melodi will generate internal clock signal if select switch is up, and will use external clock signal when down
2. IN - connect external clock signal
3. OUT - output clock signal

Technical specs:

- Module Size: 3U X 8HP X 25 Mm Deep.
- Current Draw: 85mA @ 12V, 10mA @ -12V.

What's in the box:

- Ready to use Assembled Module
- Mounting Screws
- Power Cable
- User Manual

Notes: Emulate the nostalgic sounds of old audio equipment with the 2hp Lo-Fi. Finding inspiration in quirks and happy accidents found in audio devices of the past, Lo-Fi can take any sound and give it the magic of tasteful degradation.
Lo-Fi carries two degradation modes: Analog and Digital. In the analogue mode, control the amount of wow and flutter for anything from subtle to dynamic pitch fluctuations, tickle the sonic spectrum with ASMR hiss and crackles, and warm up the coldest sounds with tape compression and saturation. In digital mode, dial in BitCrush amount, sample-rate reduction, and the wildest distortion in 2hp to cover your sound in digital crunch, or emulate blown out speakers.

With CV control over each function, and an ultra-crisp audio pass through, take your patch from hi-fi to lo-fi at a moment's notice. Get reel with the 2hp Lo-Fi!

Tech Specs: Width: 2HP, Depth: 45mm, Power Consumption: +12V=82mA -12V=4ma +5V=0mA

Notes: You must absolutely own Skippy to use this module; it cannot operate independently.

The firmware version 2.21 or higher must be installed on your Skippy.

Additional features:
1 CV gate or trig input for Reset
1 CV gate or trig input for Play/stop
1 Reset button
1 Play/stop button
1 Live mode on/off button
16 function potentiometers distributed over 4 rows: you can freely choose a function (BPM, STEP, BEGIN, END, GAUSS, GATE, PROBA, CHAOS, SWING, WAY) for each row.
1 row of 4 algorithm potentiometers: you can freely choose an algorithm (Euclid, Jazzy, PolyR, Tiles) for each potentiometer.
The Save function takes into account the settings used in Skippy Live.
The selected parameters for Skippy Live are automatically saved.

Technical specifications:
10 HP
Depth: 25 mm
Power consumption:
+12 V 0 mA
-12 V 0 mA
+5 V 15 mA
Comes with a connector to Skippy and Knurlies.