Synth modules

Notes: Complex digital oscillator with unison detune, programmable 3x4 modulation matrix mixer and external input. Intricate arrangements of phase distortion, thru-zero frequency modulation, and complex oscillation are instantly morphable and recallable through a voltage-controlled preset manager. Suitable for genre-targeted sequenced basslines, synthesis of stone, glass, and steel tones, and simulation of the acoustic properties of industrial machinery.

The Hertz Donut Mark III's main oscillator shapes its timbre by distorting the phase of a waveform lookup ramp, offering a linear growth of brass overtones from a simple sine wave whilst performing with exceptional clarity under heavy frequency modulation. The simulated resonance peak familiar to enthusiasts of phase distortion is also present and continuously controllable. The beloved "fractal" distortion from previous iterations of Hertz Donut is simultaneously available. The three waveform parameters operate in a modeless timbre space fully morphable under preset and shared manual/CV control, exhibiting stunning spectral evolutions that are intensified through the module's internal modulation bus. The fold knob is assignable to control one of the three parameters at a time, with the CV input also assignable to any of the three.

Two sinusoidal modulation operators are mixed to four modulation destinations with an external audio input. The operators may be locked to several precise frequency ratios of the main oscillator, or set to be otherwise subordinate. The three sources may modulate each other's frequencies, or the amount of phase or fractal distortion. A plethora of control voltage inputs allow full control of the patch, reacting within a +/- 10V range. The first operator has a calibrated 1v/oct control voltage input and fine tune control, for use as an independent oscillator augmented by the modulation bus. The modulation mix is placed under the influence of a master control, so that a single knob and CV input control the degree of modulation in the entire module. Each sound that you design will have a unique and intense behavior of this modulation control.

The preset manager stores 8 entire panel/menu states for instant recall under manual or voltage control. The control can also cause the creation of elegantly randomized preset data. The preset manager can be placed into a morphing mode where it assumes control of the various parameters, smoothly fading between entire panel states and generating very complicated sounds that are not easily described.

The unison detune function mixes in a nearly identical copy of the sound with slightly offset frequency, or optionally in octave or fifth intervals. The Hertz Donut operates at 96khz for a minimum of sampling byproducts, able to consistently and competently generate ornate digital beauty and jagged swaths of sonic mayhem. The auxiliary output presents the output of one or both modulation operators, also with optional unison applied. The nearby mix output is an analog sum of the Main and Aux outputs, facilitating parallel FM algorithm construction. Perfect, genuine, complete, crystalline, pure.

Specs:

Main oscillator with resonant, phase, and fractal distortions (CV and manual knob destinations selectable)
8 octave tuned CV response (1V/octave)
2x sinusoidal modulation operators with frequency interval lock or free operation
External thru-zero FM input
4x3 modulation matrix mixer with master amount control
128x32 OLED display providing realtime note, frequency, and modulation information, as well as menu access to deep settings
All parameters may be placed under control of morphing preset manager with 8 onboard presets (nonvolatile)
96 kHz sampling rate

Notes: Meet Stardust, a cosmic tape looper.

The foundation of Stardust is a stereo looper with all the essential controls to record and manipulate sound, while supporting click-less looping transitions, an ultra-low noise floor, and high-fidelity audio hardware. However, getting the perfect loop is only half of the equation, Stardust also focuses on the texture and vibe of your recordings. Dial in a classic tape machine style warmth with wow & flutter/tape hiss controls, or take Stardust to new horizons with DSP effects. And, much like the tape-machines it takes it's inspiration from, Stardust can splice and rearrange its loops at the twist of a knob.

With an impressive set of front panel controls, the ability to save, recall, or export recordings, load samples via an included USB flash drive, and a host of configurable settings via our web editor Narwhal, Stardust is a comprehensive looper device.

Power Consumption: +12V=201mA, -12V=13mA, +5V=0mA

Notes: Really impressive sequencing module with a few clever tricks up its sleeve. Eight tracks of CV/gate with built-in effects (quantise, swing, arpeggiator, etc) for processing MIDI or CV inputs. Real-time recording, step sequencing, looping and much more.

Supplier notes:
Hermod brings together a powerful step sequencer, a CV looper, a real-time effect processor, LFO generators and a complete bi-directional MIDI-USB-CV input/output interface.

Record a performance at any time thanks to the CV inputs, the USB HOST, the USB DEVICE and the MIDI input. Create and edit your tracks with the STEP mode and its piano roll and automation view. Generate crazy patterns with the randomization tool.

Hermod is polymetric, it means that each track can have a different length, from 1 step to 64 steps. Moreover, you can zoom in to increase the resolution of the step sequencer (up to 512 steps).

Polymorphic tracks:

Thanks to Hermod architecture, a track can be a simple mono CV/GATE voice, but can be easily configured as a polyphonic track (up to 8 voices), a CV/GATE + velocity + aftertouch track, a modulation + clock track... in order to perfectly fit your Eurorack system!

Sequences and Projects:

The 8 tracks are grouped into one of Hermod's 8 sequences. Every sequence is totally independent and contains a new set of tracks to be played with, for a total of 64 tracks in a single project.

Dynamic effects:

All the fun in Hermod resides in its effect system, allowing you to transform input signals, whether it's MIDI or CV. You can stack on each track up to 8 real-time effects: Quantize, Swing, Arpeggiator, Ratchet, Random, Euclid, Glide, Harmonizer, Delay, Chance, Scale, LFO... Experiment with the effects position and parameters to generate eccentric melodies!

MIDI-USB-CV interface:

Full connectivity: control Hermod with plug-and-play midi USB devices, midi keyboards, computers or other Eurorack CV systems.

Hermod is also a great midi hub, allowing you to sequence midi synthesizers/drum machines and computer's virtual instruments. Of course, Hermod can be perfectly paired with Pyramid or other hardware and software sequencer, in order to benefit from its CV/GATE outputs.

With Hermod's rock-solid clock, this module becomes a great synchronization tool for all your setup! Thanks to its powerful CPU, even when synced/slaved, Hermod allows an ultra-low latency to make the perfect link between the digital world and the analog world.

The package includes:

- Hermod "Modular Brain" Black Edition
- 1GB micro SD card + SD adapter
- Power ribbon cable
- User guide (English)

Notes: Foxtrot is a quad, multimode virtual analogue filter with three different classic filter types.

Each of the four filter channels can be:

1) A ladder filter, based on the classic MOOG designs from the '60 and '70s
2) A Sallen-and-Key filter based on the Korg 35 module used in the MS-20
3) A State Variable filter as used in the Oberheim SEM

Each filter type produces Low Pass, Band Pass and High Pass responses which can be morphed between using the front panel control or CV.

In addition, any or all of the filter channels can be linked together internally producing a parallel filter bank controlled by a single cut-off control or CV. Check out some of the examples for how amazing this sounds.

The AUX CV input can be switched to allow CV control of the filter response, resonance or pan of each filter channel's dual outputs.

Finally, each filter can be overdriven to accentuate the unique sound of each filter type.

Specifications:
Width: 38HP
Depth: 22mm excl. power cable. Approx 32mm inc. shrouded power cable
Power Requirements:
+12v: 250mA
-12v: 100mA
+5v: 0mA

Inputs:
Signal (Zero attenuation): +/-5v nominal, +/-12v max
Cut-off CV (Zero attenuation): 0-5v nominal
AUX CV (Zero attenuation): +/-5v nominal

Outputs:
Dual Outputs: +/-5v nominal, +/-10v max

Notes: At its heart, Alpha Pro is four identical VCAs, each with overdrive and stereo outputs. However, it's also possible to link any of the VCAs together to form a voltage controlled mixer. This flexibility allows Alpha Pro to replace a bank of VCAs, sub-mixers and even your output mixer.

Each VCA has two Signal inputs and a summing mixer with individual attenuators.

There are two mix buses, allowing each VCA to act stand-alone or as part of the mix. So you can configure two separate sub-mixes, with any of the VCAs contributing to the mix, or use all channels to make an 8 input, stereo output main mix.

The VCA gain is controlled by the Initial Gain knob, and two Gain CVs - again mixed together, each with an attenuator. Having two Gain CV inputs allows for more complex modulation possibilities without needing another CV sub-mixer.

Gain response can be set to exponential or linear.

The XING switch enables zero crossing detection to prevent clicks on very fast CV inputs.

Two drive modes are available, a soft clip and a harder fuzz, with the DRIVE control increasing the gain into the overdrive circuit to increase the effect.

The VCA output is stereo, with manual and CV control of pan - again, with an attenuator.

Alpha Pro is available now as a 'founders edition' which includes the Alpha Switch as standard.

Specifications:
Width: 38HP
Depth: 22mm excl. power cable. Approx 32mm inc. shrouded power cable

Power Requirements:
+12v: 250mA
-12v: 100mA
+5v: 0mA

Inputs:
Signal (Zero attenuation): +/-5v nominal, +/-12v max
Gain CV (Zero attenuation): 0-5v nominal
Pan CV (Zero attenuation): +/-5v nominal

Outputs:
Stereo: +/-5v nominal, +/-10v max
With Drive Modes 1&2 outputs are normalised to around +/-5v max

Notes: The Circadian Rhythms, is a professional performance gate sequencer in Eurorack format. Sitting at the centre of your system the Circadian provides triggers and gates to all your drum modules and percussive sounds as well as clocking your other sequencers with exceptional timing accuracy. Each channel voice can be programmed directly from the intelligent, eight-channel, 512-step master gate sequencer designed for composers looking to make music on the modular and perform live. Building up from basic step programming, multi-channel patterns of musical phrases can be repeated, looped, chained, muted, and manipulated in real-time, and, most importantly, all through a simple, clearly labelled menu-free interface.

Led Grid

Built around 72 buttons set as a multi-colour illuminated 8×9 array, Circadian Rhythms displays both note data and settings in a clear and precise manner. It takes only one click to switch to vertical view, turning the grid into a set of programming and real-time playing functions like Mutes, Loops, Swing, Fills, Copy and Paste, Grouping, Randomizing, and Manual drum-machine-style trigger entry. Activate any of those functions with only a button press or two. Using an array of multi-colour, illuminated buttons and innovative grid views provides a highly functional live performance sequencer with a beautiful, glowing appearance that will look amazing on stage for both performer and crowd. As a master controller, the heart of the modular synthesizer, the Circadian Rhythms generates high precision clock and reset signals for all the other sequencers and devices in the system and can also act as a high precision bridge for DAW synchronization.

Clock

Inside the CR ticks an extremely precise clock with jitter and latency measured in mere microseconds for the ultimate feel of the groove. The four modes of clock sync make interfacing with other modules, hardware, or software simple. Whether driving a large Eurorack system or synced to a DAW, the groove always remains tight.

Under the Hood

When state of the art chip technology, musically driven firmware, and professionally engineered hardware design all come together in one electronic device, the result is a music sequencer with unparalleled specifications. Starting with a powerful, precise sequencing engine that has superb feel for the groove, add internal functions that automatically balance performance and smooth user interface operation, and finish with outstanding low power consumption placing minimal stress on power supplies even at maximum output, Circadian Rhythms has a design focused on the requirements of the most dedicated musicians and composers. Long-time pros will immediately feel a machine made for their needs, while newcomers can instantly dive into next-level programming and performance.

SyncBus Technology

The Tiptop-Audio-designed SyncBus enables the CR to connect to any number of other SyncBus devices with the highest possible level of synchronization. A SyncBus master directly injects its core clock and running status into every connected unit so they work seamlessly as one device. Hook up two CRs to make a 16 channel device or add a Trigger Riot (or three) to the mix for further experimentation. Plus, the connection is done behind the panel so there is no need to patch anything together.

Size: 36HP
Depth: 29.4mm
Power: +12V 160ma / -12V 0ma / +5v 0ma

Notes: Clock generation meets waveform manipulation in this analogue harmonic oscillator. Combine with the Tobinski sequencer and/or interpolating scanner modules for the best creative results.

Supplier's Notes:
The Harmonic Timing Generator is a versatile Eurorack module that combines advanced clock generation with harmonic waveform manipulation. Combined with the Tobinski Sequencer, the module is a great tool for rhythmic and sonic creativity in the modular system.

As a reference clock generator, the Harmonic Timing Generator produces a base frequency with analogue multipliers (x1 to x8) to generate complex timing signals. Three selectors provide manual or voltage-controlled frequency switching, offering flexibility for intricate sequencing patterns. An LFO mode enables slower clocking rates, ideal for driving sequencers or generating modulation sources.

When used with the Interpolating Scanner, the sawtooth outputs of the Harmonic Timing Generator are transformed into sine waves. This allows the module to function as a harmonic oscillator at audio rates or as a versatile modulation source in LFO mode. Its dual functionality ensures that it can adapt to a wide range of patching needs, from rhythm generation to rich harmonic exploration.

The Harmonic Timing Generator is a versatile and creative tool, offering rhythmic and harmonic possibilities that complement any modular synthesizer setup. Its integration with other Tobinski modules ensures a cohesive and expansive sonic palette.

Power consumption: 235mA at +12V and 176mA at -12V and 20mA at +5V

Depth: 27mm

18 HP

Notes: The Flame FM Kosmos is a full-featured 4-voice polyphonic FM synthesizer with integrated multi-effects unit. With 6 operators per voice and 32 selectable FM algorithms, it offers a wide range of sounds from classic FM tones to complex modulations. Each operator has a loopable ADSR envelope for detailed sound shaping.

It also allows morphing between two sound variations (A and B) and real-time control of effects. The integrated multi-effects processor includes stereo chorus, MIDI-syncable delay and reverb. Intuitive operation is paramount, with 8 knobs and easily accessible menus for all key parameters.

The module supports both analogue CV signals and MIDI control, making it extremely versatile. With 128 preset sounds and 128 memory slots, there is plenty of room to store and recall your own sounds.

Power consumption: 120-140mA at +12V and 60-70mA at -12V
Depth: 30mm
22 HP

Notes: OCTOPASS is an eight voice 24db/octave low pass filter based on the classic 2044 filter. All eight filters are fully analogue with gain compensation of resonance and the lovely lush sound of classic synths. A global frequency modulation CV using a 3.5mm jack can be used to modulate all eight incoming CVs of the Polytip jack. The typical use is to patch polyphonic synthesisers with the use of only a few Polytip patch cables for its audio ins and outs and its cut-off frequency controls. To tap each filter I/O or CV using discrete modules the OCTO I/O module can be used as an expander. As there are eight filters in the module special attention has been given to power consumption efficiency.

Size: 20HP

Notes: Cursus Iteritas Percido is the second module in the Percido line of powerful synth voices. Similar to its predecessor the Loquelic Iteritas Percido, CIP takes the original Cursus Iteritas and adds the same musical envelope from LIP with attenuverter-controlled routing to every knob. With the inclusion of the performance-oriented Master Blaster and CV outputs, CIP is a powerhouse of incredibly versatile synthesis in 24 HP.

Features:

Size and power:
24 HP
+12v: 105mA/60mA(if +5v on)
-12v: 60mA
+5v: 0ma/75ma (if +5v on)
Curses - series, from Latin cursus "series"

Iteritas - repetitiousness - from Latin itero "repeat" with suffix -tas "state of being"

Percido - from Latin danger

Dangerous repetitousness series

Notes: Record. Mangle. Destroy.

Nebulae is a granular sampler and DSP platform. Its phase vocoder audio engine provides elastic audio, which can be time stretched, granularized, and mangled to no end. With independent control over pitch and speed, and granular controls such as overlap, window, and density, finding new sonic territory is only a knob turn away. Nebulae can use live audio input, a recorded buffer, or audio files as the source material for its powerful audio manipulations. The live input buffer can record up to five minutes of stereo audio at 48kHz, 24 bit. In addition, up to 75 MB of stereo audio can be loaded simultaneously through the USB port. No naming convention or special formatting necessary; just plug and play.

Nebulae lives a double life as an open source DSP platform with an extensive library of off the shelf alternate instruments. You can turn the module into a lush reverb, spectral delay, or tape-style looper simply by loading a new file onto the flash drive. Do you want to tweak one aspect of an existing instrument, even the default functionality? No problem. No prior coding knowledge is necessary to tweak and refine existing firmware to your liking or start with one of our templates. Alternate firmware files can be written with Pure Data, Csound, SuperCollider, and even bare-bones C programs.

Notes: FLAME "TAKT" rhythm sequencer.

"TAKT" is a compact 30HP Eurorack sequencer module for playing or programming trig- ger/gate/velocity rhythm sequences.

The sequencer has 8 tracks with trigger/gate outputs, 8 velocity/modulation CV outputs and full MIDI functionality. The CV track can also be used independently as a modulation track. Live sequencing in looper mode is possible in two ways: SHOTS for playing "note repeats" or quantized triggering via keys or sensors.

Four tracks can be triggered simultaneously with four external distance sensors. These sensors are just 2HP slim modules that can be rack mounted at desired locations. These are connected directly to the module with narrow and sufficiently long ribbon cables, which also supplies the sensors with the necessary operating voltage. The 4 sensors and the connection cables are included in the scope of delivery. The sensors generate trig- gers/gates and can be switched live as a set between tracks 1-4 and 5-8 (e.g. via foots- witch).

Four syncable LFOs with VCOs for amplitude adjustment are also provided. The LFOs are equipped with many interesting functions. This includes 26 different waveforms, phase, amplitude, speed and output voltage. This can be unipolar or bipolar (0..+5v or +/- 5v) and additionally attenuated by AMP (amplitude) with built-in VCA. This means that the LFO outputs can also be adapted to modules that do not have an input attenuator.

Patterns can be switched live and are each up to 4 bars long. 4 patterns plus a fill pat- tern are saved as a scene. 50 scenes can be permanently stored in the module. This means that 250 patterns are available in total.

Additional inputs and outputs for controls are available. There are 4 CV inputs to be defi- ned by the user, as well as 2 programmable analog clock outputs. On the front there are MIDI input and output as 3.5mm TRS sockets. Firmware updates can be done via MIDI- SYSEX.

HP : 30

Notes: Kermit is a 4-channel programmable supermodulator with morphing wavetable generator and internal modulation matrix. Four channels operate as LFOs, audio rate oscillators (with 1v/octave response on two channels), 1-shot envelopes, random voltage generators, or sample-and-holds, all responding to manual control, external control voltages, or synchronization to the module's master tap tempo clock. Designed for maximum patching power in small systems, Kermit carries an unmatched functionality-per-HP factor with an easily readable display that shows parameters in their real-world units.

The module has a 16-bit DAC to accurately render subtle changes of voltage at extremely low frequencies. The oscillator mode is best suited for bass frequencies, and the waveform "character" modes restrict the morph behavior or degenerate the audio to a minimum of 8 bits with limited horizontal resolution, like the Konami SCC chip used with the MSX computer. The tap tempo facility features an input jack and a manual button. The tempo is shown on the OLED display in BPM. The relevant units (hertz, seconds, volts, etc) or selected waveform of each channel are contextually shown on the display as the user programs the module.

List of operating modes per channel:

LFO (1 volt/octave)
LFO (with reset)
Tap tempo LFO
Audio oscillator
Audio oscillator (unison)
Code scan
1-shot envelope
Gated repeat envelope
Tap tempo envelope
Smooth random
Stepped random
Tap tempo stepped random
Sample-and-hold
Track-and-hold
Tap Tempo sample-and-hold

Three parameters on each channel can be modulated: frequency, amplitude, or waveform. Both external CV input and internal cross modulation are programmable with hotkeys. For example: assign the output of Channel B to morph the waveform of Channel A by holding the Channel B button while turning the Channel A Waveform knob. All channels have manual control of frequency (coarse and fine), phase, wave bank, waveform morph, and amplitude. Channels A and B have full controls, C and D have single knob controls with deep parameters accessible by hotkey combinations. Still deeper functions are accessible through the Mark III menu system.

Kermit has a microSD card slot for loading custom waveforms, like its big brother Piston Honda. The SD card accepts one .WAV file in WaveEdit format (free software editor) containing 64 waveforms, also compatible with several other Eurorack modules. When loaded into Kermit, the waveforms are organized into 8 banks of 8 waveforms each. Each oscillator can select any of the 8 banks, and the 8 constituent waves can be smoothly morphed from one to another.

The Mark III morphing preset manager is in full effect on Kermit. The discrete preset mode quickly and reliably recalls all parameters in response to triggers or CV, accessing the true power of the module as detailed, carefully programmed settings are effortlessly loaded and changed. The morphing mode causes delightfully unexpected variations of the basis preset.

Insert a master clock signal and you're ready to go. Kermit is a reliable provider of endless rhythmically coherent modulation voltages and a reasonably competent "voice module" providing most common synthesis functions on each channel with an internal modulation matrix.

Notes: A big deal even by Xaoc's prolific and eclectic standards. Fully analogue VCO based on the none-more-old-school fonction d'onde formantique, implemented with extensive CV control. Transcendent waveforms indeed.

Supplier's Notes:
Sofia is a fully analogue voltage-controlled oscillator (VCO) based on an original waveforming principle. It features a modern, well-calibrated, temperature compensated triangle core and two elaborate waveshaping and modulating sections. The sound is a mixture of a warm, saturated base tone and two ripple components. Besides its main output, Sofia offers access to individual components of the sound plus a multitude of modulation inputs allowing for extensive self-patching and animation of the waveform. To better understand the device, it is strongly advised to read through the entire manual before using the module.

Sofia implements and extends the classic computer music method for synthesis of formant sounds called FOF (fonction d'onde formantique), which uses a combination of simple, time-domain components (decaying sinusoidal waves) to achieve desired spectral characteristics.

In Sofia, two of such ripple elements are added on top of a slightly saturated sinusoidal base tone. Each new cycle of the base tone spawns a new pair of ripple elements. The ripples' density and decay rate may be adjusted over a wide range. Additionally, the elements may be warped so that their density accelerates or decelerates within the cycle. Finally, their basic waveform may be switched from sine-like to square-like for additional richness.

Despite the seemingly divergent frequencies present in the signal, it remains strictly harmonic due to how all elements are waveshaped from the core tone and therefore phase coherent. Thus, Sofia is not a complex oscillator in the Buchla sense; however, it goes beyond the traditional set of primary waves and wavetables, hence the name.

Analogue VCO with complex waveforms
Extended FOF synthesis
3 frequency control inputs
8 parameter control inputs
6 signal outputs

24hp, 30mm deep
Current draw: +90mA/-80mA
Reverse power protection

The high quality Coal Mine black panels are available for all of Xaoc Devices modules. Sold separately. Ask your favourite retailer.

Notes: Excellent Eurorack sequencer based on random chance and evolving patterns. Dial in a series of notes and build melodies, generate and tweak patterns in real time. Huge depth for studio production or live performance.

Supplier's Notes:
The Melodicer from Vermona is a CV/Gate sequencer with an innovative concept; the melody sequencer offers twelve faders for setting the note probability and two dice-(or random) buttons for generating melody and rhythmic structure.

Notes: Based on the excellent LXR-02 drum machine, the LXR Eurorack module is a percussion all-round, with six voices, trigger inputs and CV modulation, plus the ability to generate synth parts. Versatile.

Supplier's Notes:
LXR eurorack module is a compact and great-sounding percussion synthesizer based on the sound engine of the LXR-02 drum machine. While retaining the core interface of the LXR-02, this module adds the essential eurorack ingredient - assignable CV control over parameters and many more tweaks in the user interface for better integration in any eurorack system

Features

6 drum/percussion voices
7 trigger inputs with accents
5 assignable CV inputs
4 assignable outputs
3 voices can be used as basslines due to 1V/oct tuning
Over 30 adjustable parameters per voice
Insert FX section
Kit memory
SD card for Kit exchange and easy firmware updates
Kits compatible with the LXR-02

Dimensions
28 HP
35 mm deep

Current Draw
88 mA +12V
10 mA -12V
0 mA 5V

Notes: The Serge Dual Universal Slope Generator (DSG) is probably the most versatile module of a Serge Modular system, incorporating a wide range of functions for both CV and audio. Some functions for which one Slope Generator can be used: VC Transient Envelope Generator, VC LFO, VC Portamento device, Envelope Follower (Detector), VC Pulse Delay (Monostable), Sub-Harmonic Series Generator (Divider), Audio Oscillator with variable waveform symmetry (saw to triangle), Non-Linear Audio Processor (low-fidelity VCF).

From the catalog: "The Universal Slope Generators are unity gain voltage followers with voltage controllable slopes. The range of control is exponential, extremely wide, and the Rise and Fall times can be controlled independently. The range of the Slope Generator is from sub-sonic to high audio frequency. Trigger inputs and trigger outputs allows each section of this dual module to function as a transient (envelope) generator, pulse delay, or in a "cycling mode" (to produce an LFO or clock). Since the Rise and Fall times are voltage controllable, this adds another dimension to the above functions.

The DSG mk2 version has been optimized for audio performance and speed/precision. The top section covers a frequency range up to more than 10kHz. It also offers improved tracking and some temperature compensation.

Dimensions
26 HP
40 mm deep

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

Notes: Eight channels of audio and CV sampling with real-time editing and processing. Does basic sampling well but quickly gets creative and weird.

Supplier's notes:
The 'Squid Salmpler' is a Eurorack 8 channel audio & CV sampler. It is designed for immediate real time sampling, editing and mangling within a modular context.

Taking influence from early hardware samplers, The Squid Salmple focuses on usability and instinctive operation, incorporating a proven Pamela's Workout style user interface for minimal screen dependence and a fun, hands on experience.

With support for sampling and playback for both audio and CV, as well as CV control of all parameters, on-the-fly bank loading and saving to USB, The Squid Salmple brings a unique take on old school sampling into the modular realm.

The Squid Salmple comes with a USB Stick containing approximately 90 banks of original carefully curated royalty free samples. This includes a wide range of sounds from classic drum machines and weird synths to field recordings and CV modulations. Banks are provided by both ALM and some of our favourite artists and friends including Mumdance, Solid Blake, Russell Haswell, Lauren Flax, Dave Burraston (NYZ), Sue Zuki, Dungeon Acid, Sasha Lewis and Andrew Duff.

Notes: Black version of Bitbox's excellent sampling module. Touchscreen-based design allowing up to eight stereo samples, recording directly or loaded from SD card.

Supplier's Notes:
Bitbox micro provides Eurorack sampling for smaller racks and smaller budgets. In only 18 HP of rack space you can get a touch screen based sampler with support for 8 stereo sample pads. Now you can record samples directly into the module or load them from the microSD card. Trigger your samples via CV or MIDI, then apply effects and mix the outputs. Save your configurations to multiple presets for later reuse.

Powerful Sampling Capabilities in a Smaller Form Factor

With the sampling features of Bitbox micro you can add interesting new ways of generating sound and music to your Eurorack. Trigger one shots, play time synched loops or record live looping. Bitbox micro is equally at home in your studio or as a component of your live performance.

Features

Sample Playback
Play up to 24 stereo polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger stereo samples streaming directly from the microSD card
Configure 8 stereo sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Sample Recording

Record Eurorack level audio straight into the module:
Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Resample the master output without patching
Automate recording of a multi-sample bank via MIDI and CV
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer

Sample Modes

Find creative ways of using your samples with our 5 sample playback modes:
Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode

Inputs and Outputs

Use the 8 inputs the way you want: assignments include a stereo audio input, up to 8 gate inputs, up to 8 CV inputs and 1 clock input.
Route the audio from each pad out to one of 3 stereo audio outputs or one of 6 mono audio outputs
Listen to all of the pad outputs combined on the master stereo output
Inputs and outputs are DC coupled so you can record and play out CV signals
External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode i no need to look up CC numbers

Module Features

Use the 2" diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Refine your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Compare to Our Other Samplers
Our Sampler Selection Guide shows you how bitbox micro compares to our other samplers.

What Is Included

When you purchase bitbox micro, you will receive:

a bitbox micro Eurorack module
a microSD card with a bank of demo presets and samples loaded on it
a Eurorack power cable
a bitbox micro Quick Start guide
a MIDI Adapter
Firmware Updates
Get new features by downloading firmware updates from forum.1010music.com.

Documentation and Video Tutorials

The Bitbox Micro Support page has links to videos, the quick start guide and the full user manual to get you up and running quickly and answer your detailed questions. If you can't find answers there, reach out to the community with questions on the 1010 Music forum.

Notes: ***B-STOCK: Without original box, item shows small amount of damage but in perfect working order***


FLAME "TAKT" rhythm sequencer.

"TAKT" is a compact 30HP Eurorack sequencer module for playing or programming trig- ger/gate/velocity rhythm sequences.

The sequencer has 8 tracks with trigger/gate outputs, 8 velocity/modulation CV outputs and full MIDI functionality. The CV track can also be used independently as a modulation track. Live sequencing in looper mode is possible in two ways: SHOTS for playing "note repeats" or quantized triggering via keys or sensors.

Four tracks can be triggered simultaneously with four external distance sensors. These sensors are just 2HP slim modules that can be rack mounted at desired locations. These are connected directly to the module with narrow and sufficiently long ribbon cables, which also supplies the sensors with the necessary operating voltage. The 4 sensors and the connection cables are included in the scope of delivery. The sensors generate trig- gers/gates and can be switched live as a set between tracks 1-4 and 5-8 (e.g. via foots- witch).

Four syncable LFOs with VCOs for amplitude adjustment are also provided. The LFOs are equipped with many interesting functions. This includes 26 different waveforms, phase, amplitude, speed and output voltage. This can be unipolar or bipolar (0..+5v or +/- 5v) and additionally attenuated by AMP (amplitude) with built-in VCA. This means that the LFO outputs can also be adapted to modules that do not have an input attenuator.

Patterns can be switched live and are each up to 4 bars long. 4 patterns plus a fill pat- tern are saved as a scene. 50 scenes can be permanently stored in the module. This means that 250 patterns are available in total.

Additional inputs and outputs for controls are available. There are 4 CV inputs to be defi- ned by the user, as well as 2 programmable analog clock outputs. On the front there are MIDI input and output as 3.5mm TRS sockets. Firmware updates can be done via MIDI- SYSEX.

HP : 30

Notes: Vinia is a new powerful 8-channel audio generator and processor for Eurorack. Each channel is independent and has its own signal chain. This can be a multi-engine instrument, an FX processor, a combination of both, or a chain of several FX.

The sound generator section offers 2 sample players (one plays from the 16 MB internal flash memory and the other directly from the microSD card), various VCOs (VCO, multi-VCO, harmonic VCO), Karplus, a Chord generator, noise, a drum synth and modulation generators (LFO, envelope follower, envelope).

Each of these generators has a rich set of parameters for setting up your sounds. Then, there is a powerful multi-FX processor.

Tesseract Modular has added 20 different algorithms in Vinia: FM operator, filters (multimode, ladder, rubber, bandpass), a wave folder, tube saturation, delays (filter delay, delay, long delay), reverb, metallizer, grain pitch shift, and more.

These can be flexibly set in a chain per channel and offer many customization possibilities. The module also hosts a mixer. You can also save your channels in presets and work with macro parameters.

Each of the 8 channels can be independently configured as a multi effect processor, VCO, sample player...

Audio outputs are DC coupled so it can be used to generate complex CV modulation sources too.

There are 2 types of modulation in Vinia, the first is stepped (occurs every 1,4 milliseconds approx.) and very flexible, any modulation source can modify any parameter of any track. The second is the 'audio rate' one (44,1 KHz), only a few parameters admit this type and both sources and destinations will be within the same track.

Audio sources: Audio Input, Flash Sample Player, MicroSD Sample Player, VCO, Multi VCO, Harmonic Oscillator, Karplus, Chords, LFO, Envelope Follower, Envelope, Noise, Drum Synth

Audio processors: FM Operator, Multimode Filter, Ladder Filter, Rubber Filter, Bandpass Filter, VCA / Polarizer, Folder, Tube Saturation, Exponential Envelope, Delay, Filter Delay, Long Delay, Long Filter Delay, Reverb, Metalizer, Chorus, Modulator, Vocoder 16, Vocoder 32, Bit Crusher, Rectifier, Grain Pitch Shift, Ring Modulator

Notes: The Circadian Rhythms is moving modular synthesizer technology another step forward by gluing all the pieces of a system together. Each module or voice can now be programmed to play straight from an intelligent, eight-channel, 512-step master trigger sequencer made for composers looking to make music on the modular. Building on the sequencing concept of step programing multi-channel patterns of musical phrases can be repeated, looped, chained, muted and manipulated on the fly in real-time, and most importantly, all of this is done through a simple, clearly labeled interface. Using an array of multicolor illuminated buttons and innovative grid views provides a highly functional live performance sequencer with a beautiful glowing appearance of the programmed music that will look amazing on stage for both performer and crowd. As a master controller, the heart of the modular synthesizer, Circadian Rhythms generates high precision clock and reset signals for all the other sequencers and devices in the system to align with and can also act as a high precision bridge for DAW synchronization.

Views - Unlike most hardware sequencers that have a single static display of a timeline, Circadian Rhythms offers four different horizontal views of the timeline and two unique vertical views that scale from macro to micro. Switch between viewing 64 steps at once or all 8 channels side by side instantly. Stretch gates over multiple patterns to drive envelopes or use Zoom view to move a single hit back a few milliseconds in time to get the right feel all from the same interface.

LED Grid Built for Quick Access - Built around 72 buttons set as a multi-color illuminated 8x9 array, Circadian Rhythms displays both note data and settings in a clear and precise manner. It takes only one click to switch to vertical view and the grid turns into a set of programming and realtime playing functions like Mutes, Loops, Swing, Fills, Copy and Pate, Grouping, Randomizing, Manual trigger entry drum machine style and many many more. Activate any of those functions with only a button press or two.

Clock - Inside the CR ticks an extremely precise clock with jitter and latency measured in mere microseconds for the ultimate feel of groove. The four modes of clock sync make interfacing with other modules, hardware or software simple. Whether driving a large Eurorack system or synced to a DAW, the groove always remains tight.

SyncBus Technology - The Tiptop Audio designed SyncBus enables the CR to connect to any number of other SyncBus devices with the highest possible level of synchronization. A SyncBus master directly injects its core clock and running status into every connected unit so they work seamlessly as one device. Hook up two CRs to make a 16 channel device or add a Trigger Riot (or three) to the mix for further experimentation. Plus, the connection is done behind the panel so no need to patch anything together.

Under The Hood - When state of the art chip technology, musically driven firmware, and professionally engineered hardware design all come together in one electronic device, the result is a music sequencer with unparalleled specifications. Starting with a powerful, precise sequencing engine that has superb feel for the groove, add internal functions that automatically balance performance and smooth user interface operation, and finish with outstanding low power consumption placing minimal stress on power supplies even at maximum output, Circadian Rhythms has a design focused on the requirements of the most dedicated musicians and composers. Long time pros will immediately feel a machine made for their needs, while the newcomers can instantly dive into next level programming and performance.

Notes: The Haible VC Resonator is an evolution of Jurgen Haible's Resonator which was inspired by the Polymoog Resonator. As Jurgen stated: The Polymoog, an early polyphonic synthesizer, featured a 3-band "Resonator" section that allows Formant-Filtering in addition to its dynamic Filters. Such a Resonator is a very useful feature for analogue synthesizers. Each of the three (now overlapping) filter bands has a control for frequency, signal gain, and emphasis (resonance). The VC Resonator now not only adds VC control for each band, but also extends the ranges whithin which each frequency band can be set - adjacent bands can now overlap or even cross over, for instance the LOW and MED bands can now be set (or moved!) so that the LOW center frequency is higher than the MED frequency.

Jurgen's original Resonator (like the Polymoog) had a switch to select one of 3 basic modes, i.e. only one mode could be used at a time. The Haible VC Resonator now provids the same 3 modes as separate outputs so they can be used simultanously, e.g. for further processing like crossfading.

Some details of the Haible VC Resonator:

Evolution of Jurgen Haible's design
Added Voltage Control for Filter bands
Extended range of each band (overlapping)
Three separate outputs
Burr-Brown op-amps and high-end VCAs
Eurorack (3U) format, 18 hp
Skiff-friendly: < 30mm deep
Power: appr. 60mA @ +12V and 60mA @ -12V

Notes: Multi-model stereo delay with reverb, featuring tape, bucket brigade and crossfading digital models, plus saturation, filters, internal modulation plus tons of CV control. Vibey as hell.

Supplier's Notes:
It's all gone a bit wobbly

Intellijel's design goal for Sealegs was to create the warmest, most musical and organic delay module possible - something that would sweeten and enhance any audio one chose to feed into it. As such, great care has gone into modelling the most distinctive and desirable sonic characteristics of three different types of delay circuits: Tape; Bucket Brigade, and Crossfading Digital.

A plethora of onboard controls enable you to dial in exactly the sound you want; synced or un-synced delays times (for both left and right channels); a built-in modulator with seven morphing waveshapes, a Wow & Flutter emulation, and an envelope follower; plus dedicated low- and high-pass filters; built-in hiss & crackle noises; per-model colour controls; a spacious reverb; and a re-configurable signal flow through the unit. In addition, attenuverted modulation inputs abound - ensuring the delay ebbs and flows with your musical needs.

Features
Three Unique delay models with per-model "Color", modulation behaviour, and saturation/limiting
Three Stereo configurations (PONG, L/R, Time/Width)
Built-in modulator with multiple, morphing wave shapes
Lush, routable 1970s-inspired reverb
Noise control to introduce hiss and crackle.
Highpass and lowpass filters for filtered repeats
Input drive with level trim
Per-model Freeze functionality for holding the delay contents and looping
Delay times up to 6 sec (L channel) and 8 sec (R channel, Width adds 33% to Time)
9 CV inputs (with attenuverters)
Stable external clock syncing (or tap tempo)
96 kHz, 32-bit stereo floating point processing

Size: 20HP
Depth: 29mm
Power: 116mA @ +12V 10mA @ -12V

Notes: *** Free software update available as a free download, along with updated documentation, at the Mob of Emus product page on the Rossum Electro-Music website***

A lot to unpack here. Six-channel multipurpose oscillator/noise source/modulation generator with quantisation, trigger generators and even more. Seriously powerful all-round digital goodness.

Supplier's Notes:
Mob of Emus is a powerful music and sound design tool that packs an enormous amount of creative power into an amazingly compact 16HP module.

Mob of Emus gives you six channels of oscillators, noise sources, cyclical and 1-shot modulators (including LFOs, envelopes, and various other shapes), sample and hold waveshapes, slow random modulators, triggers, rhythm patterns, and quantization (of both internal and external signals) in pretty much any combination (well, any combination of six channels, anyway).

In addition to being able to independently program the function of each individual channel, Mob of Emus' Hex Mode provides a macro control layer that allows you to control all of its channels simultaneously (while maintaining the relationships of each channel's independent programming).

What's more, Mob of Emus' "harmonic" control structure makes it extremely easy to combine its oscillators into rich additive timbres, to combine its LFOs into stacked harmonic low frequency modulation waves, and to create modulation sources and triggers with intricate polyrhythmic patterns.

With an external trigger input, six CV inputs that can operate in six different control modes, six independent outputs, and an assignable mix output, Mob of Emus can operate as the heart of an almost unlimited variety of patches. And its 8 real-time controls will give you immediate hands-on access to a channel's (or all six channels') key parameters, inviting (and rewarding) exploration and improvisation.

Mob of Emus features include:

Six channels that can function independently or can be further controlled by a Hex Mode macro layer that lets you control all six simultaneously. Channels can be:
Wide-range digital oscillators
Noise sources
Cyclical and 1-shot modulators (including LFOs, envelopes, and various other shapes)
Sample and hold waveshapes
Slow random modulators
Triggers
Rhythm patterns
Quantizers (of both internal and external(!) signals)
Six CV inputs that can function in six different control modes
Eight real-time controls for immediate access to key channel parameters
Six individual channel outputs and an assignable mix output
The ability to store and recall 12 user presets
And much more.

Mob of Emus is 16HP wide and 25mm deep.

Power requirements (max): 130mA +12V, 25mA -12V. Reverse polarity protected.

As of March 2021, there has been a been a small bug fix to the recent software update for Mob of Emus.

The update fixes a bug where holding the Channel Selector Buttons for a short time to select a single channel and deselect any others was not working correctly.

The update fixes a bug where some Hex Mode parameters were not ignored when Hex Mode was set to off.

The update introduces a feature allowing users to double-click and hold the Hex button to reset all Hex Mode parameters and set Hex Mode to on.

Rossum Electro-Music made a change to the behavior of the LEDS when using the utility 'Display Software Revision'

Notes: The Falistri is a fully analogue multi-purpose movement manager designed to generate and edit voltages to easily accomplish any patch.

The module can be divided into two big parts: in the upper two-thirds of the panel take place two specular function generators, while the lower third is composed of a dual cascaded frequency divider, a linear slew limiter, and a four-quadrant multiplier.

Key features:

Two Function Generators: Envelopes, LFOs, Oscillators
Adjust the Shape Without Changing the Time
Exclusive Shapes per Stage
Trig Buttons: Play Those Envelopes!
Three Play Modes (Voltage-Selectable)
Interacting Functions: Quadrature Mode
All the Outputs, Everywhere
Cascaded Frequency Dividers
Four-Quadrant Multiplier
Linear Slew Limiter

Size 18 HP
Depth 38 mm

Current draw
170 mA @ +12 V
170 mA @ -12 V

Notes: In only 12hp, Axis condenses all the classical blocks for the audio amplitude management, redefining the classical envelope -> vca -> mixer path. The idea is to manipulate a sound over three axes: its length, its volume, and its place inside the stereo field.

Axis is a dual envelope generator that features an integrated VCA, a crossfader, and a voltage-controllable mixer section. The initial concept was to combine digital control over an analog VCA to closely emulate the classic Vactrol sound. After more than a year of refinement, Axis has evolved into more than just that. It offers exceptional versatility, providing a wide range of waveforms and the unique capability to simulate the natural percussive qualities of different materials. All this is in a complete analog path.

For the function generator section, we choose a faster method over the classic AD/ ADSR style: a selection of waveforms studied to give back a precise musical effect can be selected with the shape knob. The function length is independent from the actual wave shape and can be settled with the fader timeX from 30hz to 15 seconds. Also, setting the timeX fader at its maximum level will leave the VCA open.

A more typical collection of envelopes can be found in the first half of the dial. All kinds of sounds, from plucked notes to long volume swells passing through lead-friendly lines, can be obtained here.

More unusual, the last section of the knob is thought to simulate the acoustic vibration of a percussed object. Starting with a triangular envelope, from this point on, the more you turn the knob, the more rebounds will be added, simulating the natural ring of a material. Using this section at low rates can generate complex envelopes that could also be suitable for the vibrato-style AM effect. The envelope generator section includes a mode switch (cycle,trigger,hold), a trigger/gate input, an EOC trigger out, a function output, a CV for the envelope shape selection, and one CV for time.

As a cherry on the cake, a crossfader is placed at the end of the chain, blending both Axis halves. With a dedicated fader and CV control, raising it will invert the L/R output, creating nice stereo effects or moving the voices around the stereo field.

The VCA section is more straightforward: it has an audio input/output[1] and a VCA CV input[3].

You can plug the audio I/O to use Axis in its completeness and eliminate a lot of cables and mess!

Soundwise, here at Clank, we are all about vactrols LPGs, but since we knew it's not the most versatile option on the market, we came up with a different design. Blending together a VCA with a not-so-step filter, we obtained a VCA with a nice mild LPG flavor: enough to sound not so "clicky" but not too slow to inficiate really fast sounds.

By default, the envelope created by the function generator is normalized to the CV in of the VCA. Plugging a cable into the VCA in breaks the normalization, in this way you can use a different source to control the VCA and free the function generator for LFOs or modulation duties.

The range Y fader sets the strength of the envelope, but you can also see this control as a volume fader, which is nice since you won't necessarily need an additional volume for your voice after the Axis. Take into consideration that since the Axis VCA is actually a low-pass gate, lowering the rangeY fader also affects the cutoff frequency. The range fader also has its CV control to program dynamic changes to the sound. Basically, it's a VCA over a VCA that permits every note to be at different intensities. Last but not least, Range CV can also be fed by a unipolar modulation CV to obtain vibrato effects or audio rate AM modulations

Notes: Chaos is excellent for modulation purposes or as a clock multiplier/ divider, but that's only scratching the surface... It takes a different approach to writing sequences than traditional sequencers, as it is built on six touring machines combined with an effective pattern and clock generator. One of the biggest challenges in electronic music production, especially when it comes to sequencing, is finding that sweet spot between hands-on control and possibilities.

It can be frustrating because many sequencers with lots of fun and playable controls don't always pack the punch you need. On the flip side, you have those bigger menu-based sequencers with tons of options but can feel overwhelming with all the programming they require. It's designed to help you overcome these challenges and make your music-making experience smoother and more enjoyable, whether you're jamming or writing a song you want to execute live.

Typically, a sequencer starts with a blank canvas. However, with Chaos, you begin with all possibilities at your disposal and can easily narrow them down to fit your vision with just a few adjustments. This makes creating a sequence that conveys a specific mood quick and straightforward. Once you have established this initial mood, you can loop it from the last step to step 32 whenever you hear something you like. At this point, you can choose to modify the entire loop or adjust the parameters of any individual step. There is no need for extensive menu navigation; simply pressing a button and turning the encoder gives you control over parameters such as gate time, gate probability, gate width, gate ratcheting, gate swing, notes, scale, slew, and slew amount.

The LED bar continuously displays the voltage output of the selected channel, as well as the gate and each parameter's value, eliminating the need for a screen. You can save and recall the entire sequence of its six channels at any time. Additionally, there is an internal function that allows you to randomize all parameters or just a select few within a specified range, helping you discover new melodies to work with.

Chaos is an endless reservoir of tunes and is incredibly quick and powerful for composing sequences, gate patterns, or modulation. In a short time, it will become the brain of your system.

Six CV outputs can be used for a wide range of applications; everything from chaotic modulations to fine-tuned sequences can be obtained. Thanks to its interface you can quickly adjust the voltages from where the random engine picks new values and then edit them in every aspect.In addition, Slew amount, Quantization, and external sampling are available on every channel.

Thanks to its 6 gate outputs, Chaos can be used as your system's quick and effective clock manager and gate pattern generator. Chaos also provides a stable master clock (10mS to 10Sec) from a separate output and can be clocked from external devices. On every channel, you can set Probability, Width, Swing, Ratcheting, and Time as a multiplier/divider of the master clock or unquantized in mS.

You can freeze the last 1 to 32 steps of randomly generated CVs and Gates in a locked loop when you hear something you like. Loops are not static; every parameter of Chaos can be used again to change the loop behavior in a non-destructive way.

Entering sequencer mode means taking control of every aspect of the looped sequence generated by the random engine. You can change time, width, probability, ratcheting, slew, slew amount, note, note deviation, etc., for each of the 32 steps of all six channels.

Thanks to the external input, you can substitute the random generator with external voltages, transpose a sequence on the fly, and a lot more.

If you're more into generative stuff or want to add a bit of craziness to the patch, you can use the Chaos function to randomize all the parameters on a channel. A sophisticated control named entropy is available on every parameter to set the distance of the new value from the last one.

Chaos can save and recall 10 slots where you can save entire sets or preferred channel behavior. Recall can also be done with an external voltage.

Notes: The name, indeed, comes from ancient Greek mythology since Proteo was a shapeshifter who could assume whatever shapes he preferred. In this way, our Proteo, has not a precise sound on its own but a clever mechanism that permits to acquire and transform every signal into waveforms. What if you can use your envelopes, LFOs or any other signal as a sound source?

What sets it apart from other oscillators? What's very different in Proteo is its internal pseudo-tape recorder, which is capable of continuously acquiring and transforming any external signal into waveforms and morphing them from a basic sine.

In Proteo, waveforms are not a static digital representation of a sound; they can continuously evolve in a very organic way, and tape loop time is a fundamental factor: changing it will drastically affect the resulting output even with the same sources at the inputs. Slowing down the time will capture a bigger portion of the incoming source with more harmonics. As a result, increasing it allows to capture up to low audio rate signals or really small fragments of the signal.

Exploring the interaction between Proteo, the sources and the time will force you to change your mind about how sounds and harmonics can be generated: visualizing how different shapes can sound and looking for new sources to generate YOUR waveform is the fundamental idea behind Proteo.

Proteo is also stereo, thanks to the Span knob you can easily detune one oscillator from the other to create nice stereo effects. Beside the common pitch the two oscillators have independent acquisition paths and morph controls, each one can emit different waveform.

Notes: Etna is an advanced triple-control Analogue Multimode Morphing Filter & Digital Control, that has been meticulously designed for precise and dynamic sound shaping. It allows for rapid or smooth transitions between diverse filter settings, known as snapshots.

Each snapshot comprehensively defines all of the filter's parameters, which can be adjusted either swiftly or gradually. These transitions are controlled through an applied voltage or clock and triggers, with the flexibility to use up to eight distinct stages for creating complex filtering effects in various audio applications.

In addition to its morphing capabilities, Etna incorporates analog controls that enable real-time, expressive modifications to the parameters of each saved snapshot. This enhancement not only enriches the morphing process but also provides a tactile, live experience that adds significant depth and nuance to the audio output, making it a powerful tool for both studio and live performance settings.

The response of each filter has been designed with top-end components, incorporating Q and passband compensation. This enables its use as three multimode filters, with all necessary analog control.

Dimensions: 20 HP
Power consumption: 165mA@+12V, 88mA@-12V

Notes: Octogain is a eight voice polyphonic analogue audio VCA plus a eight voice mixer with master level control and odd/even (Right and Left) channels for a stereo output and clipping indicator. All eight VCA ins and outs are simultaneously available through Polytip jacks and 3.5mm jacks so the module can be used in a variety of ways both polyphonic or multi-voice monophonic. The fully analogue audio path has exponential CV control. CV inputs are 0-5V, typical audio input is 10Vp.p. A global Offset knob allow to open all VCAs manually or apply positive offset to incoming CV. The design uses very low power consumption with excellent audio quality.

Size: 16HP - Depth: 40mm
Power: +12V 42mA / -12V 35mA

Notes: Part of TipTop's polyphonic range, the Octostages is based on the envelope circuits from the legendary Oberheim OB-X. Eight fully analogue envelopes with shared ADSR controls.

Supplier's Notes:
Octostages is an eight voice fully analogue envelope generator made with the original envelopes of the 1979 OBX. Each of the eight envelopes feature a Gate in, Envelope OUT, Velocity CV in and Attack CV in control as well as an output led indicator. A master output level knob and CV using standard mono jack are provided to control or modulate all envelope output levels globally. As there are eight EGs in the module special attention has been given for power consumption efficiency.

Size: 20HP - Depth: 40mm
Power: +12V 185mA / -12V 165mA

Notes: Befaco's unique GameBoy-based effects module allows you to change effects by swapping cartridges, all with CV control over key parameters. Effects include Skuara's harsh fuzz, Instruo's micro phaser and much more.

Supplier's Notes:
A crazy idea with the support of a bunch of crazy people.

A Multi FX module based on game carts!

FxBoy is a multi-FX module designed in collaboration with several talented manufacturers.

This is an effect unit with CV control over the parameters and Dry/wet control, with a Built-in CV controllable four bands EQ.

Each effect is physically hosted in a hot-swappable game cart and designed by a different manufacturer: Touell Skouarn with Skuara a harsh fuzz with overdrive, Instruo with micro Phaser, a two-flavoured Phaser, Feedback modules with a vintage Flanger, XOR with FX-Girl, a digital double effect module: Delay + Granularizer, Making sound machines with an analogue Wave folder, Tesseract with a bit crusher and Befaco Trash distortion!

What have these crazy people put in their cartridges?

Trash

Trash is a harmonic distortion that combines both clipping and folding flavours. Modes A and B will select between aggressive and more aggressive flavours!

Flanger

Analogue Wavefolder

Eskuara

AVMA
AVMA by Tesseract Modular is a bipolar VCA with one switchable wavefolder stage followed by an analogue frequency reducer. The VCA gain is x2, it can be used with i5V oscillator signals at the CV input for ring modulation effect.
Micro Phaser

Three cascaded all-pass filters, a built-in LFO and a saturator in the feedback path.

The purpose for this cartridge is to completely f&%k your phase up!

Instruo - We make sounds with the things that we make to make sounds with.

Technical Specifications

CV control over all parameters and Dry/wet
CV controllable four-band EQ, routable post or pre-effect.
Hot swap for all carts.
Selector for two different flavours of each cart.
Open specifications to design your own carts

Specs

Current needs: +12V: 125mA, -12V: 100mA, 5v: 0mA
Width: 12 HP
Depth: 35 mm (including power connector)
Aluminium, heat-treated front panel.
Designed and assembled in Barcelona.

Notes: RACHAEL is an ideal companion to DECKARD'S VOICE or any other oscillator/sound source, bringing unique signal interaction and ring modulation capabilities to modular form. 100% analog, you'll find a wealth of facilities in this compact space, including full ring modulation, a dedicated VCO, a four-stage envelope with amount, and LFO.

Full-throated Ring Modulation
From tremolos to alien-invasion metallic screams, modulate any external source with RACHAEL's all-analog signal path, tunable to subtle, complex, and extreme sounds with the speed and depth controls. It's a perfect pairing for DECKARD'S VOICE or any input (via the signal input). In addition, there's both an internal reference oscillator and the ability to patch in your own external tone for even more complex and varied results.

Analog VCO
Set the oscillator to VCO mode, and RACHAEL is also a VCO with all the character of DECKARD'S DREAM and the classic CS synths that inspired it. That includes square, sine, and "csaw" waveforms -- the CSAW has the distinctive CS leading-edge pulse.

LFO
The oscillator is also configurable as an LFO, with standard sawtooth, square, and sine waves via switch. With a dedicated OSC output, you can use the LFO and ring modulation simultaneously, making RACHAEL both modulation source and creative processor.

A versatile, multipurpose envelope
RACHAEL's onboard envelope generator is more than just another ADSR. With the envelope generator amount control and switchable destinations, you can tune in an amount of the envelope to the modulation frequency, modulation depth, or both, for musical, creative sound shaping. In addition to the gate input, each stage of the envelope has dedicated CV control. And all of this comes with the distinctive vertical sliders beloved on DECKARD'S DREAM.

Notes: The Serge GTO is a newly designed, complex multi-functional module which can be patch programmed to provide various slew and sample functions both for audio and CV signals, but also act as a (dual) oscillator or filter or bitcrusher or ... It is one of the essential Serge modules. The GTO is an offspring of the famous Serge SSG.

The Smooth section will place a positive and negative slew on input voltage transitions for lag effects, voltage controlled portamento and for low frequency filter applications. In Cycle-mode (cycle jack patched to the input), the Smooth side “will oscillate yielding a voltage controlled triangle wave LFO. A high level into the HOLD input will enable the Smooth Function to be used as a track-and-hold circuit with voltage controlled slew rate.

The Stepped function can be used as a sample-and-hold with voltage controlled slew rate limiting. In Cycle mode, a pulse applied to the Sample input will generate complex staircase waveforms for control voltage applications and for use as audio signals.

Each side has a temperature-compensated 1V/Oct input for use as an oscillator with a frequency range of up to 20kHz (left) and 8kHz (right). Each side tracks over 5 or 6 octaves.

The Coupler is an internal comparator which compares the output levels of the Smooth and the Stepped Generators. This output is useful for generating complex control voltages or random voltages.

Dimensions:
18 HP
25 mm deep

Current draw:
45 mA +12V
40 mA -12V

Notes: Quasar brings 3D spatial audio to the Eurorack world. It is a two-channel audio mixer that uses binaural algorithms. You can seamlessly move sounds around your head, dynamically change the angle, height and distance in real time.

** Includes 3mm screws, 16-Pin to 10-Pin eurorack power cable, USB cable for firmware updates **

Main functions
2 mono inputs
Stereo output (two single jacks + headphone stereo jack)
2 CV inputs
24Bit 48kHz inputs and outputs, 32Bit internal signal processing
Dynamic 3D positioning in three dimensions (height, angle, distance)
Room reverb can be applied for better localization
Internal LFOs with flexible routing
External CVs can be flexibly routed to all parameters, multiple destinations per CV, individual intensity
Different 3D transfer functions to choose from
Two large endless encoders with aluminum knobs, RGB LED rings for setting and displaying parameters
OLED display for navigation and to show which parameter the encoders are currently controlling
Flat menu structure, no deep dives neccessary
" User presets can be flexibly created and recalled
" Potentiometers for volume control of the three positions Quasar 1, Quasar 2 and Center

Quasar creates a 3D sound image by binaural audio processing. Two positions named Quasar 1 and Quasar 2 are available, which you can virtually place and move at any angle, height and distance around your head. Room reverb can be added as a further aid to distance perception. The audio signals at input 1 and input 2 can be flexibly routed to either or both positions via an internal matrix mixer. The coordinates of the positions can be set manually or be modulated by internal LFOs or external CVs. For example, you can have sounds orbiting around you, coming from above or below, front or back, and moving toward or away from you. Likewise, a centre position is available as a routing destination that leaves the signal without sonic processing to create a dry/wet mix.

Quasar features two CV inputs which can be flexibly routed to any target inside the module. In fact, each CV can have up to four different targets, which enables a very flexible design of auditory 3D-scenes.

Internal LFOs can be used to add dynamic movement and to create spectacular three-dimensional scenes. There are a variety of standard and advanced waveforms that can be routed to the position coordinates. LFOs can also be triggered and reset by external CVs.

Quasar can add some reverb to the signal. While not being a reverberation module in the first place, Quasar's reverb can improve distance estimation, but also be used to create impressing ambient stereo soundscapes.

All inputs also have digital high and low pass filters, so you can decide which frequency bands go to which position. However, in addition to Quasar 1 or Quasar 2, you can also route the audio to the center position. The center position takes the input signal and distributes it equally to the left and right ears without further processing. For example, you can route the low frequencies to the center position and have the higher frequencies distributed to the outer positions Quasar 1 and Quasar 2. That way, the bass stays centered and mono-compatibility is preserved.

As soon as a three-dimensional virtual scene has been created, it can be saved to the module's preset list. That way, scenes can be recalled at any time. Quasar also features some factory presets as a starting point and to show off the module's capabilities.

The module works best with headphones, as the algorithm basically mimics the shape of the head and the pinnae, which are responsible for our directional hearing. But even if you play the sound through speakers, you will hear a significant difference from classic panning.

As spatial hearing is a psychoacoustic effect that everybody perceives in a slightly different way, Quasar offers several transfer functions for different ear types to choose from. This way, the intensity of the 3D effect can be adjusted to personal needs and fits with the processed audio signal.
With its large aluminum knobs, LED rings, rubber potentiometers and mechanically solid components, Quasar is fun to use and invites creative work.

Notes: The Gemini 2412 is a creamy, extremely fat sounding dual filter based on vintage Oberheim SEM circuits. In addition to high-pass, band-pass and low-pass, there is the infamous variable filter type, which allows you to blend between several characteristics. Thanks to its dual concept, serial and parallel modes of operation and an ingenious modulation system, the Gemini 2412 should not only be able to achieve classic, extremely bulbous results, but also wafting stereo effects and lively formant sounds.

Notes: Incredibly powerful two-channel filter module capable of much more than just filtering. State-variable digital filters with built-in VCAs designed to overdrive beautifully. Sounds great.

Supplier's notes:
BIONIC LESTER MARK III is a 2-channel 2-pole state-variable digital filter with an unusual amount of good sonic character. The filter mode is continuously variable under manual or CV control, smoothly fading from lowpass to bandpass to highpass to notch to allpass with a single motion. The resonance stops just short of self-oscillation. A digital VCA controls the amplitude and the distortion of the input signal pre-filter. The filters have independent inputs and outputs, and an additional Mix output with balance control. The filter design was initially inspired by the best of late-1990s "virtual analog" filters and has gone far beyond.

The audio input controls have dual behavior. When the control (or CV input) is turned from zero position to the center, it operates as a simple gain control for that input. When turned past the center position towards the maximum, the signal will begin to soft-clip, adding hard clipping as the maximum is approached. This smooth and subtle distortion adds violence to otherwise unremarkable input material, generating additional harmonic content for the filter to process. The digital VCA that controls the gain and distortion functions is aware of the input signal's zero crossing, eliminating "clicking" noises when the gain is modulated.

Each filter section has three CV inputs. The first is a high-speed input hardwired to the filter's cutoff frequency, appropriate for snappy envelopes and slow moving voltages alike. The other two inputs (one with attenuverter control) are freely assignable to any of the filter parameters (cutoff, resonance, mode, gain), storable in a preset. The Mark III preset system stores eight fully programmed panel setups, instantly recalling everything under the harshest demands of performance. The Morph mode allows smooth fading between all of these presets.

Activate Filter B's LINK control for patch-free routing of the filter's control or audio signal. You can achieve dual-peak resonance, cable-free series routing, cascaded 4-pole filtering (with two stages of distortion), and full stereo using only one set of filter controls. The input normalization, LINK settings, and parallel mix output further reduce cable clutter while rapidly patching an elaborate signal flow.

The controls are arranged for maximum tweakability and minimum cable interference, with metal-shaft potentiometers attached to the panel on the large knobs. The Mark III OLED display displays the cutoff frequency in Hertz, resonance amount, and filter type morph. The CV inputs process all input voltages between -10 to +10 volts. Panel size is 15HP.

Notes: Inspired by 'fill' effects found on old-school drum machines, the DeFeel module is unique approach to manipulating sequences, designed to 'degenerate the monotony' of rhythmic patterns, creating variations in real time.

Supplier's Notes:
With DeFeel, Enjoy Electronics have redesigned and applied the Fill concept to make it usable in the world of modular synthesisers.

This device is designed to break the chain between the sequencer and everything that comes after it, allowing you to intervene at the right time and create unique variations.

A modular device that's not going to generate anything, but is created to degenerate the monotony.

DeFeel isn't about complex button presses or cryptic menus. Here, creativity reigns supreme. Design your rhythmic patterns with an intuitive touch. Simple lines and vectors come to life on the multitouch display, allowing you to experiment and craft unique sequences with remarkable ease.

DeFeel, offers musicians and performers a powerful and versatile tool to enrich their performances and compositions. With its intuitive programming, sleek design, and innovative translucent panel, DeFeel stands out as a unique device poised to revolutionize the way modular synthesizers are used and perceived.

Notes: The world's favorite CV to Midi chord generator, now available in black.

Chord Pilot is an algorythmic chord generator that lets you create chords by defining their size and shape, instead of by their name. So forget about major, minor Dorian 7th augmented add 9ths, Chord Pilot lets you tweak your way to musical nirvana. You can store up to 196 original chords and fire them at will using the 8 buttons, CV control or MIDI.

Connect it up to any MIDI synth or a Poly Cinematic or a Pianophonic and let Chord Pilot navigate you through a musical journey of inspiring arpeggios, orbiting chord sequences and stunning polyphonic spreads of up to 8 notes at once.

Notes: The Stereo Triggered Sampler can record high quality stereo files, while simultaneously playing two different stereo files. A maximum of 600 samples can be loaded from the removable/swappable microSD card, in a variety of formats up to 96kHz/32-bit/stereo WAV. All sample parameters (1V/oct pitch, sample file selection, length, and start position) are CV controllable.

600 Samples:
A maximum of 600 samples can be loaded at once, arranged into banks of 10 samples each. Samples and banks can be re-arranged on the fly using the simple on-board Edit features. Newly recorded samples can be instantly played back and re-pitched, reversed, chopped up, etc... the result of which can even be bounced down and re-recorded to as a new sample! Sample files are limited to 4GB each, which is over 6 hours at 44k/16b/stereo.

Two Stereo Playback Channels:
Each playback channel has a knob and CV jack for Sample File selection, as well as a Start Position knob and CV jack for controlling where in the sample playback will begin. The Length knob and CV jack determine how much of the sample is played back: from tiny grains, to percussive hits, to longer loops... or just the entire file. These are powerful tools for re-arranging a sample, joining multiple samples, and creating dynamically re-sized loops within a larger sample. Combined with the Play Trigger jack and the 1V/oct jack, the STS can be two complete multi-timbral pitch-tracked stereo voices!
There's also a Reverse button and jack for backwards playback, and an End Out jack for synchronizing loops, or cascading sample playback with other events.

Looping and Sync:
Looping is easy: just hold the PLAY button down for two seconds to toggle loop or one-shot. The loop timing clock will output from the End Out jack. Or, send a clock into the Play Trig jack to sync the loop to external timing.

Stereo Recording:
Whether you patched 47 modules to create the ultimate percussive blast, or you want to capture your four hour ambient performance, recording high-quality .wav files on the STS is simple. Just hit the REC button or fire a trigger and a new stereo .wav file will be created on the SD card. Do as many takes as you need: the STS never deletes your files. Re-ordering or re-arranging samples into banks is easy, even without a computer.
You can even fill a bank with 10 different variations and immediately use them for playback.
By default the STS records at 44.1kHz/16-bit, with an option for 24-bit (a future update may increase the sample rate to 96kHz)

Easy sample loading:
Using a computer is completely optional with the STS, since samples can be recorded directly to the module and placed into the bank of your choosing. But for users with large existing sample banks, the intuitive automatic bank loading features make dragging and dropping your entire sample library a snap. You never have to rename your files again!

Notes: Sarajewo is an analog delay module based on old school (but newly manufactured) BBD (Bucket Brigade Delay) chips. It features three delay taps, an external clock input with various tempo sync factors, and a wide range of settings controllable via CV. It is based on high quality components with maximum effort put towards the highest sound quality possible, while still preserving the charm of the BBD technology. The module offers a clean and warm analog sound with tons of character and a comfortable user interface with a tap tempo button, signal level indicators, sync and CV inputs, four signal outputs, and an adjustable feedback filter.

TECHNICAL DETAILS:
Eurorack synth compatible
12hp, skiff friendly
Current draw: +180mA / -120mA
Reverse power protection

Notes: The Spectral Multiband Resonator from 4ms Company is an innovative resonant filter which can process audio like a classic filter bank, ring like a marimba when plucked/struck, vocode, re-mix tracks, harmonize, output spectral data, quantize audio to scales, and much more...
A gorgeous ring of colored lights displays the frequency of each filter, as well as the levels and current scale selection(s).

At a glance, the SMR works like a normal six-band graphic EQ: six frequency band-pass filters are mixed together using sliders. Resonance/Q is variable, which changes the "ringy-ness" or width of the bands.

But here's where comparison stops. The frequency of each channel is treated like a note in a scale, and the six bands form a chord. Spin the Rotate knob and the "notes" circle around the scale, rotating back to the bottom once they've reached the top. Adjust Spread and the distance (interval) between each note changes. Triggers for up/down motion, CV inputs for sequencing and scale selection allow for flexible control with external modules. Morph, which automatically cross-fades between frequencies, together with variable Slew allows rhythmic clocks drive the SMR as a variable-speed evolving resonant filter.

At maximum Resonance/Q, the SMR can be struck like a gong or marimba by inputting clocks or triggers. The frequency of each channel is quantized to a scale: beautiful chords, ethereal tones and eerie ambiance flows easily. With lower resonance, the SMR can pull out particular frequency bands, and sweep these across the spectrum.

Two 1V/octave Frequency jacks allow for tracking even and/or odd bands and creating floating melodies over evolving chord bases, or complex percussive membrane sounds.

Save your settings into one of six storage banks, and recall on the fly. On startup, the SMR instantly jumps to the last saved settings. The color scheme of the lights can be adjusted, so if you prefer all white lights on your modular, you can have that (or all red, or rainbows, pastels, etc..)!

Advanced features:
- Program your own scale. The frequency of each of the 20 notes can be assigned by setting the octave, the semi-tone, and coarse and fine micro-tone. Up to 11 scales can be saved permanently in the user bank
- Adjust color scheme of the LEDs. Pick a pre-programmed color scheme or create your own using the sliders to set Red/Green/Blue values. Custom color schemes can be saved permanently
- Save your settings in one of six parameter banks. Note position, scale and bank selection, Q value, Lock settings and color scheme can be saved and recalled on the fly. On startup, the SMR loads settings from the last saved bank.
- Optional alternative filter type for a more exponential decay when plucked and different timbral qualities. Freq jacks no longer track 1V/oct in this mode.
- Slider LEDs can be assigned to display level for each channel (combination of slider position and CV on the jack), or clipping for each channel.

Notes: Sibilla is a DSP digital stereo oscillator that aims to translate into music the beauty and harshness of a semi-barren mountain. Its sound is sculpted by various saw and sine waves running through intricate delay networks, altered by LFOs, white noises and creating constructive and destructive interferences.

Both stereo channels are the output stages of two feedback audio loops.

Each loop is made up by a main sub sinusoidal wave oscillator and two saw and sine waves with frequencies affected by the generation of harmonics (right channel) and subharmonics (left channel). All waves have different phases whose offset is constantly affected by minor variations created by two pairs of grains randomly fluctuating within the waves amplitude spectrum and being sampled at a certain speed.

Waves then meet to each other to a common point, together with two white noise sources, creating constructive and destructive interferences constantly affected by two LFOs movements.

Interferences are then run into a resonant low pass filter and then distributed to four different delay lines from which they are fed back into the audio loops at different time intervals depending on the grain's movements.

Width: 10HP
Max depth: 29.6mm
Current draw: +12V: 125mA, -12V: 30mA, +5V: 0mA;
Material: 2mm anodised brushed aluminium

Notes: An unusual but enticing form of generative music in Eurorack, Kaona's Zazou module offers MIDI or CV sequencing based on a series of algorithms, allowing you to define parameters and generate melodies and patterns of up to four tracks.

Supplier's Notes:
Zazou is a generative music module based on numerous configurable algorithms. It acts as both an accompanist capable of syncing to a regular sequence and an improviser within a given framework. Its function is to produce notes: no sound comes directly from Zazou, as it's intended to be connected to one or more synthesizers or other Eurorack modules.

It features both a multitimbral MIDI output and Eurorack-compatible CV outputs.

To generate notes, Zazou requires "gate" signals to trigger each note. Therefore, it follows the rhythm imposed by a sequencer or any generator producing gate output. It pairs ideally with Skippy, Kaona's algorithmic rhythm generator.

Zazou produces music based on the equal temperament scale and follows the note division corresponding to keyboard instruments (piano, organ, etc.). Thus, in Zazou, as in a piano, a C sharp corresponds to a D flat.

Zazou produces notes on four independent channels that can nevertheless be tuned together.

Interface

Seven CV inputs:
One gate per channel: red, yellow, green, blue

One "Reset" input: realigns the tracks, resets the sequence, interrupts all MIDI notes currently playing.

One "Change" input: allows external sequence control.

One "Play/Stop" input: stops (or restarts) all produced notes and pauses the current sequence. This input also measures an external beat to determine the quarter note value (BPM) that Zazou will use (this value can also be set manually). The input can be a clock (set to one beat per quarter note) or a sequencer.

Seven buttons:
One per channel, matching its colour: they function differently depending on the displayed screen. (Selection, Pause, or Manual Gate).

One Play/Stop button: stops or starts all tracks simultaneously.

One "Change" button: manually advances the sequence.

One "Reset" button: realigns the tracks, resets the sequence, interrupts all MIDI notes currently playing.

Three encoders:
Their functions vary depending on the displayed screens.

One MIDI output:
The output is in TRS format. It's possible to choose between cable A or B using a switch on the back of the card.

Twelve CV outputs:
Four "gate" outputs: mirror the input signals but add ornamentation notes.

Four CV outputs: export velocity (selectable between 5V or 8V).

Four Note outputs: in 1V/octave format, across 10 octaves.

Basic Functions
All functions are identical for each channel but can be synchronized according to your composition criteria.

Root Note: determines the key each track plays in.

Scale: constrains Zazou to adhere to a given scale (22 scales available).

Sequence: dictates that the composition follows a given sequence.

Algorithm: allows the selection of melodic behaviour.

Sequences
It's possible to instruct Zazou to follow a sequence track by track, but it's often more musical to let the four tracks follow a single sequence. For example, you can choose the common II-V-I progression or the circle of fifths, but also use less common sequences. The sequence behaviour can be customized by selecting the number of notes in the sequence, passing notes, alternating major and minor chords, etc.

Algorithms
The algorithms determine the note behaviour for each track.

It's possible to freely mix algorithms track by track, choose the same algorithm for all tracks, or the same algorithm for all tracks but with different behaviours.

Depending on the chosen parameters, they will generate more or less repetitive, varied, or complex melodies. Even though each note depends on an external gate, some algorithms additionally produce ornamentation notes like triplets or appoggiaturas.

Random:
Allows for completely random and unpredictable operation. However, one can influence how randomness occurs by changing event frequency or velocity, for example.

Walkingbass:
Walkingbass precisely follows the sequence in a classic Jazz walking bass manner, with one quarter note per beat. Numerous forms are offered, and it's possible to enrich the progression with ornaments or emphasize strong or weak beats, for example.

Arpeggiator:
Several types of arpeggios are available, and it's possible to choose direction (including random), chords used, ornaments, and their frequency, etc.

Intervals:
Starting from a reference note chosen within the scale, Zazou will traverse a selected number of octaves and notes according to a given interval.

Serial:
Zazou will generate note sequences respecting the rules and principles of serial music. All theoretical parameters are available to practice the specific genre of dodecaphonic composition (inverse sequence, retrogrades, etc.).

Cantor:
The Cantor set starts with a segment (the complete range of available notes) and repetitively divides it, eliminating central segments. This creates a more or less detailed repetitive pattern depending on the chosen parameters.

Fibonacci:
The Fibonacci sequence is used to calculate note heights within a scale starting from a chosen note and modifying it according to selected Fibonacci numbers. Interval modulation allows staying within a playable range while exploring rhythmic and melodic patterns generated by the sequence.

Sierpinski:
The approach divides an octave into three equal parts (triads) and selects two for repetition, imitating how the Sierpinski Triangle is drawn by removing the central triangle and repeating the process on the remaining triangles. This divides the musical space according to the specified depth and plays notes based on this division, simulating the repetitive structure of the Sierpinski Triangle.

Mandelbrot:
The Mandelbrot set is one of the most famous fractal objects. Zazou maps this set into a musical representation to offer unique and varied sound structures. Since calculations are done in real-time, parameters can vary the melody's behaviour infinitely.

Julia:
Like the Mandelbrot set, the Julia set offers fertile ground for musical experimentation, with opportunities to explore fractal complexity through sound. Julia sets are defined in the complex plane and produce complex fractal patterns. Here too, real-time calculations allow parameters to vary the melody's behaviour infinitely.

System Functions
It is possible to choose a corresponding MIDI port for each track. Depending on your setup, you can use Zazou in polyphonic mode (same MIDI number), multitimbral mode (one port per channel), or multichannel mode (multiple synthesizers).

The quarter note duration (BPM) can be adjusted manually or automatically (clock signal, sequencer, etc.).

For all algorithms, you can choose the note duration proportionally to the quarter note value or match this duration to the incoming "gate" duration for each track. Thus, it is possible to play very dynamically with a variety of connected instruments as long as they provide a "gate" signal.

The velocity value can be selected within the range of 0V -> 5V or 0V -> 8V depending on your modular equipment.

Zazou operates across 10 octaves, in MIDI or CV (1V/oct) for modular use. However, it is possible to limit the number of octaves, either to accommodate synthesizers that poorly support very high notes or to limit the voltage in a modular environment.

Two settings allow adjustment of the overall pitch and fine interval between notes (only for modular use).

Saving
The internal SD card allows you to save, within its capacity limit, either track parameters (and load them for another track, for example), sequence parameters, or the entire composition.

Technical Specifications
18 HP

Depth: 32 mm

Power consumption:
+12 V 200 mA
-12 V 0 mA
+5 V 0 mA

Supplied with power cable and Knurlies.

Notes: Polyphonic sequencing from Elektrofon, the Klang allows you to program and perform chords and multi-layered harmonies. Circular clock-style display gives visual feedback and real-time indication of chord progressions.

Supplier's Notes:
«Klang» is a 4 voice polyphonic controller. It stores, traverses and manipulates chord progressions.

Overview

«Klang» is a unique take on polyphonic control within Eurorack.

Displaying chords in a circular clock-like display, and giving the user immediate control over every aspect without "menu diving" makes for an easy to use and inspiring module.

The module can store up to 99 chords, where each chord is made up of 4 voices.

Each voice is represented by a colored indicator on the clock-face which in turn is controlled by an encoder.

The indicators points to notes on the chromatic scale drawn in 360- around the clock-face.

Interface

The big grey encoder in the middle of the module lets you browse the chords - the active chord and total chord count is shown just above the encoder on the display.

The + button lets you ad a new chord. The new chord is added after the currently active chord, and the new chord is then set as the active chord.

The - button removes the current chord.

Inputs

The module has 3 inputs - 1 trigger input and 2 bipolar CV inputs.

Trigger input

The trigger input triggers a chord change.

If the direction input is unconnected, a single trigger results in a single step in the forwards direction.

Direction input (+-5V)

The direction input normalizes to a single step in the forwards direction.

You can feed this input a bipolar CV (+-5V).

Direction maps the total chord count to 5V. This means that +5V results in a single trigger progressing +n steps, where n is the total chord count.

A negative voltage will do exactly the same but resulting in backwards stepping.

0V equals no movement.

Transpose input (+-5V)

This bipolar CV lets you transpose the current chord up or down within 1 octave.

It is therefore a 5V/oct input.

The reason for this is that it is intended to be used with an analoge voltage source like the Pressure Points from Make Noise, or any other analoge sequencer.

It is much easier to fine tune a 5V/oct signal with a regular potentiometer than a 1V/oct signal.

Outputs

Each voice has a separate color coded 1V/oct CV output.

Notes: Per4mer is a quad performance effects eurorack module designed with live performance, studio use, and sound design in mind. Includes 4 performance effects (Delay, Reverb, Glitch & Tape Stop) and 2 audio processing effects (color and compressor with side chain).

Per4mer is a 14hp eurorack formatted quad performance effects unit. Inspired by time-honored DJ effects processing boxes, Per4mer allows for a hands-on and CV / Gate controlled eurorack effects performance interaction. Whether momentarily engaging or latching FX, Per4mer offers an unrivaled and fun experience.

The basic principle of Per4mer is to feed in an audio input and to trigger on-the-fly effects, bringing DJ style live improvisation to a modular environment. Effects can be triggered simultaneously or individually where an inspiring effect palette combines to generate unique creative beats and melodies.

Per4mer includes 4 performance effects (Delay, Reverb, Glitch, Tape Stop) and 2 processing effects (Color processor & Compressor). Each of the 4 performance effects has its own set of 4 parameters controlled by the 4 knobs or CV inputs. Effects can be used simultaneously or individually allowing for a vast variety of creative effects combinations.

The Color processor allows for engaging any of the 8 coloration presets - Classic (12bit), LoFi (8 Bit), Saturation, WaxWax2, LP Filter, HP Filter, White Noise with wet/dry control. Combine any one of these color presets with the onboard Compressor and Side-Chain input to instantly transform any audio signal's mood and vibe.

Features
4 no-click 24mm mini arcade buttons (life cycle rated at 10 million button presses)
4 knobs to control 4 parameters per effect
4 performance effects (Delay, Reverb, Glitch & Tape Stop)
AR envelop per performance effect
2 processing effects (Color and Compressor)
8 fixed color presets (Classic (12bit), LoFi (8 Bit), Saturation, Wax, Wax2, LP Filter, HP Filter, White Noise) with wet/dry control
Compressor with controls for Make-up Gain, Threshold, Ratio, Attack, and Release.
Side-chain input with Side-chain detection (via side-chain input, clock input, or tap tempo)
Clock input
Tap tempo
CV targeting (target specific effects with CV inputs)
CV control over knobs
Gate inputs to trigger the arcade buttons
Stereo input and output

Tech Specs
Width: 14HP
Depth: 30mm
Power: 50mA +12V, 50mA -12V
Built on the ElectroSmith Daisy platform

Notes: The Furthrrrr Generator has a main oscillator (carrier) with an extensive and fully voltage controllable wave multiplier and a modulation oscillator (modulator) that can cross-modulate the carrier. Each oscillator has hard and soft sync and also features an integrated tuner: if both LEDs are lit the VCO is at note A. Left LED is lit at note Ab and right LED at A#. Frequency potentiometers are ten-turn models and thus allow for easy tuning. Frequency range of the VCOs is 10Hz-10kHz (and much lower in modulator's LFO mode). Both VCOs feature 2 frequency CV inputs (1x with bipolar attenuator, 1x with 1V/octave), one FM input (jumper selectable between linear and exponential FM) as well as separate input for hard and soft sync. The voltage characteristic can be selected between 1V/octave and 1.2V/octave (Buchla norm).

The main oscillator (carrier) outputs the waveforms sine, saw, square and white noise. The two outputs marked with the magic eye are outputs of the "harmonic section" that generates very complex sounds by the wave multiplier and its parameters symmetry, order and Furthrrrr in the module's right-hand section. Symmetry lowers the level of even harmonics and amplifies the odd harmonics (this affects the pulse wave's width as well). Order adds saturation to the high order harmonics and resembles a low pass filter. Furthrrrr alters the level of harmonics set by the other parameters and produces very interesting, partly brute sounds with lots of harmonics by clipping and folding the wave. All three parameters can be voltage controlled. The carrier oscillator also has inputs for hard and soft sync, the sync-switch can synch directly to the modulator.

The modulation oscillator (modulator) has three wave forms with direct outputs: sine, saw and square. Using the internal modulation via the "mood section" the waveform is selected with a button; an additional staircase wave form is available here, but it can be overridden by inserting a signal into the external input socket. A switch activates the LFO mode.

The Mood section is responsible for the internal modulation of the carrier by the modulator. Switches determine the modulation destination(s) that can be activated simultaneously. These are the Furthrrrr parameter of the harmonic section, the amplitude and the frequency of the carrier oscillator. The "balanced" switch activates the ring modulation between both VCOs. intensity of modulation is controlled by the "mood index" potentiometer and the according CV input with bipolar attenuator.

Notes: The Furthrrrr Generator has a main oscillator (carrier) with an extensive and fully voltage controllable wave multiplier and a modulation oscillator (modulator) that can cross-modulate the carrier. Each oscillator has hard and soft sync and also features an integrated tuner: if both LEDs are lit the VCO is at note A. Left LED is lit at note Ab and right LED at A#. Frequency potentiometers are ten-turn models and thus allow for easy tuning. Frequency range of the VCOs is 10Hz-10kHz (and much lower in modulator's LFO mode). Both VCOs feature 2 frequency CV inputs (1x with bipolar attenuator, 1x with 1V/octave), one FM input (jumper selectable between linear and exponential FM) as well as separate input for hard and soft sync. The voltage characteristic can be selected between 1V/octave and 1.2V/octave (Buchla norm).

The main oscillator (carrier) outputs the waveforms sine, saw, square and white noise. The two outputs marked with the magic eye are outputs of the "harmonic section" that generates very complex sounds by the wave multiplier and its parameters symmetry, order and Furthrrrr in the module's right-hand section. Symmetry lowers the level of even harmonics and amplifies the odd harmonics (this affects the pulse wave's width as well). Order adds saturation to the high order harmonics and resembles a low pass filter. Furthrrrr alters the level of harmonics set by the other parameters and produces very interesting, partly brute sounds with lots of harmonics by clipping and folding the wave. All three parameters can be voltage controlled. The carrier oscillator also has inputs for hard and soft sync, the sync-switch can synch directly to the modulator.

The modulation oscillator (modulator) has three wave forms with direct outputs: sine, saw and square. Using the internal modulation via the "mood section" the waveform is selected with a button; an additional staircase wave form is available here, but it can be overridden by inserting a signal into the external input socket. A switch activates the LFO mode.

The Mood section is responsible for the internal modulation of the carrier by the modulator. Switches determine the modulation destination(s) that can be activated simultaneously. These are the Furthrrrr parameter of the harmonic section, the amplitude and the frequency of the carrier oscillator. The "balanced" switch activates the ring modulation between both VCOs. intensity of modulation is controlled by the "mood index" potentiometer and the according CV input with bipolar attenuator.

Notes: The Furthrrrr Generator has a main oscillator (carrier) with an extensive and fully voltage controllable wave multiplier and a modulation oscillator (modulator) that can cross-modulate the carrier. Each oscillator has hard and soft sync and also features an integrated tuner: if both LEDs are lit the VCO is at note A. Left LED is lit at note Ab and right LED at A#. Frequency potentiometers are ten-turn models and thus allow for easy tuning. Frequency range of the VCOs is 10Hz-10kHz (and much lower in modulator's LFO mode). Both VCOs feature 2 frequency CV inputs (1x with bipolar attenuator, 1x with 1V/octave), one FM input (jumper selectable between linear and exponential FM) as well as separate input for hard and soft sync. The voltage characteristic can be selected between 1V/octave and 1.2V/octave (Buchla norm).

The main oscillator (carrier) outputs the waveforms sine, saw, square and white noise. The two outputs marked with the magic eye are outputs of the "harmonic section" that generates very complex sounds by the wave multiplier and its parameters symmetry, order and Furthrrrr in the module's right-hand section. Symmetry lowers the level of even harmonics and amplifies the odd harmonics (this affects the pulse wave's width as well). Order adds saturation to the high order harmonics and resembles a low pass filter. Furthrrrr alters the level of harmonics set by the other parameters and produces very interesting, partly brute sounds with lots of harmonics by clipping and folding the wave. All three parameters can be voltage controlled. The carrier oscillator also has inputs for hard and soft sync, the sync-switch can synch directly to the modulator.

The modulation oscillator (modulator) has three wave forms with direct outputs: sine, saw and square. Using the internal modulation via the "mood section" the waveform is selected with a button; an additional staircase wave form is available here, but it can be overridden by inserting a signal into the external input socket. A switch activates the LFO mode.

The Mood section is responsible for the internal modulation of the carrier by the modulator. Switches determine the modulation destination(s) that can be activated simultaneously. These are the Furthrrrr parameter of the harmonic section, the amplitude and the frequency of the carrier oscillator. The "balanced" switch activates the ring modulation between both VCOs. intensity of modulation is controlled by the "mood index" potentiometer and the according CV input with bipolar attenuator.