Joranalogue Audio Design

Notes: A visit to the Hainbach Studio Complex two years ago, led to a collaboration that would result in what is perhaps Joranalogue's finest design yet. United by a common passion for vintage test gear, the Joranalogue team joined forces with artist and YouTube sensation Hainbach.

Collide 4 builds upon on the lock-in amplifier concept, and brings it into the Eurorack world. These atomic age physics research instruments are known for their raw power when used in musical applications. Soon, any synthesist can experience this for themselves, at a fraction of the size and weight of a vintage unit, and with full voltage control.

The result is a wholly new kind of synth voice and audio processor, unlike any other. It's a perfect union of Hainbach's extensive experience in exploring the deepest musical realms contained within vintage test equipment, and profound knowledge of audio design and production.

'Quadrature spectral computer' is how you could describe this new kind of musical generator and processor. The sound? Quite simply: it's smashing!

Specs

Modern, fully analogue re-imagining of the lock-in amplifier concept, expanded to new heights.
Pingable variable bandwidth filter with self-oscillation capability.
Pre- and post-filter gain stages, for a total of up to 130 dB of amplification!
Through-zero sine/cosine quadrature oscillator.
Hilbert transform network for use as a frequency shifter.
Dual ring modulators with output lowpass filters.
Extensive output section, including magnitude and phase analogue computing outputs.
Unique X/Y quadrature topology, ideal for stereo use.
Handsome (and useful) signal level/overload LED indicator.
CV control over everything, with temperature compensation and excellent volt/octave pitch tracking.
20 HP, 30 mm deep. Over 600 components, yet a fraction of the weight and size of a vintage Model 124A lock-in amplifier unit.

Notes: ***B-STOCK: Box opened, product in perfect working order***


A visit to the Hainbach Studio Complex two years ago, led to a collaboration that would result in what is perhaps Joranalogue's finest design yet. United by a common passion for vintage test gear, the Joranalogue team joined forces with artist and YouTube sensation Hainbach.

Collide 4 builds upon on the lock-in amplifier concept, and brings it into the Eurorack world. These atomic age physics research instruments are known for their raw power when used in musical applications. Soon, any synthesist can experience this for themselves, at a fraction of the size and weight of a vintage unit, and with full voltage control.

The result is a wholly new kind of synth voice and audio processor, unlike any other. It's a perfect union of Hainbach's extensive experience in exploring the deepest musical realms contained within vintage test equipment, and profound knowledge of audio design and production.

'Quadrature spectral computer' is how you could describe this new kind of musical generator and processor. The sound? Quite simply: it's smashing!

Specs

Modern, fully analogue re-imagining of the lock-in amplifier concept, expanded to new heights.
Pingable variable bandwidth filter with self-oscillation capability.
Pre- and post-filter gain stages, for a total of up to 130 dB of amplification!
Through-zero sine/cosine quadrature oscillator.
Hilbert transform network for use as a frequency shifter.
Dual ring modulators with output lowpass filters.
Extensive output section, including magnitude and phase analogue computing outputs.
Unique X/Y quadrature topology, ideal for stereo use.
Handsome (and useful) signal level/overload LED indicator.
CV control over everything, with temperature compensation and excellent volt/octave pitch tracking.
20 HP, 30 mm deep. Over 600 components, yet a fraction of the weight and size of a vintage Model 124A lock-in amplifier unit.

Notes: What started as a simple plan to develop a new line of patch cables, quickly became an engineering feat in typical Joranalogue fashion. After countless hours of stripping cables, benchmarking crosstalk and high frequency performance, and designing in-house cable testing tools, Patch is the result of these efforts.

Patch is a series of top-quality patch cables for the discerning modularist, available in black and white, and a variety of lengths. Constructed using a custom-made coaxial base cable and over moulded mini-jack plugs, protected by unique laser-cut aluminium shells, these Eurorack cables are designed to outlast and outperform.

Lengths 15, 30, 60 and 90 cm are available in 8-packs, while the extra-long 150 cm cables are supplied in 4-packs.

Premium patch cables with 3.5 mm mono mini-jack connectors for Eurorack modular synthesiser use.
Engineered for audio, CV as well as analogue video signals.
Unique anodised aluminium shells and heavy duty bend reliefs for long life span.
7 inner signal and 40 outer shield conductors of 100 % ultra-pure oxygen free copper.
Extra-flexible PVC outer sleeve: satisfying 'droop' without crinkles.
Safely packaged in a reusable cotton bag with branded hook-and-loop cable tie included.
Incredibly fun to patch with. (Seriously!)
Designed in Belgium; made in China.

Notes: What started as a simple plan to develop a new line of patch cables, quickly became an engineering feat in typical Joranalogue fashion. After countless hours of stripping cables, benchmarking crosstalk and high frequency performance, and designing in-house cable testing tools, Patch is the result of these efforts.

Patch is a series of top quality patch cables for the discerning modularist, available in black and white, and a variety of lengths. Constructed using a custom-made coaxial base cable and overmoulded mini-jack plugs, protected by unique laser-cut aluminium shells, these Eurorack cables are designed to outlast and outperform.

Lengths 15, 30, 60 and 90 cm are available in 8-packs, while the extra-long 150 cm cables are supplied in 4-packs.

Premium patch cables with 3.5 mm mono mini-jack connectors for Eurorack modular synthesiser use.
Engineered for audio, CV as well as analogue video signals.
Unique anodised aluminium shells and heavy duty bend reliefs for long life span.
7 inner signal and 40 outer shield conductors of 100 % ultra-pure oxygen free copper.
Extra-flexible PVC outer sleeve: satisfying 'droop' without crinkles.
Safely packaged in a reusable cotton bag with branded hook-and-loop cable tie included.
Incredibly fun to patch with. (Seriously!)
Designed in Belgium; made in China.

Notes: What started as a simple plan to develop a new line of patch cables, quickly became an engineering feat in typical Joranalogue fashion. After countless hours of stripping cables, benchmarking crosstalk and high frequency performance, and designing in-house cable testing tools, Patch is the result of these efforts.

Patch is a series of top-quality patch cables for the discerning modularist, available in black and white, and a variety of lengths. Constructed using a custom-made coaxial base cable and over moulded mini-jack plugs, protected by unique laser-cut aluminium shells, these Eurorack cables are designed to outlast and outperform.

Lengths 15, 30, 60 and 90 cm are available in 8-packs, while the extra-long 150 cm cables are supplied in 4-packs.

Premium patch cables with 3.5 mm mono mini-jack connectors for Eurorack modular synthesiser use.
Engineered for audio, CV as well as analogue video signals.
Unique anodised aluminium shells and heavy duty bend reliefs for long life span.
7 inner signal and 40 outer shield conductors of 100 % ultra-pure oxygen free copper.
Extra-flexible PVC outer sleeve: satisfying 'droop' without crinkles.
Safely packaged in a reusable cotton bag with branded hook-and-loop cable tie included.
Incredibly fun to patch with. (Seriously!)
Designed in Belgium; made in China.

Notes: To any new modular system owner, the need to easily combine different voltage sources quickly becomes apparent. While a mixer is the obvious solution, these modules are not suitable for adding precise pitch control voltages (CVs) since the channel gains cannot be set exactly to unity.

Add 2 provides a compact solution to this problem, precisely summing the input signals down to 1 or 2 outputs. Alternatively, each section can be configured as an averager using the jumpers on the rear. This way, LFO waveforms or audio sources can be combined while maintaining the average signal level and avoiding clipping. The high-end components provide exceptional performance, making Add 2 suitable for audio, control voltages and gates/triggers.

With the bottom section's first input not in use, the top output is injected into the bottom. This allows 5 signals to be combined into 2 outputs, adding flexibility to your patching.

Notes: For decades, the voltage controlled slew limiter has been a staple of modular synthesisers. With its extreme versatility, it can be used to slew control voltages (CVs), create envelopes, as a low-frequency or audio oscillator and much more.

Today, Contour 1 brings a fresh approach to this classic circuit. It delivers much improved performance and control by incorporating modern design techniques.

At its most basic, a slew limiter slows down the rate of voltage change in a signal. On Contour 1, the rising and falling rates can be individually set using sliders and CV modulation.

The gate and trigger inputs allow the module to be used as a function generator: create snappy attack-release (AR) and attack-decay (AD) envelopes, with slope times ranging from 500 us to 30 seconds. The dedicated gate input makes it easy to generate +10 V envelopes from any signal source. Using the large tactile push button, AD envelopes can be manually triggered. A trigger will also reset the output voltage.

When set to loop mode, Contour 1 will continually re-trigger itself. In this mode, it fulfils the role of a variable-shape low-frequency oscillator (LFO) or temperature-stable voltage controlled oscillator (VCO) in the audio range.

Both the rising and falling slopes can be individually bent, from concave through linear to convex. While doing so, the deviation in slope time, and thus oscillation frequency, is kept to a minimum. Since the bend parameters are separately voltage controllable, boundless modulation possibilities present themselves.

Explore anything from shape-shifting envelopes to rich VCO timbres: Contour 1 will make you re-think what a slew limiter can do.

Dimensions
8 HP
30 mm deep

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

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

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

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

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

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

Notes: A comprehensive solution for stereo signals in Eurorack, the Enhance 2 offers stereo and mid/side processing with tons of CV control. Balance, widen and sculpt frequency bands.

Supplier's Notes:
Moving from mono to stereo sound: a logical progression for any synthesist looking to expand their sonic palette. Making use of two audio channels, rather than just one, quite literally adds another dimension to the capabilities of a synthesiser.

Unfortunately, controlling stereo signals can be a challenge within a modular system. This realisation led to the development of Enhance 2: a convenient yet high-fidelity tool for stereo enhancement. It can be used to adjust balance, width and spectral content, while also opening up a world of mid/side processing; all under voltage control and in just 8 HP.

The primary stereo parameters are balance (moving the sound left or right) and width (making it narrower or wider). The balance circuit uses a true constant-power gain law, while the width stage allows for seamless transitions from pure mono to extra-wide stereo.

In addition, tone control is provided by a pair of unique, wide-ranging mid/side voltage controlled tilt filters with selectable corner frequency. These make 'cleaning up' a muddy-sounding mix straightforward, but also provide unique binaural effects when modulated.

Mid/side processing encodes the stereo signals into one containing only the mono material (mid), and another containing the differences between both channels (side). Apart from the internal tilt filters, mid/side outputs also enable external signal processing such as compression or reverberation. An integrated mid/side decoder returns the results back to standard stereo. And at all times, a LED bar phase meter ensures that phase correlation can be easily maintained.

Stereo field modulation, mid/side equalisation and beyond; Enhance 2 brings true analogue stereo control to the Eurorack world.

8 HP
+12: 70 mA, -12: 70 mA

Notes: Designed with versatility in mind, the Fold 6 is a six-stage wavefolder with simultaneous series and parallel outputs, dual signal inputs and voltage-controlled folding and overdrive shaping.

Supplier's Notes:
Often considered to be the opposite of filters within a modular system, wavefolders are designed to fold a signal over itself multiple times. This generates additional harmonics, resulting in rich timbres.

While there is a bewildering array of filter types within the synthesiser world, most wavefolders fall within only a few categories. Diode wavefolders in particular come in just two variants: series and parallel circuit topologies. Choosing a specific folder also means being limited to specific sounds and capabilities.

For the first time, Fold 6 puts forward a 6-stage hybrid series/parallel topology, yielding a greater sonic palette than ever in just 4 HP. Having both main (series) and alternate (parallel) outputs means a single module now gives access to just about all wavefolding tones imaginable.

To take things even further, an integrated symmetrical soft clipper limits the output signals to approximately 10 Vpp, keeping the amplitude within typical Eurorack levels and making it easier to create overdriven sounds at high fold ratios. This clipping stage can be driven continuously using the shape parameter, smoothly transforming the folded waveforms into pulse waves for even more harmonic content.

Two signal inputs are included, to mix audio signals or add in a DC voltage for asymmetric folding. The symmetry can also be manually controlled using the dedicated knob. Of course, both fold and shape parameters feature voltage control, to enable continuous timbral modulation.

Moving beyond simple signal processing, Fold 6 also lends itself perfectly for feedback patching, CV folding or frequency multiplication; its modest size belies the sonic capabilities within.

Notes: Any signal can be expressed in terms of a few parameters: frequency, phase, amplitude and timbre. It is through modulation of these aspects that synthesists create electronic sound. With Generate 3, it is now possible to create a signal and control all its parameters by through-zero modulation within a single 12 HP wide module.

Everything starts with the exceptionally precise triangle-core voltage controlled oscillator (VCO) at the module’s heart. Through-zero linear frequency modulation (FM) enables rich yet pitch-stable FM sounds, by allowing the oscillator to run backwards into ‘negative frequencies’.

The resultant triangle wave is then processed by the through-zero phase modulator, providing a total phase shift range of 900°. Phase modulation offers an interesting alternative for FM, as it enables deep FM-type tones without actually changing the oscillation frequency.

The timbre of a signal is determined by its harmonic content. This full set of harmonics can be grouped into three main parts: the fundamental, even and odd harmonics. Generate 3’s harmonics generator separates out these three timbral ‘channels’. By adjusting their relative amplitudes, a vast array of different waveforms can be created, including but not limited to the classic sine, saw and square waves.

While the amplitudes can be adjusted manually, each timbral channel supports through-zero amplitude modulation, also known as balanced or ring modulation. When audio-frequency modulation signals are applied, the harmonics become ‘split’, enriching the spectrum.

In addition to all the usual analogue synthesis techniques, the extensive set of modulation options makes Generate 3 especially suited for exploring multiphonic synthesis: a monophonic source creating a complex timbre, much like throat singing, yet by electronic means.

Notes: 'Multiples' are the classic solution to a common problem in modular synthesisers: how to distribute one output signal to multiple inputs. Simple passive multiples consist of several sockets, wired together.

Link 2 is a buffered multiples module. Each output is independently buffered using active electronics. This avoids many of the problems with passive multiples: signal cuts when patching cables, loading effects when driving many inputs etc. The high-end components provide exceptionally low noise and distortion, making Link 2 suitable for audio, CVs and gates/triggers. And unlike most buffered multiples modules currently available, it retains the accuracy of pitch control voltages to the last cent.

With only the top input socket in use, the signal is sent to all 6 outputs. Plugging a cable into the bottom input socket separates Link 2 into dual 3-way multiples, adding flexibility to your patching.

Notes: By combining a mixer and four VCAs in a single module, Mix 3 manages to provide a unique combination of compact size and functionality in just 6 HP. High-end signal paths ensure extremely low noise and distortion, wide headroom and precise gain control, despite the small form factor.

Each of the three main channels has an exponential response, which is more natural for audio than linear, as it matches the human hearing. However, all signal paths are DC-coupled, so control voltage (CV) signals can be processed as well.

What truly sets Mix 3 apart from other compact mixing modules are the three CV inputs, providing voltage control over the signal levels. This even allows you to go beyond unity gain and reach up to +20 dB of amplification. Once a CV input is used, the corresponding channel knob becomes a CV attenuator.

When clipping, Mix 3 does so in a clean, symmetrical way. This yields a very pure overdriven sound, only containing odd harmonics, and allows the module to be used as a triple voltage controlled distortion.

Additional features include audio indicator LEDs, a fourth auxiliary input, voltage control over the output level and a line output jumper setting.

Notes: A multi-VCA module on steroids, the Morph 4 is designed as a modulation hub for an entire Eurorack system, capable of working in coutnless different ways. Proper versatile business.

Supplier's Notes:
Modulation is the core concept of modular synthesis: parameters changing over time, adding movement and musical interest to what would otherwise be merely static sounds. Being able to control the amplitude of signals throughout a patch is therefore essential, and one can never have too many voltage controlled amplifiers (VCAs).

Designed as a fully-featured modulation hub for Eurorack synthesisers, Morph 4 takes the basic concept of the multi-VCA module to the next level.

Four linear amplitude modulators are controlled by a master 'morph' parameter. The response of each modulator to this parameter is completely variable, both manually and under voltage control, and can be overridden if desired. Each response is triangular, with the 'position' parameter setting the maximum point along the morph axis, while 'span' determines the width of the triangle's base.

In addition to separate signal inputs and outputs, a variety of combined outputs is available as well: A+B, C+D, add (unity gain) and averaging mixes, and instantaneous minimum and maximum. Input normalisation makes it easy to send the same signal to multiple modulators, while output and modulator response LEDs provide essential visual feedback.

The combination of master control, fully flexible modulators and multiple combined outputs creates a module truly embodying the spirit of 'patch programmable' modular synthesis. Use Morph 4 as a voltage controlled mixer, dual crossfader, dual panner, interpolating scanner, interpolating distributor, quad VCA, quadraphonic controller, slope modifier, rectifier, complex waveshaper or something in between any of those- the choice is yours.

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

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

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

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

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

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

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

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

Notes: While modular synthesisers are most often used as stand-alone instruments, they also present exciting opportunities for processing external signals. Anything from an electric guitar to an effects send on a studio mixing desk can benefit from the unique sonic capabilities of even a modest Eurorack system.

However, patching in an external source usually requires an adapter cable and plenty of clean gain to bring the signal to Eurorack level. If the signal source is balanced, a balanced input is required as well to provide the best possible interference rejection.

Receive 2 (or RX2 for short) provides a convenient all-in-one solution. It offers two universal external inputs, which accept both balanced or single-ended signals via XLR or 6.35 mm jack connectors.

The circuit incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced receivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic discharge (ESD) protection, it’s rugged enough to survive the rigours of performing on the road.

The very clean integrated pre-amps feature variable gain, ranging from unity to +40 dB on each channel. As a result, Receive 2 can handle just about any signal source you may encounter, including electric instruments, piezoelectric pickups and many dynamic microphones.

Adjusting the gains is a breeze thanks to the dual peak-responding LED meters. A mix output is included as well, so external signals can be easily mixed directly in the module.

Notes: Clever sequential signal processing from Joranalogue, capable of a range of functions including toggling signal muter/attenuator, clock divider, rotating shift register or programmable voltage bank.

Supplier's Notes:
Sequencers, sequential switches, counters, analogue shift registers... Modular synthesisers provide a wealth of creative sequential functions for controlling and processing signals. Choosing which of these to include in a system can be a bewildering task.

Except when you don't have to choose. Step 8 represents a new type of modular building block: a sequential tracking/sampling register, which can be configured to provide any of these functions, and many more.

At its heart lies an analogue 1-to-8 signal switch feeding an octet of high-stability track/sample-and-hold stages. Each of these has its own analogue output with an attenuation slider, in addition to a gate output. LEDs visualise the status of each stage in real time. The switch can be controlled sequentially using the built-in 8-step counter, or addressed directly by an analogue control voltage (CV).

Numerous advanced circuit techniques are used to avoid the issues that often plague analogue switching and memory modules. The result: totally transparent signal paths with low noise, distortion and voltage 'droop', yet high bandwidth and precision.

Add to this the ability to 'mute' the inactive stages, pause the counter, reset it, change its direction or even shift the stages on each step, and the possibilities quickly become near-endless. A scanning output takes things even further, particularly making sequencer or addressed voltage source use easy and intuitive.

For those who are feeling adventurous, there are always more applications to try: configurable voltage mapper, hocketing controller, clock divider, graphic waveshaper, multi-output analogue downsampler... Discover a new world of sequential synthesis with Step 8.

16 HP
+12: 110 mA, -12: 45 mA

Notes: Simple but effective output module, converts stereo instrument-level signal to balanced XLR outs. Ideal for live use but just as good for avoiding unwanted hum in the studio.

Supplier's notes:
Whether it's in the studio or on a live stage, keeping audio interconnections free from unwanted hum and interference can be a challenge. Balanced lines are the proven solution to this problem.

Conventional balanced output solutions often rely on transformers providing galvanic isolation to mitigate the effects of ground loops. Unfortunately, these components are bulky, expensive and colour the sound (often unfavourably, especially in the low end).

Instead, Transmit 2 (or TX2 for short) takes a fully solid-state approach. Offering a stereo pair of XLR balanced outputs, it ensures that the sonic clarity of your carefully planned modular system is not lost in its interface to the outside world.

Engineered to provide massive headroom while retaining extremely low noise and distortion, Transmit 2's circuitry incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced drivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic (ESD) and phantom power discharge protection, it's rugged enough to survive the rigours of performing on the road.

Adjusting the main output level is a breeze thanks to the dual peak-responding LED meters. A high-end headphone amplifier is included as well, controlled by a separate level knob. It can deliver the voltage and current required to power practically any headphones, regardless of the impedance or driver technology. This 3.5 mm stereo socket can function as an auxiliary stereo line output or even drive small passive speakers, making Transmit 2 an all-round flexible answer to all your output needs.