Suchergebnisse: Dance Music

Notes: Pearl

(Heavy Low-End Vintage Fuzz)

The Pearl sinks its teeth into the low end and doesn't let go. Its modified vintage circuit delivers a heavy bass fuzz tone with versatile controls to work with your music. This pedal was created for bass, but you can also plug your guitar into it to make your low-end dreams come true!

At the heart of the pedal is an all-analogue silicon design that sounds great with any pickup type. (Recovery) use hand-picked, new-old-stock "oil can" BC109 transistors that add a classic, vintage tone to this modern fuzz. The user interface includes a range of controls including intensity, tonality, compression, output level, and a high/low switch that affects the amount of bottom end. The Pearl is a compact, simple to use, player-friendly pedal with a monster, low-end tone. In short, it is a force to be reckoned with.

Hand-wired in Seattle, Washington. The Pearl operates on a standard "Boss" style 9vdc power supply, but can also run at 18vdc for additional headroom. True bypass switching. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 4.77" x 2.6" x 1.39"

Notes: Bleeding Hearts Eurorack Modular Device

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

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

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

20hp, 42mm deep.

Notes: Cutting Room Floor V3 Eurorack Module

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

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

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

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

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

Notes: Dirty Murals Eurorack Modular Device

(Delay and Reverb)

Dirty Murals delivers complex delay and reverb with powerful controls for each, in a small 12HP package. Two distinct delay and reverb styles create a variety of rich, lush, ambient, textured sounds.

The first mode offers a modulated "oil can" style delay with shorter, vintage style repeats, paired with a small room reverb. The second mode delivers a long, high fidelity, analogue-style delay with a large hall reverb. The reverb level can be dialed to taste or completely removed in either mode, allowing it to function as a traditional delay. The reverb can be boosted while keeping the mix low, generating the effect of a reverb with an adjustable pre-delay. CV inputs control delay time, feedback, and mix.

The Dirty Murals will quickly become an essential part of your sound. It is your go-to delay and reverb solution in a small size that will free up space in your synth by combining the perfect delay and reverb in one device.

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

Notes: Jupiter Spirits Eurorack Modular Device

(Four Voice Analogue Oscillator)

Jupiter Spirits orbits around the engine of many legendary synths of the 1970s, the classic CEM3340 chip. It is inspired by our love of the oscillator sections of the Moog-designed Crumar Spirit, Roland Jupiter, and SH-101.

Four independent voices produce triangle and sawtooth waveforms creating 8 total outputs, generating thick, rich, analogue voices. Jupiter Spirits is the ideal tool for those looking for multiple sound sources in a small package.

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

12hp, 42mm deep

Notes: Shortwave

(Lo-fi Radio and Wire Recorder Emulation)

Inspired by espionage devices used during World War II and the Cold War, Shortwave transforms audio into clandestine operations of the past; Russian number stations, mysterious sounds transmitted by radio, and eerie sounds stored on early portable recorders.

Choose between 2 types of noise and interference, and control it with the Exposure parameter. Velocity and Focus control the amount of pitch stabilization. Shortwave will add an interesting emotional response and atmosphere to dry, simple sounds, or destroy a signal like no other fuzz pedal can.

Hand-wired in Seattle, Washington. Shortwave operates on a standard "Boss" style 9vdc power supply, not included. True bypass switching. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 4.77" x 2.6" x 1.39"

Notes: - Precision cut metal covers that fit right over your existing set up.
- Fit perfectly snug with deck lids up or down.
- Cut-outs for the hinges.
- Four folds ensure maximum strength.
- Installing the cover is a breeze. Simply slide them over the tonearm assembly and the cover drops in place.

Notes: The SISM is a 4-channel voltage manipulator that can scale, invert, attenuate, shift (dc offset), mix, split, and slice your CV and audio signals.

A plethora of red and blue LEDs (14) show exactly what each channel and output jack is doing: red = negative voltage, blue = positive.

Each channel is independent and has an input jack, output jack, a knob for attenuating/inverting (Scale), and a knob for applying positive or negative DC offset (Shift).

Four jacks on the bottom combine the four channels in different ways. Mix is a straight mix of all four shifted inputs, Switched Mix is a mix of all channels that have nothing plugged into the OUT jack, Positive Slice is the sum of all output voltages greater than zero volts, and Negative Slice is the sum of all negative voltages.

By Shifting some channels positive and some negative, the + Slice and - Slice jacks can be used as sub-mix outputs. Also, by running a slow triangle wave into one channel, the remaining channels can be made to "dirty pan" between the Slice jacks: the signals are half-wave rectified as they span between both outputs.

Channels 1+2 and 3+4 are normalized together on the input jacks, which is handy for splitting a signal into two or more altered forms. Jumpers on the back allow you to disable this normalization.

Each channel also has a jumper to make the Scale knob unipolar (no inverting, attenuate only). This is useful for mixing audio instead of CV. A breakout header allows for padding of the signal (useful for fine-tuning a precise voltage such as 1V/oct).

Input and Output headers for connecting to QCD, QPLFO, VCA Matrix, or other manufacturer's modules such as Toppobrillo Mixiplexer or Circuit Abbey Intermix.

Notes: Expansion module for the Quad Clock Distributor (QCD).
The Expander turns the QCD into a programmatic non-linear sequencer, allowing you to easily create everything from self-patched evolving rhythms, to swing/shuffle patterns, to classic dance beats.

Each of the four channels has:
* Multi-mode output jack INV OUT, which mirrors the tempo of main QCD output
* Mode Switch for each INV OUT jack:
--- Delayed Trigger Mode
--- Inverted Gate Mode
--- Shuffle Mode (delayed + original trigger)
* PW/Delay knob controls trigger delay time on INV OUT jack (or pulse width in Inverted Gate Mode)
--- Also controls Pulse Width of main QCD OUT jack
--- CV input jack for external control
--- Attenuverter allows for one channel to precisely modulate another channel's delay or pulse width
* Div/Mult CV attenuator knob
--- Controls how much the signal on the main QCD's Div/Mult CV jack will modulate the tempo
--- Useful for precisely modulating the speed of one channel with another

A global LED brightness trimpot is accessible from the front panel.

Dimensions
12 HP
25 mm deep

Current Draw
44 mA +12V
30 mA -12V

Notes: The Rotating Clock Divider (RCD) produces eight divided clock tempos from a single input clock. The divisions range from /1 to /64, including all odd and non-standard divisions such as /3 and /17 and /62. A Rotate CV input re-assigns the division number of each jack, allowing for creative mix-ups and experimentation. A Reset input jack helps to sync/start with an external clock.

Jacks:
- Clock Input (5V to 15V clock, rising edge triggered), max 3kHz
- CV Rotate (0V to +5V input)
- CV Reset (5V to 15V trigger)
- Divided Clock Outputs (8 jacks):
Divide-by-(1+R)
Divide-by-(2+R)
Divide-by-(3+R)
Divide-by-(4+R)
Divide-by-(5+R)
Divide-by-(6+R)
Divide-by-(7+R)
Divide-by-(8+R)
...where R is the CV Rotation.
- Selectable Gate/Trigger mode:
- Selectable Divide range up to Divide-by-64:
Two jumper pins on the back can be pre-set with jumpers plugs, or used with (forthcoming) breakout panel.
- Selectable Auto-reset:
Auto-reset will reset the divide counter every 16/24/32 clocks, which keeps the beats more "dance-able" even when using the "weird" clock divisions (3/5/6/7/9/10/11/etc..) Two jumper pins on the back can be pre-set with jumpers plugs, or used with (forthcoming) breakout panel.

Notes: The Shuffling Clock Multiplier (SCM) produces eight multiplied clock tempos from a single input clock, ranging from x1 to x8 (x32 by using the Breakout). Some of the outputs can be shuffled/swung. The amount of shuffle is controlled by a CV Slip jack. A Rotate CV jack re-assigns the multiplication number of each jack. More features of the SCM can be controlled by the SCM Breakout.

Notes: The 4ms Nocto Loco is an octave pedal capable of going as low at three octaves down in pitch. It can also function as a tremolo effect with the Pulse and Speed knobs.

Notes: The Listen Four Quarters is a four channel stereo mixer with 1/4" (6.35mm) TRS balanced outputs and 1/8" (3.5mm) headphones output. Two mono channels with Pan knobs and two stereo channels with dual inputs provide optimal compatibility with both stereo and mono signals. The Listen Four Quarters can be daisy-chained to other Listen modules to create a larger mixer with sub-mix outputs.

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

Specs:

Electrical and Mechanical Specifications

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

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

Clock Input
2.5V threshold
40kHz maximum

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

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

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Crystal-clear clock-synced delay for loop up to 90 seconds, echoes, sound-on-sound, Karplus-Strong etc.

Features:
Loop or echo time is synchronized to a clock
87 seconds of delay/loop time maximum
48kHz/24-bit sampling rate, loop recorded at 16-bit (24-bit optional)
Extremely quiet, low noise and low jitter design
Tap tempo button and clock Ping input set the basis for one "beat"
Delay/loop time set as a number of musical beats (or fractions of beats) using the Time knob, switch, and CV jack
Sample-accurate clock output for perfect synchronization
Loop clock outputs for each channel
Time switches change range of Time knob from 1/8th notes up to 32 bars
Digital feedback, up to 110%
Delay Feed control, independent of dry/wet signal mix
Infinite Hold mode disables recording input and fixes regeneration at exactly 100%
Reverse mode plays memory contents backwards
With an infinite loop locked, knobs or CV can "window" around memory, by shifting the loop
Trigger inputs for toggling Infinite Hold and Reverse
Send and Return for applying effects to feedback with external modules
CV jacks to control Time, Level, Feedback and Dry/Wet Mix
16HP Eurorack module

Specs:
48kHz, 24-bit low-noise hi-fidelity
Up to 90 seconds of loop time
16HP
+12V: 110mA
-12V: 45mA

Included with the Looping Delay:
16-to-16 pin power cable
4 x M3 Knurlie screws

Notes: Row Power is a clean, regulated, and protected power solution for eurorack systems. Row Power 35 provides 35W of power, suited for any typical eurorack row (84HP to 168HP):

+12V @ 1.4A
-12V @ 1.25A
+5V @ 1.0A

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying-bus cables or the Bus Stick.

Daisy-chain multiple Row Powers to use a single power brick for multiple rows (typically 3-5 rows per power brick). Each row will be independently regulated and protected for ultra-low cross-talk between rows. Rows can also be hot-swapped (plugged/unplugged without powering the whole system down).

Notes: The Pod48X is 48HP with 2.00" (51mm) of available module depth. The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod48X includes ten (10) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod60 is 60HP with 1.34" (34mm) of available module depth. The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick. If you already have a powered Pod and power brick (or a Row Power module) you can use a barrel cable to daisy-chain powered Pods.

The Pod60 includes twenty (20) M3x8mm stainless steel screws and is compatible with M3 Knurlies.

Notes: The Listen Four is a four channel stereo mixer with line, modular, and headphone outputs. Two mono channels with Pan knobs and two stereo channels with dual inputs provide optimal compatibility with both stereo and mono signals. The Listen Four can be daisy-chained to other Listen modules to create a larger mixer with sub-mix outputs.

Notes: Low-cost, portable, compact enclosure that turns Eurorack modules into table-top instruments.

The Pod64X is 64HP with 2.16" (55mm) of available module depth. The built-in power supply has four power connectors and can be daisy-chained to other Pods. More power connectors can be added with the Multi Power Cable accessory.

Pods require a power brick, or a barrel cable to daisy-chain to a Pod or Row Power that's already powered.

Pods are a perfect way to get started in Eurorack, or add a couple more modules to your monster system!

Made from 100% anodized aluminum, Pods are light, tough and perfect for on-the-go set ups. The power supply can handle up to 1.4A of +12V, which is plenty of juice for even the most modern digital modules. (Or if you prefer to DIY your power supply, Pods are also available unpowered)

Each Pod64X typically will house up to six modules, but more can be accommodated using a multi-power cable accessory.

Mix and match your Pods with desktop synths, effect pedals, drum machines or any musical gear for a flexible modular system. Pods can even daisy- chain with the 4ms Row Power system making them a convenient outboard mini-skiff. Need to add another module? Just add a Pod! Need to pack light for a live set? Just grab the Pods you need and go!

Basic Features:

64 HP of Eurorack modular space
Extra room for deep modules
Standard M3 threaded holes
100% lightweight anodized aluminum
Built-in Power supply
Red, White, and Blue LED power indicators

Includes:

64HP Pod, black anodized aluminum
Built-in power supply with six Eurorack power headers
Extra deep (2.16"/55mm) fits virtually every Eurorack module
M3 x 8mm pan-head screws, stainless steel (20)
Adhesive rubber feet (4)
Does not include barrel cable or power brick
Power Supply:

Four 16-pin Eurorack power shrouded headers
+12V max 1.4A
-12V max 0.67A
+5V max 1.0A
Power input: Two barrel jacks for daisy-chaining
15V-20VDC, 2.1mm positive tip
Exterior dimensions:
Width: 329.7mm (12.98")
Height: 159.5mm (6.28")
Depth: 57mm (2.24")
Interior dimensions:
Max module depth: 55mm (2.16")
Module width: 64HP
Weight:
0.5 kg = 17 oz

Notes: Row Power is a clean, regulated, and protected power solution for Eurorack systems. Row Power 45 provides enough power for two to three typical Eurorack rows (typically up to about 312HP):
+12V @ 2.0A maximum, 1.5A recommended
-12V @ 1.4A maximum, 1.2A recommended
+5V @ 1.5A maximum, 1.2A recommended

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying bus cables or the Bus Stick. For custom power systems, the Row Power 45 has a set of easily soldered holes for using large gauge wire or MTA156 connectors to connect to distribution bus boards.

Multiple Row Power modules can be powered from a single power brick by daisy-chaining with an inexpensive barrel cable. The Row Power 45 can also be daisy-chained to 4ms Company's Pod enclosures. Each power supply is independently regulated and protected for ultra-low cross-talk between rows/pods.

The Row Power 45 is compatible with the 4ms Row Power Shield. This device (sold separately) attaches to the back of the Row Power 45 and monitors the amount of current being drawn, as well as the voltages of the power rails. The information is sent over Bluetooth to be displayed on a phone or tablet.

Electrical and Mechanical Specifications

Module Size:
4 HP Eurorack format module

Power Output:
Maximum average load under normal conditions: +12V @ 2.0A, -12V @ 1.4A, +5V @ 1.5A
Maximum average load under any condition: +12V @ 1.5A, -12V @ 1.2A, +5V @ 1.2A
Powered by laptop-style DC power supply: 2.1mm barrel, positive center, 15V-20V.

Included with the Row Power 45:
16-to-16 pin power cable
2 M3 Knurlie screws

Notes: The ACL Oktave is made with two main functions in mind - allowing you to transpose any sequence or melody up or down by up to four octaves, and to fine tune your signal up or down by nearly 7 semitones. It's great for quick melody transposition both on stage and in the studio, but naturally, we've made sure it can be used more imaginatively than that...

The module has three high impedance inputs, one low impedance inverting output and four low impedance non-inverting outputs. This configuration is made with the intention of controlling the pitch of up to four VCO modules simultaneously, but it also allows you to do more interesting things, like mix up to three incoming CV signals and add DC-offsets to them. And internal buffering means that more VCOs can be controlled simply by using a multiple module, such as the passive part of our Multi II.

Octave tuning is performed with a high quality nine-position rotary switch, spanning -4V to +4V, with 0V in the centre position.

Fine-tuning of the input mix is handled with the Tune potentiometer, with a range of a little less than + / - one fifth. This smooth linear control can be handy for correcting an out-of-tune input signal or deliberate creative offsetting.

To ensure precise and reliable octave tuning and offset adjustment with minimal errors, Oktave features precise on-board voltage reference, precision low-tolerance resistors, and low-noise/low DC-drift/Offset Operational Amplifiers.

Installation depth:

22 mm deep
Current Draw:

7 mA +12V
3 mA -12V
0 mA 5V

Notes: Superior 60 mm quad fader CV source including MUTE feature

The ACL Fader CV Source Module comprises 4 individual faders where each can generate a CV either going between 0 and +5V or 0 and +10V unipolar or -5V and +5V or -10V and +10V bipolar, selectable using 2 jumpers on the backside of the module.

Furthermore there are mute-switches for each channel accompanied with an dual color LED (green/red) which shows the channels mute status. When mute is activated or deactivated, short fade ramps will be generated as well as the fader itself is slightly slew-limited internally in order to generate a smooth CV.

This module is very useful to control VCA's or VC mixers like our VC Amp mix module.

Notes: This compact stand-mount loudspeaker owes its heritage directly to the more affluent AE 301, delivering an energetic and open sound from a very small reflex loaded enclosure.

The AE 101 has been designed for the flexible room placement. Whether mounted on stands or shelving the sound remains crisp, dynamic and spacious. Sumptuous finish, complimentary magnetic mount grilles and the bijou dimensions allow the AE 101s to melt discretely into any room decor.

Notes: The Mixcraft Pro Studio 6 is a complete audio production workstation that blends tremendous mixing and mastering power with a streamlined interface that's easy to navigate. The Mixcraft Pro Studio 6 is loaded with instruments, effects, and loops, with serious recording and editing tools, advanced MIDI and audio routing capabilities, remarkable video editing features, a slick notation engine, MIDI control surface support, ReWire hosting, and much more.

The Mixcraft Pro Studio 6 is packed with 55 effects and virtual instruments, including 18 high-end effects and virtual instruments that are not included with the standard Mixcraft 6 package. The added effects include powerful mastering technology by iZotope, G-Sonique, ToneBoosters, and Acoustica, such as the iZotope Mastering Essentials effect suite. The new Acoustica Pro Studio Reverb offers cutting-edge studio reverb technology that's easy on the CPU, and the Acoustica 31-Band EQ offers precise, transparent frequency trailoring. X-Bass, Transient Vitaliser, Twisthead Preamp, and the incredible new FAT+ plug-in add deep lows, crisp highs, and gritty tube warmth to your tracks. The Mid-Side Envelope Follower+, Mid-Side Harmonic Vitaliser+, and Mid-Side Stereophase Filter+ all warp and twist your tracks in exciting new ways. Additional effects include bit-crushing, gating, tape emulation, liquid delay, and vintage & modern parametric EQs.

The Mixcraft Pro Studio 6 is also a virtual synth collector's dream come true. It comes packed with ultra-realistic emulations of legendary analog synthesizers including the Yamaha CS80, Moog Memorymoog, Prophet 5, and Minimoog. It also features emulations of other timeless keyboard instruments including the Steinway Model D convert grand piano, Hammond B-3 organ and Leslie speaker, Vox and Farfisa combo organs, and Rhodes and Wurlitzer electric pianos. There's a huge library of carefully sampled orchestral instruments, drums, synthesizers, pianos, organs, guitars, bass, and more, and the new Studio Drums collection gives you access to a brilliant collection of acoustic and electric drum sounds, professionally recorded in a world-class studio.

The Mixcraft Pro Studio 6 is a music mastering powerhouse, with a wealth of included effects specifically designed for dynamic processing, multi-band compression, bass and treble balancing, parametric equalization, adding character (including tube and tape warmth), and other essential mastering activities that can mean the difference between an average track and a mix that explodes from your speakers.

Loops play an important role in modern music production, and Mixcraft Pro Studio 6 includes over 6000 professionally produced loops and sound effects in an incredible array of styles. From contemporary genres such as dubstep, chill, hip-hop, and R&B, to dozens of varieties of classic rock, jazz, blues, reggae, heavy metal, Latin, and so much more, inspiration is always just a click away. You can easily import your own collection of Acid and GarageBand loops into Mixcraft's own loop library, so your entire loop collection is always at your fingertips.

You wouldn't want to overlook the Mixcraft Pro Studio 6's suite of video production tools. Mixcraft makes it easy to arrange & edit video clips and import still images. Automate transitions, fades, and dozens of visual effects. You can even add lyrics, labels, and scrolling text, and your complete video production can be mixed down to AVI or WMV video file, so you can easily publish your video to YouTube or burn it to a DVD or Blu-Ray disc.

Notes: 3 mono inputs connect via XLR microphone or line input (switchable). Each of these inputs has switchable +20V phantom power for use with condenser microphones or D.I. boxes and channel 1 has a variable priority function. Two stereo auxiliary line inputs are provided on RCA connectors with a stereo record output. Media player operating modes include 3.5mm Aux input, USB audio player, FM radio tuner and Bluetooth receiver for playback from a smart phone or tablet. Main left and right outputs are fed to XLR with an additional mono summed output on 6.3 jack. Versatile yet easy to use as a main mixer for background music, public address and house PA systems.

Notes: Following the ADDAC103 T-Networks, this new module is also inspired by Twin T-Networks circuits used in many lengendary drum machines. A simple 4 voice module with frequency controls for each of the voices. This new module also features CV inputs with attenuverters for each voice Frequency. Due to the specificities of the circuit, and to keep the module at a low price, these inputs are not callibrated to 1v/octave.

At each voice input there's a gate to trigger converter so any input source is possible.
Audio inputs can also be used as an input, in this case and due to the nature of the gate to trigger converter, each voice can be used as very destructive filters.

The top 2 channels feature a higher frequency range, the bottom 2 channels feature a lower frequency range.

Notes: This is the last module in Addac System's T-Networks series, a straight forward 4 voice module with frequency and decay controls for each of the voices. As the name already unveils, a noise source has been added, and 2 different circuits have been created, that explore the timbre of a t-network when used to filter noise.

There are 2 different circuits in this module, voices 1 to 3 have a pre-vca t-network filter while in voice 4 the t-networks filter applied post-vca.

At each voice input there's a switch which sets which type of input to use, this signal will be used to control an internal VCA hence why the type of setting defined here is important:
1. Trigger - Any incoming CV will be converted into a 1ms trigger as soon as it crosses it's fixed threshold.
2. Mute - This disconnects then incoming signal effectivelly muting the voice.

3. Envelopes - This can be used with CV sources as well as Gate sources and simply follows the input signal.

This incoming signal will then be processed by a slew circuit which adds a decay factor allowing the user to set the "Tail" of each voice.

Trigger mode is mostly dedicated for percussive sounds while the Envelope mode is open to any external enve- lope control and able to control noise swooshes, swirls, crackles and pops simply out of t-networks filtered noise.

Audio inputs are also welcomed to be used as a Trigger/Envelope input.

Diferences between voices:
The first 3 voices also feature a Timbre selector switch: Hat/Snare
In Snare mode all frequencies coming from the t-networks filter pass thru to the output .
In Hat mode it adds a High Pass circuit which removes the mid/bottom frequencies (characteristic of the snare strike) creating a higher spectrum output which is closer to a Hat timbre.
All of these 3 voices are also differently tuned from each other to offer more timbrical options.

Voice 4 is closer to a typical t-networks circuit but this time peculiar one where the noise is gated by the vca and then sent through the t-networks filter.

Hat and Snare are terms used very looselly here, they are timbrical references and do not in any shape or form try to effectivelly replicate the complex timbres of a real world Hat or Snare.

Notes: A 4 Channel VC Attenuator and Offset.

The ADDAC212 is a 4-channel VC attenuator and off-setter. It lets you deal with up to four parallel inputs as a single pack, modulating their amplitude and offset (± 10V) with the same control knobs, both with cv inputs and dedicated attenuators.

Features 4 parallel VCAs with the same amplitude and offset control knobs and cv inputs with dedicated attenuators.

Idealized to be the perfect companion for Envelope Generators, you can send 4 EGs through it and control the overall amplitude and offset of all 4 envelopes at once. This allows more control over the Envelopes when patching typical synth voices.

Notes: This is the VC Rotator, a stepped routing module for any type of signal (audio, cv, gate, trigger...)

Similar to a VC switcher but in this case there's the same number of inputs than outputs so, instead of 4 to 1 or 1 to 4, this module is always 4 to 4 but it can be patched for 2 to 2 and 3 to 3 step actions.

All four inputs get routed to the four outputs depending on the CV and Clock controls and are divided into 4 routing steps:
1. routes all inputs to the same number output: 1:1, 2:2, 3:3, 4:4
2. routes all inputs to an offset of 1: 2:1, 3:2, 4:3, 1:4
3. routes all inputs to an offset of 2: 3:1, 4:2, 1:3, 2:4
4. routes all inputs to an offset of 3: 4:1, 1:2, 2:3, 3:4

Direction determines if the clock input goes forward or backwards.
Going forward it can be set to 2-3 or 4 steps using the Rotate knob offset, going backwards always sync to 4 steps even if offseted by the Rotate knob.
For 2 & 3 step action input 1 is normalled to input 3 and input 2 is normalled to input 4.

Reset resets the internal clock to the first step.

Pendulum, external sequencing or any complex CV actions can be achieved using the CV input and dedicated attenuverter.

4 leds monitor which input is routed to output 1.

Notes: The ADDAC302 Nchunk Control module allows you to connect a Nintendo Nunchuck controller to your modular synth, featuring a two-axis thumb joystick, a three-axis accelerometer and two trigger buttons.

The module provides CV outputs for all of the Nunchuck's parameters and special functions to remap the CV outputs. The remapping can be both continuous or step-by-step and can be accessed through either the dedicated CV inputs or the manual controls.

A specially dedicated Mix output averages between the first two CV outputs, a very useful feature for continuous control parameters.

Mechanical:
- Format: Eurorack
- Width: 8 HP
- Depth: 4 cm

Control Voltage I/O:
- CV inputs: 0 - 10v
- CV outputs: 0 - 5v
- Gate in threshold: 2.5v

Electrical:
- Compatible with +-12v and +-15v power supplies
. Max current: 100mA?
. Bus Board Cable: 8 × 2 IDC (Doepfer style) connector

Notes: Another addition to ADDAC300's Expressive Controls Series.

Preceded by the release of our ADDAC303 Muscle Sensing module this is the second module we make to take advantage of the physical body as a control source.

This module originated from a simple idea: using one's heart beat as a control source.

Using a clip-on sensor, that can be attached to a finger or an ear lobe, the user's heart rate will be aquired by sensing the blood flow passing under the sensor. This pulse will generate a trigger and an AD envelope.

Clip-on sensor will be provided with the module.

Features:
0 +5v Trigger output
0 +10v Envelope output with:
Attack, Decay, Amplitude and Offset controls
Two leds monitor the Trigger and Envelope Outputs

Dimensions
4 HP
35 mm deep

Current Draw
32 mA +12V
10 mA -12V

Notes: Another addition to the ADDAC300's Expressive Controls Series.

Preceded by the release of the ADDAC303 Muscle Sensing module, this is the second module made to take advantage of the physical body as a control source.

This module originated from a simple idea: using one's heart beat as a control source.

Using a clip-on sensor, that can be attached to a finger or an ear lobe, the user's heart rate will be aquired by sensing the blood flow passing under the sensor. This pulse will generate a trigger and an AD envelope.

Clip-on sensor will be provided with the module.

Tech Specs:
4HP
3.5cm deep
60mA +12V
10mA -12V

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

Supplier's Notes:

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

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

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

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

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

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

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

Notes: This is our new VCO, we discontinued our ADDAC701 VCO a few years back and since we've been wanting to release a more stable version with better pitch tracking increasing pitch reliability further minimizing the detuning issues of analog VCO's.

For this new revision we chose to use the modern version of the CEM3340 ic from CoolAudio and add the triagle to sine circuitry of our previous VCO. This new version is extremelly stable over 7 octaves.

We also added a new Mix section which allows mixing of all waveforms controlled by 3 knobs SIN/TRI, MIX and SAW/RECT.

Tech Specs:
8HP
3.5 cm deep
60mA +12V
60mA -12V

Notes: Here's the second module of ADDAC System's 700's Heritage Series.

Inspired by Moog CP3 mixer, this is a totally discrete analog mixer and it's not, by any means, your standard breakfast mixer, although it can behave like one.

This is a wolf in sheep's clothing. Despite its harmless looks there's a dark snarly soul behind that panel that wants to take your sounds into a realm of gritty gnarly growls.

Mechanical:
- Format: Eurorack
- Width: 8 HP
- Depth: 3 cm

Electrical:
- Max current: 60mA.
- Bus Board Cable: 8 × 2 IDC (Doepfer style) connector.

Included:
- black screws
- black fibre washers

Notes: Inspired by our ADDAC701 VCO waveform mixing section, our new VC Signal Router also updates our legacy X-Fade/Panner to a stereo configuration that also allows 4 quadrant mixing.

Featuring two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control.

4 quadrant mixing is achieved by using the stereo Master as a X-fader between left and right channels, this way you can plug 4 audio sources and sweep/crossfade between each and any of them using the 3 x-faders. Plug any 4 sources (4 waveforms of a VCO, 4 LFOs, 4 envelopes...) and sweep through morph through or have them all mixed together.

For other configuration types Left and Right X-fader channels can be routed through the Master stereo VCA or sent directly to the outputs. A stereo Direct input can also be routed through the Master VCA or sent straight to the outputs.

The Mono Sum output always mix Left and Right outputs together allowing the possibility to use the module as a peculiar 6 channel mono mixer.

It can be used for both Audio or CV Signals.

Tech Specs:
8HP
4.5 cm deep
40mA +12V
40mA -12V

Notes: Two-channel spectral tilt filter with simple single-knob control and CV input. Adjust the frequency balance by turning the knob to emphasise highs or lows. Simple but effective way to add movement or stereo width.

Supplier's Notes:
The TILT EQ concept was first introduced in the 1970's by Quad Ltd, featured on the company's model 34 preamplifier.

The tilt control tilts the frequency spectrum of the audio signal by simultaneously boosting the treble and cutting the bass frequencies, or vice versa, making it a simple to use but powerful EQ.

As stated by Quad Ltd, it was designed to produce a very gradual change in balance across the musical spectrum without changing the overall subjective level.

This gradual fall from Bass to Treble, or vice versa, means there's no sudden change and hence no 'coloration' added to the sound, the sound will remain entirelly natural but with a slight added bottom or high end. In practice, it rotates most of the audio-range frequency response around a 1Khz axis, so as to change the overall balance of the sound from warm to cool without affecting either the apparent volume or the "color" of the sound.

Here this idea is introducedinto the modular world in a stereo configuration.

CV input with attenuverter was added for the Tilt control as well as a Spectral Motion switch that allows stereo spectral matching or inverted spectrum use of the Tilt control: Left=Right matches both channels direction, i.e. when left channel is tilted to the low end the right channel will also be tilted to the low end

Left Right inverts the Right channel spectrum, i.e. when left channel is tilted to the low end the right channel will be inverselly tilted to the high end, or vice-versa.

This possibility is extremmelly interesting when applied as a stereo effect, in other words a spectral EQ panner. This module will also be available as a full DIY kit.

Specs:
4Hp
4.5cm deep
40mA on each rail

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Inspired by the legendary Moog CP3 mixer, the 713 tweaks the old-school discrete circuits into three stereo inputs and one mono channel, summing to stereo with adjustable feedback and clipping to add character.

Supplier's Notes:
ADDAC713 is the stereo version of ADDAC System's 703 Discrete Mixer.

Inspired by Moog's CP3 mixer, this is a fully discrete analogue mixer and it's not, by any means, your standard breakfast mixer, although it can behave like one.

This is a wolf in sheep's clothing. Despite its harmless looks there's a dark snarly soul behind that panel that wants to take your sounds into a realm of gritty gnarly growls.

This new version was initially thought of as a percussion mixer, with mono inputs and panning, to allow placing percussive voices in the stereo field, while keeping channel 4 in mono for low end sources like a kick drum or Bass. In the development process ADDAC System slightly changed this initial idea, adding stereo inputs for the first 3 channels, but still kept the 4th channel in mono.

All four [GAIN] controls go to extreme levels, the first 3channels also feature [PAN] controls. Feedback is used to overdrive the whole mix. As the control is turned clockwise the sound will be clipped harder until it goes completely off, this happens as feedback is increased the audio bias reference also moves up, at extreme levels it offsets the whole signal upwards until it completely goes above the top rail clipping the whole signal hence the resulting gate effect.

The [MASTER OUTPUT] sets the overall output gain of the mixer, the two leds monitor the audio output signal. The Soft clipping switch engages an anti-click circuit which adds a low pass before the output, the switch allows 3 states: Soft low pass / Off / Hard low pass.

Features:

Three channels with stereo inputs, gain and pan knob
One channel with mono input and gainknob
Feedback/gate knob
Master output volume knob
Soft clipping switch
Two Led Monitors for Left and Right channels

Tech Specs:

8HP
4cm deep
80mA +12V
80mA -12V

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


This is the last module in Addac System's T-Networks series, a straight forward 4 voice module with frequency and decay controls for each of the voices. As the name already unveils, a noise source has been added, and 2 different circuits have been created, that explore the timbre of a t-network when used to filter noise.

There are 2 different circuits in this module, voices 1 to 3 have a pre-vca t-network filter while in voice 4 the t-networks filter applied post-vca.

At each voice input there's a switch which sets which type of input to use, this signal will be used to control an internal VCA hence why the type of setting defined here is important:
1. Trigger - Any incoming CV will be converted into a 1ms trigger as soon as it crosses it's fixed threshold.
2. Mute - This disconnects then incoming signal effectivelly muting the voice.

3. Envelopes - This can be used with CV sources as well as Gate sources and simply follows the input signal.

This incoming signal will then be processed by a slew circuit which adds a decay factor allowing the user to set the "Tail" of each voice.

Trigger mode is mostly dedicated for percussive sounds while the Envelope mode is open to any external enve- lope control and able to control noise swooshes, swirls, crackles and pops simply out of t-networks filtered noise.

Audio inputs are also welcomed to be used as a Trigger/Envelope input.

Diferences between voices:
The first 3 voices also feature a Timbre selector switch: Hat/Snare
In Snare mode all frequencies coming from the t-networks filter pass thru to the output .
In Hat mode it adds a High Pass circuit which removes the mid/bottom frequencies (characteristic of the snare strike) creating a higher spectrum output which is closer to a Hat timbre.
All of these 3 voices are also differently tuned from each other to offer more timbrical options.

Voice 4 is closer to a typical t-networks circuit but this time peculiar one where the noise is gated by the vca and then sent through the t-networks filter.

Hat and Snare are terms used very looselly here, they are timbrical references and do not in any shape or form try to effectivelly replicate the complex timbres of a real world Hat or Snare.

Notes: Introducing a limited edition re-release of this iconic electronic instrument in a modular format.

This limited edition of 75 units is a tribute to the pioneering work of Dutch musician and instrument maker Michel Waiswisz (1949 - 2008), who first invented the Cracklebox with Geert Hamelberg in the late 1960s.

The Cracklebox was a small, handheld device designed as a way to explore new sonic territories. It was one of the first electronic musical instruments to use circuit bending techniques in the creation of electronic music. It allowed musicians to manipulate and control electronic circuits in real-time, creating a wide range of unique and experimental sounds. He used a circuit from a toy piano as the basis for the instrument, and then added a series of touch-sensitive pads that were connected to the circuit. When a player touched one of the pads, the circuit would be completed, producing a crackling sound.

The Cracklebox was probably the first commercially available portable self-powered alternative 'keyboard' analogue electronic instrument with inbuilt loudspeaker.

In the 1970s about 4000 Crackleboxes were built and sold by STEIM in Amsterdam.

Nowadays many people refer to the The Cracklebox as the archetype of 'glitch' or 'circuit bending'.

In the decades since its invention, the Cracklebox has continued to be an important and influential instrument in the world of electronic music. It is still in use today, and is considered a classic example of the potential of electronic music to create unique and innovative sounds.

This Eurorack recreation includes a 9v battery, swappable through the front panel, this allows to isolate the current flowing through the user's fingers from the Eurorack frame PSU, protecting the user from undesired electrical shocks. The internal speaker has been removed, a transformer has been used instead to isolate the output signal.

The output generated can be used as an audio, as a gate or a cv signal, when using it as a cv source, due to the specific qualities of the signal, users may want to send it through other modules as slews, sample and holds, quantizers to tame/control it's peculiar cv output.

Controls:

- The module features an on/off switch to turn off the 9v battery (remember to turn it off when you turn off your Eurorack system).
- A Power Starve knob, reduces the 9v voltage feeding the circuitry changing it's overall timbre/pitch
- An Output Gain knob to control the output volume.
- A Boost switch to add more presence to the signal.

Tech Specs:

12HP
5.5 cm deep
20mA +12V
20mA -12V
9v battery required

Notes: ADDAC712 is a dual channel discrete gain staging amplifier, based on a famous discrete preamp board from the 70's used in some legendary equipment.

What was eye-catching was the character of its clipping and resulting saturation/distortion.

The module can be used with modular signals to add a distortion/fuzz character or as a preamp for an external source such as a line source, keyboard, guitar...

It's also a great side companion for our ADDAC711 Balanced Inputs.

At the top an On/Off [BYPASS] switch routes the signal into the Effect (Up: Active) or to the bottom output gain stage (Down: Bypassed).

The amount of amplification is set by the [GAIN] control, the maximum amount of amplification can be set by the user using the [MAX GAIN] trimmer.

Up to +/-5.5v the incoming signal will keep it's integrity, beyond this point saturation will start to increase.

At approx. +/-6v a hard clipping will start to occur, this clipping also has a particular quality that at extreme levels it drifts the audio 0v bias reference, moving it upwards which results are similar to a Gate effect.

In the middle, an x2 opamp based output gain stage with a clipping led, which monitors the clipping at the output, and an [OUTPUT] control to set the output volume.

Having the top and middle gain stages provides flexibility allowing the user to completely distort the signal on the top stage and tame it's output level with the second stage.

At the bottom, Input and Output for both channels (Left input is normalled into Right input).

Tech Specs:
6HP
4 cm deep
40mA +12V
40mA -12V

Notes: ADDAC714 is a dual channel soft clipping module.

Diode based passive clipping acts as a "brick wall" limiter with a fixed knee given by the inherent diode physics. A passive RC low pass circuit adds a 3.3KHz -3db low pass filter which sculpts the overall tone while also adding further character to the effect.

At the top an On/Off [BYPASS] switch routes the signal into the Effect (Up: Active) or to the bottom output gain stage (Down: Bypassed).

The amount of clipping is set by the [GAIN] control, it mostly works as a threshold control for how much clipping will be applied.
As more clipping is applied the signal's amplitude will also decrease, to compensate for this we set up a gain compensation stage to keep the output amplitude balanced across the Gain range.

Symmetry chooses between bipolar clipping or positive clipping, this relates to the harmonics generated, bipolar for odd and even harmonics (up position) and unipolar for odd harmonics only (down position).

At the second stage, an opamp based x2 output gain with a clipping led, which monitors the clipping at the output, and an [Output] control to set the output volume.

Having the top and middle gain stages provides flexibility allowing the user to completely distort the signal on the top stage and tame it's output level with the second stage.

At the bottom, Input jacks for both channels (Left input is normalled into Right input) and output jacks

Tech Specs:
6HP
4 cm deep
40mA +12V
40mA -12V40mA +12V
40mA -12V

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


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

Supplier's Notes:

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

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

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

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

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

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

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

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


A fresh twist on a simple 303-style acid synth, featuring a triangle/sawtooth/square wave VCO, multi-mode resonant filter, simple AD envelope and a VCA which can be overdriven. Excellent value.

Supplier's Notes:
ADDAC started this module with the idea of developing a complex drum source however, somewhere along the process, it was clear how much better it performed as a synth voice and this lucky accident was embraced.

It features a VCO with a [FREQUENCY] and [FINE TUNE] knob plus a dedicated CV Input and Attenuator knob (tunable over 4 octaves).

The VCO waveform output is achieved by selecting either a Triangle or Saw through a switch. the selected waveform can then be mixed/balanced against the square wave. The resulting mix is then sent to the Filter.

The Filter features a [CUTOFF] and [RESO] resonance knob plus a Cutoff CV Input and Attenuverter knob.

A 3 position switch is used to select the filter type: Highpass, Bandpass or Lowpass.

The resulting output is then sent to the VCA.

The VCA features an Input with [INPUT GAIN] knob which at maximum can amplify the incoming signal by a factor of 2.

This is a very important control, it accepts any signal Trigger, Gate or CV. Whatever input is plugged in the signal is then fed through an AD with a very short attack and controllable decay through the [VCA DECAY] knob plus the CV Input and Attenuverter knob. The resulting slewed signal is then used to control the VCA gain.

This signal is also sent to the CV OUTPUT as well as the LED monitor.

The Accent input adds to the Input signal creating a different amplitude output.


The CV OUTPUT is normalled to the Frequency and Cutoff inputs.

Tech Specs:
9HP
4cm deep
80mA +12V
80mA -12V

The [INPUT GAIN] knob

Usually Attack/Decay envelopes have a maximum voltage of +5v, no matter if the input gate is +5v or above the AD will clip at +5v. In this case, this clipping method was not used, and instead ADDAC allowed the incoming voltage to determine the maximum AD voltage, meaning that if a +5v gate is present then the AD maximum voltage will be +5v but if a gate of +10v is sent then the AD maximum voltage will be +10v.
This also means that with higher input voltages the decay, although falling at the same speed, will be longer than with lower voltages as it has a longer range to go back to 0v.

As previously mentioned, The [INPUT GAIN] knob can amplify the incoming input by a factor of 2, allowing to use a standard +5v gate or envelope and being able to make the resultant AD go up to +10v.

The AD signal is responsible for opening the VCA. Up to +5v the VCA will open to unity gain above this value the VCA will start to amplify and eventually saturate and distort. This saturation will add harmonics to the signal which will change its gentle timbrical nature to a more unique and peculiar timbre that will make the module shine in Acid contexts.

Adding high levels of Resonance or even filter self oscillation in combination with high VCA saturation will create even more harmonics that ADDAC highly encourage the user to explore.