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Make Noise/Soundhack Spectraphon Dual Spectral Oscillator Module
Make Noise/Soundhack Spectraphon Dual Spectral Oscillator Module (CV modulation/digital/dual/stereo/envelope follower/LFO/oscillator synth module)
Cat: 945799 Rel: 10 Jul 23
 
A dual spectral oscillator module coded by Tom Erbe of Soundhack in 34HP.
Notes: Based on a new digital hardware platform, the Spectraphon is a powerhouse spectral oscillator, capable of everything from analogue-style dual complex oscillators to FM and much more.

Supplier's Notes:
The Make Noise/Soundhack Spectraphon is a dual Spectral Oscillator coded by Tom Erbe of Soundhack. It uses real-time spectral analysis and resynthesis to create new sounds from those that already exist. It is inspired by classic electronic musical instruments of the past, including spectral processors, additive synthesis, vocoders, and resonators especially the Buchla 296 and Touche, but it takes a physical form more resembling the classic analogue dual complex oscillator in the lineage of the Buchla 259 and the Make Noise DPO.

The Spectraphon is the first module to be built by Make Noise on its new digital hardware platform. This hardware, engineered by Jeff Snyder and Tony Rolando, provides more i/o at higher resolutions, and a lower noise floor than we have ever had access to in a digital module, allowing us to unleash Tom Erbe's DSP code to a previously unattainable degree.

The Spectraphon has two nearly identical sides, A and B, which oscillate in one of two ways: Spectral Amplitude Modulation (SAM), or Spectral Array Oscillation (SAO). In SAM, instead of oscillating at all times like an analogue VCO, sound at the Spectraphon's input is used to modulate the amplitude of a set of harmonics. In SAM the Spectraphon can be sequenced and frequency modulated like any VCO. At any time the current spectrum can be used to create an Array for later use in SAO mode where the Spectraphon oscillates at all times, with the spectrum at the Odd and Even harmonic outputs being drawn from those stored Arrays.

The Slide and Focus controls are mode-dependent: in SAM, they determine how the Spectraphon responds to sound at the input for Spectral AM, while in SAO, they are used to modulate the Array.

In either mode (SAM or SAO), the Partials control works as a combined amplitude and timbre gate for the Odd and Even harmonic output and the FM Bus will create high definition internal frequency modulation from the opposing side of the Spectraphon. The two sides can also interact via the internal FM Bus, the Follow and Sync modes, and by patching them together.

Width: 34hp

Power:
230mA @ +12V
55mA @ -12V

Module Depth (incl power cable): 36mm
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 1 in stock $587.97
Rossum Electro-Music Locutus MIDI Mediator Module For Assimil8or
Cat: 940123 Rel: 29 Sep 23
 
MIDI mediator module - 6HP.
Notes: An expander module for Rossum's powerhouse Assimil8or sampler module, the Locutus provides MIDI in, out and thru connections over 5-pin DIN sockets, letting you take full control of the module alongside other MIDI gear.

Supplier's notes:
Locutus is designed to interface Assimil8or with MIDI instruments, controllers, and sequencers to provide multichannel modulation and new polyphonic possibilities.

Locutus includes a special cable to connect to the Assimil8or CPU behind the panel.

Locutus is 6 HP wide and 25mm deep.

More pricing and availability information is coming soon.

Locutus is on display in the MIDI Association booth #9901 at NAMM 2023 where Locutus and Assimil8or will be performing with a Rossum SP-1200 Reissue, an Oberheim OB-X8, and other new and vintage MIDI-equipped instruments.

MIDI Association booth #9901 is dedicated to the MIDI@40 Lifetime Achievement Award winners, including Rossum Electro-Music co-founder Dave Rossum.

From the MIDI Association: "At Saturday's anniversary celebration, lifetime achievement awards will be presented to (or posthumously honour) legendary music industry innovators who created the modern music production environment of synths, drum machines, and sequencers, including Bob Moog, Don Buchla, Ikutaro Kakehashi, Tsutomu Katoh, Roger Linn, Tom Oberheim, Alan Pearlman, Dave Rossum, and Dave Smith."
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 6 in stock $225.09
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quote 940123
ALM Axon-2 CV Expander & Controller Module For Squid Salmple/MFX/Pamela's Pro Workout ALM Axon-2 CV Expander & Controller Module For Squid Salmple/MFX/Pamela's Pro Workout
Cat: 941547 Rel: 04 May 23
 
An expander and controller module for the Squid Salmple, MFX and Pamela’s PRO Workout in 8HP.
Notes: AXON-2 is an 8HP expander module for the SQUID SALMPLE, MFX and Pamela's PRO Workout that like the AXON-1 provides 4 additional freely assignable CV inputs but additionally adds manual offset controls and 2 additional 'performance' buttons.

The addition of AXON-2 increases the Squid, MFX or Pam PRO's total number of CV inputs by 4, greatly increasing the possibilities for vast modular manipulation. Each of the CV inputs includes an offset for hands on control over parameters assigned to CV. Per assignment digital attenuation and offset via the host module is also available for fine tuning the modulation or control over parameters.

The AXON-2's large buttons are great for controlling select functions in a live performance environment or adding convenient quick navigation shortcuts when making edits. The buttons functionality and assignability are dependent on the host module. See respective manuals for details.

NOTE: AXON-2 support requires the latest firmware be installed for Pam Pro (120 or newer), Squid (187 or newer) and MFX (105 or newer).

Features
4 Additional freely assignable CV inputs for the SQUID SALMPLE, MFX or Pamela's PRO Workout
Manual offset knob controls
Two Assignable performance buttons for mutes, tap tempo, navigation, etc (dependant on module)
Powered directly from the module, no additional power header required
Made in England
Skiff friendly
Technical Specifications
Power: Additional approx 10mA on +12V

Size: 8HP

Depth: 38mm
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 1 in stock $166.18
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Intellijel Sealegs Multi-Mode Stereo Character Delay Module With Reverb
Cat: 966771 Rel: 08 Sep 23
 
Multi-mode stereo character delay module with reverb - 20HP.
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
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 7 in stock $418.62
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quote 966771
1010 Music Bluebox Digital Mixer & Recorder Module With Effects 1010 Music Bluebox Digital Mixer & Recorder Module With Effects 1010 Music Bluebox Digital Mixer & Recorder Module With Effects 1010 Music Bluebox Digital Mixer & Recorder Module With Effects
Cat: 970244 Rel: 23 Oct 23
 
Mixer module with effects and multi-channel recording/playback - 30HP.
Notes: Eurorack version of 1010's superb Bluebox. Vast power in 30 HP, with the ability to mix, record and play back in mono and stereo, hook up to a computer over USB for stereo I/O and run effects, all with CV control.

Supplier's Notes:
The bluebox Eurorack edition is the new Eurorack mixer with effects and multichannel recording/playback based on the award-winning bluebox desktop mixer. With the Eurorack edition's USB-C EXT port, you can send 2 channels of audio to and from your computer. Plus, you can control up to 6 mix settings with the 6 CV inputs. Whether recording your Eurorack jams, using it to play stems as backing tracks, or a combination of both - bluebox Eurorack edition will rock your rack!

Connect your eurorack, sampler, drum machine, and synthesizer outputs to 12 mono, 3.5 mm inputs and map them to 12 mono tracks or 6 stereo tracks - all with independent control for recording and playback. Connect your computer to the USB C port to send and receive two channels of audio.

The bluebox Eurorack edition is the ultimate in compact mixing, effects, recording, and playback for Eurorack. Smack it in your rack and hit the road with a self-contained, electronic music powerhouse!

When you purchase a bluebox Eurorack edition, you will receive:

a bluebox Eurorack edition 30 HP Eurorack module
A microSD card with bluebox firmware and pre-loaded project files
two Eurorack power cables
a bluebox Eurorack edition Quick Start guide
two MIDI Adapters

Technical Specs

Dimensions & Power
30 HP
Module dimensions including knobs: 6" x 5"x 1.6"
Depth behind front panel with ribbon cable: 1.0"
Requires the +5V rail which may not be present
on some older racks.
Uses 500-850mA at +5V (depending
on screen brightness), 320 mA at +12V, and 82mA at -12V
Requires two power connections
Capabilities
12 mono tracks, 6 stereo tracks or something in between
Connect to TRS or USB C MIDI for beat syncing effects
Lots of headroom with support for Eurorack levels up to +/-5V inputs and outputs
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
Durable aluminum faceplate
Stream 2 channels of audio in and out over USB C

Inputs and Outputs
12 mono 3.5 mm TS inputs
2 independently controlled 3.5 mm TS output pairs that can be used as 4 mono outputs
1 stereo 3.5 mm headphone output
6 CV Inputs
1 USB C MIDI Device port
1 TRS MIDI Input
1 TRS MIDI Output
1 USB C Ext jack for streaming audio
3.5" touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons
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 4 in stock $681.58
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Buchla & TipTop Audio Mixer & Preamplifier Model 207t Module Buchla & TipTop Audio Mixer & Preamplifier Model 207t Module Buchla & TipTop Audio Mixer & Preamplifier Model 207t Module Buchla & TipTop Audio Mixer & Preamplifier Model 207t Module
Cat: 950885 Rel: 26 Jan 24
 
Mixer & preamplifier module - 28HP.
Notes: A characteristically unique take on mixing from Buchla, with six mono inputs and a built-in mic/guitar pre-amp. Each channel can be cued to a monitor mix, while the first and last channels also include voltage-controlled panning.

Supplier's Notes:
The Tiptop 207t is a modern reimagining of the classic Don Buchla 207 Mixer/Preamplifier from the 1970s 200 Series. This stereo mixer comes with a built-in preamp that allows you to boost external instruments and microphones, making it a versatile tool for any modular setup. The 207t also features a six-channel mixer with a variety of signal routing options, including the ability to route channels to the monitor and L&R signal outputs, with per-channel control over loudness and panning.

Each channel has a Mon switch that sends the channel's signal to the monitor outputs, which are always full-volume and summed to mono, making it useful for basic monitoring applications or rudimentary mixing. The Prog switch sends the signal to the L&R signal outputs, with loudness controlled by the Level Adjustment slider and panning determined by the Channel Assignment knobs. The first and sixth channels offer voltage control of panning; these channels are hard-panned when no CV is applied.

The preamp section features a 1/4" input and multiple gain settings, making it suitable for use with external line level instruments, electric guitars, or dynamic microphones. The continuous amplification control provides added flexibility for your audio needs. Finally, the Expansion In is a stereo input that sums to the left and right main outputs, which is great for chaining multiple 207t modules or adding another stereo source at the final output.

While the 207t's functionality may be simple, it is an essential part of any 200t system, serving as the glue that holds everything together. The Tiptop 207t is a fantastic mixer/preamp option that delivers quality sound and reliable performance.

Buchla 207t Features

Mixer/preamp module based on Don Buchla's original 207 design
Six-channel mixer with per-channel level control and panning
Voltage-controllable panning on channels 1 and 6
Manual panning on channels 2-4
Program switches can act as channel mutes for main outputs
Mon switches route signal (in mono) to Monitor output
Expansion input useful for stereo chaining and more
Re-designed preamp for high audio fidelity
Preamp suitable for use with external instruments, electric guitars, dynamic microphones, and more

Eurorack module
28hp wide
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 More than 10 in stock $244.02
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quote 950885
Xaoc Devices Rostock 1989 Binary Data Pipeline Module
Xaoc Devices Rostock 1989 Binary Data Pipeline Module (CV modulation/digital/looper/delay synth module)
Cat: 945640 Rel: 15 Jun 23
 
A data pipeline, a FIFO (first in, first out) shift register or a digital delay module in 8HP.
Notes: Part of Xaoc's Leibniz binary system, the Rostock is a digital delay line capable of processing triggers, audio, CV and video signals. Another useful module from the unique Leibniz series.

Supplier's Notes:
Rostock is a component of the Leibniz Binary Subsystem. It is a data pipeline, a FIFO (first in - first out) shift register, or a very short digital delay. The module operates similarly to a BBD delay or an ASR (analogue shift register), except that it is digital. It consists of a chain of memory cells that pass bits from one to another at each clock cycle. The delay length is variable from 1 to 64 stages (with optional looping and scrambling). It works by processing data in the Leibniz bus and must be connected to other Leibniz modules using data ribbon cables at the back. Rostock may process data sequences representing rhythms, control voltages, audio-rate signals, and even video signals because the bits can change at extreme rates (up to 2MHz). In addition, its memory may be digitally looped. Delaying and looping is a fundamental building block for sequence automation, pattern and chaos generation, and various cybernetic modular patches. Thus, Rostock is a multi-purpose open-ended device that invites creative thinking.

Technical details

Eurorack synth compatible
8hp, skiff friendly
Current draw: +70mA/-40mA
Reverse power protection
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 2 in stock $232.45
Xaoc Devices Drezno II 1989 Binary Conversion Komputor Module
Xaoc Devices Drezno II 1989 Binary Conversion Komputor Module (comparator/CV modulation/distortion/frequency divider/logic/quantizer/sample & hold/waveshaper synth module)
Cat: 945630 Rel: 10 Nov 23
 
An improved version of the original Drezno module in 12HP.
Notes: Part of Xaoc's Leibniz Binary Subsystem, the updated Drezno ADC/DAC module builds on the original with higher resolution converters, allowing you to use it for pitch quantisation.

Supplier's Notes:
Drezno II is an improved version of the original Drezno module. It is an essential member of the 8-bit Xaoc Devices Leibniz Binary Subsystem. The Leibniz subsystem is a family of modules that operate on 8 binary (two-state, on/off) signals. These signals are arranged as 8 bits of digital data and may represent analogue signals and voltages, or they may be whatever you want them to be (clocks, gates, rhythms, etc.).

Drezno features an ADC (analogue-to-digital-converter) and DAC (digital-to-analogue-converter), allowing it to act as an analog front-end of the system. In other words, Drezno allows one to convert analogue signals and CVs into digital numbers, as well as to obtain analogue signals back from some other digital numbers (or 8 binary signals). Between these two conversions there is a whole universe of digital shenanigans waiting to happen resulting in all kinds of signal transformations and modulations.

Both (ADC and DAC) sections of Drezno can work independently, or they can be linked. Input and output range of analogue signals may be adjusted using Gain and Offset sliders. Individual bit outputs (for the ADC) and inputs (DAC) allow for extensive cross-patching and the creation of complex waveforms and rhythms. A very fast clock (up to 2MHz) at which the conversions are performed may be replaced with any external clock (for each section separately).

Compared to its predecessor, Drezno II uses new converters of much higher resolution which results in much lower noise floor and higher accuracy. The lower bits are much more stable than before. It is easy now to use Drezno for quantizing pitch voltages with accurate results with 128 or 256 semitone steps. Potentiometer ranges are factory calibrated for precise chromatic scale. A new switch on the front panel allows the user to select the calibrated range of 10Vpp or 20Vpp, so that the lowest bit or the second bit correspond to 1 semitone.

Technical details

Eurorack synth compatible
12hp, skiff friendly
Current draw: +80mA/-50mA
Reverse power protection
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 3 in stock $250.33
Xaoc Devices Deva 1970 Feedback Loop Commander Module
Xaoc Devices Deva 1970 Feedback Loop Commander Module (dual/stereo/expander/filter/VCA synth module)
Cat: 945644 Rel: 05 Jul 23
 
An expander module for Xaoc Devices Timiszoara multi-fx in 8HP.
Notes: Add external feedback loops, tilt filters and more to the Timiszoara effects module with this versatile expander. A must-have for Timiszoara owners.

Supplier's Notes:
Deva is an expander for Xaoc Devices' Timiszoara multi-fx module designed for creative exploration of the dirty/nasty side of signal processing. Deva opens up the Timiszoara programs you've come to love with some unexpected twists and turns along the way. The analog side features two external feedback loops (for the left and right channel) with tilt filters adjustable via sliders with two additional switches for choosing positive or negative feedback (for each channel). The third slider controls the DAC clock - from overclocking by a factor of two down to 16-times slower, so you can go from chipmunk to hardcore teeth gnashing of underclocked goodness. A switch allows for turning the clock control off for normal/regular operation. All features have inputs for external CV.

Technical details

Eurorack synth compatible
8hp, skiff friendly
Power drawn from Timiszoara: +60mA/ -50mA
Reverse power protection

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 5 in stock $163.03
Intellijel Flurry Clock/Random Pulse Source Module
Intellijel Flurry Clock/Random Pulse Source Module (clock generator/envelope follower/noise/random/sample & hold/slew limiter/utility synth module)
Cat: 936173 Rel: 28 Mar 23
 
Clock, random pulse source module in 8HP.
Notes: A multi-purpose module designed to combine noise and modulation sources, slew, sample-and-hold, envelope following and more. Extremely versatile way to add randomness and controlled movement to patches.

Supplier's Notes:
Flurry collects and connects a number of practical modular synthesis tools, focused on clocks, noises, and randomness to create a module that is rife with opportunities for exploration and experimentation. Equally capable as a synthesis source, modulator, clock, or signal modifier; It is bound to find a way to bring new life and dimensions to your synth patches.

Core Functions:

A clock and random pulse source with adjustable and modulatable rate
Accurate pink and white noise sources
Analogue sample & hold and track & hold circuits with very low droop
Analogue slew with adjustable slew time and edge selection (rising edge, falling edge, or both)
Envelope follower
16 noise synthesis algorithms, each with 2 parameters.

One of Flurry's more interesting aspects is its collection of digital noises, which provide a wealth of interesting noises, suitable for either audio or modulation purposes. Each noise type has its own pair of unique parameters to further dial in the desired characteristics, with the primary parameter under CV control.

Most people consider noise to be "undesirable," and product developers expend great effort to design circuits that minimize noise. So why make a module designed specifically to create noise?

Indeed, unwanted noise is undesirable. But not all noise is unwanted. Synthesizing the sound of wind or waves are a couple of the more obvious uses for a noise generator, but the possibilities go far beyond. The crack of a snare hit; the breathiness of a flute sound; an added sizzle to a resonant pad - all are within the sonic domain of noise.

But noise has many other benefits beyond simply being heard. Noise happens to make a wonderful modulator. When noise is used to modulate a filter's cutoff frequency, or an oscillator's pitch or pulse width, then all sorts of raspy, buzzy, gritty timbres are obtained.

Noise is also a key ingredient in sample & hold circuits - a technique most commonly used to generate stepped, random voltages. The circuit works by sampling an input signal's voltage each time you send it a clock pulse, and holding that voltage until the next clock pulse. So, naturally, Flurry also contains the requisite clocking tools! Two of the most common destinations for the S&H output are a filter's cutoff frequency (creating stepped, clocked timbral changes), and oscillator pitch (which produces random notes at clocked intervals).
Of course, you might not always want your voltages to change so abruptly at each clock pulse. Maybe you'd prefer they wobble about gradually and with more grace? To do that, you need a slew circuit, and once again Flurry has you covered - allowing you to select not just the slew time, but also whether the slew is applied to rising voltages, falling voltages, or both. A flick of the switch, and that Slew circuit becomes an envelope follower, enabling Flurry to generate envelopes from input signals (syncing to drum hits are a common use).

With all these features, plus the ability to create random pulses, clock to external pulses, and perform more esoteric track & hold duties, Flurry is a noise lover's toolbox.

Width: 8HP
Depth: 34mm
Power: 116mA @ +12V 30mA @ -12V
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MRP:$257.70 SAVE 19%
 2 in stock $209.31
Joranalogue Delay 1 Split-Phase Bucket Brigade Delay Line Module
Cat: 881426 Rel: 10 Aug 23
 
Delay 1 is a fully analogue BBD-based delay module with a multitude of features geared towards modern musical use.
Notes: Bucket brigade delay gets pushed into exciting creative territory with this beauty from Joranalogue. Precise analogue delay with loads of character, capable of simple chorus and flanger or more exotic Karplus-Strong synthesis and comb filtering.

Supplier's Notes:
While digital audio processors are often plagued by latency issues, analogue circuits are known for their instant response. But what if you want to delay a signal on purpose, without the use of tape or digital memory? Enter the bucket brigade delay (BBD) line: a series of capacitor 'buckets', which pass the incoming signal along at a high rate in order to delay it.

Delay 1 is a fully analogue BBD-based delay module with a multitude of features geared towards modern musical use. An integrated temperature-compensated, high-frequency voltage controlled oscillator (VCO) provides the 'clock' signal necessary to drive the delay line within 1 to 50 ms.

By increasing the drive frequency to over 20 kHz, the classic 'BBD clock whine' problem is solved, while still providing a wide range in delay time. Classic chorus, flanger and echo effects are easily achieved using the dry/wet blend, feedback and damping parameters.

To greatly reduce distortion and noise, Delay 1 includes a newly developed control circuit. The improved fidelity is maintained at a multitude of signal levels by an integrated high-performance compander, while maintaining signal dynamics.

The module's 'split phase' topology provides two different dry/wet mixes, which may be used to convert mono signals to stereo, for complementary comb filtering and more.

Delay 1 also allows you to experiment with Karplus-Strong synthesis, an exciting technique to create string and percussion type sounds. This is made easy by an integrated noise transient generator, driven by the 'pluck' input, and by the clock VCO's 1 volt per octave response.

By re-engineering the classic analogue delay line, Delay 1 brings the unique magic of BBDs into the contemporary electronic musician's arsenal.

Analogue bucket brigade delay line.
Integrated temperature-stable high-frequency BBD clock VCO with fine and coarse tuning.
Split-phase topology with additive and subtractive dry/wet blend outputs.
Blend, feedback and damping (feedback filter) parameters. Positive or negative feedback with low or high pass filtering.
High-performance BBD drive circuitry and transparent compander chain ensure optimal signal fidelity.
Dedicated pluck trigger input for Karplus-Strong synthesis.
High-frequency BBD clock input and output to synchronise multiple delay lines.
Impedance-compensated outputs with dual-colour LEDs.
Trim potentiometer accessible from the front panel.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium.

12 HP | +12: 125 mA, -12: 95 mA
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MRP:$314.50 SAVE 18%
 7 in stock $256.64
After Later Audio Cloaks 4-Channel Voltage Controlled Amplifier Module
Cat: 943138 Rel: 04 May 23
 
A hardware replica of the Mutable Instruments Veils 2020 module in 10HP.
Notes: This is an exact hardware replica of the Mutable Instruments Veils 2020 module. After Later used the "hard-to-find" OPA1679 opamps, but we did switch the package from TSSOP to SOIC, to keep costs down. It is the same part/specs, just a different package.

Based on open source designs by emilie gillet under Creative Commons (CC-BY-SA) license.

Width: 10hp
12V: 50mA
-12V: 50mA
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Tags: VCA module
 1 in stock $166.18
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Xaoc Devices Ostrawa 1966 Full Stereo Voltage Controlled Mixing Console Module
Cat: 945615 Rel: 30 Aug 23
 
A full stereo four-channel voltage controlled mixer in 20HP.
Notes: Very nicely designed mixer module. Four-channel stereo design with CV control of balance and volume, aux sends and extensive chaining options, including the optional Bohumin expander module.

Supplier's Notes:
Ostrawa is a full stereo four-channel voltage controlled mixer featuring a stereo mixing bus, one stereo auxiliary send per channel (switchable between pre and post VCA) with stereo returns, clickless muting, individual level meters, and a super-clean and DC-coupled signal path designed with high-quality VCA and opamp chips.

Xaoc Devices have carefully crafted Ostrawa's voltage control response to achieve what we believe to be the optimal user experience found in a Eurorack mixer. The design features an elaborate control circuit that combines the internal voltages generated by the panel potentiometers with external CV over volume and stereo balance. The result is a natural attenuator response that constrains VCA gain to a usable range while minimizing distortion.

Ostrawa is a sister module to Xaoc devices Praga. It features a very similar response characteristics and similar layout of controls with some functional differences resulting from stereo inputs and limited panel space. Multiple Ostrawa and Praga units may be chained for a custom configurable mixing system. An expander called Bohumin is also available.

Technical details

Eurorack synth compatible
20hp, skiff friendly
Current draw: +180mA/-150mA
Reverse power protection
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 1 in stock $435.45
4ms Sampler Mono/Stereo Triggered Sampler Module
Cat: 944892 Rel: 06 Jul 23
 
A variation of the Stereo Triggered Sampler module in 16HP.
Notes: Great value from 4ms's twist on the Stereo Triggered Sampler module, this time capable of playing and manipulating stereo or mono WAV files from an SD card.

Supplier's Notes:
The Sampler is a variation of the Stereo Triggered Sampler.

Record, play and loop stereo .wav files with an SD Card. Includes the same 2022 Sampler Pack from the Stereo Triggered Sampler.

Features:

The Sampler plays stereo or mono .wav files from an SD Card. Samples are arranged into banks by placing .wav files into folders (each folder is a bank). A maximum of 10 samples can be loaded in a bank. There is a maximum of 60 banks (600 samples maximum total).
Sample files are limited to 4GB each, which is over 6 hours at 44k/16b/stereo.

Hundreds of samples included on microSD card
Extremely quiet, low noise and low jitter design
Stereo or Mono output

A knob and CV jack selects the Sample to play, and the Start Position knob and CV jack control 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.

Pressing Play or firing a trigger into the Play Trig jack will play the sample. Holding the Play button down for a second will toggle looping.

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.

To record samples, hold Play and Reverse for two seconds. Press Play again or fire a trigger into the Play/Rec Trig jack to start and stop recording. Each recording will create a new stereo 48kHz 24bit .wav file in the current bank's folder. Recordings can be as long as your card has the capacity for: a 256GB card is 18 days of continuous recording (432.9 hours). Audio data is split into maximum 4GB wav files on the microSD card.

Play button/trigger jack: Tapping the button or receiving a trigger starts/re-starts the sample
Sample CV/knob: select which sample within the channel's bank
Pitch CV and Pitch knob: playback pitch (-10 to +4 octave range)
Start Pos CV/knob: position in the sample to begin playback (loop start point)
Length CV/knob: playback time (loop end point)
Length knob at max: entire file is played
Length knob 50%-99%: 200ms - 5s of the sample is played (beginning at the Start Position)
Length knob <50%: Percussive decay envelope is applied to the playback (attack-only envelope if playing Reverse)
Length <1%: Tiny grains are played (can be used to sweep through sample file data manually)
Reverse button/jack: toggles forward/backwards
Bank button: selects channel's bank
Reverse + Start Pos button/knob combo allows for setting volume of playback
Maximum file size for playback: 4GB per file (6.7 hours per file at 44.1kHz/16b/stereo)
microSD Card is hot-swappable when Busy light is off: no power-down required to change cards.
Samples that are pre-loaded into memory can continue playing while card is swapped.

File Organization:

Using a computer, the intuitive automatic bank loading features make dragging and dropping your entire sample library a snap. No files need to be renamed. Just create folders and put up to 10 samples in each. If you want a folder to be associated with a particular colour of the Bank button, name the folder a colour name (such as "Blue - Loops").

Ships with a high-speed 16GB microSD card, loaded with hundreds of samples created for 4ms, from musicians such as Richard Devine, Wobbly, Moor Mother, Robert Aiki Aubrey Lowe, Joseph Pailo, Russell E.L. Butler, Hugo Paris & Marc Kate, Paul Barker, Baseck, Animal Collective, Cristian Vogel, Jay E, Marcus Fischer, Chris Carter, Daedelus, Nero Bellum, Anna Sitko, Thomas Fang, Bogdan Raczynski, and more (Sample List)

Intuitive bank/colour organization system; no need to rename your wav files
Record new samples directly to a bank with the Record Input jacks...
... or drag your folders of sound files onto the microSD card, and each folder will become a bank.
Folders starting with a colour name will be loaded into that colour bank
Example "Blue - Frooty Loops" will load into the Blue bank
Sub-folders are ignored, only folders in the root directory are scanned for wav files
Works best with UHS Speed Class 3 cards with |3| symbol printed on the card

Specs:

Electrical and Mechanical Specifications:
Module Size:
16 HP Eurorack format module
10-pin Eurorack power header
1.3" (33mm) maximum depth with power cable
Power consumption:
+12V: 135mA
-12V: 41mA
+5V rail: not used
Connect red stripe of power cable towards the bottom of the module, which is marked with a white stripe and the words -12V and POWER
Audio Inputs:
20Hz to 10kHz (+/-0.1dB); -6dB rolloff @ 20kHz
21V peak-to-peak maximum before clipping
Audio Outputs:
0Hz (DC) to 22kHz with maximum -1.8dB difference between file data and output
+10.5V to -10.5V maximum output
Trigger inputs:
Latency: 0.7us typical

Included with the Sampler:
16GB micro SD card (class 10)
SD adaptor
10-to-16 pin power cable
M3 Knurlie screws
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MRP:$303.98 SAVE 13%
 2 in stock $262.95
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Knobula Pianophonic Polyphonic Wavetable Synthesiser Module Knobula Pianophonic Polyphonic Wavetable Synthesiser Module Knobula Pianophonic Polyphonic Wavetable Synthesiser Module
Knobula Pianophonic Polyphonic Wavetable Synthesiser Module (dual/stereo/oscillator/reverb/synth voice module)
Cat: 945443 Rel: 16 Oct 23
 
8-voice multi-oscillator wavetable synthesiser module - 12HP
Notes: Combining the power of multi-oscillator wavetable synthesis with the percussive detail of sampled sounds, Pianophonic is a powerful hybrid synth engine featuring 8 voices of polyphony. Not limited to Piano sounds, the voice architecture of Pianophonic is extremely versatile and easy to use with the essential controls laid bare on the front panel, and the most significant CV inputs and outputs provided for full integration within eurorack patches.

Taking its inspiration from the wavetable/sampler keyboards of the 90s, Pianophonic revisits a lean and mean approach to digital sound creation but instead with 24bit 48Khz quality and fingertip control of the parameters that really matter.

With a built in SD card and an online re-synthesise utility, allowing users to create their own sound banks, the possibilities for sound exploration are limitless.
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 8 in stock $419.67
Noise Engineering Basimilus Iteritas Alia Digital Drum Voice Module (black)
Cat: 976772 Rel: 06 Nov 23
 
Digital drum voice module - 10HP
Notes: Universal drum synthesizer with roots in the analog world on a swappable oscillator platform

Basimilus Iteritas Alia is a parameterized digital drum voice with its roots in the analogue world. At its heart, the BIA is a simple six-oscillator additive and FM synthesizer with waveform, harmonic spread, and envelope controls. An adjustable noise oscillator and an extreme take on a wavefolder round out its synthesis abilities. Its straightforward controls make sound design fun and performable: create sub-shaking kicks, snares, hats, and unique drum hits with just a few tweaks.

BIA is a classic percussion module but you'll be blown away by how much more it can do. Use it for leads, basslines, or build a whole drum kit with some external CV. Plus, the envelope output means you can use the BIA for shaping and modulating other parts of your patch.

Basimilus Iteritas Alia is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal to check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm
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 1 in stock $380.76
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ALM Cizzle Dual Phase Distortion VCO Module ALM Cizzle Dual Phase Distortion VCO Module
Cat: 1007431 Rel: 15 Mar 24
 
Dual phase distortion voltage controlled oscillator module
Notes: Another banger from ALM. Based on the oscillators from the classic 1980s Casio CZ series, the Cizzle uses phase distortion synthesis for characterful, FM-adjacent synth tones.

Supplier's Notes:
The 'CIZZLE' is a dual digital 'phase distortion' VCO inspired by the classic Casio 'CZ' series synthesizers. It brings the specifics of 'CZ' style phase distortion (PD) synthesis into Eurorack with the inclusion of primary and secondary oscillator layering and detuning (with up to 8 voice chord generation), extended morphable PD wave generation algorithms, unique resonance wave generation, plus specific 'end of chain' ring modulation and noise modes that are key to the CZ sound.

The voices also feature built in VCAs and various modulation controls and inputs, a cv-able chord mode, tracking ability, triggered mode switching and can be output independently or mixed with stereo widening.

The 'CIZZLE' finally brings characteristic CZ style synthesis to Eurorack with a rich palette of sounds from mellow ambient tones, 90s Detroit Techno inspired chords, Reese style basses, and synth tones with unique faux resonance squelch.

Ideal For

Flexible and precise primary digital voice duties in a Eurorack system.
Creating basslines, rich chords, drones, morphing tones, percussive hits etc.
Unique digital squelch.

Tech Specs
Supply: +12V 65mA / -12V 25mA
Size: 16HP
Depth: 32mm
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ALM Stereo Sum Unity Gain Summing Mixer Module ALM Stereo Sum Unity Gain Summing Mixer Module
Cat: 956434 Rel: 07 Jul 23
 
Unity gain summing mixer module - 4HP.
Notes: The 'Stereo Sum' is a unity gain summing mixer that features four stereo input pairs summed as pairs to two independent mix outs or all as a single combined mix. It is a useful utility for efficiently combining outputs of multiple stereo sources, such as the MEGA-TANG and Jumble Henge mixers or multiple MFX returns. The inputs accept stereo or mono signals (via normalisation) which can be audio or CV (module is DC coupled) and the top mixer's outputs are normalised to the bottom mixer section meaning if the upper output is left unpatched the two upper inputs will be added to the lower output.

Stereo input pairs

Stereo inputs. Can be used with audio or CV (inputs are DC coupled).

Left ins normalised to Right for mono signals.

Stereo mix output 1

Stereo mix output. Normalised to bottom mixer section if ouput is left unpatched.

Stereo input pairs

Stereo inputs. Can be used with audio or CV (inputs are DC coupled).
Left ins normalised to Right for mono signals.

Stereo mix output 2

Final stereo mix output.

Technical specifications

Power: +12V 8ma / -12V 8ma
Size: 4HP
Depth: 32mm
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Doepfer A-101-8 Photo Phasing 8-Stage Phase Shifter Module (silver)
Cat: 945411 Rel: 13 Jun 23
 
An eight stage phase shifter module in 4HP.
Notes: Module A-101-8 is a 8-stage phase shifter which uses light-sensitive resistors (LDR) and is a replica of the Compact Phasing A manufactured by the company Schulte in the seventies. The actual phasing circuit is identical to the historic model. Only the illumination control of the LDRs is different: the A-101-8 uses LEDs to illuminate the LDRs, the historic model used incandescent miniature lamps. And the A-101-8 has no built-in LFO but can be controlled by any external control voltage source (e.g. LFO, ADSR, random, Theremin, ribbon controller, sequencer, midi). The phasing offset (i.e. the base value for the phase shifting) and the modulation depth of the external control signal can be adjusted separately. The Compact Phasing A had no offset control but only a depth control for the built-in LFO. Feedback and mixing ratio of the output signal are set by two controls. The audio input is equipped with an attenuator. The module has two audio outputs available (same as the historic model) and a visual display of the phase shifting.

The module has these controls and in/outputs available:

Control Man. : manual control of the phase shift offset (base value)

Control CV: attenuator for the signal applied to the CV socket

Control Feedb.: Feedback or Resonance (similar function as filter resonance/feedback/emphasis)

Control Mix: sets the mixing ratio between original and phase shift signal appearing at output 1

fully CCW: only the modified input signal appears at output 1 (see note below *)

center: a mixture between the modified input signal and the phase shift signal appears at output 1, that's the standard position for the classical phasing effect

fully CW: the pure phase shifted signal appears at output 1 (e.g. for vibrato effects)

Control Input Level: attenuator for signal applied to the In socket

Socket In: audio input

Socket CV: control voltage input

Socket Out 1: audio output 1 (mix signal)

Socket Out 2: audio output 2 (modified input signal)

LED: visual control of the phase shift

The module has some peculiarities (same as the historic model):

The input signal is processed at first by a pre-stage which outputs a "modified" input signal (*). This signal is not processed by the phase shift stages but is affected by the feedback setting. Only when feedback is set to zero this signal is identical to the input signal. Otherwise it contains feedback components.

This signal is output on socket Out 2.

When both output sockets Out 1 and Out 2 are used as stereo channels one obtains a spatial stereo sound effect.

The same signals is also used for the CCW position of the mix control. With mix control fully CCW the unmodified signal appears only if the feedback control is set to zero. Otherwise it contains feedback components.

The historic model had two audio inputs: one 5-pin DIN socket and a 1/4" jack socket. The DIN socket was intended for high-level line signals. When the 1/4" jack socket was used the amplification of the pre-stage increased by about 100. The 1/4" jack socket was intended for low level signals (e.g. electric guitars or microphones). For this feature the A-101-8 has an internal jumper that can be used to increase the amplification. As long as the module is used within the A-100 system usually the lower amplification is used to avoid distortion.

The 8 photo resistors and LEDs are assembled within an small lighproof box. In addition the pc boards are made of lighproof black material to avoid interfering light from other modules or the bus board.

Dimensions
4 HP
45 mm deep

Current Draw
30 mA +12V
30 mA -12V
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ALM BXx2 Dual Channel Preamp/EQ/Mixer Module ALM BXx2 Dual Channel Preamp/EQ/Mixer Module
ALM BXx2 Dual Channel Preamp/EQ/Mixer Module (equalizer/mixer/preamp synth module)
Cat: 956425 Rel: 07 Jul 23
 
Dual channel preamp, EQ and mixer based on the classic Boss BX series mixers - 8HP.
Notes: The BXx2 is a dual channel preamp, EQ and mixer based on the classic Boss BX series mixers. With the inclusion of both input gain and level controls, each channel can be overdriven, producing the signature saturated and lively sound the BX mixers are known for. The EQ controls provide the channels with simple but great sounding high and low shelf EQs for emphasising and shaping sounds and an additional 'Aux' input allows another mixer or extra sound source to be chained in.

Input gain controls

Sets the input gain of the channel preamp. Higher settings will cause source to overdrive the channel.

Inputs

In 1 - Input to channel 1 of the mixer.

In 2 - Input to channel 2 of the mixer.

Aux - Auxillary mix input for chaining with another mixer or extra source.

Fixed gain (-6dB).

EQ High

Sets the gain of the fixed high shelf EQ. Boosts high frequencies when set above 12 o'clock and cuts when set below.

EQ Low

Sets the gain of the fixed low shelf EQ. Boosts low frequencies when set above 12 o'clock and cuts when set below.

Level

Sets the channel level in the mix. Use level controls to trim back volume when overdriving the preamp.

Output

Audio output producing the mix of the 3 inputs.

Technical specifications

Power: +12V 10mA / -12V 10mA
Size: 8HP
Depth: 32mm

The BXx2 was designed in collaboration with Feedback Modules and is based on their single channel 'PRE BX' module.
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Klavis Grainity Digitally-Controlled Full-Analogue Path Granular & Multi-Mode VCF Module (silver)
Cat: 934965 Rel: 19 Dec 23
 
Digitally-controlled full-analogue path granular & multi-mode VCF module in 10HP.
Notes: A unique analogue take on granular synthesis, inspired by Yannis Xenakis, the Grainity pairs a granular filter with a multimode filter to create new textures and harmonics.

Supplier's Notes:
The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analog domain and goes through analog circuits from in to out.
The digital processor does not convert or generate audio signals; it is there to control the analog circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.
Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.
The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V
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 7 in stock $260.85
ALM Mega Milton Compact Utilities Module
ALM Mega Milton Compact Utilities Module (utility/attenuator/external/mixer/multiple/noise/sample & hold/slew limiter module)
Cat: 993662 Rel: 19 Jan 24
 
Smorgasbord of handy all analogue utilities module - 8HP
Notes: The 'Mega Milton' is a smorgasbord of handy all analogue utilities in just 8HP that will greatly extend the functionality of your Eurorack system.

It includes a stereo line input converter for incorporating line level external sources into a Eurorack system, a fixed 4 input mixer with breakout attenuator for combining signals, a gated slew limiter for adding slides to sequences, a sample and hold with analogue white noise with a myriad of uses such as generative melodies or producing percussive textures and finally a buffered mult for droop free signal distribution with handy LEDs to monitor.

All sections are normalised to help with typical use cases such as generating random CV from the sample & hold section, a smooth random source from the slew output and breaking out a standalone attenuator from the fourth mixer input.

The 'Mega Milton' provides essential classic synthesizer building blocks for patching in any Eurorack system.

Ideal For

Incorporating stereo external sources easily into your Eurorack system.
Signal attenuation and basic mixing in a small space.
Building percussion sounds from an analogue noise source.
Producing clocked random to add interest and variation to patterns and sounds.
Adding gated 303 style slides to patterns.
Creating and Manipulating patterns with Sample and Hold.
Buffering and monitoring voltage across multiple VCOs or other destinations with no drop.

Tech Specs

Supply: +12V 70mA / -12V 70mA
Size: 8HP
Depth: 32mm
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4ms Looping Delay Crystal-Clear Clock-Synced Delay Module
Cat: 944887 Rel: 06 Jul 23
 
Crystal-clear clock-synced delay module in 16HP.
Notes: 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
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MRP:$278.74 SAVE 16%
 1 in stock $233.49
AJH Synth/Tone Science Triple Cross XFader Panner Module (black)
AJH Synth/Tone Science Triple Cross XFader Panner Module (black) (attenuator/dual/stereo/mixer/panning/utility/VCA synth module)
Cat: 944986 Rel: 12 Jun 23
 
A crossfader panner module in 14HP.
Notes: Pan and cross fade up to three signals with AJH's versatile Triple Cross. Four different modes allow you to set up the three channels in numerous ways, for both audio and CV processing.

Supplier's Notes:
The Tone Science Triple Cross module is a design collaboration between electronic musician/composer Ian Boddy and AJH Synth.

It features three independant cross fader and panner channels, and it can be used with both audio and CV signals. Each of the channels can be configured in one of four different ways:

1) One In, One out Linear VCA

2) Two in, One out crossfader

3) One in, Two out panner,

4) Two in, Two out cross fader & reversing panner combined.

Audio rate modulation can also be used on the CV inputs to create Ring modulation and Cross modulation type sounds. Each channel has a dedicated Fade control, CV input, and CV Level attenuverter. These can be used together to bias incoming CV signals.

The L1 and L2 outputs from channels 1 and 2 are normalised to channel 3's inputs, which also have their own level controls to balance incoming signals. This allows very interesting, complex fading and panning between four different input sources, to either Mono or Stereo outputs..

The Triple Cross is very versatile, yet relatively simple to understand and use. However, as they say "knowledge is power", so do spend a little time reading about how to configure the channels in the four different modes, and how to combine all three channels together to create a super-powerful Four to Two to One cross fader.
Each of the three channels can be configured in four different ways, and all three can be used simultaneously. They do not all have to be in the same mode, so we could for example use channel 1 as a cross fader, channel 2 as a Panner for completely different signals, and channel 3 as a Linear VCA, again for different signals.

Specifications

Effective CV Range for CV-1, CV-2 and CV-3 is 0 to +5V with attenuverter fully clockwise or 0 to -5V with attenuverter fully anticlockwise.
Maximum permissible CV Range for CV-1, CV-2 and CV-3 is -12 to +12V
IN 1A to IN 3B Input levels -5V to +5V, levels up to +/-10V are possible however some clipping may occur.
Module Width: 14hp
Module Depth: 26mm (Including power lead)
Current Usage: 80mA Positive, 72mA Negative
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 1 in stock $251.39
SoundForce Chorus 6 Juno-Style BDD Chorus Module
Cat: 945650 Rel: 08 Sep 23
 
Juno style BDD chorus module with plenty of CV inputs in 16HP.
Notes: The SoundForce Chorus 6 is 16HP Juno style BDD chorus with plenty of CV inputs. It is using the Xvive MN3009 and the same audio path as the original circuit. It can do the classic Juno I, II and I+II modes. I+II modes are available from both the Juno 6 and Juno 60, each in mono (as the original) or stereo, giving you 4 I+II options. But the manual and external modes can take the module away from sweet and pretty sound territories right into weird and noisy soundscapes.

Some tech-talk:

A chorus effect is created by mixing a dry signal with a delayed signal. The delay time is modulated by an LFO to create more movement. To create some stereo width, the left and right modulation are 180 degrees out of phase. Exactly like the chorus in the Juno 6/60/106, the delay is made with MN3009 BBD chips. Also as in the original design, filters are added both before and after the BBD chips in an attempt to hide some of the artefacts of this very crude IC.

To get the audio "moving" through the chain of MOSFETs in the BBDs, driver signals are needed. This used to be done with the MN3101 BBD driver chip. Unlike the MN3009, there is no clone available of this ancient IC and this was a chance to add some modernity to the design. The drivers were replaced by a modern STM32 micro-controller along some extra ICs to convert the 3.3V logic to the negative voltage needed by the MN3009.

In order to recreate a genuine Juno-type modulation, the BBD driver signals of my Juno-106 were sampled over a few periods. Using the timer peripherals of the STM32, a replica of the BBD driver signals can be sent out to the MN3009's. Although the driver signals only follow a very basic triangle LFO shape and could have been generated using direct synthesis in the firmware, this method gives an exact copy of the original driver signals including all the potential imperfections.

Implementing a digital programmable chip also allows a digital-style interface with tactile switches and LEDs as in the original Juno interface. The last used mode is saved and loaded when the module powers on. The CV inputs (with the exception of the MIX CV) are acquired by the STM32 ADC and can modulate the BBD driver signals based on parameters in the firmware.

Features:

The SoundForce Chorus 6 has 4 main modes: I, II, I+II, MAN for manual and EXT for external. I and II are the classic Juno modes available in the Juno 6/60/106. Press both I and II to enter the I+II mode. While holding down I and II, press the OFF button to cycle through the 4 I+II options:

- Juno 60 mono - 1hz - 8% depth
- Juno 60 stereo - 1hz - 8% depth
- Juno 6 mono - 8hz - 25% depth
- Juno 6 stereo - 8hz - 25% depth

In I, II and I+II, only the mix controls can influence the sound, all the other parameters are fixed and CV inputs are not active.

Mix control:

Using the slide pot (fader) or the CV input, the mix between the dry input signal and the BBD delays output can be set. The orignal Juno balance is reached when the slide pot is in the middle (without CV connected). The mix control is a VCA-based crossfader and is 100% analog which means it can withstand really high audio rate frequency modulation.

MAN mode:

The manual mode gives you the opportunity to control every parameter of the chorus and gives you acces to the LFO that modulates the BBD delay times. Here is what you can tweak:
- time slide pot: sets the start delay time
- rate slide pot and CV input : sets the frequency of the delay time modulation
- depth slide pot and CV input: sets the depth of modulation around the start time
- mix slide pot and CV input: see above
- LFO wave: selection of different waveforms to modulate the delay time
- range: selection of 3 different frequency ranges for the LFO (S: 30Hz to 500Hz | M: 1Hz to 100Hz | L: 0.016Hz/1min to 10Hz)

In manual mode, the EXT IN CV input can be used to change the LFO wave, range or add additional modulation of the delay start time.

EXT mode:

In external mode, the BBD delay times can be modulated using an external signal through the EXT IN cv input. Plug in a CV source from your eurorack case into the EXT IN, set manually the starting delay time using the time slider and use the EXT ATT slide pot to attenuated the incoming CV signal (equivalent to setting the depth). In external mode, the depth/rate sliders and CV inputs are not active.

Stereo inputs:

The Chorus 6 can be used with either mono or stereo input signals. When the right channel is unconnected, the left channel is sent to the right jack so it can be used with mono signals. When using both inputs, each input signal is going through its own BBD delay line.

BBD delay time range:

The Chorus 6 gives you in the MAN and EXT modes a delay range that it is about doubled compared to the I/II modes. The original Juno chorus was using only a very limited range of the BBD chip and really stayed in the sweet spot. Extending to the full spectrum of the MN3009 yields pretty horrible high pitch noise at audio rate modulation, so the range has been limited to a usable section. When you apply high frequency modulation with great amount of depth, the delay time will be pushed in the extremities of its time range and quite nasty artifacts will appear in the form of squeaks and whines. Please note this is a characteristic of the BBD. If you want to reduce those artifacts, reduce the depth of modulation. On the other hand, if you are looking to add characteristic and vibe to the sound, audio rate modulation and plenty of depth will help you to get there.

Input levels:

Both Eurorack and Line level signals can be used as input for the Chorus. A small slide switch between the 2 PCBs can switch between Euro and Line. In Euro levels, the input signal is attenuated to an healthy level that is well below the BBD distortion point. Some headroom is also needed as the chorus is a sum of the input signal and the modulated delayed signals. For that reason, when the chorus is turned off the output attenuation is about 50% of the input level. When the chorus is on, the resulting output amplitude is similar to the input level. Line levels are also accepted by the module when the switch is on Line. Please note that Line levels input will be amplified to the Eurorack levels range at the output of the module. So the output levels are Eurorack in both Euro or Line input ranges.

Specifications:
16HP
Depth: 38mm (including power connector)
Power: +12V 76mA, -12V 35mA
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Joranalogue Bias 2 Precision Scaler/Offsetter Module Joranalogue Bias 2 Precision Scaler/Offsetter Module
Cat: 945831 Rel: 05 Jul 23
 
A pecision scaler/offsetter module in 2HP.
Notes: Voltage control is the basic tenant of modular synthesis: parameters may be modulated by changing control voltages (CVs), simply by plugging in a patch cable. However, during patching it's common to encounter incompatible voltage ranges, with signal outputs and inputs having different amplitudes and sensitivities.

An indispensable utility module, Bias 2 provides a compact yet precise solution to quickly interface signals between modules within a Eurorack modular system, without interrupting your creativity.

Comprising of two independent sections, each with dual inputs and dual outputs, its carefully selected combination of normalised reference voltages and amplification/attenuation factors makes it a breeze to convert between the most common signal ranges: -5 to +5 V, 0 to +5 V and 0 to +10 V.

Precision comes standard on Bias 2, with meticulously engineered analogue signal paths providing absolutely transparent performance for any Eurorack signal: CV, audio or gates/triggers.

Beyond the voltage conversion application, Bias 2 is a true all-rounder, capable of functioning as a pair of dual input unity gain mixers, -6 and +6 dB audio gain stages or a multi-output fixed voltage source.

2 HP | +12: 20 mA, -12: 20 mA
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Eowave Tempete Magnetique Quad Complex Multimode Filter Module
Eowave Tempete Magnetique Quad Complex Multimode Filter Module (dual/stereo/envelope follower/filter/oscillator/waveshaper/quad module)
Cat: 947125 Rel: 15 Jun 23
 
Quad complex multimode filter module - 22HP
Notes: The successor to Eowave's Fluctuations Magnetiques module is an even more advanced quad analogue filter, designed for cross modulation, complex routing and self-oscillating fun.

Supplier's Notes:
The Tempete Magnetique is a fully analogue complex filter/synthesizer module.

It was that was created as an evolution of the "Fluctuations magnetiques".

More than a mk2, Eowave designed it to push you to play with one of the most interesting things in modular synthesis: to divert the primary usage of a module to create unexpected and new sounds (aka this is not only 4 filters)

Tempete Magnetique is deeply inspired by the classical filters design as well as West Coast synthesis complex oscillators.

At it's core, has 4 multi-mode 12db filters that can be chosen to be routed in series or parallel, which can be used independently or combined and even cross-modulated, controlled by CV or with an integrated envelope follower (which can be used as a dynamic responsive envelope) and even pinged.

The Tempete Magnetique was designed to have several levels of use. The individual level with the use of separate filters, perfect for quadraphonic processing of different sources (A B C D).

The pair sections which allows for more complex stereo effects or to generate synthesis voices (X, Y) and finally, the global level with a cross-modulation of filters.

The independent outputs have been designed to be fed back into their input, turning them into oscillators (not really precise one, but you can make synth voice kind of V/Oct tuned with their very own sound, due to the fully analogical design, these oscillators may have strange behaviours sometimes, but this instability will bring you the warmth of analogue gears).

The pairs sections, of course, can filter an incoming signal, but can be transformed to full synthesis voice, percussion engine (exited by the ping input and modulated with the envelope follower) and way more.

This filter allows for anything from gentle, subtle filtering to a storm where the undulations of your sound and their intensity create new types of textures.

Main features:

Four independents or linkable multi-modes 12 db filter
Envelope follower who can act as end decay envelope sensible to the velocity
Cross modulation engine who modulate both pair of filters
Ping input
Outputs with phase correction to be fed to inputs

Some applications:

Filtering (obviously), can be used for quadraphonic or stereo filtering
Weird synth voice
Waveshaper
LFOs/oscillators generator
Crossover
External rhythm following - auto filtering
Drum generator

Technical details

22hp
Skiff friendly
Reverse power protection
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TipTop Audio WayOut8 Patchbay Module (black)
Cat: 956812 Rel: 21 Jul 23
 
Patchbay module - 6HP.
Notes: WAYOUT8 is a patchbay module for Eurorack systems used to group your DAW inputs and outputs, or manage signals going from one case to another. Wayout8 is grounded, meaning that even if nothing is plugged into the inputs your outputs are still grounded and will not pick up noise. The module is made so it can be mounted two ways, with outputs on the left or right, whichever is the most ergonomic placement in your case. All eight channels are passive so they do not modify your signals and can be used for audio and CV Gate. No power is required.

Size: 6HP
Depth: 10mm
No Power Required
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Joranalogue Pivot 2 Vari-Router Voltage Controlled Variable Router Module
Cat: 881430 Rel: 07 Jun 23
 
Pivot 2 is a unique compact, fully voltage controlled variable signal router.
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
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Intellijel Audio I/O Dual Balanced Line Level Audio Interface Module
Cat: 938818 Rel: 12 May 23
 
A dual/stereo balanced line level audio interface module in 10HP.
Notes: Dual Balanced ins and outs for the studio or the road. Interface your rack with the balanced line level world; send and return to pedals or desktop FX units; patch in and out of your DAW, external synths, drum machines and other line-level instruments.

Get Connected

Audio I/O (2023 edition) allows you to effectively interface your Eurorack modular system to the balanced line-level world (+4 dBu). You can send and return to rack mount/desktop fx units, patch to external line-level instruments like synths and drum machines, interface to a DAW and much more.

The 2023 edition moves the TRS jacks to the top of the panel

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

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

Features:

2 x Balanced TRS 1/4" to Eurorack modular level input paths
2 x Eurorack modular level signals to Balanced TRS 1/4" output paths
4 x six stage analog led VU meter to monitor all inputs and outputs simultaneously
Input path has up to 20 dB of gain, which allows you to patch in low-level consumer level signals and boost them.
Output path steps a nominal Eurorack level (10 Vpp) down to +4 dBu with up to +6 dB gain
3pin CHAIN IN connector
3-pin CHAIN OUT connector

Dimensions
10 HP
39 mm deep

Current Draw
75 mA +12V
70 mA -12V
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 1 in stock $241.91
Frap Tools Cunsa Quad Analogue Pingable Multi-Mode Resonant Filter/Saturator/Mixer/Oscillator Module
Cat: 945399 Rel: 28 Nov 23
 
A quadruple analogue pingable multimode resonant filter, saturator, mixer and oscillator module in HP.
Notes: Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.
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 9 in stock $906.68
After Later Audio Scenes Segment Generator Module
After Later Audio Scenes Segment Generator Module (CV modulation/envelope generator/LFO/sample & hold/sequencer/slew limiter sytnh module)
Cat: 949327 Rel: 07 Jun 23
 
An exact hardware replica of the Mutable Instruments Stages in 14HP.
Notes: Six segment generator. Looping or one shot envelope generator. Chainable, so it can be expanded to link multiple units.

An exact hardware replica of the Mutable Instruments Stages.

Dimensions
14 HP
25 mm deep

Current Draw
80 mA +12V
20 mA -12V
0 mA 5V
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Hexinverter Mindphaser Analogue Dual Oscillator Module
Hexinverter Mindphaser Analogue Dual Oscillator Module (oscillator/CV modulation/waveshaper/ring modulator module)
Cat: 975739 Rel: 08 Nov 23
 
Next generation complex dual oscillator module - 30HP
Notes: Building on the familiar dual VCO core arrangement of Carrier and Modulator, Mindphaser is a complex oscillator which departs from this bit of ancestral DNA with a modern toolkit focused on searing, phase-modulated leads, percussive basslines and other-worldly effects!

A diverse palette of intermodulation and harmonic experimentation is offered through the Modulation Bus, its unique Waveshaper and the dedicated Thru-zero Phase Modulation Bus. An intuitive interface provides colour-coded visual feedback and responsive indication while performing in dimly-lit environments.

Two precision analogue oscillator cores

Precision, wide-range V/oct ramp cores, each ranging from deep subsonic to supersonic frequencies (ramp cores, and not triangular, deliver the ideal waveforms for analogue phase accumulation in the TZ-PM Bus)
Each core generates fundamental waveshapes which interact and mangle one-another through the complex Modulation Bus and TZ-PM bus
Simultaneous waveform outputs for each base shape
Dedicated button to toggle between RAMP or SAW for each core, inverting the phase of the ramp output
V/oct, linear FM and exponential FM inputs which are all independent of the TZ-PM functionality. The Carrier's FM occurs inside the core itself, separate from the TZ-PM bus.
DC-coupled linear FM

Carrier

The heartbeat of Mindphaser, focused on audio-rate generation. Drives the WAVESHAPER and TZ-PM bus. This core's frequency range spans the audible spectrum.

- An external hard SYNC IN forcibly resets the core, useful for punchy sequences, percussive basslines and drum synthesis -- or to sync to another VCO.

- Coarse and fine controls conveniently span the audible spectrum. Ranges further with external CV.

Modulator

An extremely wide range oscillator, spanning from deep LFO frequencies all the way up to supersonic sound! Four base waveforms and diverse internal routing options form a versatile palette of modulations for the CARRIER to feed on.

- Activating hard SYNC on the Modulator locks its core to the Carrier's heartbeat. The effect can be dramatic. Try this while phase modulating!

- Octave RANGE switch lets you quickly flick up and down between octaves. All the way beyond audio-rate and LFO speed octaves. Perfect for experimenting with different PM sidebands and taming the wide frequency range of the Modulator.

- Manual PW (Pulse Width) control and dedicated CV input for PWM.

Waveshaper

This isn't a classic waveshaper! Developed anew from the ground up, this waveshaper is focused on deep harmonic experimentation and audio obliteration. Each waveshaper parameter is capable of being "turned up to 11".

FOLD up to 5 octaves above the fundamental Carrier frequency. A ceiling forms at maximum, imparting additional harmonics.

FEEDBACK the waveshaped and phase-modulated audio through a signal path internal to the waveshaper.

AMPLITUDE modulation spans thru-zero, allowing for full-range ring modulation effects with bipolar CV or audio signals.

CLIP the final stage of amplitude with the switch to introduce a last stage of harmonics before the complex signal exits through the final OUT.

Switchable inverting attenuators on each CV input, for quickly inverting the behaviour of your modulation. The indicator illuminates red to tell you the attenuator has been inverted.

Two distinct waveshaping modes

A press of the shape switch toggles Mindphaser between RAMPOID (green) and TRIANGULAR (yellow) waveshaping modes.

These modes have a remarkable effect on the behaviour of wavefolding and overall character of the final complex OUT, in addition to TZ-PM Bus character.

RAMPOID mode folds more asymmetrically, with raucous, buzzing harmonic artefacts as you sweep and introduce TZ-PM

TRIANGULAR mode folds more symmetric, splitting the complex sine wave at its peak centre of the waveform. TZ-PM character is less raucous, and more smooth.

TZ-PM Bus

Thru-zero phase modulation in the ANALOGUE realm! Unlike its digital counterpart, analogue TZ-PM has its own character we've come to expect from analogue circuitry!

A dedicated, voltage-controlled phase modulation bus completely separate from the Mod Bus
Modulator's SINE wave normalled to the PM SOURCE input
SOURCE input allows you to modulate phase with any signal you patch in
Dedicated voltage-controlled INDEX (amount)
Manual phase lets you zero in (or not!) on the base phase before introducing modulation
Independent of the Linear FM circuitry in the Carrier core

Mod Bus

The internal modulation powerhouse, normally fed by the Modulator core, but external signals are patchable as well.

Select from the PULSE, RAMP/SAW or SINE output of the MODULATOR, or inject your own SOURCE to the bus.

Voltage-controlled INDEX behaves like a macro control when combined with various amounts and polarities dialled in at each CV destination.

Internal sends include the Carrier's classic Linear FM, Amplitude, Feedback and TZ-PM Index, with variable amounts and polarities!

Modulator waveforms internally feeding the Mod Bus behave unipolarly, for predictable modulation of every Mod Bus destination, without external patching. By patching in one of the Modulator's bipolar waveform outputs manually (or any external signal), you can override this behaviour.

Dimensions
30 HP
24 mm deep

Current Draw
110 mA +12V
100 mA -12V
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Joranalogue Route 4 Latching Signal Router Module Joranalogue Route 4 Latching Signal Router Module
Cat: 945834 Rel: 13 Sep 23
 
A latching signal router module in 8HP.
Notes: Flexible Eurorack signal paths under gate or trigger control: that is the basic principle behind Route 4. Consisting of a pair of complementary routing sections, it grants access to a new level of signal routing options.

The module's top section is a 4-to-1 router. Any of the four signal inputs may be selected to be mixed into the section's output, as determined by the control inputs.

Control can either be gate or latch driveniin the latter case, the signal inputs are toggled on and off by received trigger pulses. Meanwhile, the solo/multi switch determines whether the inputs are exclusive, or if multiple may be active at the same time.

With each input socket biased by a +1 V precision voltage source when left unused, gate or trigger controlled transposition of pitch sequences becomes a breeze.

On the bottom, the 1-to-4 router provides the same feature set, with a single input being routed to up to four outputs and normalisation between the sections adding some patching convenience.

All signal paths are designed for use with any Eurorack signals, whether they be control voltages, audio or gate streams. Visual feedback is provided by 10 responsive LEDs, continually displaying the status of the routers.

With Route 4, an 8 HP super-flexible analogue mixing and routing powerhouse has arrived to fuel your patching imagination. The ability to redirect signals within a modular system on the fly, with an unparalleled level of control, is sure to excite even the most seasoned patcher.

8 HP | +12: 35 mA, -12: 20 mA
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Feedback MIX KM 6-Channel Mixer Module
Feedback MIX KM 6-Channel Mixer Module (mixer/distortion/dynamics/external synth module)
Cat: 923571 Rel: 04 Apr 23
 
6-channel mixer module - 35HP.
Notes: MIX KM (like Feedback's PRE KM channel strip) is based on a famous late seventies small mixer used by many electronic music bands.

Tech specs:

- 35HP front panel
- 35mm depth behind front panel including the power connector
- 6 mono input jacks ( 1 per channel)
- Pot controls for channels : Gain, Hi, Low, Aux1 send, Aux2 send, Pan, Volume
- 6 mute switches (1 per channel)
- Pot controls for master : Master Level, Headphone Level, Aux1 Return, Aux2 Return
- 2 x mono aux send jacks
- 4 mono input jacks for two stereo Aux returns
- 2 jacks for master left and right out
- one 3.5mm stereo jack for headphone out
- boxed 10 pin euro power (+12V / -12V)
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Intellijel Amps Dual Multi-Function & Chainable VCA Module
Intellijel Amps Dual Multi-Function & Chainable VCA Module (distortion/dual/stereo/dynamics/polarizer/ring modulator/VCA synth module)
Cat: 936166 Rel: 28 Mar 23
 
Dual, multi-function and chainable VCA module in 6HP.
Notes: Get Amped

Amps comprises two precision linear VCAs that have been carefully designed to offer a wealth of flexibility and additional functionality. The front panel controls and signal normals allow these two VCAs to also be configured to function as: line level boosters, crossfaders, ring modulators, mixers, and much more. They can also be chained together by way of an included cable to form larger, more complex systems.

Amps features cascaded CV inputs and cascaded mix outputs allowing it to be used in a number of versatile configurations. A boost switch enables you to amplify each VCA's input by either +6dB or +20dB i ideal for boosting low amplitude signals or pleasingly overdriving audio. The addition of a phase inversion switch for the second channel allows Amps to function as a ring modulator. The CV normalization, which can also be inverted and offset, also allows for VC-Crossfader functionality.

Features

Manual LEVEL slider per VCA i convenient when using the module as a mixer, or for biasing the signal for CV (such as when modulating the VCA with a bipolar LFO).
Dedicated CV attenuators with dual color LEDs for monitoring bipolar CV signals.
Linear response curve.
Input and CV normalling of VCA A to VCA B to allow a single source to feed and/or control both VCAs.
Output normalling of VCA A to VCA B to allow both VCAs to feed a single output.
Each VCA has a boost switch that can increase the output level by either +6dB or +20dB.
Phase Invert switch on VCA B allows for ring modulation capabilities.
CV Invert switch on both VCAs allows for crossfading one signal into another.
4-pin link connectors on the rear panel allow for multiple AMPS modules to be chained together to create a 4-channel mixer; 6-channel mixer; etc.

Dimensions
6 HP
36 mm deep

Current Draw
40 mA +12V
46 mA -12V
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 2 in stock $135.69
Flame Fire 8-Voice Percussion Synthesiser Module
Cat: 950801 Rel: 07 Sep 23
 
Full 8-way polyphonic drum and percussion synthesiser module - 22HP.
Notes: Up to eight voices of digitally synthesised drums, percussion and synth sounds from this versatile module, featuring virtual analogue models as well as FM and wavetable options.

Supplier's Notes:
Flame "Fire" percussion synth module

The module is a full 8-way polyphonic drum and percussion synthesizer. It offers different digital synthesis algorithms, which can be distributed over 8 channels. The sound engine delivers virtual analog sounds as well as different digital percussion sounds, which are generated with FM, wavetable or virtual analog synthesis. It is also possible to create sim- ple monophonic bass or synthesizer voices.

During development, particular attention was paid to direct and simple usability with regard to live operation. The hardware essentially consists of two parts (which are deli- vered together). On the one hand there is the basic module with all controls, the display, connections for MIDI, 2x CV inputs and 5 audio outputs.

There is also a separate XFIRE I/O extension with sockets for the 16 analog trigger/gate/CV inputs and 3 additional audio outputs. Both modules are connected via a 60cm long ribbon cable. In this way, the XFIRE module can be installed anywhere else in the rack. The base module is therefore only 22TE wide and can also work alone without the extension as a MIDI expander.

A maximum of 8 audio outputs are available. A stereo pair (outputs 7+8), plus 6 additio- nal individual direct outputs. All outputs are freely configurable. Two pages with settings for panorama and volume are available for the stereo main out.

There is a gate/trigger input and a configurable CV input for each channel. Two additio- nal programmable CV inputs can be used for further controls. Regardless of the analog connection, the module offers full MIDI functionality. Two MIDI inputs and a MIDI output/softthru allow integration into an external MIDI setup. The firmware can be upda- ted via MIDI Sysex. The created KIT data can also be saved or exchanged.
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OXI Instruments Coral Polyphonic Multi-Engine Synth Voice Module
Cat: 938984 Rel: 01 Jun 23
 
An 8 full voice polyphonic, multipart, multi engine synthesiser module with sample playback, sweet reverb and chorus in 14HP.
Notes: Hugely powerful multi-engine synth module, offering up to eight voices and eight oscillators, sample playback, custom wavetables and much more. Ultra versatile.

Supplier's Notes:
8 full voice polyphonic, multipart, multi engine synthesizer module with sample playback, sweet reverb and chorus.

Create pads, basslines, riffs and drums. All in one module.

Group voices into parts and assign each voice a different engine or parameter settings to create complex patches.

Features:

Big Sound

Lots of computing power to deliver rich sounding engines, in an 8 voice package.
One voice can have 8 oscillators depending on the engine, which means up to 64 oscillators at the same time!

Polyphonic

Coral features 8 full voices with independent filter, amplifier and modulation envelopes per voice.
Individual FX sends and individual parameter can be set per voice!

Multiengine

Different sound engines can be assigned to each voice from the 10 available.
New engines will be available through firmware updates.

Multipart

The 8 voices can be freely split into different parts. Every single parameter (filter, envelope settings, engine, FX sends, pan, etc.) can be independently set for each part or voice to create complex patches out of the box.

Sample playback

CORAL supports almost any kind of wav file: 16, 24 and 32 bit mono and stereo files, no limit to playback time!
Add overdrive to your samples, sculpt them using the filter and envelopes, pitch them up and down in tune and even modulate the sample file or folder in real time using the CV inputs or CC MIDI commands!

Custom wavetables

You can load any wavetable .wav file to the SD card for the Wavetable engine. The wavetable can be morphed in 3 dimensions. Use our OXI Wave APP to create and edit 3D wavetables.

MIDI Integration

Control any part's parameter via MIDI CC, from FXs sends to sample selection.
Combine it with CV signals for a killer compact combo.

Effects

Space engine to create deep atmospheres and rich ensemble chorus.
Every effect send can be set per voice
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AJH Synth/Tone Science Chance Delay Delay Effects Module AJH Synth/Tone Science Chance Delay Delay Effects Module
Cat: 970428 Rel: 15 Sep 23
 
Chance generator and randomness with pulse delay and pulse conditioning module - 8HP.
Notes: The Tone Science Chance Delay is a unique concept in Eurorack modules as it combines chance and randomness, with pulse delay and pulse conditioning. It is a collaboration between electronic musician/composer Ian Boddy and AJH Synth.

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

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

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

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

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

Key features:

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

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

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

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

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

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

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

Green status LED shows when the output pulse is high.

Front panel controls

Chance Control and CHA Input

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

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

Delay Control and DEL Input

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

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

Length Control and LEN Input

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

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

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

Fast / Slow mode switches

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

TRIG Switch

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

IN - input jack

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

OUT - output jack

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

Module Width: 8hp
Module Depth: 26mm (Including power lead)
Current Usage: 25mA Positive, 6mA Negative
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quote 970428
Xaoc Devices Batumi II 1974 Quadruple Low Frequency Oscillator Module
Xaoc Devices Batumi II 1974 Quadruple Low Frequency Oscillator Module (digital/LFO/oscillator/quad/random/clock generator/CV modulation module)
Cat: 979276 Rel: 13 Feb 24
 
Quadruple low frequency oscillator module - 10HP
Notes: An updated version of the excellent Batumi quad LFO, version II introduces performance updates plus compatibility with the new Poti II expander. Original Poti I breakout functions are now included in the Batumi II.

Supplier's Notes:
Xaoc Devices presents Batumi II - a greatly improved and enhanced new iteration of the modern day classic that is/was the original Batumi, preserving its layout and form factor. The premise remains the same: four LFO's with individual outputs for sine, assign and rectangle waves. The channels can operate independently or they can be linked - phase shifted, divided or multiplied (new mode alert) with regard to the first channel. Multiple major and minor improvements have been implemented, e.g. when synced to an external clock source, each channel's frequency slider selects a clock division for that channel's outputs.

Xaoc Devices have managed to incorporate the features of the original expander into Batumi II (sync mode switching and assign waveform selection) without changing the size of the module which opened up new possibilities for the new optional expander. The Poti II expander for Batumi II adds multi destination inputs for sine wavefolding, assign output waveform selection or rectangle pulse modulation with the destination set for each channel independently. Poti II also features frequency input attenuation as well as sine and assign output attenuation. All adjustments may be performed separately for each individual channel or for all channels simultaneously.

The Batumi II software has been rewritten from scratch to ensure best performance. The hardware has also been updated to allow for V/oct tracking and stable operation up to audio rates (more powerful CPU, precise, wideband converters, antialiased waveforms).

-4 LFO's
- redesigned from scratch - both the hardware and software
- new waveforms for the assign output (including random)
- new frequency multiplication mode
- all features of the Poti expander incorporated into the main module
- very wide frequency range well into audio rate
- 1V/oct tracking = so can be used as 4 VCO's
- in the Phase/Divide/Mult modes the random waves at the ASGN output follow the values available in the master/A channel
- 10HP
- +90/-50mA
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 2 in stock $272.42
Xaoc Devices Poti II 1974 Batumi II Expander Module
Cat: 979277 Rel: 29 Feb 24
 
Expander module for Batumi II - 4HP
Notes: Poti II expander notable features:

- per-channel input and output attenuation for the SINE and ASSGN outputs
- per-channel shape modulation with switchable destination (wave folding, shape switching, PWM)
- stores settings during a power cycle
- LED indication of the discrepancy between the stored setting and current pot position
- 4HP
- +10/-0mA from Batumi II

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Neuzeit Instruments Warp Additive & Wavetable Synth Voice Module Neuzeit Instruments Warp Additive & Wavetable Synth Voice Module
Neuzeit Instruments Warp Additive & Wavetable Synth Voice Module (dual/stereo/oscillator/synth voice module)
Cat: 945406 Rel: 06 Oct 23
 
An additive and wavetable synth voice module in 24HP.
Notes: Warp is a novel synth engine that combines the best of additive and wavetable synthesis.

In the center of Warp's control panel is a colorful XY LED matrix that represents the sound space from which Warp draws its sounds. This XY sound space consists of 32x16 frequency spectra. Each of Warp's four voices can move freely and independently across the XY space. It always uses the surrounding frequency spectra to calculate a wavetable based on 512 sine waves in real time using additive synthesis. By changing the position, wicked wavetable sounds are possible, playable with four voices and eight oscillators and navigable in two directions. An intuitive integrated editor allows playful modeling of your own frequency spectra.
With Warp's SPEC effects the frequency spectrum can be filtered and deformed in realtime before a wavetable is calculated. The wavetable can then be modified with WARP effects like wavefolder, PWM bend, overdrive and redux. The resulting wavetable serves as source for two oscillators per voice, which can be detuned and also synchronized to each other. Each voice is followed by a 12/24dB/octave high pass and low pass filter.

Warp offers an integrated editor, with which you can playfully draw and modify your own frequency spectra. The XY-Sound Space is seen as a canvas on which you can draw your own frequency peaks. Several drawing algorithms are available as tools to edit single or a group of harmonics in a musically meaningful way. There is also the possibility to derive frequency spectra from audio samples from the SD card or to put whole wavetable audio files into the XY sound space. Likewise, the XY sound space can be exported to the SD card as a wavetable audio file of any length and bit depth, so Warp can also be used as an intuitive wavetable generator for other synthesizers.

Also on board are two internal ADSR envelopes and two LFOs, which can be routed to a variety of internal destinations using a modulation matrix. To keep the overview, all modulations are color-coded and are additionally visualized by pulsating LEDs in the modulation matrix view.

Navigation through the menu is as intuitive as with our QUASAR module and is simply done via a push-encoder and a back button. The display always shows which function the four surrounding aluminum encoders currently have, and colored LEDs next to the encoders provide visual assistance. Likewise, the tuning of the module is done via a detented encoder, which adjusts the pitch either in fine steps, in semitones or in octaves. An octave switch is thus already integrated.

For all its feature-richness, Warp still remains a playable and performance-oriented instrument. The large potentiometers serve as macro controls to control several parameters under the hood at once. This keeps the instrument straight forward with a manageable number of controls, but they are all very expressive.
Likewise, the module offers the ability to save and load presets and also comes with audio files and presets on board. Thus, Warp is ideally suited for both detail-oriented sound design and hands-on performance.

In the standalone version, Warp is a monophonic four-voice synth voice that can also be used as an oscillator. With an expander module, it will also be possible to play Warp four-voice polyphonic via MIDI and CV/Gate in the future.

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.



Main functions
4 Voices & 2 oscillators using a hybrid additive-wavetable synth engine
Big knobs act as macro controls for underlying parameters and enable expressive Hands-On playability
Polyphonic with expander, monophonic as standalone unit
Usable as a full synth voice or as an oscillator module
Additive synthesis with 512 sine waves per oscillator = 4096 sine waves in total
XY sound space as a collection of 32x16 frequency spectra
Each voice travels independently across the XY space and uses the underlying spectra to synthesize a wavetable in real-time
Spectral FX are applied on the spectrum before a wavetable is generated
Wavetable FX are applied once the wavetable is generated, e.g. Wavefolder, PWM-Bend, Redux, Overdrive
Two Post-Filters per voice: 12/24dB Lowpass and Highpass with resonance control
Independent oscillator settings per voice, e.g. volume, pitch, stereo pan, detune, sync, X/Y position
Integrated modulation by 2x ADSR, 2x LFO with many waveforms
Modulation matrix view to see everything that is going on at once
Integrated editor for playful drawing of own frequency spectra
Algorithms for musically meaningful drawing of harmonics

Width: 24 HP
Depth: 30 mm
Current draw +12V: 205mA
Current draw -12V: 20 mA
Current draw +5V: 0 mA

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

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.
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quote 945406
Feedback MIX BX 6-Channel Mixer Module Feedback MIX BX 6-Channel Mixer Module
Feedback MIX BX 6-Channel Mixer Module (equalizer/mixer/distortion/dual/stereo/panning synth module)
Cat: 923569 Rel: 04 Apr 23
 
6-channel mixer module - 35HP.
Notes: As probably many of you know the MIX BX (like Feedback's PRE BX channel strip) is based on a very popular mixer used by techno artists in the nineties and loved for its specific sound.

Tech specs:

- 35HP front panel
- 35mm depth behind front panel including the power connector
- 6 mono input jacks ( 1 per channel)
- Pot controls for channels : Gain, Hi, Low, Aux1 send, Aux2 send, Pan, Volume
- 6 mute switches (1 per channel)
- Pot controls for master : Master Level, Headphone Level, Aux1 Return, Aux2 Return
- 2 x mono aux send jacks
- 4 mono input jacks for two stereo Aux returns
- 2 jacks for master left and right out
- one 3.5mm stereo jack for headphone out
- boxed 10 pin euro power (+12V / -12V)

- Input Level from -50dBm to -10dBm
- EQ Hi +-10dBm/10kHz shelf type
- EQ Low +-10dBm/100Hz shelf type
- Output Level 20Vpp
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Patching Panda Particles Trigger Modulation & Pattern Variation Designer Module (black)
Cat: 931101 Rel: 06 Apr 23
 
Trigger modulation and pattern variation designer module in 12HP.
Notes: Particles, is 4 channels of trigger modulation, capable of mathematically variating and manipulating your patterns with a combination of features to play with.
It can evolve your rhythmic idea into more complex and groovy patterns which are difficult to achieve without music knowledge.

You can create your algorithms from the rhythmic tools provided to be able to change the patterns instantaneously in many ways without worrying to sacrifice
the original idea.

You can shift and scramble the outputs, you can repeat the triggers with different time signatures to transform the grooves, mute in different ways, disappear by probability trigger inputs, disappear by probability repetitions, use sequential switching to shift randomly with a different kind of resetting, bypass each channel and set it individually the amount of each feature per channel when feeding external CV.
The idea of Particles, was designed to provide features for building complex breaks, grooves, organic-evolving percussion sounds, and different options for
arpeggios, and even bass line grooves, the limits are decided by you.

Particles Features

4 trigger inputs/outs.

Repetitions with different distribution times to choose from.

Manually shift the output channels, scramble them randomly or clocked them in forward mode.

Reset the outputs to 4 different shift modes.

Disappear repetitions by probability per channel.

Disappear the input trigger by probability per channel.

Mute each channel with clock divisions from the input clock.

Mute manually the outputs

Disable triplets from repetitions to have musical patterns

Random voltages output clocked from clock input.

The slider keeps the adjusted value from each feature.
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quote 931101
Jomox Mod FM 8-Voice FM Synthesiser Module
Cat: 967072 Rel: 14 Nov 23
 
8-voice 4-operator FM synthesiser module - 56HP.
Notes: This long-awaited FM voice module from Jomox is a self-contained synth in Eurorack format, patchable and compatible with other modules but capable of creating eight-voice polyphonic patches all on its own. Vastly powerful.

Supplier's Notes:
The Mod FM is a completely self-contained 8 voice FM synth in eurorack format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM, although the FM engine is digital of course.

Each voice has own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM has Midi in and out in TRS type A format and a USB C connector which handles Midi too.

Even without diving too much into complicated modular setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds.

Furthermore, the Mod FM offers a variety of external cv modulations in order to e.g. modulate each operator individually or control the FM envelopes.

The Mod FM is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but editings made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Modular is great but can be very complex, and you might be trapped in a system where you never reach again the desired sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

Because it gets pretty quickly uncontrollable if you turn all the knobs because of the feedbacks, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-VCA which is important for snappy sounds. The same transistor-VCA is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.
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quote 967072
Hexinverter Mutant Machine Analogue Percussion Module
Hexinverter Mutant Machine Analogue Percussion Module (drum/clock generator/envelope generator/noise/oscillator/synth voice module)
Cat: 995966 Rel: 06 Feb 24
 
Analogue percussion module - 22HP
Notes: A unique analogue percussion module, based on principles from the legendary 909 twisted into new sonic territory. Capable of everything from classic kicks and snares to more experimental hits and complex VCO effects.

Supplier's Notes:
A machine is born

The Machine began as a quest to create a rich-sounding eurorack snare drum synthesis module to complement the existing Mutant Drums. The project quickly became too large and costly to justify the module being capable only of snare drum sounds. So, the decision was made to learn from the architecture of the TR-909's snare and kick circuits, in order to develop a module capable of generating multiple forms of analogue percussion, and various other effects.

Like the other Mutant Drums, the Machine has its roots in classic analogue percussion synthesis. Even though it can create totally alien sounds, it still has the capability to deliver those classic 909 house snares and kicks if you want them. There are no microcontrollers in the Machine. The signals and waveforms are all generated by discrete components and ICs, for a distinctly analogue sound, and user experience.

Features

Microcontroller-free analogue percussion synthesis engine
Unique Inverter Core oscillators form the MEMBRANE. Each analogue oscillator has three waveforms to select from
Capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres
Modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion
The SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres
Both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility
13 control voltage and audio inputs, for a fully modular drum experience
7 audio and CV/gate outputs for maximum integration with other modules
Dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion
Waveform scanning feature generates complex timbres from analog waveforms
The MEMBRANE's waveforms can be scanned through automatically by the wavescanner's voltage controlled clock generator, or an external clock or VCO can be used
SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output
The ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal

Technical specifications

Width: 29HP | Depth: 30mm
Current draw: +139mA, -115mA @ 12V
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Erica Synths Black Stereo Reverb Hi-Fi Stereo FX Module
Cat: 946497 Rel: 17 Oct 23
 
Hi-Fi stereo effects module - 12HP
Notes: The Erica Synths Black Reverb is a versatile hi-fi stereo FX module with lots of unique features based on Erica Synths' custom DSP engine. The reverb sources are selectable Tape, BBD and "dirty BBD" digital; emulations with three modes, each - Room, Hall and Cathedral. Delicate room size control, feedback, feedback tone and stereo spin controls allow for designing extremely delicate reverberation effects. CV control over various parameters and the ability to save up to 10 presets will make this module an integral part of any performance rack.

Features:

Reverb based on Tape, BBD and digital delay lines
Three room sizes
Manual and triggered FREEZE with 1V/oct tracking
10 preset patches
CV control over size, feedback, tone, dry/wet mix and preset selection
Adjustable stereo spin

Specs:

Max audio input level before clipping 16Vptp
CV input range (full span) -5V - +5V
Sampling frequency 48kHz, 24bit
Audio codecs -108 dynamic range, -98dB THD+N
Power consumption 120mA@+12V, 39mA@-12V
Module width 12HP
Module depth 35mm
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quote 946497
ADDAC System ADDAC107 Acid Source Synth Voice Module ADDAC System ADDAC107 Acid Source Synth Voice Module
Cat: 944224 Rel: 14 Sep 23
 
A synth voice module in 9HP.
Notes: 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.
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quote 944224
Happy Nerding LED Meter Module (silver, green/yellow/red LEDs)
Cat: 944549 Rel: 18 May 23
 
A handy utility module designed to show audio levels in 4HP.
Notes: LED Meter is a handy utility module designed to show audio levels. Three color versions are available:

- green colour with yellow-red peak segments.
- all blue colour
- all yellow colour

There are total 30 led segments, each one roughly corresponds to 1 dB of level, so it is 30 dB of measurement level available with this module.
The module has an input for the signal to be displayed, and its buffered copy is sent to the output for further processing, so no external splitter is needed.
Two trimmers are accessible via holes on the front panel: left trimmer adjusts brightness and right trimmer is used for the level adjustment. So the module can represent full scale signals ranging from 1 V to 12 V.
There is operation mode jumper on the back side. When the jumper is installed - bipolar operation is active, and when the jumper is removed - ordinary audio meter is active.

Dimensions
4 HP
40 mm deep

Current Draw
150 mA +12V
20 mA -12V
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 1 in stock $73.62
Noise Engineering Univer Inter Chainable 8-Output MIDI To CV Converter & USB MIDI Interface Module (black)
Cat: 955808 Rel: 10 Jul 23
 
Chainable 8-output MIDI to CV converter and USB MIDI interface module - 6HP.
Notes: Describing Univer Inter as merely a MIDI-to-CV module falls short of its immense potential. It serves as an all-encompassing MIDI-to-any-format converter, elegantly packed into a compact 6 HP unit. Connect to your gear via USB B or TRS MIDI, or use the included adapter to plug straight into those 5-pin DIN connecters we all know and love. Whether you're looking to map clock, note, CC, aftertouch or something else that MIDI can encode, UI can do it: we built in over 20 settings for each of the 8 outputs.

Want to control a pair of monophonic voices, complete with velocity and aftertouch? No problem. How about a polyphonic setup, with gate and pitch per voice? Easy. Need to synchronize an in-the-rack sequencer with your DAW or a MIDI clock? UI has you covered.

Eight outputs isn't enough, you say? Chain two UI together via their front-panel MIDI ports and a TRS cable for 16 - you read that right, 16 - configurable CV outputs from a single MIDI connection. The possibilities are endless.

Noise Engineering also made configuration simple via the front-panel USB connection and the easy-to-use Univer Inter section on the Noise Engineering Customer Portal. Go wild and set each channel to any output option you need, or just use one of our simple presets. Configuration files can also be saved as sysex files for easy backup and sharing.

Features

Size and Power
6HP Eurorack
+12v: 40mA
-12v: 10mA

Univer - from Latin: "Universe"

Inter - from Latin: "between"

"Between universes"

What's in the box:
Module
Power cable
5-pin MIDI to TRS cable
USB A to B cable

To reduce excess materials, screws will no longer be included with Noise Engineering modules beginning in 2023.
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