Suchergebnisse: Dance Music

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

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

Features

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

Dimensions
28 HP
35 mm deep

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

Notes: Performance-focussed four-channel attenuverter and offset module, with built-in voltage generator for 0-5v or i5v voltages. Simple but effective.

Supplier's Notes:
Lapsus Os is a four channel attenuator/attenuverter and offset. Designed with performance in mind, each channel can be set to either attenuate or attenuate/invert an incoming signal, adjust offset of an incoming signal, or with nothing patched to its input, generate a 0-5v or i5v offset. Switches on the back of the module invert the fader behavior, allowing for the module to be mounted in either direction, for further customization and ease of use.

Etymology
Lapsus -- from latin lapsus : 'sliding' Os -- from latin os 'bones'
"Translation: Dancing Corpse"

Interface

Faders 1-4: The main controls of LO. The LEDs in the faders show the CV that is being passed through. When in attenuverter mode, the LED will be off at 0, allowing each fader to easily be set near 0.

Offset inputs 1-4 (+): Sending a signal to these inputs adds an offset to the input, controlled by the fader and the mode switch.

Outputs: Each channel has a pair of identical outputs. If nothing is sent to either input of a channel, an offset will be generated and output here, useful for controlling parameters on other modules with a single fader.

Uni/Bi Switches 1-4: In the Unipolar position (left), the corresponding channel attenuates the input signal. In the Bipolar position (right), the upper half of the corresponding channel fader attenuates the input signal, the lower half of the fader inverts and attenuates the signal.

Attenuating/attenuverting inputs 1-4 (x): Sending a signal to these inputs attenuates/attenuverts the signal, depending on the position of the channel fader and switch.

Rear-board switches: Below, in red. Inverts the corresponding channel, allowing for creative mounting in either direction. Note that each channel must be switched independently to fully reverse the functionality.

Patch Tutorial

Patch 1: Set a channel switch to the left position and patch the outputs to CV inputs on another module (for instance, Loquelic Iteritas). The fader becomes an easy-to-use controller for those parameters. Patch the rest of the LO channels to other parameters in your system to create an expressive and intuitive interface.

Patch 2: Patch a CV signal (such as an LFO) into the attenuverting input of a channel. Set the channel switch to the right position, and patch the output to a bipolar CV input in your system. Tweak the fader to attenuvert and dial in the perfect amount of modulation on the fly.

Patch 3: In a case with four voices route each LO channel to the decay control for each voice. Use for centralized control over voicing.

Size: 10HP Eurorack
Depth .8 Inches
Power 2x5 Eurorack
+12 mA 60 mA
-12 mA 50 mA

Inputs: i10v
Outputs (without voltage applied):
Unipolar: 0-5v
Bipolar: i5v

Notes: We're gonna need a bigger boat.

Nautilus is a complex delay network inspired by sub-nautical communications and their interaction with the environment. In essence, Nautilus is a stereo delay consisting of 8 unique delay lines which can be connected and synced in interesting ways. Each time Nautilus pings its sonar system, the generated topography reveals itself through the delay, all while staying in time with the internal or external clock. Complex feedback interactions plunge sounds to new depths, while related delay lines pull fragments of sound in different directions. Manipulate the delay lines even further by configuring the the stereo receptors, sonar frequencies, and aquatic materials that filter the space between Nautilus and its surroundings.

Though Nautilus is a delay effect at heart, it is also a CV/Gate generator. The Sonar Output creates either a unique Gate signal, or a unique CV signal algorithmically generated from Nautilus's findings. Drive other parts of your patch with pings from the delay network, or use the generated topography as a modulation source.

From the deep ocean trenches, to shimmering tropical reefs, Nautilus is the ultimate exploratory delay network.

Tech Specs:

Width: 14HP
Depth: 22mm
Power Consumption: +12V=215mA, -12V=5mA, +5V=0mA

Nautilus packaging will include:
Nautilus
USB Drive and cap
16-16 power cable
x4 eurorack mounting screws, M3
Nautilus enamel pin
Nautilus quick start guide
Qu-Bit sticker

Notes: The 'MEGA-TANG' is a 4-channel linear VCA and stereo mixer providing per input control over level, effect send, pan and muting. Designed for live use in mind with a simple & compact layout, the 'MEGA-TANG' builds on the clean and transparent sounding Tangle Quartet VCA by adding a stereo mix output, effect sends (mono send with a stereo return) which pair great with the MFX, manual panning, soft mute buttons with LED indicators and an expansion port for future expandability.

Individual VCA outputs are available which remove the channel from the main mix (useful for cueing and monitoring). All signals are Euro level and bar the effects return, DC coupled for CV use as well as audio.

Technical Specifications

Power: +12V 125ma -12V 125ma
Size: 16HP
Depth: 32mm
Attenuation: approx -70db

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

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

Notes: Two oscillators independently set as VCO, LFO, or random generator

This new version replaces the original Twin Waves. All features of the former are retained. You can check all videos, reviews and comments of V1, being sure to benefit of all in the MKII version :-)

Features in VCO mode:

V/Oct tracking over 10 octaves
Tuning lock with octave selection
Through zero and linear FM
Sub-octave output
Hard & soft synchronization
VCA control and CV algorithms selection
Quantizer with various scales
20 algorithm-based synthesis types among:
Wave shaping
Phase modulation
Phase positioning of multiple waves
Up to 5 stacked oscillators in tunable unison
Self-sync with phantom oscillator
Additive synthesis (7 waves)
Variable bit reduction (bit-crushing)
Ring modulator with its own 2nd oscillator
Noise with LPF, BPF, or resonant filter

Features in LFO mode:

Simultaneous signal and trigger outputs
External wave synchronization
Clock controlled rate with voltage controlled multiplier and divider
CV and knob control of output level
Algorithm based wave engine with a selection of:
Wave shaping
Phase modulation
Random levels and vectors (also Brownian)
Randomly spaced triggers and waves
Display with contextual icons and instant reminder help text
LEDs indicating potentiometer vs. value matching, switch settings and output signals
Automatically saved settings for instant recall at power on
Firmware update by playing an audio file via the front panel
Compact and skiff-friendly module

Dimensions
8 HP
21 mm deep

Current Draw
52 mA +12V
17 mA -12V
0 mA 5V

Notes: Second-generation version of 1010's outstanding Bitbox sampler module, featuring improved processing power, higher-quality touchscreen and new effects.

Supplier's Notes:
Next Generation Sampling Module for Eurorack

The bitbox mk2 is a follow up to 1010's successful bitbox module. Do more with bitbox mk2's more powerful processor and improved touch screen. This module has all of the features of the original bitbox and adds effects and mixing capabilities that take advantage of the faster and more powerful processor.

Sample Playback

Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Sample Recording

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes

Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode - no need to look up CC numbers
Module Features
Use the 3.5" diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

When you purchase a bitbox mk2, you will receive:

a bitbox mk2 Eurorack module
a microSD card with with a bank of demo presets and samples loaded on it
a Eurorack power cable
a bitbox mk2 Quick Start guide
a MIDI Adapter

Technical Specs

Supports 1 and 2 channel WAV files with 16, 24 or 32-bit resolution at any sample rate (48kHz preferred)
26 HP
Module dimensions including knobs: 5.25" x 5"x 1.75"
Depth behind front panel with ribbon cable: 1.25"
+12V: 400mA
-12V: 0mA
5V: 0mA
24-bit ADC and DAC

Inputs and Outputs

Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

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

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

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

Notes: Two channel expander for Bartender

Mixer section

Each channel has the following:

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

CV inputs for both panning and level control

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

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

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

Expandable Mixer Series

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

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

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

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

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

Notes: The WoggleBug music synthesizer module is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. It is a continuation of the "smooth" and "stepped" fluctuating random voltage sources pioneered by Don Buchla within the Model 265 "Source of Uncertainty," expanding it to include the other-worldly Woggle CVs (stepped voltages with decaying sinusoids edges). The Wogglebug is a very musical random voltage generator where it is possible to synchronize all random signal to a Master Clock. Guaranteed to unleash your synthesizer's ID MONSTER!

Features:
Complete Complex Random Voltage system, no external modules necessary
Two VCOs, Phase Lock Loop, Lag Processor, Clock, Burst Generator and Sample & Hold
Generates 7 Random Signals simultaneously: Smooth VCO, Woggle VCO, Ring Mod, Stepped, Smooth, Woggle, Burst
Generates voltage controlled Master Clock
External inputs for S&H (Heart IN) and Ring-Mod (Influence)
Disturb button adds performance element
Wonderful for modulating the Morphagene and DPO

Specifications:
Width: 10hp
Max Depth (incl. power cable): 32mm
Power: 50mA@ +12V; 40mA @ -12V

Notes: This is a buffered/active mult with LED indicator. You get two channels of 1 to 3 multiples within a 2HP module. The output of channel 1 is normalled to channel 2 so it can also be treated as a 1 to 6 multiple as well.

Active vs Passive mults:

With a passive mult you are effectively just plugging multiple things into the same jacks. This will often cause some voltage drop in each of the signals. With an active (or buffered) mult you will not get any voltage drop from the original signal.

Comes with a black and gold panel, power cable and one year warranty.

Usage note:

The red stripe of the power ribbon cable goes towards the top of this module.

Notes: 32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analog Dry/Wet control with dedicated CV input. High quality stereo signal pass. Assignable CV input to effect controls or to Sample Rate reducer (changes internal clock). Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, assigns and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other user selected Happy Nerding effects in any order. Also the possibility to run freely available third party effects will be added too.

Reflashing procedure is quite easy: playing 40 sec long "wav" file of line level amplitude to CV input.

Reflashing mode: hold both buttons for 10 sec.

Please note the reverse CV operation of the Dry/Wet control: positive CV crossfades from Wet to Dry, and negative CV crossfades from Dry to Wet.

By default it runs on 32.77 kHz and, if sample rate reduction assign is used, this sample rate can be decreased down to 150 Hz or brought up to 48 kHz.

80 mA +12V
30 mA -12V
45 mm deep

Notes: Upgraded Pro version of the outstanding FX Aid multi-effects module. 200 onboard stereo effects, customisable via an online app, with added CV inputs and even more physical controls. Superb.

Supplier's Notes:
FX AID Pro:

OLED screen shows current effect's number, name and its three parameters

200 onboard effects which can be arranged in any order via the online editor https://fxaid.app/pro

Instant switching of the effects or seek then activate option

Stereo input level control

SRR input can also be routed to parameters 1-3 or effect selection

Advanced internal lfo which can be routed to the Sample Rate, parameters 1-3 or effect selection

Manual control of the Sample Rate with one click for default position

10 user storable presets with handy indicator lines for each stored parameter

Screensaver with 1, 10, 30, 60 minutes options

Easy update by playing wav file, level indicator for proper volumes matching

Notes: Another update for WMD's clever dual VCA, this time a little bigger to give more control. Digital control of CV and attenuation gives lots of creative options. Third time's a charm.

Supplier's Notes:
WMD have done several designs of this circuit over the years, the first one had no knobs, the second was too small, the MKIII is finally how this circuit should be packaged. This module does some really cool stuff and is super useful in any system.

The Digital VCA lets signal through like a normal VCA, but the CV and attenuation level is controlled digitally. This lets us do things like wait until there is a zero crossing to change the amplitude, resulting in clickless amplitude changes.

The Trigger mode causes the VCA to only update when a trigger is received. The addition of a noise circuit for each side let us do a very quick and easy sample and hold that never droops. With no input, 5V is normaled to the attenuator, so you get a 0-5V sample and hold. In Bipolar mode, you can get -5 to +5V.

Both sides have bipolar VCA mode (polarizer), which lets them invert the signal when negative CV comes in. Also known as ring modulation. With the zero crossing detector, this can produce some super wild wave shapes.

Features

Dual VCA Design
Unipolar or Bipolar Operation
DC Coupled Analogue Signal Path
Low Distortion / Low Noise
VCA Closes Completely
Zero Crossing Detector Mode
Trigger Mode
Two Independent Noise Sources
8 bit CV resolution
Great for Fast Envelopes and Sine Bass Sounds

Specifications

Power: +65mA, -45mA
Width: 8HP
Depth: 35mm with cables
Height: Eurorack 3U (128.5mm)
Board Height Behind Panel: 112mm
CV/Signal Input Impedance: 100k
Output Impedance: 1k
UPD in 3.3V Threshold Schmitt Trigger
ZCD produces 15us 5V pulse
5V CV to fully open VCA
Linear VCA response
20Vpp signal handling

Notes: 'Beast's Chalkboard' is dual channel stepped voltage source and adder for your eurorack modular synthesizer system. It primarily is intended as a dual octave switcher for VCO's but has many other uses including sequence transposition, FM ratio creation, buffered CV distribution and VCO calibration.

Technical Specifications:

Supply: +/-12V (Reverse voltage & polyfuse protection)
Current Draw: ~30ma
Size: 6 HP
Depth: 22mm (including power header)
Offset Error: +/- 10mV

Notes: The 'S.B.G' is a compact utility module intended for the interfacing of guitar effect pedals with your eurorack modular system.

It provides both attenuation and amplification of audio signals for level matching together with a crossfade control to conveniently adjust the wet/dry mix of a processed signal. The module also offers regulation of outgoing CV signals for safer use of pedal expression inputs.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~30ma
Size: 4 HP
Depth: 22mm (including power header)

Notes: The CP909 is the TR-909 clap sound analog generator in Eurorack format. This is yet another low-cost analog drum generator from a legendary drum machine in your modular synthesizer, expanding your Tiptop Audio modular drum machine even further.

The CP909 is an exact reproduction of the original analog circuit and, with the addition of just one extra knob, "trashing" the frequency of the internal noise generator, we have added greatly to the spectrum of sounds that can be generated - all that without compromising the signature sound of the TR-909 clap.

The CP909 clap effect is made by a special triple-saw envelope generator that controls the gain of a VCA. The sound source feeding into the VCA is made by a quasi-random logic based noise generator; some might call it "digital noise" though this term might be misleading in today's world of microcontrollers and sound samples. What really makes the noise generator is a ring of logic gates, so primitive, so BO's, and that's the sound of the 909 Clap!

The CP909 includes a high-powered output gain stage capable of producing hot signals. On the inputs, we have designed a pulse-shaper circuit so you can trigger the CP909 with trigger/gate signals from step sequencers, clock dividers, or any other pulse/clock sources. This eliminates the need to shape pulses sent to the module and ensures the same stable sound at peak power, regardless of your pulse source. Based on the architecture of the 909, the Accent input is versatile and able to take in both CV and Gate signals for continuously changing dynamics. All these unique features make integrating this legendary sound generator into your modular synth easy, unleashing the power of real analog drums.

Notes: The Control Voltage Processor from Verbos Electronics GmbH is a suite of control voltage processing possibilities divided into 3 sections in a slim 18HP package. The lower 2 sections are DC coupled mixers that allow mixing, inverting, offsetting, scaling, multiplying, dividing, crossfading or a combination of these functions. The top section is a voltage controlled slewing processor with independent control of Positive and Negative slew rate, with some unique tricks. The Positive and Negative slew, or Rise and Fall rates if you like, have reversing attenuators. The slopes can be blended from linear to RC curves (starting all slides fast and ending slow, like a proper "East Coast" Portamento) without a change in speed. It can be triggered like an AD envelope and has a Gate out that goes high when the CV out is below 100mV. Of course it can loop by patching the Gate out to the Trigger in. The Bounce control adds a unique flare of overshoot to CV changes, a bit like the effect of stopping a tape reel from turning and then letting it go. The combination of multiple voltage processors offers the user the functions of analogue computer.

Notes: Part performance mixer, part utility module, with 4 channels of VCA, summed to a stereo output, Tannhauser Gates is AFA's first stereo module.

Based loosely on the Buchla 100 series Gates, each channel boasts a discrete VCA with a rich overdrive sound, stereo panning, a tilt EQ and an easily accessible mute switch. Each channel can be used individually as a mono track or all four can be summed down to the stereo output. The four channels have an individual CV input, or they can all be controlled via the master CV input. The Tannhauser Gates also hosts the capability for a stereo send and return path, expanding your sonic arsenal to other processing modules.

Tannhauser Gates is designed with future expansion in mind. Adding up to three more Tannhauser Gates modules, it is possible to build a performance mixer system of up to 16 channels, all summed to a single output module. The back side of the module is equipped with a number of expansion headers.

Power consumption: 146mA at +12 V and 94mA at -12 V
Depth: 34mm
HP : 20

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.

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.

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

The module has these controls and in/outputs available:

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

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

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

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

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

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

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

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

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

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

Socket /P/: pulsewidth control voltage input

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

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

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

LED: visual control of the LFO (triangle)

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

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

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

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

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

Dimensions
8 HP
45 mm deep

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

Notes: 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

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

Notes: Roucha Legio is a 12 dB /octave state-variable stereo multimode filter available on the Legio DSP+oscillator platform.

Noise Engineering received tons of requests for NE filters over the years, and Roucha Legio is their first dedicated release. The filter features lowpass, bandpass, and highpass settings and tracks frequency via the dedicated encoder and extremely accurate 1v/8va CV input. Roucha Legio's CV-controlled resonance parameter can go from clean to acidy-squelchy for bassline joy. Add CV for filter sweeps that will knock your socks off. Of course, because it's a Noise Engineering module, there's a Fold knob. Add wavefolding to the signal chain before, after, or both before and after the filter.

Noise Engineering have made it easy to carry out dramatic buildups and cuts with Roucha Legio. Just tap the encoder to bypass; tap again to turn the filter on again. Want to automate it? Send a gate into the Bypass input. The filter will remain bypassed as long as a high gate is present.

Roucha Legio is also a DSP and oscillator platform: users can change the firmware on any Legio module, 100% free, to any other firmware in the Legio series.

Dimensions
6 HP
38 mm deep

Current Draw
140 mA +12V
22 mA -12V

Notes: Full-featured triangle core VCO/LFO

The Dixie II+ is a larger variant of the classic Dixie II. Using the same great triangle core oscillator, it adds a number of features to make it even more versatile with only a modest increase in size. The Dixie II+ makes a great primary oscillator for a modular system, or a great companion the Rubicon.

Notes: The Ensemble Oscillator is a unified polyphonic voice of sixteen complex oscillators combining additive, FM, phase-distortion and wavefolding synthesis techniques in new unorthodox ways. By quantizing the oscillators to scales or series of harmonics, the Ensemble Oscillator allows you to explore the sonic boundary between musical chords and rich evolving textures. Easily create a wide variety of sounds ranging from aggregates of pure sine waves to pulsar synthesis or pristine harmonic tones and lush wide chords to rich dirty drones and rumbling glitches. Custom scales can quickly be "learned" and saved using a CV keyboard or by manually entering notes with the controls.

The Ensemble Oscillator is designed by Matthias Puech and 4ms Company.

Electrical and Mechanical Specifications:

16HP Eurorack format module
0.98" (25mm) maximum depth (including power cable)
10-pin to 16-pin Eurorack power header

Power consumption:
+12V: 114mA maximum
-12V: 45mA maximum
+5V: 0mA (not used)

Audio outputs
Frequency range: 0Hz (DC) - 20kHz
Typical amplitude: 10Vpp
Maximum amplitude: 18.5Vpp
1V/oct inputs (Root and Pitch)
Voltage range: -2V to +6V (8 octave range)
Factory calibrated to 1.00V/oct
Per-jack user-calibration allows from 0.7V/oct to 1.3V/oct
CV inputs (other than 1V/oct)
Voltage range: -5V to +5V

Gate inputs:
Trigger threshold: 2.5V
User memory (non-volatile)
Scale slots: 30
Shift feature settings
1V/oct calibration settings

Notes: Endorphin.es Cockpit² is a 4-channel stereo mixer with side-chain ducking.

Key facts:

Increased headroom
Improved sound quality
The LEDs are blue/red instead of red/green (Daltonic friendly)
No TRRS jacks anymore
New aluminium knobs on the black module version

Power consumption:
240 mA +12V
75 mA -12V
0 mA 5V

Dimensions:
6 HP
38 mm deep

Notes: Revised take on the excellent Benjolin dual oscillator and filter from Rob Hordijk, featuring the 'rungler' stepped CV generator and extensive output options.

Supplier's Notes:
Benjolin V2 - Rob Hordijk's latest revision of the classic Benjolin. The core of the Benjolin continues to be two oscillators, the rungler (stepped CV generator), and a multimode filter.

This latest revision adds:

Reworked oscillator and filter sections

All levels are adjusted to eurorack standards

Two different steps modes (8/16 and 127)

Double and single clock rate

Externally clockable

External filter input with blend control

Notes: Popple is an 8hp multimode stereo filter based on the Mutable Instruments Ripples V1 filter section. Popple maintains the buttery smoothness of Ripples filter while giving you two separate audio paths. The audio paths share a resonance, control, a frequency cutoff control, resonance CV input, and a v/oct cutoff CV input. Each channel then has it’s own cutoff CV input with attenuverters (which are normalled to a 2.5V signal).

Popple will also self-oscillate at high resonance settings, when coupled with the v/oct CV control, it can also act as a dual sine wave oscillator.

Notes: Alan (micro Turing Machine) Shift Register Based Sequencer

The randomness of the Music Thing Modular Turing Machine, shrunk down to 6HP. Alan retains all of the same functionality as the original including the connectors for the expanders.

While this module has little to do with the original Turing Machine (by Alan Turing), it is a shift register based sequencer. You cannot program this sequencer, instead it builds random sequences that can be locked in.

Alan comes tested, calibrated and ready to bring random voltages.

The After Later Audio panel is black and gold and made from FR4. The package will include a power/ribbon cable and a one year warranty.

Notes: Third-party clone of the open-source Mutable Instruments Plaits oscillator/sound source. All the same functionality in a compact 8hp format with full-size knobs for the key functions.

Supplier's Notes:
Functionally identical clone of the Mutable Instruments Plaits. Beehive strikes a nice balance between size, reducing 12hp down to 8hp, and playability by offering full size knobs for the four main functions. Beehive also retains the same depth of the original module at 25mm. This module uses After Later's new aluminum knobs which have a nice non-slip texture and allow for more finger space over the standard 1900H Davies knobs.

Notes: Enigma Expander for micro Turing Machine (Alan)

An expander for After Later's Alan module (a smaller version of the Turing Machine) that enables you to manipulate the stepped CV sequence. This enables you to create a different, yet related sequence to the main Alan output.

The module comes with the required cable to connect to the main module. Our black and gold panel is designed to complement Alan, Aftter Later's micro version of the Turing Machine.

The module comes with a 1 year warranty.

Notes: Morcom Expander for micro Turing Machine (Alan)

An expander for After Later's Alan module (a smaller version of the Turing Machine) that exposes the pulse outputs from the main Alan module. You get 7 seven random outputs and then 4 that are derived from other 7 outputs. When 1 and 2 are high then the 1+2 outputs is high. You can get some great rhythmic effects using these in conjunction with the main stepped CV output.

The module comes with the required cable to connect to the main module. The panel is designed to compliment Alan, After Later's micro version of the Turing Machine.

The module comes with a 1 year warranty.

Notes: nRings

This is a new build of a micro version of Rings from Mutable Instruments. MicroRings, also called NanoRings, retains all the same functionality as a full-size Rings module.

The module is fully assembled, tested, and calibrated. Eurorack power cable is included.

These modules use tall bushing potentiometers to offer a more stable feel.

Notes: This is a brand new build of a JakPlugg designed Pachinko, which is a micro version of Mutable Instruments Marbles. It retains all of the functionality of the original but takes up less space (12HP) than the original Marbles (18HP).

The module is fully assembled, tested, and calibrated. The calibration is done with a 6.5 digit multimeter, itself recently calibrated, to ensure you get the highest accuracy from your module.

The panel is a custom black After Later Audio panel that offers metallic gold accents.

The module comes with a power cable and a 1 year warranty.

Notes: This is where Storm and Monsoon meet to create the latest improvements on the original Clouds design. With Typhoon you get all of the features of Storm combined with sliders and layout of Monsoon in 16hp. Typhoon runs the SuperParasites firmware, so no more having to swap between Parasites and Kammerl firmware options. Some of the notable features are:

Dedicated blend controls for Feedback, Panning, Mix, and Reverb (similar to Monsoon)

All eight modes from Parasites and Kammerl

Stereo VCAs

input/output mutes

Exponential and linear pitch controls

Universal CV routing and random CV signals

Comes with an exclusive black and gold panel, power cable and one year warranty.

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

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

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

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

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

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

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

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

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

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

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

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

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

Notes: FONT is a massive sounding liquid filter- designed to bring you powerful basslines, tons of FM modulation and a clean resonance over your audio path.

It features two simultaneous outputs:
2-pole Low Pass
2-pole Band Pass

It can also work as a sine oscillator, tracking 1V/OCT when the resonance is at its maximum level.

FONT can be used to make basslines, acid patterns thanks to its organic and musically sounding resonance.

Ping it to produce percussion sounds such as, bongos, congas or toms.

Applying a pitch envelope, it really shines as a kick-drum machine!

22 mA +12V
25 mA -12V
0 mA 5V
15 mm deep
O 4.60 (10 Votes) Average Rating

Notes: Harness the Sound of Failure with Data Bender.

Data Bender is a circuit bent digital audio buffer. It is inspired by the ways in which audio equipment can fail. The sounds of skipping CDs, software bugs, and defective tape machine playback are all accessible. The 96kHz, 24-bit audio buffer can hold over a minute of stereo audio, providing a sonic canvas capable of infinite surprises and discovery.

Circuit bent digital audio buffer

Skipping CDs, software bugs, old tape machine, scratched records

96kHz sample rate, 24-bit depth for high fidelity audio with over a minute of stereo sampling time

Stereo IO

Tech Specs:

Width: 14HP

Depth: 28mm

Power: 58 mA +12V, 60 mA -12V, 0 mA 5V

Color: Silver

Notes: MMF is an analogue, multimode filter with a 12dB per octave slope. Its sonic character swings all the way from classic low pass to squelchy acid lines. Simultaneous outputs of low pass, high pass, and band pass filter types are provided allowing for many variations of the input signal. Whether you're looking for smooth and creamy, or resonant and wild, MMF can go there.

Notes: The next generation 12 stage, analogue multi tap Phaser, which is a development of, and replacement for, our earlier MegaPhase 12 unit. It includes all the features of the MegaPhase 12 and is also built around the circuitry of the superb sounding EH Smallstone Phaser, which was used to such great effect on synthesisers and string machines by J M Jarre on his early albums. It has the same versatile Stage and Emphasis stage switching, and the same configuration of stereo outputs, where the left channel is taken from the Stage switch, and the Right output from the Emphasis Stage Switch.

New features include independent Level Controls for Input 1 and Input 2, and a Phase "Colour" Control, which can lighten or darken the phasing effect. We have also used much lower noise internal VCA's and low noise audio op-amps along with a four layer PCB design, so that the S/N ratio is improved and the noise floor is considerably reduced compared with the previous MegaPhase 12 phaser. Like its predecessor it occupies 18HP of Eurorack space.

Notes: Module A-183-9 is a simple power supply for up to four devices which can be powered via USB (e.g. keyboards, smartphones). An LED shows is the +5V are present.

The module has no USB function but provides only the +5V supply for USB devices.

A control LED shows if the +5V are present.

Note: The module requires an A-100 case with built in power supply A-100PSU3. Only this A-100 supply has the required +5V available. We do not recommend the usage of an older A-100 case with A-100PSU2 as this would require the +5V adapter A-100AD5 and the max. current would be limited to 100mA.

Notes: Updated version of the excellent Bitbox sampler module offers more powerful sound processing and an improved touch screen. Improved effects and mixing with all the same creative power of the original.

Supplier notes:
Bitbox mk2 delivers powerful sampling and mangling for Eurorack. With this module you can add recording, sample playback, clip launching, slicing, granular sounds and musically intelligent looping capabilities to your Eurorack rig. With a 3.5 inch touchscreen, bitbox mk2 makes easy work of selecting, editing, and tweaking your samples. You can stream large samples of up to 4 GB file size straight from the microSD card. Interact with other musical components via CV and MIDI. Tweak your configurations to get them just right, then save them to multiple presets for future reuse. With the new bitbox mk2 hardware, you can now do more with the new more powerful processor.

Sample Playback
Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes
Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
Inputs and Outputs
Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode- no need to look up CC numbers
Module Features
Use the 3.5? diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

Notes: Test your modules safely without reaching into your case! The TST has two keyed 16-pin headers on the front of the module so you can plug and unplug quickly and easily. Two 16-pin plugs are included to shield the power pins when the module is not in use. It also has LEDs to indicate the power status on each rail.

Please note: Use this module at your own risk. You will be exposing electricity to the front of your modular system. Be careful not to dangle patch-cables, etc. on the exposed pins. This may damage modules and your power supply. Be smart and safe!

Features and Specifications:
Two 16-pin connectors and plugs on the front side of the module
LED indicator for each rail
Module width: 3HP
Module depth: 5mm
Current draw:
+12V: 1mA
-12V: 1mA
+5V: 1mA
Includes keyed power cable, 2.5mm and 3mm screws

Notes: Erica Synths Black Dual VCF is a dual multimode filter with CV control over cutoff and resonance for serious modular patches.

At the core of this VCF is a highly stable, custom multimode VCF chip AS3320 (produced in Riga, btw). This module can be used as two independent VCFs with simultaneous HP, BP and LP outputs, controls can be linked to stereo application and both VCFs can be chained in series or parallel to the summing output for ultimate modulations. Bonus feature - the 16 band spectrum analyser gives you visual feedback on what happens on summing output.

Technical specifications:

Audio output amplitude: 10 Vptp
CV input (full sweep): 10 Vptp
Panel width: 18HP
Module depth: 35mm
Power consumption: 40mA@+12V, 36mA@-12V