Suchergebnisse: Dance Music

Notes: Winnows, a dual VC resonant filter with damping.

Winnows brings radical resonant filtering to the 1U row. Make your basslines growl like it's 1999. Create clean resonant tones and layers, tuned percussion, steep filtered peaks, vowel filters and more. Each filter channel comprises two state variable filter cores, the first producing a 2-Pole band-pass response, with resonance and self-oscillation amounts set by a 3-Pole feedback network. Signals are then routed through a 1-Pole low-pass damping stage to remove harshness if required. This can be routed to the channel output, or switched and routed through a second series of resonant SVF and 1-Pole LPF damping stages. This circuitry is identical per channel.

Features and uses

Steep and spiked or wide and smooth, resonant bandpass filters
Zone in on and reinforce a sound's dominant frequency, create overtones using both channels
Create sharp resonant peaks, dull or remove any harshness with VC damping
Use the resonator as a sound source by shaping and triggering tuned percussion tones or kick drums
Per channel: 2 x VCA based SVF, 2 x 1-pole damping LPF, 1 x 3-Pole resonance core
Identical circuitry per channel, CV and audio jacks are normalled between channels
Combine both channels in series for vowel filter responses and creative filtering

Specifications

Intellijel 1U format
Width 24 HP
Depth 34mm
Power requirements ~90mA +12V/~80mA -12V
Control voltage range 0-8V
Impedance Input 100K / Output 1K

Notes: Rossum Electro-Music Software Architect Bob Bliss (who also, as it happens, fathered E-mu's famed "EOS" Emulator Operating System) has created Panharmonium, a unique music and sound design tool that lets you analyse the spectral content of any audio signal and use that analysis to drive a bank of from 1 to 33 oscillators. Depending on various control settings, Panharmonium can accurately reproduce the input spectrum in real time or modify it in a multitude of wildly creative ways. All with an interface whose immediacy encourages performance and interaction.

Panharmonium input can be anything from a single oscillator to an entire mix (including vocals). From dense, swirling pads and drones that evolve with the input's changing spectrum, to clock-syncable spectral arpeggiation, to as-yet unnamed harmonic effects, Panharmonium opens up an entirely new world of sonic possibilities.

Additionally, Panharmonium can take a snapshot of an instantaneous spectrum and use that as a complex harmonic oscillator, which can then be modified and modulated by all of Panharmonium's other controls.

Panharmonium accomplishes its magic though a combination of functional submodules:

Spectral Analyzer

The Spectral Analyzer provides tools for defining the analysis process.

- The Slice parameter sets the rate at which the incoming audio is transformed to spectral data. It can be set by the Slice and Multiplier controls, the Tap button, or by an external clock signal. Very short slice times result in real-time spectral data, while longer times can create rhythmic spectral patterns.

- The Center Freq and Bandwidth controls (and associated CV inputs and attenuverters) control the range of frequencies to be analysed. The Bandwidth control allows the selection of narrow to wide pass bands on the left side of the pot and narrow to wide notches on the right side of the pot. The ability to sweep the frequency and modify the bandwidth under CV control opens up a wide range of sonic effects.

- The Freeze button lets you freeze the spectral integrator, sustaining the currently analysed spectrum.

Spectral Modifiers

These controls allow you to creatively modify the analysed spectra.

- The Voice parameter lets you select from 1 to 33 oscillators to resynthesize the spectrum.

- The Blur parameter (and associated CV input) is a spectral lag processor that controls how quickly the spectrum can change.

- The Feedback control lets you route the resynthesized audio back into the entire processing chain for subtle or dramatic feedback effects. At its max, the output becomes self-sustaining, even if the input is removed.

Oscillator Bank

The Oscillator Bank resynthesizes the analysed spectra.

- The Waveform parameter selects the oscillators' waveform. In addition to the usual sine, triangle, sawtooth and pulse waveforms, two special crossfading sine and sawtooth waveforms are included.

- The Freq control lets you tune the oscillators over a +/-7 semitone range. The frequency is further controlled by the 1V/Oct input and the FM input and attenuverter.

- The Octave control, not surprisingly, shifts the pitch of the output by octaves.

- The Glide parameter sets the amount of polyphonic glide (i.e., each oscillator has its own glide circuit).

- The Mix control (and associated CV input) sets the balance between the original input audio and the resynthesized audio.

Optional Functions

A number of optional functions can be selected by using the Output Mode and Tap buttons.

- Holding the Output Mode button and adjusting the Slice control enables Drums Mode, which optimizes the spectral analysis for drums and other percussive inputs.

- Holding the Output Mode button and adjusting the Freq control enables Spectral Warping. In contrast to conventional frequency adjustment, where the harmonic relationships between the spectral elements are preserved, Spectral Warping shifts the harmonic elements individually, producing a variety of clangorous, swarming textures.

- Holding the Tap button and adjusting the Freq control quantizes the resulting frequency adjustments to semitones.

Spectra Memories and Presets

Panharmonium provides 12 user Spectra memories and 12 user Presets.

- The Spectra memories let you store up to 12 frozen slices. When selected, a spectrum (up to 33 oscillators wide!) replaces any live input and can have its pitch controlled by the 1V/Oct input and FM controls.

- A Preset is a snapshot of all of the module settings, along with the value of any CVs present at the moment the preset is saved.

Panharmonium is 26HP wide and 25mm deep.

Power requirements (max): 140mA +12V, 30mA -12V. Reverse polarity protected.

Notes: ***B-STOCK: Without original box, product in perfect working order***


Pico BBD is surprisingly great sounding (we were surprised ourselves), full analogue 4092 stage bucket brigade delay module; the smallest BBD in Eurorack. Besides nice and clean flanger and delay effects, at full CW settings of TIME and feedback knobs it can produce extreme sonic artefacts. Tweak knobs and enjoy!

Notes: Following in the tradition of Evolution and Morpheus, LINNAEUS represents yet another Dave Rossum innovation in filter technology.

LINNAEUS is a stereo state variable filter that provides the unique ability to linearly modulate its resonant frequency through zero into negative frequency, while maintaining stability. With extensive voltage control of nearly every parameter, Linnaeus lets you manipulate the filter's natural response curve in new ways, to create both subtle and dramatic timbral effects. And with a "one-knob-per-parameter" interface, LINNAEUS inspires sonic creativity that invites (and rewards) real-time interaction.

LINNAEUS's cutoff/resonant frequency is exponentially voltage controllable from sub-audio to ultrasonic frequencies, while its resonant gain (Q) is exponentially voltage controllable from 0dB to greater than 60dB.

LINNAEUS's channel output response characteristics are independently and continuously variable from Lowpass, through Bandpass, Highpass and Notch, to Low and High Shelving characteristics. Voltage control of the response characteristics are independently selectable for each of the two channels.

The linear thru-zero modulation is provided by an integrated modulation oscillator and/or an External Linear FM modulation input.

The voltage-controllable modulation oscillator can track the filter's exponential frequency or operate independently. The modulation oscillator's output waveform is continuously variable from Off through Sine, Triangle, and Sawtooth, to Square. The modulation oscillator output is summed with the external linear FM input and applied to the modulation index VCA, which controls the linear thru-zero modulation index from zero to 8X. The modulation index is, of course, also voltage controllable.

LINNAEUS features include:

- Ultra-wide frequency range, exponentially voltage-controllable from sub-audio to ultrasonic via precise 1V/OCT and attenuverted CV inputs.

- Thru-zero linear frequency modulation via an internal modulation oscillator and/or an external linear FM input.

- Variable linear modulation index, voltage-controllable via an attenuverted CV input.

- Resonance (Q) exponentially voltage-controllable from 0dB to greater than 60dB via 6dB/V and attenuverted CV inputs.

- Continuously variable response characteristics independently selectable for each of the two channels via individual Response Enable controls. Characteristics include Lowpass (12db/oct and 6db/oct), Bandpass, Highpass (12db/oct and 6db/oct), Notch, and Low and High Shelving.

- Voltage control of response characteristics via an attenuverted CV input. Individual Response CV Enable controls let you independently enable or disable CV control of response for each channel.

- An integrated modulation oscillator with continuously variable waveform from Off through Sine, Triangle, Sawtooth and Square. Its frequency can be exponentially voltage controlled via an attenuverted CV input.

- A Track control that lets the modulation oscillator precisely track the filter's exponential frequency.

- Stereo inputs and outputs. LINNAEUS can process a stereo signal or two independent mono signals. While the two channels share the filter's cutoff/resonant frequency, the filter response characteristics can be independently controlled for each channel.

- The solid, high-quality construction you expect from Rossum Electro-Music.

What's with the egg?

The functional description above describes LINNAEUS as originally conceived and designed by Dave. However, late in the beta testing process, Rossum's tester, Chris Meyer, raised the possibility of alternative behavior that would let LINNAEUS function as a self-contained (i.e., no input required) stereo oscillator and/or FM percussion voice with some really powerful timbral capabilities.

While Rossum were initially hesitant to try to shoehorn the new functions into the existing interface, once Dave had prototyped them, it was clear to us all that they were just too cool not to include. So, Rossum have provided them in the form of alternate firmware accessed by pressing and holding the Egg button.

LINNAEUS is 16HP wide and 25mm deep.

Power requirements (max): 155mA +12V, 36mA -12V. Reverse polarity protected.

Notes: With the MORPHEUS digital filter module, Rossum are finally able to unleash the full power of the 14-pole Z0-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

The MORPHEUS Eurorack module includes over 280 filter configurations, which are called Cubes. Each Cube is composed of up to 8 complex filters that you can picture as being at the corners of a three dimensional cube (hence the name). Morpheus gives you the ability to smoothly interpolate between those 8 filters within the cube's three dimensional space.

Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing in one dimension, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.

With the MORPHEUS filter module, you now have simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you've ever heard before. In stereo.

Like all Rossum Electro-Music digital modules, all parameters are available for adjustment with a single button press. No menu diving.

Morpheus Specifications

Filter cubes: 289
Filters: 1000
Filter sequences: 200
Sequence steps: 20,000 Dynamically Allocated

Inputs: Audio L/R
2x 3.5mm mono socket
100kO Input Impedance

Full Level Frequency CV
1x 3.5mm mono socket
100kO Input Impedance

Attenuverted Frequency CV
1x 3.5mm mono socket
100kO Input Impedance

Attenuverted Morph CV

1x 3.5mm mono socket
100kO Input Impedance

Attenuverted Transform/Distortion CV

1x 3.5mm mono socket
100kO Input Impedance

Filter Sequencer Dec

1x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Filter Sequencer Inc

1x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Filter Sequencer Reset

1x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Outputs

Audio L/R
2x 3.5mm mono socket
1kO Impedance

Power requirements
+/-12V via 16-pin, Doepfer-style connector

Current draw
135mA +12V, 25mA -12V (maximum)

Dimensions
18HP (W); Panel to power connector (with connector plugged in) 25mm (D)

Supplied accessories
1x 16-pin, Doepfer-style cable
4x M3 screws
4x M2.5 screws
4x Nylon washers
1x Quickstart Guide

Notes: Sampler legend Dave Rossum's ultra-powerful Assimil8or module gets a black makeover. Eight-channel multi-timbral design with extensive CV control and clever sound manipulation options.

Supplier's Notes:
Designed to provide a powerful, flexible sampling engine for modular synthesis, the ASSIMIL8OR Multi-Timbral Phase Modulation Sampler module is the latest incarnation of Dave Rossum's decades-long pioneering of affordable professional sampling technology.

ASSIMIL8OR provides eight independent channels of sampling with sound quality that can range from extremely hi-fi to low fi, all with extensive real-time CV control.

Assimil8or Specifications

Sample memory
2,300 seconds at 48kHz mono, freely allocatable between the 8 channels

Sample rates
48kHZ, 96kHZ, 192kHZ

A/D & D/A
24 Bits

Internal processing
32 Bits

Latency
100 microseconds at the Mix Outputs
180 microseconds at the Individual Outputs

Inputs

Sample L/R
2x 3.5mm mono socket
100kO Input Impedance

Gate/Trigger 1-8
8x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Control Voltage A 1-8
8x 3.5mm mono socket
100kO Input Impedance
96 kHz sample rate
Anti-alias filtered to 20kHz bandwidth

Control Voltage B&C 1-8
16x 3.5mm mono socket
100kO Input Impedance
48 kHz sample rate
No anti-alias filtering

Outputs

Mix Outputs L/R
2x 3.5mm mono socket
1kO Impedance

Individual Outputs
8x 3.5mm mono socket
1kO Impedance

Power requirements: +/-12V via 16-pin, Doepfer-style connector
Current draw: 220mA +12V, 30mA -12V
Dimensions: 28HP (W); Panel to power connector (with connector plugged in) 25mm (D)

Supplied accessories:
1x Micro SD card
1x 16-pin, Doepfer-style cable
4x M3 screws
4x M2.5 screws
4x Nylon washers
1x Quickstart Guide

Notes: Winnows, a dual VC resonant filter with damping.

Winnows brings radical resonant filtering to the 1U row. Make your basslines growl like it's 1999. Create clean resonant tones and layers, tuned percussion, steep filtered peaks, vowel filters and more. Each filter channel comprises two state variable filter cores, the first producing a 2-Pole band-pass response, with resonance and self-oscillation amounts set by a 3-Pole feedback network. Signals are then routed through a 1-Pole low-pass damping stage to remove harshness if required. This can be routed to the channel output, or switched and routed through a second series of resonant SVF and 1-Pole LPF damping stages. This circuitry is identical per channel.

Features and uses

Steep and spiked or wide and smooth, resonant bandpass filters
Zone in on and reinforce a sound's dominant frequency, create overtones using both channels
Create sharp resonant peaks, dull or remove any harshness with VC damping
Use the resonator as a sound source by shaping and triggering tuned percussion tones or kick drums
Per channel: 2 x VCA based SVF, 2 x 1-pole damping LPF, 1 x 3-Pole resonance core
Identical circuitry per channel, CV and audio jacks are normalled between channels
Combine both channels in series for vowel filter responses and creative filtering

Specifications

Intellijel 1U format
Width 24 HP
Depth 34mm
Power requirements ~90mA +12V/~80mA -12V
Control voltage range 0-8V
Impedance Input 100K / Output 1K

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 attached cable to connect to the Assimil8or CPU behind the panel.

LOCUTUS is 6 HP wide and 25mm deep.

MIDI sources connected to LOCUTUS’ MIDI IN port can be used to modulate Assimil8or parameters using velocity, channel pressure, and MIDI CC (Continuous Controller) messages, select presets using MIDI Program Change (PC) messages, and/or optionally trigger Assimil8or channels with MIDI notes using user-selectable assignment modes. MIDI Setups can be configured with assignment modes including Dynamic, which intelligently cycles through Assimil8or’s channels to easily create polyphonic patches, Multi assignment modes ideal for playing multitimbral Assimil8or patches with MIDI sequencers, SP-1200 modes designed especially for triggering Assimil8or with SP-1200’s MIDI output, and more.

Locutus’ MIDI OUT port can be used to optionally transmit program messages when presets are changed and/or to send MIDI CC data based on the analog control voltages patched to Assimil8or’s 24 CV inputs. Using the new CV-to-MIDI options, Assimil8or and Locutus can be configured to control and modulate MIDI equipment using a eurorack modular system.

Notes: 'Pamela's PRO Workout' is a compact programmable clocked modulation source for your Eurorack modular system. It provides 8 highly editable outputs producing various control voltage signals correlated and synced to a BPM based master clock.

Each output can provide everything from simple clocked triggers, complex rhythmic waveforms, quantised melodic patterns to random chaos with direct and assignable CV control over numerous parameters. These features together with a quick and easy to use interface provide almost limitless synced modulation possibilities in a tiny space.

Building on the original 'Pamela's Workout' & 'Pamela's NEW Workout' the evolved 'PRO' Pam maintains the precursor's form factor and intuitive workflow but improves and adds many new features with upgraded hardware, more CV inputs, a new full colour hi res display and rewritten software adding many new enhancements like micro grid timings and cross output modulations.

Through optional expander modules more CV input and outputs can be added with support for external non euro equipment through Midi and Din Sync outputs. Please enjoy your next generation PRO workout!

Size: 8HP
Power: +12v 60ma / -12v 10ma
Depth: 32mm (approx with power header)
Outputs: 0-5v buffered low impedance. 12 bit res. 3.8khz max update freq.
Inputs: CV 0v-5v / Clock, Run - rising edge 700mV min.

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

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

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

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

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

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

Notes: The Dual Stereo Gate (DXG) music synthesizer module is a Dual Stereo Low Pass Gate and Mixer. It follows in the footsteps of the QMMG, Optomix, RxMx, DynaMix, and LxD. Unlike its predecessors, the DXG is specifically oriented around mixing stereo signals, making it an important addition to any system containing modules like XPO, QPAS, Morphagene, Mimeophon, and other stereo modules by Make Noise or others.

Unique to the DXG is a new low pass gate circuit that does not use vactrols. This circuit is 100% analogue and its response was arrived at after many months tailoring it to meet or exceed the expectations that have been set by all the vactrol low pass gates that Make Noise has created over the years.

In the past, Make Noise produced the Dynamix module and Dynamics circuit in the 0-COAST, both of which are vactrolless LPGs; however, the DXG is a completely new approach which better implements the gentle single pole filtering of a low pass gate, while also emulating the slow decay and memory of the vactrol based low pass gate. This new circuit makes possible the consistency of response necessary for versatile stereo use, while also keeping the module small and affordable so that it can be a key part of just about any modular system.

As on all of Make Noise's low pass gates, the DXG's Control parameter is used to set both the amplitude and the frequency content of the sound that passes through it. The control parameter tends to open faster than it closes, imparting a subtle decay phase onto any envelope shape that is used to modulate it.

Unlike previous low pass gates made by Make Noise, all the DXG's inputs and outputs are stereo. Each set of inputs is normalled so that the left input can be used for a mono signal, sending a copy to both left and right outputs. The Auxiliary inputs are also a stereo pair with mono normalization. These normalizations allow for the DXG to be used as a simple three channel stereo mixer, with one or two of the channels additionally being used for dynamics control and note event generation. The Aux inputs can be used to chain together larger decentralized mixes using additional DXG modules, or X-PAN, Optomix, modDemix etc.

Features

- Make Noise's first Stereo Low Pass Gate

- Vactrol-free design for classic Low Pass Gate sounds, but with the balance and consistency needed for true Stereo

- Fully Stereo i/o for easy integration into a Stereo-equipped modular synthesizer

- All Left inputs normalled for easy use with Mono signals

- STRIKE Input allows use of Gate signal to trigger Low Pass Gate circuit, creating "plucking" or "pinging" sound from any Gate

- Summing stage with Stereo AUXiliary IN allows for chaining of multiple units, creating larger mixes

- Part of a decentralized mix console integrated throughout the system along with X-PAN, Optomix, XOH, etc.

- Pairs well with XPO, QPAS, Morphagene, Mimeophon, Spectraphon etc.

Width: 8hp
Power:
74mA @ +12V
86mA @ -12V
Module Depth (incl power cable): 43mm

Notes: Module A-124 is a special 12dB multimode filter using the "strange" filter circuit of the "EDP Wasp" (an analog synthesizer with black/yellow case built end of the seventies, manufactured by the UK company "Electronic Dream Plant" with Chris Huggett und Adrian Wagner). This design "abuses" digital inverters as analog operational amplifiers leading to distortions and other "dirty" effects that generate the specific sound of this filter. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self-oscillation in contrast to most of the other filters of the A-100 system.

Inputs: Audio In, CV In (2x)
Outputs: Bandpass Out, Low/Highpass Mix-Out
Controls: Audio and CV attenuator, Frequency, Resonance, LP/HP Mix

The function and operation of this module is very similar to the module SEM VCF A-106-5. But the sound of both filters is very different! The only functional difference is the position of the sockets and controls, and the function of the controls CV2 (A-124: normal attenuator, A-106-5: polarizer).

- 3U Eurorack module, 8HP wide, 45mm deep
- Current draw 30mA

Notes: Neatly implemented performance mixer with four stereo channels. CV control of level and pan, two pre- or post-fader stereo send busses, quiet mutes and cueing via a front-panel headphone socket.

Supplier's Notes:
Four channel stereo production mixer

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.

Mains Section

Two stereo sends outputs
Two stereo returns - which can also be used to directly insert into the main mix.
Main stereo outputs - level controlled with the slider and stereo VU meter.
Main mono output - summed output of the main L&R. If you are after an 8ch mono mix, you can use each channel in stereo mode, use the level control to control the level and then pan control to control the levels of the two channels.

Cue Section

1/4" Headphone jack along with level control
Fader control to listen to the main mix, cue mix, or an adjustable mix of the two.
Expandable

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: 24hp
12V: 260mA
-12V: 225mA

Notes: The Rene music synthesizer module is a powerful three-dimensional prism of composition. It is the world's only 3D Cartesian Music Sequencer. Named for the French philosopher & mathematician Rene Descartes, it uses the Cartesian coordinate system to unlock the analogue step sequencer from the shackles of linearity. The original Rene was a one-channel, two-dimensional Cartesian sequencer with limited memory, this new Rene is a three-channel, three-dimensional Cartesian sequencer with memory for up to 64 complete States. Considering the multiple channels and FUN programming options per multiple axis, Rene has become an n-dimensional matrix or tesseract of synthesizer sequencing.

Notes: The MFX is a compact 6HP Eurorack stereo digital audio multi effects processor.

It offers 14 different full featured effects programs plus a number of metering utilities.
Inspired by ALM's favourite classic hardware effects processors, the MFX incorporates DSP technologies from the dawn of digital effects in the 70s to the present day. This combines with ALM character and uniqueness to form a highly useful, fun and practical Eurorack effects module.

Reshape sounds with the distortion and dynamics engines. Bend time, space and pitch with multiple feature rich reverb and delay engines. Modulate signals with the flexible panner, frequency shifter, and range of ensemble effects. Fracture sounds with the one of a kind granular and glitch engines. Check signals and tune oscillators with various utilities.

The MFX user interface is designed to be familiar, quick and easy to use. Each program contains a wide range of controllable parameters both directly editable or freely assigned to CV or clocked control. Additionally, each program includes factory presets as well as the ability to store and recall user presets. All states are preserved across power cycles.

Effect Program List

Digi-PCM Echo
Feature rich digital delay taking inspiration from early prime time rack delay units with added modern features.

Tape-Tech Echo
Tape style delay with a digital pitch shifter bolted on.

Crumbular Echo
More experimental granular style echo.

Ursa Minor Echoverb
Emulation of the classic Ursa Major 'Space station' providing more delays and reverb type effects.

Pocket PL8 Reverb
Emulation of very early digital style reverbs with a dense metallic sound.

Almicon Reverb
Emulation of 80s studio style reverb great for bright rooms and vast synthetic spaces.

Quaidra Reverb
Emulation of a popular 90s rack reverb. Excels at creating airy, atmospheric reverbs.

TY-50 Compressor
Flexible modern compressor great for adding punch, smoothing transients or as a clean mix bus compressor.

Transient Shaper
Fast acting dynamics processor for reshaping the attack and release envelope of any sound.

TH-30 Distortion
A versatile distortion program with distortion types ranging from analog style saturation to intense digital wavefolding.

2051 Bit Corrupter
Real-time audio buffer designed to imitate malfunctioning digital audio equipment.

Modulating Panner
Clock-syncable mono or stereo auto-pan with an additional scan mode that cross fades between 2 input signals. Use for VCA, Panner, crossfader, tremolo type effects.

Ring + Freq Modulator
Pair of classic modulation effects in stereo, tailored towards otherworldly and dissonant sounds.

Ensembles Ensemble
Simulation of classic chorus and ensemble effects. An added digital pitch shifter takes the effect beyond traditional chorus circuits.

Utilities
Simple oscilloscope and VCO tuner.

Technical Specifications

Supply: +12V 50mA Max / -12v 15mA
Size: 6 HP
Depth: 32mm
16 Bit / 44.1Khz Stereo processing

Notes: Dual 1 x 3 buffered mult (one audio or cv signal in with multiple buffered outputs).

The output of the first mult is normalled to the input of the second mult to create a 1×6 buffered mult

Notes: The shorter and wider brother to the popular Triatt module!

The four handy knobs can act as active attenuators (unipolar) or attenuverters (bipolar) depending on the setting of the two-position switches above each one.

Each input is normalled to a precision +5V DC voltage source. With nothing plugged into the jacks, each knob controls a voltage range of 0 to +5 v or -5 to +5 v depending on the position of the mode switch.

- 2 modes for each channel
- 5v normalled to each input
- With external signals it acts as active/buffered attenuator/attenuverter/mixer
- Each output normalled to mix into the adjacent channel on the right making it possible to do sub mixes in groups of 2, 3 or all four channels.

Notes: After Later's redesigned take on the classic Mutable Instruments Rings module offers all the distinctive resonant synth sounds you'd expect, from strings to percussion. Great value.

Supplier notes:
This is an exact hardware replica of the Mutable Instruments Rings module.

Notes: The MCFx2 is ALM's state variable 'MCF' filter made double. It features 2 identical classic analog 3 pole state variable filter cores each with Low, High and Band Pass (or Notch) outputs. Direct and voltage control is provided for both filter cut offs and resonance. Switches allow the filters to function as one, with the 'Feed' switch internally routing audio from one filter to the other in series and the 'Link' switch linking the cut off controls for both filter cores. MCFx2 expands on the great sounding MCF filter to offer both serial and parallel functionality for stereo operation, dual peak, tighter slopes and other complex filtering set ups.

FREQUENCY CONTROLS
Sets the base frequency for the filter cut offs. The v/oct and frequency inputs are added to these.

RESONANCE CONTROL
Sets the level of resonant peaks atop the cut off frequencies. The resonance can get particularly aggressive going into self oscillation with the control past 12 o'clock.

OUTPUTS
Each filter output is 3 pole with an 18dB/oct slope.
Low - low pass filter outputs. Passes frequencies below the cut off.
High - high pass filter outputs. Passes frequencies above the cut off.
BP/Notch - band pass or notch filter outputs. Jumpers on the rear of the module select one or the other for each filter.
Passes frequencies within (BP) or outside (Notch) a narrow region around cut off frequency.

LINK BUTTON
Links the left cut off to parallel control both filters. The right controls will now set the max range of the right core. Both filters will track together when the right cut off is fully clockwise.

FEED BUTTON
Routes the output of the left filter core to the input of the right (unless patched), with the desired output filter type selected via jumper at the rear of the module.

FREQ INPUTS AND ATTENUATORS
Control voltage inputs here are combined with knob offsets to set the final cut off. Attenuversion control allows for both attenuation and inversion of the CV. Expects approx. -5V - 5V input.

RES INPUTS AND ATTENUATORS
Attenuated control voltage inputs here are combined with knob offsets to set the final resonance.
Expects approx. -5V - 5V input.

AUDIO INPUT 'In'
Signal inputs to the filter cores for processing.
Input sources may need to be attenuated, filter will drive from hotter input levels.
The Left input is normalised to the right (unless 'Feed' is enabled).

Notes: PRO Expanders:

Extra Pam Outputs.

ALM034-EX

PPEXP1 & PPEXP2 are two expander modules for Pamela's PRO Workout that both offer additional dedicated fixed clock, Din Sync & MIDI clock outputs.

Extend Pam as a master to clock external gear with super solid dedicated MIDI & Din Sync clock outputs. The Din Sync clock (x24) and Run outputs can also be patched into a 2nd Pam to easily sync it.

Use the extra fixed clocked gate outputs to free up Pam's main outputs for unique sequencing or complex modulation duties.

Connects directly to and is powered by the 'MIDI-EX' expander header on rear of Pamela's PRO Workout.

Only a single output expander is supported at any time but either can be used alongside an AXON-1 CV input expander.

A MIDI adapter cable and a Din Sync adapter cable are both available for connecting to 5 pin 'Din' type connectors. The PPEXP 1 includes a MIDI Din adapter cable.

Technical Specifications

Power: Additional approx +12V 40mA (PPEXP1) / 20mA (PPEXP2)
Size: 4HP & 2HP
Depth: 32mm

Notes: Module A-151 (Quad Sequential Switch) is like an electronic four-position rotary switch.

It includes trigger and reset inputs, four in / outputs, and a common out / input. Each time a pulse is received at the trigger input socket, the common out / input is connected to the next in / output. After the fourth in / output, the next trigger makes it step back to the first again, and so on. A positive pulse at the reset input switches the out / input immediately back to the first in / output (see Fig. 1). Voltages in the range -8V...+8V at the O/I resp. I/O sockets can be processed by the module.

Four LEDs indicate the active in / output (i.e. the on that is connected to the out / input at any particular time).

Notes: Successor to the excellent Metropolis, the Metropolix is a performance-focussed step sequencer with some really neat features, including modulation and sub-sequences in Loopy mode.

Supplier's Notes:
The Intellijel Metropolix is a unique and powerful Eurorack format musical sequencer. With an abundance of hands-on, tactile controls and a wealth of modulation possibilities (both internal and external) you can quickly and easily create infectiously musical sequences that are never boring. Even the simplest riff can be brought to life with seemingly endless options to create variations or real-time manipulations. Equally at home in the studio or a live improvised performance, the Metropolix is sure to become a staple source of fresh ideas and killer riffs in your creative process.

Width: 34HP
Depth: 25mm
Power: 95mA @ +12V 10mA @ -12V

On first blush, it appears to be a simple 8-stage sequencer - but there is far more functionality than first meets the eye:

There are two tracks (TRK 1 and TRK 2) that are variants of the single master pitch/gate sequencer, which is programmed via the PITCH sliders, PULSE COUNT and GATE TYPE switches. Each track interprets the master sequence in a variety of ways - creating complementary sequence variations that enable you to generate counterpoint, polyrhythms, and all manner of sonic movement (both subtle and extreme). Each of these tracks has its own playback ORDER, sequence LENgth, clock DIVision, SWING amount, SLIDE time, and track GATE lengths. Other track-based sequence variables are accessible from the TRACK MENU, and include Pitch Slider inversion; sequence note range; track transposition; and more. In addition, Tracks 1 & 2 both have multiple lanes of per-stage playback parameters, including: GATE override; PITCH override; RATCHet count; PROBability of playback; ACCUMulating transposition, and a dedicated CV lane. Each stage also has a SKIP feature, and a pitch SLIDE option.

8 separate and individual MODulation lanes are accessed via the MOD button. Each MOD lane has 8-stages of modulation values and its own playback ORDER, LENgth, and clock DIVision; and each lane is routable to one of Metropolix' two assignable outputs or to dozens of internal destinations, allowing for some sophisticated and powerful self-modulation.

A trio of AUX inputs allows for external modulation of user-assignable sequencer parameters for even greater variation, while two assignable CTRL knobs give you direct access to the parameters you want to adjust most frequently during a performance. With dedicated Pitch/Gate outputs for both Track 1 and Track 2; two totally user-assignable outputs (A and B); and internal MOD routing, Metropolix features a wealth of patching opportunities.

Metropolix also features a Loopy mode, allowing you to instantly play back short sub-sequences, or even "play" the stage buttons directly (like a 'keyboard').

Metropolix stores up to 64 preset configurations (in 8 banks of 8 presets), and all live settings are stored in EPROM, ensuring that your Metropolix will always power up exactly as you left it - even if you haven't saved them to a preset. By default presets can change all the structural (menu-based) elements of your sequencer without overwriting the front panel controls, but full recall is also available.

The operation of the Metropolix is optimized for live performance and jamming, with quick access to all the most important performance parameters, and the ability to greatly affect your sequences with a single slider or switch.

Notes: 1U version of Happy Nerding's effects module, offering a total of 32 effects, with user-storable presets and CV control. Great value in a convenient package.

Supplier's Notes:
32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analogue 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 effects in any order.

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.

By default it runs on 32.77 kHz and, if sample rate reduction assign is used, this sample rate can be decreased down to 2000 Hz or brought up to 48 kHz.

Dimensions

24 HP
40 mm deep
Module is a 1U tile in Intellijel format

Current Draw

80 mA +12V
30 mA -12V

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

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

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

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

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

Notes: 'Tangle Quartet' is a high quality quad linear voltage controlled amplifier (VCA) providing individual level control of 4 signal inputs with both individual outputs and a combined 'mix' output (for non patched outputs) . Control signal inputs and associated attenuation controls allow for voltage control of signal levels. Control inputs are normalised to 5v thus providing manual mix control in the absence of control signals.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~80ma
Size: 8 HP
Depth: 32mm (including power header)

Notes: Module A-119 (External Input / Envelope Follower) is designed to allow external audio signals to be integrated into the System A-100. It comprises a pre-amp, envelope follower, and comparator.

The pre-amp has two inputs: an unbalanced input for line level signals, with a gain factor of from 0 to 20, and a balanced input with a gain factor of from 0 to 500, for insertion of low level signals, for instance from a microphone or electric guitar.

The Envelope Follower reads the signal level of the input, and puts out a proportional voltage as an envelope at its own output.

The comparator generates a gate signal whenever the input goes above an adjustable trigger threshold.

Three LED's help you keep track of overload, the envelope, and the gate signal.

Notes: A-138s is a simple but useful 4-in-2 mixing tool. It has four inputs available. Each input is equipped with an attenuator (Level) and a panning control that is used to distribute the signal to the left and right output. Beyond stereo mixing it is equally suited to create variable parallel routings. For example: Any of the four inputs may be routed in variable intensity to feed two filters.

You may regard the A-138s as a smaller version of the A-138m Matrix Mixer.

Inputs and outputs are DC coupled, i.e. the module can be used for the mixing of control signals too.

- 3U Eurorack module, 8 HP wide, 30 mm in depth
- Power consumption: 10 mA at +12 V and 10 mA at -12 V

Notes: The Quad VCA is a compact and feature packed module that is sure to find its way it almost all of your patches. In addition to being used for standard VCA duties it can also be used as a mixer and signal booster.

Features:

- Manual LEVEL control per VCA which is convenient when using the module as a mixer or for biasing when CV modulating the VCA with a bipolar LFO.
- Dedicated CV attenuators with dual colour LEDs for monitoring bipolar CV signals.
- Continuously adjustable response from linear to exponential per VCA.
- Each CV input is normalled to the adjacent one for cascaded control.
- Each output is normalled to the mix input of the adjacent one which allows you to use adjacent sets as submixes or the fourth output can be used as a master mix output when none of the other outputs are patched.
- Each VCA has a boost switch that increases the output level by approximately +6dB (double).

Notes: Fully redesigned from the original Cosmix, the Cosmix Pro is an eight-channel mixer intended to work nicely for performance as well as production. Suitable for line-level stereo signals as well as Eurorack levels.

Supplier's Notes:
A completely new design, with a lot of attention to sound quality, with a clean, low noise signal path, and lots of headroom.

It features the same amount of channels as the previous Cosmix, 4x mono in, and 2x stereo in.

There's one mono aux bus, and an additional true stereo AUX for all channels, with a dedicated mono and stereo return.

Each channel has a pan pot, a big push button for clickless muting, and a dedicated LED level meter to visualize channel output level.

The mono channels come with a handy low cut switch. (-3dB @80Hz / -6dB @ 45Hz)

The stereo channels have an optional +18dB gain, allowing you to easily mix in line level external gear.

The two stereo channels also have a CV input for voltage controlled panning.

There are connectors on the back for daisy chaining, or for connecting to future expanders/other mixer units.

High quality aluminium panels, available in black or silver.

The older model Cosmix is discontinued until further notice, since the parts for the drive circuit are unobtainium.

That's also the reason there is no dedicated drive circuitry in the new model.

Technical specs
22HP, 20mm deep.
+12v: 170mA, -12v 170mA

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

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

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

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

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

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

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

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

Notes: The ‘Pip Slope’ (rev II) is a compact envelope and function generator. It supports both Attack/Decay and Attack/Sustain/Decay type envelopes with both direct and voltage control of Attack and Decay times. Envelope shapes can be morphed between exponential, linear and logarithmic type slopes. Envelopes can be made to loop, repeating infinitely or decreasing with time or amplitude for echo and bouncing ball type effects. An ‘End of Cycle’ trigger output further extends the envelopes functionality for both clocking and burst or fill type effects.

The improved Pip Slope adds a number of new features and updates over the original Pip whilst keeping the same size. Improvements include increased output resolution, finer control of fast envelopes, a new morphing shape control, switchable 5v or 8v maximum envelope level, additional loop modes and an additional trigger output.

Features:
Compact envelope and function generator in 4HP.
Trigger and gate inputs.
Voltage and direct control of attack and release times.
Snappy or super long envelope times – ranging approx 1ms to 7 minutes per stage.
Optional self looping ability with 3 different loop modes: Decreasing amplitude, decreasing time, and regular loop.
Shape control that morphs the envelope shape from logarithmic to linear to exponential curves.
End of Slope trigger output that fires a trigger at the end the envelope or loop cycle.
Selectable 5v or 8v max envelope level output.
Reverse polarity protection.
Skiff friendly.
Designed and Made in the UK.

Technical Specifications
Supply: +12V 30mA / -12V 10mA
Size: 4HP
Depth: 38mm

Notes: Seriously potent polyphonic voice built around 16 sine-based oscillators. Capable of a huge range of tones thanks to FM, phase distortion and wavefolding. Another cracker from a consistently reliable brand.

Supplier's 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.

30 factory-programmed, user-writeable scales organized in three groups:
12TET: all notes quantized to equal temperament, repeating over octaves
Octave: unquantized notes, repeating over octaves
Free: unquantized notes, repeating over the interval between the lowest and highest note

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: 3xMIA is a 6-channel attenuverting mixer/offset/scale/polarizer.

3 blocks of 2-channel attenuverting mixers, using dual concentric pots. Each channel can be switched to mix with the subsequent channel, allowing for 2-2-2, 4-2, 6 mix configurations.

With nothing plugged into an input, an offset is normalled to that channel. The inner knobs control the A inputs, while the outer knobs control the B inputs.

DC coupled, so it can be used for audio, CV, or both at the same time.

80 mA +12V
80 mA -12V
35 mm Depth
6 HP wide

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

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: Befaco's new Output Module is designed to be the master output for your modular system, providing an extra Cue Input to monitor any signal.

Left IN is routed to both channels when no Right signal is present. Both Outputs are TRS balanced.

A Headphones out is available. You can route Headphone OUT to the main out or an independent signal with CUE switch. Like this you can either pre-listen your sounds with the CUE Input or listen to your main out without disturbing your neighbours!

Level LEDs are available to monitor levels of each signal on the module.

Notes: Zadar is a powerful, four-channel envelope, modulation, and transient generator, in a compact yet very complete, feature-rich package. It is capable of synthesising a vast palette of envelope shapes starting from hundreds of shapes stored in the memory. These starting shapes are not mere wavetables, but flexible vectors that can be stretched (from a fraction of a millisecond to half an hour), flipped, warped, distorted, delayed, shuffled, repeated, and amplitude modulated in real time. A set of freely assignable CV inputs allows for external control of most parameters. Each channel can work independently or combined with other channels within one of the chaining and looping algorithms.

Operating Zadar is quick and immediate, thanks to its accessible interface and crisp OLED display. The main screen displays all parameters together with the currently selected shape. Entering the simple 3-page menu is needed only for advanced settings.

Notes: Sometimes your ears are not enough and you really need to see the sounds and control voltages you are generating. Zeroscope's two channel design lets you display and compare both control voltages and audio. It's a good old fashioned sci-fi light show!

The Zeroscope 1U is an adaptation of the excellent 3U Zeroscope by VPME.DE.

Three Modes Packed Into 1U:

- Scope: Standard graphical display, with time displayed on the X-axis and voltage displayed on the Y-axis.
- X-Y: Alternate graphical display with CH 1 driving the X-axis and CH 2 driving the Y-axis.
- Tune: Alphanumerical tuning display, which you can configure to show either Hz values or note names.

The Scope displays have adjustable display offset for each channel and an adjustable trigger threshold, while the tuner has options for reference pitch and average update speed.
Ins & Outs

The inputs are DC coupled and accept signals between -10V and +10V. The Signal on the input is normalled to the output below; this allows you to monitor or tune a signal without a mult or re-patching.

Notes: Samara is a "Swiss Army Knife" type of module, intended to serve the most common voltage and audio signal processing purposes such as attenuation, offsetting, mixing, inverting, and even basic waveshaping. Samara features four channels, each with two inputs and an attenuator, additional switchable offset generators, four voltage level and polarity indicators, two adders with switchable scale, and a precision four-channel processor that selects minimum and maximum voltage.

Notes: Freaky stereo digital delay from the Eurorack gods at Make Noise. Typically creative stuff, packed full of interesting features for creating complex echoes, modulating sounds and generating loops.

Supplier notes:
The Mimeophon music synthesiser module is a stereo, multi-zone colour audio repeater by Make Noise and soundhack, coded by Tom Erbe.

The Mimeophon (from Greek mimeo (repeat/copy) and phon (sound)) is a modern take on various historical sound copying, echo and repeating devices. It allows for Stereo modulations of Time, Space and Timbre of Mono or Stereo sound sources. The Mimeophon is capable of modulating and morphing time scales of repeated sound from micro-sound to note to phrase length while also colouring and spatializing the repeats.

Notes: Immense power in this multi-featured sequencer from one of our favourite brands. Four channels of 64-step sequences with advanced options including probability, quantising and randomisation.

Supplier's Notes:
The Erica Synths Black Sequencer takes classical modular sequencing to the next level by adding tons of features required for contemporary modular synthesizers.

The Black Sequencer features 4 channels with CV, gate and modulation outputs, up to 64 step sequences that can be chained into songs, independent track time divisions, multiplications and lengths. It includes a built-in quantizer, LFOs, envelope generators, parameter randomization, a MIDI in/out and many other features essential for composing and performing electronic and experimental music. Even though it provides many programmable parameters per step, it's intuitive, easy and straightforward to use, and could well become a master controller for many modular setups.

Black Sequencer firmware 1.04 is now available!

It adds output quantiser which can quantise track outputs in real time or rewrite notes in the sequence. Update also adds new track and synced LFO time divisions.

Technical specifications:

Power consumption: +145mA, -25mA
Module width: 42HP
Module depth: 25mm

Notes: Tune is a multi-scale pitch quantizer. It features 11 scales ranging from chromatic to octatonic with everything in between. In addition, the bias control allows the user to transpose the melody to a different octave or starting note.

This functionality opens up every musical mode for each of its 11 scales and provides a performable control for transforming melodies on the fly.

Notes: Those, who own Moog Mother 32 know, that it requires -5V - +5V on 1V/oct input to operate in full range, while the eurorack standard is 0V - +10V. So, to control Moog Mother 32 from a eurorack sequencer you need to bias a sequencer output for 5 volts down. And vice versa, Moog Mother 32 sequencer outputs -5V - +5V on 1V/oct output, and, if you wish to control some eurorack VCO from Moog Mother 32, you need to bias it 5 volts up. This is exactly what MSCALE does: it has two sections, upper one adds 5V to the input voltage, other subtracts 5V form the input voltage.

Of course, the module is not limited for use with Moog Mother 32 only. You can use it as a regular eurorack precision voltage scaler.

Features:
Precision scaler to adapt Moog Mother 32 1V/oct to
Moog to eurorack section
Eurorack to Moog section
High precision, high temperature stability
Skiff friendly, compact design

Dimensions
3 HP
25 mm deep

Current Draw
6 mA +12V
6 mA -12V

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: A compact Voltage Controlled Oscillator designed for generating SINE waves, Variable wave-SHAPEs, SUB-Octaves, Oscillator SYNC and Linear FM in the analog domain.

The Sub-Timbral Oscillator is the more subtle and melodic friend to the DPO's complex harmonic lattice.

Notes: 'O/A/x2' is a dual channel attenuverter with each channel also including a bipolar voltage offset and LED monitoring. The module is primarily intended for fine grain flexible 'editing' of control signals (i.e changing the phase, level and DC offset of an LFO signal) but also has uses with audio signals such as attenuation, inversion and mixing.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~50ma
Size: 4 HP
Depth: 32mm (including power header)

Notes: Module A-160-2 is an enhanced version of the standard clock divider A-160. The module is a frequency divider for clock/trigger/gate signals, designed to be a source of lower frequencies, particularly for rhythm uses. The Clock input will take any digital signal from, eg. LFO, MIDI sync, or the gate from a MIDI-CV interface. At the outputs, you have access to three sets of seven different sub-divided clock signals, from half the clock frequency down to 1/128. The low/high levels of the output signals are 0V and about +10V.

The A-160-2 also has a reset input. Whenever a reset signal is sensed, all outputs are set to certain levels which depend upon the selected mode.

These are the most important features of the module:

Three different sets of dividing factors, selected by a three-position switch at the front panel:
- Power of two: 2, 4, 8, 16, 32, 64, 128
- Prime numbers: 2, 3, 5, 7, 11, 13, 17
- Integer: 2, 3, 4, 5, 6, 7, 8

Two output modes, selected by a two-position switch at the front panel:
- Gate mode: outputs act like the outputs of typical binary dividers
- Trigger mode: in this mode the outputs are AND-wired with the clock signal (i.e. the clock pulsewidth affects the pulsewidth of the outputs)
- Clock edge type selected by a jumper on the pc board:
- Positive: the rising edge of the clock signal triggers the state change of the outputs
- Negative: the falling edge of the clock signal triggers the state change of the outputs

Reset behaviour by two jumpers on the pc board:
- Level triggered: the level at the Reset input triggers the Reset
- Edge triggered: the edge of the signal at the Reset input triggers the Reset
- Positive: a high level (> 2.5V) or the rising edge at the Reset input triggers the Reset
- Negative: a low level (< 1 V) or the falling edge at the Reset input triggers the Reset

Output polarity selected by a jumper on the pc board:
- Positive: non-inverted outputs
- Negative: all seven outputs are inverted

Width: 4HP / 20mm
Depth: 35mm (Measured from the rear side of the front panel)
Current: +12V: +50mA, -12V: -0mA

Notes: Tallin is a dual voltage controlled amplifier (VCA) with overdrive, offering some unusual control features and a range of attractive tonal characteristics. Each of the two identical channels offers two simultaneously available inputs for voltage control over signal attenuation or gain, with linear and exponential response to CV. Volume control knobs offer manual gain settings ranging from fully closed (-80dB) up to +18dB. A colour LED indicator displays output signal levels. A soft-clip circuit avoids harsh clipping distortion, while a switchable overdrive circuit offers two carefully crafted distortion responses, simulating the sound of classic tube amplifiers.

Since both CV inputs are simultaneously active, they can be jointly exploited within patches featuring more complex volume control that otherwise would require using two traditional VCAs in series. As the signal path is DC-coupled, Tallin can also be used for handling the control voltages.