Each channel has an output and an inverted output that can be attenuated with the Level knob.
Additionally there is a mix of channel A and channel B at the output labelled "A+B" while "A-B" carries the mix of channel A and the inverted signal of channel B, which is nice for processing CVs as well as cancel out audio content to achieve different filter characteristics.
If nothing is patched in an input the module can generate +5V and -5V (With nothing patched in both inputs output A+B can carry up to 10V)
Connections per unit:
Each section of this Tile has an input and three buffered outputs on top - a classic buffered multiple. On the bottom the inversion ofthe input is available, likewise three-fold, active and buffered which in contrast to an un-buffered multiple allows you to use this module also to distribute Key-CV to a few oscillators.
In the left section you'll find an Offset input socket which allows you to mix an offset voltage with the input signal. With a constant CV source, e.g. from the Dual Attenuator/Mixer you can amplify the signal of this multiple section or attenuate it with negative voltage. With a LFO or Sequencer you can also modulate the amplitude of the inverted multple signal.
Connections per unit:
3x Output Inv
Offset-input (only unit 1)
The new version has following changes:
The Kick channel instead of the DRUM1 channel. The Kick channel has some different parameters and can create fatter and deeper kick sounds.
The Drum channels have a Wave parameter which transforms the oscillator's waveform from sine to square
The oscillators of the Drum channels will be started with each trig signal.
The DRM1 Mk III is a flexible 8-channel drum synthesizer, which gives you the ability to create your own sounds, as well as many other classic analog drum sounds. Every sound parameter of the DRM1 Mk III has its own controller, so its easy to use and you'll always have a clear picture of the settings.
This version comes with triggle inputs for each drum. The trigger option allows you to integrate voltage control to cue each sound plus open and close the hi hats.
You can give the filter some extra punch with the Balls knob, known from Kick Lancet. It pushes low and high frequencies of the signal before being filtered. And of course the resonance is self-oscillating.
Other than the filter section of Mono Lancet, the Filter Lancet is not based on (Moog-) cascade circuitry. It was inspired by the filters of the Vermona M.A.R.S. respectively DAF-1 and Action Filter.
Without modulation the Filter Lanced would still be a good filter but kind of boring. So it is equipped with a LFO, an envelope generator, an envelope follower and a CV/pedal input. The LFO has 2 frequency ranges and goes up to 250Hz - that's fast. At low frequencies the LFO can be re-triggered by gate- or audio signals. It has sample & hold and five waveforms: saw up and saw down, square, sine and triangle.
The envelope generator can be triggered by the input signal or an additional audio signal as well as by a gate voltage. If triggering it via gate it works as an attack-sustain-release envelope. With audio triggers its mode is attack-decay. The envelope follower transforms the contour of the input signal into control voltages that can serve as modulation source.
The LFO modulation intensity can be set separately from modulation intensity of envelope generator and envelope follower on the VCF- as well as on the VCA section.
The Filter Lancet features a drive circuit right in the input section to add subtle shades of overdrive up to solid distortions.
The Filter Lancet is packed with useful features. It's a great and powerful addition to any synthesizer including Mono Lancet with or without Modular Dock. But Filter Lancet also is designed for stringed instruments. It creates standard effects like WahWah and tremolo with ease and even adds a palette of extraordinary sounds to any effect repertoire.
3 in stock $226.60
The heart of the Kick Lancet's sound structure is an analogue oscillator that produces sine and square waves, which can blend seamlessly from one to the other. 2 independent envelope generators with a decay/release phase can modulate the oscillator's frequency and the VCA. Additionally the VCO pitch can be modulated by the fast LFO (3Hz to 3 kHz, triangle). Noise and a pulse signal can be added in the mixer section. Vermona have a balls-controller for making it really big.
The Kick Lancet can be triggered by MIDI but beside that there are 3 different trigger inputs. A gate trigger, which impulse can trigger the Kick Lancet in normal way with additional accent or completely dynamical depending on the incoming voltage, a simply short current trigger (i.e. momentary foot switch) and an audio input, which offers the possibility to trigger the Kick Lancet by an audio signal statically or dynamically. Drum pads can also be connected here.
Each modulator offers six wave forms: ascending and descending saw tooth, square, triangle, sine and random (sample & hold) with a frequency range between 0.05Hz (20 seconds) to approx. 100Hz. Each modulator offers wave form and trigger outputs, the latter sending an impulse with every new start of the selected wave form. Reset- and CV-inputs allow external parameter manipulation - from other modules or from other modulators of the fourMulator itself.
All four modulators work independently. However, they can be synchronized with each other. Each modulator can be individually synchronized to the left neighboring module or to a clock-reference.
Two or more synchronized modulators always oscillate at the same frequency. However, a synchronized modulator can be phase-shifted by up to 180° (a half-cycle) to the clock-reference. This allows easy creation of counter-rotating modulations. More complex modulations can be achieved using the CV-input to manipulate phase-shift.
With active clock-synchronization, the corresponding modulators oscillate in reference to a common clock-signal, but use individual clock-dividing factors. Again, advanced possibilities result from being able to manipulate clock-division through the modules' CV-inputs.
Both forms of synchronization can be combined. With one modulator being synchronized to a clock signal, it may as well serve as reference to the right neighboring modulator.
CLOCK Generator (CLK)
fourMulator integrates an internal clock generator. Its tempo can be assigned using a tap-tempo-button or by using an external clock-reference.
Two oscillators and a noise generator are the foundation for its sound. Together with the musical lowpass filter and VCA it's capable of producing warm and precious sounds full of character.
Beside its audio qualities Mono Lancet '15 has a dead simple and intuitive user interface. Each parameter has its own control. We are absolutely convinced that you will quickly learn how to realize your sounds with Mono Lancet '15 without thinking about what you do.
Expandable with Modular Dock:
Mono Lancet '15's functionality can even be enhanced using the optional Modular Dock eurorack module. It offers various in- and out-connections to the individual sections of the synthesizer. With just a few additional modules you can multiply the strong sound base of Mono Lancet '15.
Mono Lancet '15 is manufactured in our Elektroakustischen Manufaktur in historical Vogtland. For us it is not only a piece of high-quality analogue technology but rather a musical instrument, handmade with love and passion.
Ships with UK 3-pin power supply.
For audio demos, please visit - http://www.vermona.com/en/products/synthesizer/product/mono-lancet-15/
The PerFourMer is a 4 voice synthesizer, consisting of completely independent synthesizers, which can be adjusted and played independently from each other. These four synthesizer channels can be linked with each other and be played in 3 different operating modes.
Next to the already mentioned filter inputs, each channel has a single output, which can also be used as an insert for external effect devices, and make it possible to easily integrate the PerFourMer with already established equipment. It is also possible to transmit the unedited VCO signal. Additionally the opportunities of the PerFourMer can be expanded through internal patching between the channels, for example; you can route a VCO through multiple filters and VCAs, or use 2 channels to create 1 voice with 2 ADSR envelopes (1 for VCA and 1 for VCF). Use the PerFourMer as a filter-bank and the slope envelope can be doubled by interconnecting the filter in series. The PerFourMer is controlled via MIDI and additionally via CV/gate (1V/octave) inputs for every synthesizer channel.
Note: Synthesizer is sold separately.
Our quad MIDI Interface picks up the flexible voice assignment of VERMONA's PERfourMER MKII to provide a fourfold MIDI-to-CV/Gate converter for Eurorack-compatible modular systems. This way, you can play your modular synthesizer in different monophonic modes or even polyphonically using MIDI.
More than just pitch:
Each of the four "output channels" offers a CV-output with 1V/octave-characteristic, a gate-output plus two additional control voltage outputs. These can be easily addressed by MIDI-controllers such as the modulation-wheel or pitch bender. The output channels can freely be combined or be used with independent MIDI-channels. Combined output channels can be used in unison, monophonically with rotating voice assignment or even to create polyphony. qMI 2 also offers four clock-divider-outputs. These convert incoming MIDI-clock signals into analogue gate-voltages. A reset-output allows sequencers with corresponding input to run in sync by MIDI-start/stop commands. A new feature of qMI 2 is the option to switch between both monophonic voice assignment modes using a gate signal.
Easy access to functionality:
An important part of the modular concept is the easy access to every parameter, without using displays or complicated menu structures. qMI 2 will help you to integrate your modular-system into your MIDI-setup straight-forwardly!
The typical spring reverb sound is generated by a Belton/Accutronics type 4 spring tank with 3 individual springs. It can be placed pre or post the VCF/VCA section and equalized by the Tone parameter.
The Crash function generates the popular thunder effect that occurs when kicking an amplifier with spring tank. You don't have to kick Retroverb Lancet you simply can achieve this effect by pressing the Crash button. It also can be triggered by a Gate voltage.
The multimode filter works as lowpass or highpass with a slope of 24 dB per octave or as bandpass with 12 dB per octave. It is followed by a voltage controlled amplifier. The filter and amplifier can be modulated individually by different sources.
The Retroverb Lancet offers 3 internal modulation sources:
Envelope follower: the envelope follower converts the amplitude characteristic of the audio input signal into a control voltage.
Envelope generator: the envelope generator can be triggered by the input signal itself, a second audio signal or a gate voltage. Depending on the trigger source it works as Attack-Decay or as Attack-Sustain-Release envelope.
LFO: the LFO offers saw up and saw down, square, sine as well as sample&hold. Additionally it can use the envelope generators settings as waveform. It can oscillate freely or reset by different trigger sources.
The Retroverb Lancet also offers a CV/Pedal input which can be feed by external control voltages or can be used with expression pedals.
Once again VERMONA presents a tube spring reverb of it's own class and once again the name is "ReTubeVerb". Some details have been improved and there are also strongly requested features like balanced in- and outputs as well as the possibility to get it in a rack system.
Uncompromising Tube Technology:
The ReTubeVerb is build upon classical tube circuitry - you will not find a single semi-conductor in its signal flow. This uncompromising realization needs some efforts but the result justifies the concept! What you'll get is the warm and slightly compressed tube sound without interferences and unpleasant coloration.
The deep and voluminously reverb effect comes out of a high quality six-spring reverb tank (three double-springs) made by the spring reverb pioneer ACCUTRONICS.
We've chosen three very usable frequencies which makes it easy to form the reverb effect as you like without much efforts.
Balanced In- and Output:
Beside the unbalanced instrumental- / line in- and outputs we've implemented a transformer-balanced input and output as well. It's not that kind of feature that's integrated just to have it, but with great attention towards sound quality. The audio transformers are made upon our specifications to perfectly fit for their purpose.
There's a true bypass as well as the EFFECT STOP function. The latter allows refining the input signal by the tube preamp without reverberation.
The ReTubeVerb relies on traditional technology but also makes spring reverberation a cutting edge topic.
*For audio samples, please visit - http://www.vermona.com/index.php/en_retubeverb.html
We decided to uses switches instead of potentiometers for adjusting the gain levels. This ensures accurate and equal leveling of stereo signals.
The TAI-4 is an extremely useful module when it comes to integrate external studio processors, or the opposite, connecting the modular system to outboard equipment or DAWs.
Special units A and B:
TwinCussion offers two sensibly structured sound engines, each consisting of an oscillator (complemented by a noise generator in engine 2), a voltage controlled amplifier and an envelope generator. Both sound engines can be used independently or combined for more complex sounds. The internal structure can be edited and expanded at will, thanks to the multiple in- and outputs being available.
TwinCussion is a versatile sound chameleon. Although its sound engine is specialized in electronic drum sounds, it is not limited to specific instruments of this genre. This module generates pushing bass drums, prominent snares and chirping hi-hats with ease. And there is much more to twinCussion if using a little creative patching. Unleash numerous sounds like wooden clicks, metallic pings and a lot more.
Most of the features, like the AccuBell spring tank (type 9), the TONE control as well as in and output stages are equal.
What has been improved is the way EFFECT STOP is working. Compared to its predecessor VSR 3.2 offers the possibility to determine where EFFECT STOP cuts the signal path: PRE or POST the spring tank. In the new PRE mode the input of the spring tank is cut from the signal path, so the reverb's decay isn't abruptly stopped when pressing EFFECT STOP and still can fade out.
The VSR 3.2 is suitable for all kinds of input signals like synthesizer, organs, guitars, vocals etc. It's available as of now from stock. It is already listed in our latest price list from 2015-05-01.
*UK 3-pin power adapter included.