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Synth modules

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Cat: 757299 Rel: 17 Feb 20
 
VCO module
Notes: Eurorack version of one of the most capable modular VCOs ever made. Insanely precise tracking and top-notch temperature stability. Proper old-school analogue business.

Supplier's notes:
The Synthesis Technology E300 Ultra VCO is an analog oscillator based on the MOTM-300 5U module, with an updated design engineered in collaboration with Dave Rossum of Rossum Electro-Music.

The E300 uses modern temperature-controlled exponential converters without the expensive MAT-02EH + Tempco found in the MOTM-300. It also incorporates variable HFT (High Frequency Tracking) for a wider, more accurate 1V/Oct input. The SYNC circuit is a simpler hard sync type, with accurate detection of any waveshape/frequency used. There is an added -1OCT/-2OCT sub-octave squarewave output, which is phase-aligned with the sawtooth.

The VCO core is a new sawtooth-based circuit with improved linearity and a unique saw-to-triangle converter with no glitch in the transition peaks.

Just like the MOTM-300, the E300 is designed to be the best tracking analog VCO available (over 10 octaves) with the lowest temperature drift (typically less than 0.1Hz over a 24hr period).
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MRP:$451.26 SAVE 30%
 2 in stock $314.63
Cat: 763098 Rel: 04 Feb 20
 
controlled noisillator module
Notes: Really clever noise-based oscillator from AJH. Drones, sweeps and bleeps aplenty, ranging from tamed to out-of-control filth. Also doubles up as a more conventional ring mod and distortion module.

Supplier's notes:
This 14HP wide module is a voltage controlled noise based oscillator, or noisillator for short. It generates 1/f noise and this is then sent through a feedback loop which allows the noise to be "tuned" to varying degrees depending on the settings of the frequency and resonance controls, or incoming frequency or resonance CV's. The tuned circuit can be FM modulated too, for some thunderous sweeping sounds. We have bright and dark outputs, which are pre and post filter respectively. The Bright output will always have a degree of noise present in the signal, whereas the Dark output can be tuned noise only when 4 pole resonance is selected. We also have an external Sync input, which will reset the resonant waveform, and we also have an Audio input, so that an external signal can be mixed into the resonant loop. Combinations of external waveforms to these two inputs can create some massive drone sounds, or sweeping sync sounds.

There is also an XOR ring modulator, which can be used as a module in its own right too. Lastly, we have an XOR amplifier, which is another independant circuit that can be used to add noise and distortion to any audio signal.
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MRP:$303.86 SAVE 17%
 2 in stock $253.21
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quote 763098
Notes: Truly unique one from AJH, based on the sound of NASA's Apollo voice transmissions. Think outside the box and process drums and synths through this thing. Freaky. May or may not allow you to communicate with real astronauts.

Supplier's notes:
Here's a bit of fun for all fans of space missions from the previous century! This module is designed to re-create the ground to space and space to ground transissions from the Apollo era.

To be "Mission Control Houston" the Quindar PTT (push to talk) button adds a short 2,525Hz Qindar tone to the start of the transission, then at the end of the message the PTT button or switch is released and a short 2,475Hz Quindar tone is added to the audio. The bandwidth is slightly reduced in this mode.

For "Astronaut comms" we press the Capsule PTT switch, which allows us to add coloured noise, distortion, bandwidth reduction and either hum or LGM (Little green men space tone) noise to the audio signal. A deep space electret condenser mic is supplied and an be used with the MIC input.

Obviously the Lunar Module can also be used to add noise, hum, distortion, bandwidth reduction and LGM noise tone to any modular level audio too, and if the mic is left attached theremin like sounds can be added too with careful loudspeaker feedback.

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MRP:$271.53 SAVE 17%
 4 in stock $226.28
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quote 763099
Cat: 732131 Rel: 20 Jan 20
 
interactive touch control module
Notes: Proper hands-on modular expression here. Two pairs of five multi-dimensional touch pads with configurable CV and gate outputs for monophonic or duophonic control of oscillators or modulation of pretty much anything else.

Supplier's notes:
Intuitive and inspiring, the Lifeforms Touch Controller replaces the creative restrictions of a traditional chromatic keyboard with a set of fully configurable multi-dimensional touch pads. A configurable duophonic controller that utilizes two sets of five touch pads to offer a flexible and interactive performance surface. Performances can be interpreted with a unique combination of monophonic and duophonic responses. The Channel Animator functions quickly generate complex sequences. Intuitive and inspiring, the Lifeforms Touch Controller is the perfect interface for an experimental journey.

Easy to use, the interface is split into Left and Right sides. Each side offers a gate output, assignable CV A output, assignable CV B output, and touch position Y-Axis output. CV A is set using the top row of knobs and CV B uses the bottom row. A third set of outputs called "All" responds to both Left and Right sides.

The Channel Animator section controls the sequencers and modifies the functionality of the Touch Controller. Mono and Duo buttons switch between monophonic and duophonic modes. The Rest/Reset/Division button is used by the sequencers to add rest notes, reset, and change the clock division of a sequence. The Scan CV input responds to a 0-5v signal and assigns the active monophonic or duophonic channels based on the incoming voltage. Scan can be used to create various cycling arpeggiator or random sequences. The Reset gate input resets the sequencer to the first step. Step gate input advances the sequencer.

Enter Monophonic Mode by pressing the Mono button. In Monophonic mode the All output section responds to the selected channel. The Left section and the Right section respond when a channel in their section is pressed.

A single sequencer has access to all 10 channels. The sequence is performed in the order the notes are entered. Press and hold the Mono button then tap a series of channel touch pads to create a sequence. While holding down the Mono button during programming, pressing the Rest/Reset/Division button adds a rest to the sequence. Once a sequence is created, press and hold the Rest/Reset/Division button then tap a Channel Touch Pad to change the clock division left to right from #1 to #10. A sequence is clocked with the Step gate input jack. The Reset gate input resets the sequence to the first step. To stop the sequence, press and release the Mono button without touching a Channel Touch Pad.

Enter Duophonic Mode by pressing the Duo button. In Duophonic mode the All output section mixes the outputs of both the Left and Right selected channels creating interaction and transposition between the Left and Right sections. The Left and Right output sections respond when a channel in their section is pressed.

In Duophonic Mode, the Left and Right sections each have their own sequencer. Sequences are performed in the order the notes are entered. Press and hold the Duo button then tap a series of Channel Touch Pads on the Left and Right sections to create the sequences. While holding down the Duo button during programming, pressing the Rest/Reset/Division button adds a rest to the last selected sequence. Once the sequences are created, press and hold the Rest/Reset/Division button then tap a Channel Touch Pad to change the clock division left to right from #1 to #8. The Left 5 channel touch pads set the division of the Left section and the Right 5 channel touch pads set the division of the Right section to #1, #2, #3, #4, #8. Sequences are clocked with the Step gate input jack. The Reset gate input resets both sequences to the first step.
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MRP:$477.12 SAVE 17%
 4 in stock $397.60
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quote 732131
Notes: Portland's Malekko serve up one of the most capable CV sequencer modules on the market. Eight channels of 16-stage CV sequencing, quantised or unquantised. Super powerful.

Supplier's notes:
Voltage Block is an 8 independent 16-stage CV sequencer packed with performance features and presets making the Voltage Block the ultimate CV tool. Create quantized or unquantized sequences for each output, record your modulation changes, tie sequences together, mute on the fly, randomize your outputs and so much more.

8 independent 16-stage CV sequencers packed with performance features and presets makes the Voltage Block the ultimate CV tool. Create quantized or unquantized sequences for each output, record your modulation changes, tie sequences together, mute on the fly, randomize your outputs and so much more. The Voltage Block can be used stand-alone or pairs well with Varigate 4 and especially Varigate 8+ to share clocking and preset save/recall. All in 20hp.
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 2 in stock $317.86
Cat: 760486 Rel: 06 Jan 20
 
Rhythmic arpeggio generator & quantizer module - 12HP
Notes: Simply put, Arpitecht is a voltage controlled Quantizer and rhythmic arpeggio generator. As one of WMD's most musical modules to date, Arpitecht is designed to be an inspiring tool for the modular musician.

With the Arpitecht, you can create intricate melodies span 8 octaves, imply chord changes, instant acid basslines, evolving generative sequences, and, using the Triad expander, polyphonic chord generation.

The Arpitecht features 16 scales, each with a unique set of "note masks" offering hundreds of note combinations with the ability to dial in via knobs on the front panel or CV. 32 rhythm patterns and 32 slide patterns all with CV control let you feed a static clock into it and get unique, evolving patterns of gates and note changes.
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MRP:$360.75 SAVE 29%
 1 in stock $256.44
Cat: 757108 Rel: 06 Jan 20
 
Analogue audio signal mixer with three high-end DC-coupled voltage controlled channels
Notes: By combining a mixer and four VCAs in a single module, Mix 3 manages to provide a unique combination of compact size and functionality in just 6 HP. High-end signal paths ensure extremely low noise and distortion, wide headroom and precise gain control, despite the small form factor.

Each of the three main channels has an exponential response, which is more natural for audio than linear, as it matches the human hearing. However, all signal paths are DC-coupled, so control voltage (CV) signals can be processed as well.

What truly sets Mix 3 apart from other compact mixing modules are the three CV inputs, providing voltage control over the signal levels. This even allows you to go beyond unity gain and reach up to +20 dB of amplification. Once a CV input is used, the corresponding channel knob becomes a CV attenuator.

When clipping, Mix 3 does so in a clean, symmetrical way. This yields a very pure overdriven sound, only containing odd harmonics, and allows the module to be used as a triple voltage controlled distortion.

Additional features include audio indicator LEDs, a fourth auxiliary input, voltage control over the output level and a line output jumper setting.
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 1 in stock $135.77
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quote 757108
Cat: 757110 Rel: 07 Jan 20
 
Two precision analogue CV processors with input selection, voltage hold and gated polariser functionalities
Notes: A 'Swiss Army knife' for your modular system, Select 2 provides two highly accurate gate-controlled voltage processors in 6 HP. These allow you to create, switch, mute, hold, invert, attenuate, offset, add/mix and subtract voltages, from slow control voltages (CV) up to audio frequencies.

Each processor features two signal inputs, with the left input used by default. A gate on the 'select' input switches to the right signal input instead. The signal inputs are normalised to the precision +5 V reference (left) and 0 V (right).

Following the input section is a hold circuit. A rising edge on the 'hold' input freezes the input voltage at that moment, until the gate input goes low again. While most sample/track-and-hold modules only manage a few seconds, Select 2’s 'low droop' design enables it to store a held voltage accurately for several minutes.

The end of the signal path consists of a gated polariser/attenuverter. Using the knob, the voltage at the output can attenuated and/or inverted: the gain is -1 (inverted) at the minimum setting, 0 at the centre and +1 (unity gain) at the maximum. The polariser can be disabled using the 'unity' gate input. This unique ability enables a variety of interesting gate-controlled signal modulations. Dual-colour LEDs show the output voltage of each processor.

Finally, if the A output socket is left unused, the signal is mixed together with the B output. This enables signal offsetting, CV mixing, pitch transposing etc.
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 2 in stock $135.77
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quote 757110
Cat: 757112 Rel: 06 Jan 20
 
Analogue 'OTA style' cascaded 4-pole lowpass VCF with self-oscillation capability
Notes: Belgian analogue innovators Joranalogue serve up an ultra-versatile filter module. Multimode flexibility meets self-oscillation for added sonic versatility. A hell of a lot of filter for the money.

Supplier's notes:
Representing the cutting edge in modular analogue voltage controlled filter (VCF) design, Filter 8 offers more possibilities and higher fidelity in 12 HP than ever before.

Starting from the classic OTA-style 4-pole cascaded lowpass (LP) topology, Filter 8 features separate LP outputs, each with their own character. Additional filter responses are achieved by pole mixing: 1-pole highpass, a special band boost and notch response, phase shifter and 4-pole bandpass. All outputs are available simultaneously.

Key to Filter 8's performance is the innovative resonant feedback circuit. By increasing the resonance, all outputs will resonate at the filter frequency, without any low frequency response loss. At higher resonance levels, self-oscillation is achieved, turning the module into an excellent 8-phase sine wave voltage controlled oscillator (VCO) with temperature and switchable gain compensation, low distortion, constant amplitude and accurate frequency tracking over at least 5 octaves. At sub-audio frequencies, Filter 8 can function as an 8-output voltage controlled slew modifier or 8-phase low frequency oscillator (LFO).

Simultaneous exponential and linear frequency modulation is possible, for classic FM tones or chaotic modulation. A hold feature is also provided, 'freezing' the output voltages manually or under gate control. This is useful for halting modulations, or as a sync-like effect at audio frequencies. The dedicated 'ping' input allows you to easily create crisp percussive sounds with different timbres.

While rooted in the legacy of classic synthesisers, Filter 8 provides a new approach to musical signal generators and modifiers: instead of simply a VCF, VCO, slew modifier or VCLFO, a single analogue module can now be any of those, and anything in between.
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 6 in stock $257.53
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Cat: 757113 Rel: 07 Jan 20
 
Precision buffered multiples in an ultra-narrow 2 HP
Notes: 'Multiples' are the classic solution to a common problem in modular synthesisers: how to distribute one output signal to multiple inputs. Simple passive multiples consist of several sockets, wired together.

Link 2 is a buffered multiples module. Each output is independently buffered using active electronics. This avoids many of the problems with passive multiples: signal cuts when patching cables, loading effects when driving many inputs etc. The high-end components provide exceptionally low noise and distortion, making Link 2 suitable for audio, CVs and gates/triggers. And unlike most buffered multiples modules currently available, it retains the accuracy of pitch control voltages to the last cent.

With only the top input socket in use, the signal is sent to all 6 outputs. Plugging a cable into the bottom input socket separates Link 2 into dual 3-way multiples, adding flexibility to your patching.
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 2 in stock $65.72
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quote 757113
Cat: 757115 Rel: 07 Jan 20
 
Precision adder/averager in an ultra-narrow 2HP
Notes: To any new modular system owner, the need to easily combine different voltage sources quickly becomes apparent. While a mixer is the obvious solution, these modules are not suitable for adding precise pitch control voltages (CVs) since the channel gains cannot be set exactly to unity.

Add 2 provides a compact solution to this problem, precisely summing the input signals down to 1 or 2 outputs. Alternatively, each section can be configured as an averager using the jumpers on the rear. This way, LFO waveforms or audio sources can be combined while maintaining the average signal level and avoiding clipping. The high-end components provide exceptional performance, making Add 2 suitable for audio, control voltages and gates/triggers.

With the bottom section's first input not in use, the top output is injected into the bottom. This allows 5 signals to be combined into 2 outputs, adding flexibility to your patching.
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 1 in stock $65.72
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quote 757115
Cat: 757116 Rel: 07 Jan 20
 
Compact dual mono or stereo XLR/6.35 mm jack input module
Notes: While modular synthesisers are most often used as stand-alone instruments, they also present exciting opportunities for processing external signals. Anything from an electric guitar to an effects send on a studio mixing desk can benefit from the unique sonic capabilities of even a modest Eurorack system.

However, patching in an external source usually requires an adapter cable and plenty of clean gain to bring the signal to Eurorack level. If the signal source is balanced, a balanced input is required as well to provide the best possible interference rejection.

Receive 2 (or RX2 for short) provides a convenient all-in-one solution. It offers two universal external inputs, which accept both balanced or single-ended signals via XLR or 6.35 mm jack connectors.

The circuit incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced receivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic discharge (ESD) protection, it’s rugged enough to survive the rigours of performing on the road.

The very clean integrated pre-amps feature variable gain, ranging from unity to +40 dB on each channel. As a result, Receive 2 can handle just about any signal source you may encounter, including electric instruments, piezoelectric pickups and many dynamic microphones.

Adjusting the gains is a breeze thanks to the dual peak-responding LED meters. A mix output is included as well, so external signals can be easily mixed directly in the module.
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 1 in stock $165.93
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Cat: 757117 Rel: 06 Jan 20
 
Compact stereo or dual mono XLR output module - 6HP
Notes: Simple but effective output module, converts stereo instrument-level signal to balanced XLR outs. Ideal for live use but just as good for avoiding unwanted hum in the studio.

Supplier's notes:
Whether it's in the studio or on a live stage, keeping audio interconnections free from unwanted hum and interference can be a challenge. Balanced lines are the proven solution to this problem.

Conventional balanced output solutions often rely on transformers providing galvanic isolation to mitigate the effects of ground loops. Unfortunately, these components are bulky, expensive and colour the sound (often unfavourably, especially in the low end).

Instead, Transmit 2 (or TX2 for short) takes a fully solid-state approach. Offering a stereo pair of XLR balanced outputs, it ensures that the sonic clarity of your carefully planned modular system is not lost in its interface to the outside world.

Engineered to provide massive headroom while retaining extremely low noise and distortion, Transmit 2's circuitry incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced drivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic (ESD) and phantom power discharge protection, it's rugged enough to survive the rigours of performing on the road.

Adjusting the main output level is a breeze thanks to the dual peak-responding LED meters. A high-end headphone amplifier is included as well, controlled by a separate level knob. It can deliver the voltage and current required to power practically any headphones, regardless of the impedance or driver technology. This 3.5 mm stereo socket can function as an auxiliary stereo line output or even drive small passive speakers, making Transmit 2 an all-round flexible answer to all your output needs.
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 4 in stock $171.32
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Cat: 760485 Rel: 06 Jan 20
 
Polyphonic CV source expander for WMD Arpitecht
Notes: A companion module to the Arpitecht,Triad sends out three static voltages to be used with three oscillators in order to create chords underneath your Arpeggios. Triad connects to the back of the Arpitecht via included ribbon cable and will adhere to the scale and transpose information set by it's master.

Triad knob and CV input set different combinations so your chord can be completely unique, while still in key with your arpeggio. Inversion switch and CV input allow you to select three different chord voicings easily.

Controls:

- Triad Knob: Selects the 3-note combination sent via CV. Becomes an offset with CV.
- Inversion Switch: Selects which inversion of the chord the Triad will play. Set at 0 for use with CV as it will "take over".

Jacks:

- Note 1,2,3: CV outputs for use with 1V/Oct inputs on 3 oscillators
- New: This output sends a trigger each time a new chord is made/selected
- Inv: CV input for the inversion selection. Accepts 0V to +5V
- Thresholds for 1st and 2nd inversions are 1.25V and 2.5V respectively
- Triad: CV input for Triad selection. Accepts 0V to +5V.

Other:

- Size: 4HP
- Connector: 20 pin ribbon cable
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MRP:$122.84 SAVE 32%
 2 in stock $82.97
Cat: 757118 Rel: 07 Jan 20
 
Analogue voltage controlled bidirectional slew limiter
Notes: For decades, the voltage controlled slew limiter has been a staple of modular synthesisers. With its extreme versatility, it can be used to slew control voltages (CVs), create envelopes, as a low-frequency or audio oscillator and much more.

Today, Contour 1 brings a fresh approach to this classic circuit. It delivers much improved performance and control by incorporating modern design techniques.

At its most basic, a slew limiter slows down the rate of voltage change in a signal. On Contour 1, the rising and falling rates can be individually set using sliders and CV modulation.

The gate and trigger inputs allow the module to be used as a function generator: create snappy attack-release (AR) and attack-decay (AD) envelopes, with slope times ranging from 500 µs to 30 seconds. The dedicated gate input makes it easy to generate +10 V envelopes from any signal source. Using the large tactile push button, AD envelopes can be manually triggered. A trigger will also reset the output voltage.

When set to loop mode, Contour 1 will continually re-trigger itself. In this mode, it fulfils the role of a variable-shape low-frequency oscillator (LFO) or temperature-stable voltage controlled oscillator (VCO) in the audio range.

Both the rising and falling slopes can be individually bent, from concave through linear to convex. While doing so, the deviation in slope time, and thus oscillation frequency, is kept to a minimum. Since the bend parameters are separately voltage controllable, boundless modulation possibilities present themselves.

Explore anything from shape-shifting envelopes to rich VCO timbres: Contour 1 will make you re-think what a slew limiter can do.
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 1 in stock $171.32
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Cat: 757120 Rel: 07 Jan 20
 
High-stability precision analogue triangle-core VC(LF)O with fine and coarse tuning
Notes: Any signal can be expressed in terms of a few parameters: frequency, phase, amplitude and timbre. It is through modulation of these aspects that synthesists create electronic sound. With Generate 3, it is now possible to create a signal and control all its parameters by through-zero modulation within a single 12 HP wide module.

Everything starts with the exceptionally precise triangle-core voltage controlled oscillator (VCO) at the module’s heart. Through-zero linear frequency modulation (FM) enables rich yet pitch-stable FM sounds, by allowing the oscillator to run backwards into ‘negative frequencies’.

The resultant triangle wave is then processed by the through-zero phase modulator, providing a total phase shift range of 900°. Phase modulation offers an interesting alternative for FM, as it enables deep FM-type tones without actually changing the oscillation frequency.

The timbre of a signal is determined by its harmonic content. This full set of harmonics can be grouped into three main parts: the fundamental, even and odd harmonics. Generate 3’s harmonics generator separates out these three timbral ‘channels’. By adjusting their relative amplitudes, a vast array of different waveforms can be created, including but not limited to the classic sine, saw and square waves.

While the amplitudes can be adjusted manually, each timbral channel supports through-zero amplitude modulation, also known as balanced or ring modulation. When audio-frequency modulation signals are applied, the harmonics become ‘split’, enriching the spectrum.

In addition to all the usual analogue synthesis techniques, the extensive set of modulation options makes Generate 3 especially suited for exploring multiphonic synthesis: a monophonic source creating a complex timbre, much like throat singing, yet by electronic means.
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 1 in stock $307.09
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quote 757120
Cat: 735346 Rel: 02 Jan 20
 
Rhythmic 8 steps tap sequencer - 8HP
Notes: SAMBA Legacy is a rhythmic 8 steps tap sequencer with three CV in. Each time you tap, add more steps.

SAMBA Legacy works as a passive module, used by external clock - include an analogue drum synth with bass and percussion rhythms.

This module also can be used powerless.

There is a Sync in-out and a synth part (square and noise) which brings different rhythmic flavours multiply by a low tone sine wave.

Power on, Plug the clock, tap the buttons and let's Samba!
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 5 in stock $141.16
Intellijel Tete Module (synth module)
Cat: 747529 Rel: 30 Dec 19
 
Expander module for the Tetrapad controller
Notes: Expander module for the Tetrapad, Intellijel's multi-dimensional performance touch controller. Adds huge functionality, allowing you to sequence parameters and create complex modulation.

Supllier notes:
Tete is the long awaited and highly anticipated expander for the Tetrapad.

Some of the key features:

Three primary modes: VOLTAGES, NOTES and COMBO.

VOLTAGES mode:

Up to 16 voltage storage locations (grid) with 8 voltages stored at each location.

You have the choice to record and playback your recall of these locations in a looper style (just play freely and spend arbitrary amount of time at any location) or as a clocked sequence (SH-101 style). Additionally you can traverse the matrix using the X and Y CV inputs to get Cartesian style sequencing.

There is also variable slew that allows you to morph/glide between the values.

NOTES mode:

You can create sequences or loops in chord, scales or keyboard mode. The isomorphic keyboard grid can vary from 4 notes to 12 notes max. There are real-time performance looping, transposition and inversion capabilities via the CV inputs and dedicated loop button. In sequencer mode each step can be a tie, rest, or gate with size 25/50/75%. Basically we have created a way to very quickly and intuitively make chord sequences that are very musical and easy to manipulate. It is difficult to summarize in words but we will be sure to create some videos to demonstrate how easy and fun this is to play with. It definitely represents something unique in the landscape of Eurorack sequencers.

COMBO mode:

In this mode you can loop record your performance on any combination of the following functions:

fader, bipolar fader, drum hit, switch or LFO. Kind of like Elektron style parameter locking but all of the motions is recorded continuously instead of just in slices. Instantly turn a simple patch into a highly animated and complex beast.

With all of the above mentioned loop recording modes you can very easily overdub since the Tetrapad detects pressure/pressing. In combo mode you can erase individual channels.

All modes allow for internal or external clocking and configurable syncing.

All of the modes have special XYZ CV modulation assignments and make use of the dedicated CV outputs.

For example, in Looper mode one of the CV outputs generates a continuous ramp that represents the position in the loop. This can be used with devices like the Planar 2 in Interpolation mode to sync the recorded patterns together no matter what tempo.
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 5 in stock $290.91
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quote 747529
Cat: 759362 Rel: 30 Dec 19
 
Eurorack bass drum module - 8HP
Notes: Best of both worlds, Crater is an analogue/digital hybrid bass drum that plays as hard as it kicks.

The analogue side is where crater gets its tone and its power.

Like a 909 style kick drum, Crater's analogue section features a pitch envelope that ranges from snappy attacks, to laser sounds, to disco toms. 1 volt per octave tracking and an amplitude envelope that allows users to use Crater for classic 808 style hip hop bass lines as well as rolling techno kicks. Speaking of rolling bass, Crater has a new feature we have yet to see on a dedicated kick drum module, which is the Sustain stage. The sustain knob lets you dial in a sustain level that Crater will stay at as long as the gate is high. Inspired by using samplers in "gate mode", the sustain circuit lets you use gate length to sequence different kick lengths, while keeping your decay setting constant. This is perfect for getting multiple sounds from of one module.

The Digital side is where we feel Crater really becomes unique and ultra-useful in a live performance Eurorack system.

The "secret sauce" of kick drums is usually found in layering different sounds to create a drum that cuts through the mix in the high frequencies, while remaining powerful in the lows. Many kicks you hear in dance music tracks are samples made from layering two or more sounds and we wanted to achieve this level of polished sound with our kick. So, what we did was add in a digital section for the Attack side of the kick drum. The Timbre knob lets you dial in different attack sounds we've created, inspired by classic drum machines, music we like, and sample packs we've used in the past. The "Body" knob shapes the attack while adding a bit of delayed noise which simulates things in the room being affected by the kick such as loose lugs or a snare drum rattling nearby. This gives the kick more of a natural and acoustic feel to the sound.
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MRP:$362.04 SAVE 20%
 3 in stock $288.77
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quote 759362
Cat: 742232 Rel: 16 Dec 19
 
4HP voltage expander module for the METRON trigger & gate sequencer
Notes: Expander for WMD's Metron, a 16-channel trigger and gate sequencer module. Adds four tracks of voltage sequencing per module, turning the Metron into an even more powerful sequencer

Supplier notes:
Voltera is a voltage expander module for the METRON trigger and gate sequencer and adds 4 bipolar voltage tracks in 4hp. Up to 16 Volteras can be added to a single METRON giving you up to 64 CV Sequencing lanes for your Eurorack modular system!

With independent voltage ranges and quantize settings per track, Voltera allows for real time control over 4 different parameters at once, allowing you to dial that track to the parameter you are sequencing.

Sequence melodies, modulate parameters, and more with ease by adding Voltera to your METRON set up.
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MRP:$239.21 SAVE 26%
 9 in stock $176.71
Cat: 758645 Rel: 16 Dec 19
 
6HP Eurorack voltage-controlled delay module
Notes: The Analog Delay Unit is based on the design created for the Voltage Lab synthesizer module. A finely tuned circuit designed to enhance the source material by adding depth and warmth.

Module Overview:

The Analog Delay utilizes a pair of 4,096 stage BBD chips to produce a voltage controllable analog delay signal. Clean delay time can vary from 16ms to 340ms. The maximum delay time can be increased using the TIME CV INPUT delay time maxes out at 465ms but the increased time comes at the cost of fidelity and a bit of high frequency clock noise bleed. The name BBD stands for bucket brigade device in reference to a line of people passing buckets of water to quickly extinguish a fire. Each stage of a BBD chip contains a single capacitor. Pairing two chips together creates a chain of 8,192 capacitors. Like the water buckets, an audio signal is passed from capacitor to capacitor within the BBD chips once every clock step. A slower clock produces a longer delay and a faster clock produces a shorter delay.

Delay time:

Delay time is set by adjusting the DELAY TIME SLIDER. Moving the slider up increases the delay time. Delay time can be voltage controlled by patching into the DELAY TIME CV INPUT JACK and adjusting the DELAY TIME CV TRIMMER. The DELAY TIME CV TRIMMER is an attenuverter. That means the incoming signal is off when the trimmer is set to the 12 o'clock position. Turning the attenuverter to the right passes the original signal through. Turning the attenuverter to the left passes an inverted version of the original signal through. Turning the DELAY TIME CV TRIMMER to the right will increase the amount of CV passed through to the delay time. Turning the DELAY TIME CV TRIMMER to the left will increase the amount of inverted CV passed through to the delay time. Locating the exact off position of an attenuverter can be difficult. The easiest wave to remove the CV signal from the signal path is to simply remove the patch cable patched into the DELAY TIME CV INPUT JACK.

Feedback:

The DELAY REPEATS SLIDER sets the amount of repeats created by the delay. Moving the DELAY REPEATSSLIDER all the way down will produce 1 repeat. Adjusting the slider up increases the number of repeats until the delay begins to self-oscillate.

Output Mix:

The DELAY MIX KNOB acts as a balance control between the dry incoming signal and the wet delayed signal. Turning the DELAY MIX KNOB to the left weighs the output toward the dry signal. Turning the DELAY MIX KNOB to the right weighs the output toward the wet signal. In theory, setting the DELAY MIX KNOB at 12 o'clock creates an even mix of the wet and dry signals. In reality, the tolerance of the potentiometer, waves shape, and dry signal level all influence the location of an even 50/50 mix.
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 1 in stock $199.34
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quote 758645
Cat: 757304 Rel: 20 Dec 19
 
Quad multimode oscillator with a vast array of sonic options
Notes: The Synthesis Technology E370 is a 4-channel DSP-based VCO, 54HP wide module that incorporates features from the E340 Cloud Generator and the E350 Morphing Terrarium (both are discontinued), while adding additional modes from the E352 Cloud Terrarium. It uses 105ma of +12V and 32ma of -12V.

VCO Architecture:

Each VCO is independent in the E370, but the 'pooled CV buss' (see description below) allows sharing of CV and mixing of audio outputs if desired.
The VCO is based upon a unique implementation of wavetable synthesis using 256 fixed-sample-length tables of 16-bit values. Each bank in memory consists of 64 wavetables, in an 8x8 array (like a chessboard). Our proprietary DSP algorithms then allow either smooth or 'glitched' morphing between the wavetables in various ways. The E370 comes with 3 factory banks (192 total waves) and internal FLASH memory to hold 26 user-defined banks. This allows over 1,650 individual wavetables to be accessible. The free, cross-platform WaveEdit program is used to generate and import WAV files to user Banks.

Colour LCD/Navigation:

Everyone hates 'menu-diving', us included. That's why we focused on making the most 'shallow' menu system possible. Everything is just 1 or 2 clicks away. No endless screens and pages to remember. The encoder is a mil-spec Grayhill optical encoder with a 25yr typical life. And if it ever needs replacing, it's on a easy to access cable assembly.

Sharing CV Resources:

The factory default state of the E370 is each VCO has 2 PARMs called X and Y. VCO1 has X1 and Y1, VCO2 has X2 and Y2, and so on. However, these are not 'hard' assignments, just the default ones. You can share ANY of the 8 PARMs across 1-4 VCOs. For example, PARM Y3 can be assigned to all 4 VCOs at once, so turning the PARM Y3 knob and the external MOD Y3 CV is fed to every VCO. This voltage can then modulate each VCO in a different way, depending on where you assign it.

User Wavetables and Patch Storage:

Loading and storing your own wavetables is via the uSD card interface. The uSD card is NOT REQUIRED to run the E370. It is also used for firmware updates. The free application WaveEdit is used to format the wave data and bank data into the proper format used inside the E370.

Audio Output Mixer:

The default state of the Mixer is each VCO is full volume and only appears at its own output jack. Using the Mixer screen, each VCO output can be mixed with all the others. This is useful for the Morph + Phase mode, and also during live performance where only 2 audio outs are commonly used. The mixing levels are fixed in log steps: there is no 'CV-controlled mixing' function.

VCO Modes:

Although the E370 excels at smooth morphing between wavetables (first introduced in the E350 Morphing Terrarium in 2010), traditional VCO waves such as saws, pure sines, and filtered noise (using a 4-pole resonant lowpass ladder filter) can be selected. Thru-zero, linear FM (in 3 ranges) can be used on not just triangle waves (as in an analog VCO) but with ANY waveshape or any wavetable. Here are all the different modes you can place each VCO in, and remember each VCO can be a different mode.
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 1 in stock $1,103.36
Cat: 758859 Rel: 16 Dec 19
 
Digital waveshaper that transforms your oscillators into 8-bit sounds
Notes: Bonkers digital processing business from Xaoc. Crunchy 8-bit waveshaping, additive Walsh synthesis, freaky modulation. Wild stuff.

Supplier notes:
The new component of the Leibniz Subsystem which operates on signals and voltages through manipulating binary 8-bit numbers. Jena connects to the Drezno module in a loopback. A binary transfunctioner maps input functions (e.g. waveshapes) to some other functions through the classic table look-up mechanism. Input 8-bit values are treated as indices to an internal memory map. The value read from successive locations of the memory are passed to the output.

A simple VCO sawtooth or a triangle wave may be transformed to a plethora of waveshapes from any of the shape banks, with additional, deep through-zero phase modulation. Individual bit outputs may be used to produce interesting signals as well. There is a dedicated bank of Walsh functions - with these signals you can perform additive Walsh synthesis, not very common in Eurorack, but a quite powerful technique.

Transforming slow waveforms to sequences of binary signals is a great way to create rhythmic drum patterns. Jena comes with a special bank that has plenty of such patterns - just connect up to 8 drum voices to individual bit outputs on Jena. The rhythms can be selected or morphed on the fly through external CV input.

Obviously, being limited to 8 bits both in phase and signal value, Jena will not deliver crystal clear timbres you may know from many wavetable oscillators. Instead, it offers buzzy, jittery and gritty sounds as well as jerky and skippy rhythms, just like vintage computers, that were sometimes unreliable and unpredictable.
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 2 in stock $226.28
Cat: 760351 Rel: 19 Dec 19
 
Multi-mode divider
Notes: A multi-mode divider for clock and audio signals.

It can be used either for dividing clock signals (e.g. from an LFO, BEATDIVIDER) for rhythmical purposes but also for audio signals - in this case you get subharmonics / lower octaves squarewaves at the outputs, which can be mixed or used separately.

The module has eight outputs which - depending on the selected division mode - provide different division factors of the input signal:

Beat: musical/rhythmical clocks are generated as 1/1, 1/2, 1/4... 1/16 and triplets
Binary: the outputs work as binary counter (same as the predecessor module DIVIDER)
Decimal: The outputs have decimal divisions of the input, meaning half, third, quarter, fifth... of the input clock
Prime: The outputs use the prime numbers as division factors
Fibonacci: The outputs use the numbers of the fibonacci row as division factors

The reset input resets all output signals; in case of audio signals this can get quite unique, ringmodulator-like sounds.

The Shift knob shifts/rotates the outputs; usually, the fastest output is on output 1, but with shift the entire output pattern is shifted so the fastest output can be set to any position 1...8.
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 1 in stock $34.47
Cat: 757948 Rel: 09 Dec 19
 
Expander for the mmMIDI, adding 8 additional gate outputs
Notes: The 'mmT' is an optional 3HP expander which connects directly to the mmMidi. It maps a third MIDI channel's key presses to 8 trigger/gate outputs as shown on the mmT front panel.
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 1 in stock $85.12
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Cat: 755418 Rel: 28 Nov 19
 
A-198 module with versatile ribbon controller
Notes: Module A-198 is a Trautonium Manual resp. Ribbon Controller. The controlling element of the A-198 is a linear position sensor (length about 50 cm) that has available a pressure sensor too.

Touching the sensor with a finger generates a control voltage CV1 that is proportional to the position of the finger. The scale (i.e. the relation between position difference and voltage difference) is adjustable with a potentiometer at the front panel. A hold switch is used to determine if the CV voltage is held after removing the finger (hold = on) or if the CV voltage jumps to 0V (hold = off). In the last case (hold = off) a gate signal is derived from the CV voltage whenever a finger touches the sensor (e.g. for triggering an envelope generator).

A sensitive pressure sensor located below the position sensor generates a second control voltage CV2 that increases with higher pressure of the finger. Even for CV2 the scale is adjustable. A second gate signal is triggered as soon as the pressure exceeds a certain value. The gate threshold is adjustable at the front panel.

The sensors are located in a separate metal frame (length about 600 mm, width about 30 mm, height about 18 mm, weight: about 900 g, colour: silver-grey). The connection between the module and the sensor frame is made by a 4 pin cable (same as used for USB connections).

Typical applications:

- Trautonium manual, the string is replaced by the position sensor that is much easier to use and cheaper than the string. In combination with the Subharmonic Oscillator A-113, the Trautonium Filter A-104 and some auxiliary modules a complete Trautonium replica may be realized. In combination with the Quantizer A-156 exact semitone intervals are possible.

- Ribbon Controller for any A-100 parameter
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 1 in stock $189.63
Cat: 757288 Rel: 27 Nov 19
 
Crossmixer/panning combination module - 6HP
Notes: The FLAME "XPANMIX" module is a combination of an XFADER (Crossmixer) recorder and a PANNING Mixer recorder. The upper part of the module contains the XFADER with two inputs to one output. In the lower part of the module is the panning mixer with one input to two outputs left/right. The inputs are designed for audio or CV sources with a voltage range of +-5v (Audio Modular Level). In addition, the inputs can be switched separately to +6db audio (for external audio line level sources) using the slide switch on the rear panel.

The movements of the two mix controls can be recorded. The recording time per channel is over two minutes. The playback speed is adjustable in playback. The recorded track is played back once when the Play button is pressed briefly (one shot) or in the loop when the button is pressed a little longer.

Both mixers have a separate reset input as well as a separate CV input (+-5V) for controlling the mix e.g. by an LFO. The track data remains permanently stored (battery buffered memory).

In addition, the output of the XFader is routed to the input of the Panning Mixer if there is no cable in the PAN input. Both mixers are thus connected in sequence and can additionally mix the XFADER in the stereo image.
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quote 757288
Cat: 689812 Rel: 22 Nov 19
 
Addiditive synthesis engine
Notes: Additive synthesis oscillator based on the concept of building up harmonics from sine waves. A complex idea nicely executed for ease of use.

Suppliers notes:
Odessa implements the principle of additive synthesis controlled by a set of carefully tailored macro parameters to harness thousands of sinusoidal partials that altogether form the resulting sound.

The interface is kept simple and accessible, so you can easily build rich and full, great sounding timbres of very complex spectra, that can be either harmonic or inharmonic. Even though inharmonic spectra yield non-periodic waveforms, all partials are frequency related to the common fundamental controlled by a V/oct input. The series of harmonics can be squeezed or spread apart, tilt, and pruned by a comb-like frequency response, resulting in a variety of unearthy sounds. Animating the comb response yields radical effects similar to flanging and phasing. Additional, often sought after features are implemented: through-zero linear frequency modulation, and unison detune: up to 5 copies of the sound can be spread apart for a fat and dense cluster of voices.

There are nine parameters, each controlled by a dedicated knob, so the workflow is as smooth and immediate as possible. Furthermore, every parameter has a dedicated CV input, allowing live animation for organic audio effects. Odessa sports two main outputs for banks of harmonic partials that can be further scaled in frequency, as well as an additional output that can either spit out a square wave or a single sinusoid of the fundamental frequency. Interesting spatial effects, crazy modulation feedbacks as well as synchronisation is possible that way.

The hardware is based on a powerful FPGA chip offering massive parallel computing. The synthesized signal is devoid of aliasing through the entire audio range thanks to intrinsically bandlimited algorithm. A simplified spectral analyser helps you to keep a visual track of what is actually happening to the harmonics.

For even more control over Odessa, you can use the Leibniz subsystem (or just the Lipsk) that can be connected to a header at the back of the module.
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 4 in stock $432.08
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quote 689812
Cat: 747516 Rel: 18 Nov 19
 
Compact dual attenuator, inverter, attenuverter, multiplier, mixer & DC voltage source
Notes: Duatt is a dual-channel active/buffered attenuverter and summing mixer. Each channel has a knob, which can function as a unipolar attenuator or a bipolar attenuverter, depending on the setting of its corresponding two-position polarity switch. It's a versatile and super handy utility module that will find its way into almost any patch you make!

Each input is normalled to a built-in +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 channel polarity switch.

Channel A's output is normalled into the output of channel B for mixing duties, and channel A has a 2x voltage multiplier switch, allowing you to double the voltage sent into Channel A.
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Cat: 747528 Rel: 18 Nov 19
 
Quadrax EOR/EOF expander featuring 8 additional gate/trigger outputs
Notes: The Qx expander adds an EOR (End Of Rise) and an EOF (End Of Fall) trigger/gate output to each of Quadrax's four channels, enabling Quadrax's envelopes, cycles, bursts and LFOs to trigger external modules.

Requires the Quadrax to function.
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 2 in stock $68.96
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MFB
Cat: 695606 Rel: 20 Nov 19
 
Snare drum module based on circuit designs of the MFB-522 & Tanzbar Lite
Notes: The Snare-522 Modul contains an enhanced circuit of the MFB-522 and Tanzbar Lite. You can edit and modulate the sound in a wide range.

As a modular concept you have the possibility to control the parameter SNAP, SNAP DECAY. TUNE and TONE via CV-signals from Envelopes, LFOs and Step Sequencers.

The parameters are in detail:

SNAP is the intensity of the noise floor.
SNAP DECAY is the release time of the noise up to two seconds.
TUNE sets the range is about 100 to 300 Hz.
TONE controls the mix between the two t-bridge filters. DECAY sets the release of the snares tone.

Beside sequencer generated analogue and digital trigger-signals, drum pads, piezo pickups and dynamic mics may also be used. Here the SENS controls allow individual adjustment of the input sensitivity. Dynamic triggers also change the volume, tone length and snap of the snare drum.

The module has a wide of 40mm (8HP).
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 2 in stock $92.66
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quote 695606
Cat: 756224 Rel: 22 Nov 19
 
Expander for Odessa or other XAOC Devices polyphonic oscillators
Notes: Hel is a universal expander for polyphonic oscillator modules from Xaoc Devices, such as the Odessa. The module makes it possible to freely control up to five voices of polyphony via individual volt/octave inputs.
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 3 in stock $73.27
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quote 756224
Cat: 747522 Rel: 15 Nov 19
 
Force sensing module with gate & CV output - 10HP
Notes: The FSR 1U is built around a custom fabricated FSR with an analog processing circuit. It allows you to generate a variable CV when you press on it (pressing harder generates a larger voltage) along with a corresponding gate signal.

Guaranteed to add some fun, dynamic control over almost any kind of patch!
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 8 in stock $71.12
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quote 747522
Cat: 731937 Rel: 15 Nov 19
 
Complete miniature monophonic synthesiser module - 10HP
Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)
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 5 in stock $160.54
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quote 731937
Cat: 749811 Rel: 15 Nov 19
 
Complete miniature monophonic synthesiser module - 10HP
Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)
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 4 in stock $172.40
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quote 749811
Cat: 755388 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 128 stages provides a delay time of 0.26 - 128ms and is great for Karpluss-Strong synthesis.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $142.23
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quote 755388
Cat: 755389 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 128 stages provides a delay time of 0.26 - 128ms and is great for Karpluss-Strong synthesis.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $160.55
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quote 755389
Cat: 755390 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a co-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 256 stages provides a delay time of 0.51 - 256ms and is great for Karpluss-Strong synthesis.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $151.93
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quote 755390
Cat: 755391 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a co-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 256 stages provides a delay time of 0.51 - 256ms and is great for Karpluss-Strong synthesis.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $171.32
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quote 755391
Cat: 755392 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital delays of the 1980s.

The version with 512 stages provides a delay time of 1.02 - 512 ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $151.93
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quote 755392
Cat: 755393 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital delays of the 1980s.

The version with 512 stages provides a delay time of 1.02 - 512 ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $171.32
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quote 755393
Cat: 755394 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 1024 stages provides a delay time of 2.05 - 1024 ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $123.91
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quote 755394
Cat: 755395 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 1024 stages provides a delay time of 2.05 - 1024 ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $142.23
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quote 755395
Cat: 755396 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital delays of the 1980s.

The version with 2048 stages provides a delay time range of 4.10 - 2048ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 2 in stock $128.21
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quote 755396
Cat: 755397 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital delays of the 1980s.

The version with 2048 stages provides a delay time range of 4.10 - 2048ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $142.23
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quote 755397
Cat: 755400 Rel: 13 Nov 19
 
Analogue delay module - 14HP
Notes: The A-188-1 series bases on a so-called bucket brigade device (BBD) that has been used in the pseudo-digital BBD-delays.

The version with 4096 stages provides a delay time of 8.19 - 4096 ms.

The module is not an entire delay but only its core with all anomalies (e.g. cross talk of the internal clock frequency), and its very independent spacey and raw sound.

There are modulation possibilities with invertible polaritiy, a dry/wet control, feedback up to self-oscillation and a feedback loop with insert.
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 1 in stock $175.63
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quote 755400
Cat: 755403 Rel: 12 Nov 19
 
Bucket brigade delay module - 30HP
Notes: A-188-2 is another module that is based on a so-called Bucket Brigade Device (BBD). If you are not familiar with BBDs please refer to the A-188-1. There you can find some details about this special type of circuits.

The main difference between A-188-1 and A-188-2 is the type of BBD circuit that leads to completely different module principles and sounds. The A-188-1 uses different single BBD chips with one signal input and one signal output only. In contrast the A-188-2 uses as so-called tapped BBD that has available six outputs - the so-called taps after the BBD stages 396, 662, 1194, 1726, 2790 and 3328. In the A-188-2 we use this special BBD circuit (MN3011) to obtain these module features:

The module has available two separate mixing sub-units. For both mixers the levels and polarities of each BBD output can be adjusted to obtain two different mixtures of the BBD outputs. A new type of potentiometers with centre detent and centre terminal is used for the BBD mixing controls to have a better feel for the neutral position. Each mixer has a wet/dry control at its output that allows choosing between the pure input signal (original), the BBD mix or anything in between. The two outputs can be treated as stereo outputs but it is also possible to use one of the outputs for other applications (details in the next paragraph).

The A-188-2 has a feedback section available that is very similar to the one in the A-188-1. But as we now have 6 different BBD outputs available 6 different feedback types are possible. The feedback input socket is normalled to the "396" output (not to "1194" as shown in the scheme, the front panel is correct). But by patching the feedback socket to any of the single output sockets another BBD tap can be used for the feedback to obtain different sounds. Even external feedback processing is possible (e.g. with a VCA for voltage controlled feedback). The feedback control has polarizer function, i.e. the neutral position is at the centre. Left from the centre the feedback signal is subtracted from the input signal, right from the centre it's added (negative/positive feedback). Even for this potentiometer the new version with centre detent is used.

A special feedback can be obtained if one of the mix outputs is used for the feedback function. In this case for each tap the positive or negative feedback share can be adjusted. This leads to multiple peaks and/or notches in the frequency response of the module.

For each tap of the BBD a separate output socket is available. These sockets can be used for changing the feedback loop - as mentioned above -, for voltage controlled mixing of the taps - e.g. with the voltage controlled mixer A-135 or other applications that require access to each single tap.

The A-188-2 uses the same high speed VCO (HSVCO) for the BBD clock as the A-188-1. The clock and consequently the delay time can be controlled manually (delay control) and by the two control voltage inputs CV1 and CV2. The sensitivity of CV1 is approximately 1V/oct. CV2 is equipped with a polarizer (a new type of potentiometers with centre detent). The HSVCO has a clock output available that is normalled to the clock input socket. These sockets can be used to link different BBD modules and to run them with the same clock. But even other applications with frequency dividers (e.g. A-163) or PLL (e.g. A-196) are conceivable. A voltage composed of the manual delay control, CV1 and CV2 is available at the CV out socket, e.g. to control an external clock suppression filter as the A-188-2 is not equipped with such a filter (same as for the A-188-1).
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 1 in stock $214.42
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quote 755403
Cat: 755405 Rel: 14 Nov 19
 
Voltage controlled bit modifier module for the Eurorack A-100 system
Notes: Module A-189-1 is a voltage controlled bit modifier. It offers several voltage controlled algorithmic functions like voltage controlled bit crunching, bit shifting (with/without carry over), bit exchange, rectifying, absolute value and calculating operations like addition, subtraction, multiplication or division.

The module has two control units both with manual control and CV input with attenuator:

- One for the algorithmic function according to the selected mode (e.g. number of shifted bits): BC and BC CV
- One for the sampling rate (SR and SR CV).

The signal input is equipped with an attenuator. As the module is DC coupled even control voltages can be processed.

The mode (e.g. bit crunching, bit shifting, bit exchange) is selected by a 16-position rotary switch.
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 1 in stock $92.66
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quote 755405
Cat: 755407 Rel: 14 Nov 19
 
MIDI-CV/Sync interface with multiple functions - 6HP
Notes: Module A-190-2 is an economically priced alternative to the MIDI-CV/SYNC interface A-190-1. It can be used in all cases where the additional features of the A-190-1 are not required (e.g. clock output, start/stop output). A-190-2 is the modular version of the established MCV4. Only some minor changes were made for a better adaption to the A-100 system, e.g. five 3.5 mm sockets, zero-symmetrical CV for pitch bend to be able to adjust the pitch bend range e.g. in combination with the precision CV adder A-185-2, glide function.

These are the most important features of the A-190-2:

- Midi CV/Gate interface
- Gate output 0/+5V
- CV1: this voltage is derived from incoming Midi note messages (0...+5V / 5 octaves), the glide control affects this CV output
- CV2: this voltage is derived from incoming Midi pitch bend messages (-2.5 ... +2.5V)
- CV3: this voltage is derived from the multiplication of incoming Midi volume messages and the velocity data of the note messages (0...+5V)
- CV4: this voltage is derived from a freely adjustable Midi control change message (0...+5V)
- Midi channel, reference note for 0V CV1 and the midi control change number for CV4 are adjusted by means of the learn button.
- Glide control: portamento/slew limiter function for CV1

By means of two jumpers CV1 and Gate can be connected to the corresponding lines of the A-100 bus. That way the VCOs A-110 or A-111 and the envelope generator A-140 can be controlled directly via the A-100 bus, i.e. it's not necessary to patch CV and Gate with cables between the front panels. In addition CV1 is buffered, i.e. even several VCOs can be controlled by the A-190-2 without the need of an additional bus buffer (e.g. A-185-1 or A-185-2).
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 1 in stock $102.35
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quote 755407
Cat: 755412 Rel: 13 Nov 19
 
MIDI/USB/CV/Gate interface module - 6HP
Notes: USB/MIDI to clock interface that allows for synchronizing clock-driven modules with the MIDI environment. It processes only the Clock, Start, Stop and Continue MIDI commands. It has several clock divider outputs, each one start, stop and reset outputs for controlling sequencers and also an interesting wait function. Input is either a 5-pin DIN socket or USB.
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 1 in stock $117.44
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quote 755412
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