Equality of haptics and sound:
To us, expressive play means a balanced relation between melodic virtuosity and sound shaping. In our '14 Analogsynthesizer, these factors unite in full equality: Keyboard, pitch- and modulation-wheels are incomplete without the additional controls and switches of the remaining control surface. These offer direct access to each individual sound shaping parameter of the synthesis engine.
The '14 Analogsynthesizer is perfectly suited for distinctive solo and bass sounds including dynamic and individual sonic variations which are completely under your control at any time.
Uncompromising circuit implementation:
The components being responsible for the sound-generation and -shaping are based upon our proved and tested circuits of PERfourMER MKII and Mono Lancet '15. However, we did not just carry over these circuits but have adapted and refined these specifically for the '14 Analogsynthesizer. Besides stability and musicality, we paid great attention to an intuitive and practical scaling of each and every sound parameter.
The '14 Analogsynthesizer follows the classic subtractive synthesis structure: a versatile low-pass moulds the sound-source being created by two powerful analog oscillators. Typical for Vermona instruments, the sound is warm, round, classy and offers musical authority in the mix.
Handmade in our electroacoustic manufacture in Germany:
There a hundreds of work steps from the assembly of the circuit boards to the final, rigorous quality assurance of the finished instrument. Without exception, these steps are carried out with skilled craftsmanship and expert precision in our Elektroakustische Manufaktur in Erlbach, Germany.
Each '14 Analogsynthesizer is an outstanding instrument and leaves our manufacture as one of just 222 units.
The Dual Buffered Multiple/Inverter is equipped with two active buffered multiples in 1U tile format.
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.
The instruments on the DRM1 MKII are as following:
KICK: Mainly but not only for making big and fat kick drums.
DRUM1 and DRUM2: Very flexible instruments that can generate kick- and tom sounds a s well as bongos. Anything from zapp to bling and fantastic PIUU...
MULTI: Three oscillators can be detuned and gives you nice cowbell-like sounds. If you like submarines you can create a nice sonar ping.
SNARE: What can we say about that? Well, you get what you expect.
Hi Hat1 and Hi Hat2: That's analogue (heavy- or soft-) metal.
CLAP: Classic analogue hand claps.
The instruments of the DRM1 MKIII can be triggered by MIDI (of course velocity-sensitive). There is also an optional trigger option avilable that connects the drum machine to your analogue step sequencer or whatever gives out gate voltage or switch trigger. Beside the main outputs each channel is equipped with an individual output that also can be used as an channel insert.
4 in stock $607.57
If you would like to use those instruments as desktop unit you do cover the rack mount wholes with these nice wood sides, the unit feels much more handable and robust while packaging and using it in your live set.
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.
1 in stock $240.81
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.
Realtime or Dice:
Each of the rhythm-section can work in realtime or dice mode.
Realtime means, that the module is continuously generating new random values for each note value whereas in dice-mode it generates them for a complete 3/4- or 4/4-bar. In both modes, even if a bar has been diced, the sliders still influence the resulting sequence.
Clock central and multiple outputs:
Beside the sequence output of each rhythm-section there are individual outs for the quarters, eighths, sixteenths and triplets. You can use them with or without random. The latter makes RandomRHYTHM a precise tool to generate or multiply clocks.
Apropos clocks, the module can create its own or work with external clocks (per rhythm-section if you like).
Additional fun is guaranteed by the flexible RESET input that lets you mute the outputs or restart your diced bar. As with all parameters, the functionality can be set individually per rhythm-section.
RandomRHYTHM is a creativeness booster. It is easy to create complex rhythms or straight four-to-the-floor beats. Its fool proof user interface lets you play it without thinking about randomness and probabilities, although that's the fundamental concept of the module. You don't need to be a stochastic genius!
It doesn't matter if you use it as sole rhythm-base or as valuable addition to other sequencers. RandomRHYTHM gives you a different view to rhythms and the way to generate them.
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.
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.
Individual Filter Outputs:
tVCF-Extension has got individual outputs for each filter type of twinVCFilter's filter-sections and even adds notch outputs. You can use all outputs at the same time.
As you might know, twinVCFilter already has two CV-inputs per filter section. We thought that might not be enough for complex patches, so tVCF-Extension has additional CV-inputs to modulate the cutoff-frequencies. Each with a dedicated polarizer for attenuating and inverting incoming voltages.
With these you will get new modulation possibilities like controlling both cutoff-frequencies at the same time in parallel or contrary.
To get even more out of the module you can separate the polarizer section from the cutoff-frequencies and use them independently of twinVCFilter. They also can generate a voltage on their own.
tVCF-Extension is an elegant and even slim way to extend the vast possibilities of twinVCFilter.
Besides spectacular sound engines and -shapers, usual and unconventional sources and manipulators of control voltages, every modular system also needs a choice of modules for the "daily" business. twinOUT is such a module: the perfect connection to the outer world.
This DI-box in a module offer two adjustable electronically balanced XLR-outputs. twinOut is designed for full stereophonic or dual mono use. To complete its functional range, a headphone output was added - being also suitable to transport line levels.
Like every VERMONA module, each twinOUT is hand-assembled in our electroacoustic manufactory in Germany. If you want to get the most of your modular synthesizer, you cannot pass by the twinOUT!
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.
Oscillator-circuits are used in our VERMONA synthesizers, we know how to design them. But instead of copy and paste, we reworked many aspects when adapting our circuits for modular purpose. What is great for closed systems might not always be perfect for modular systems.
All that development work resulted in uniCYCLE: compact, high-performant and stable.
Simple interface and quality without compromises:
When designing an audio-oscillator we took great care to make it suitable for musical context. Beside excellent sound quality this also means rock-solid tuning stability. uniCYCLE more than fulfils these requirements. It easily covers a huge tuning-range while strictly following the 1-volt-per-octave-convention.
With one knob you can master uniCYCLE's frequencies in three different modes. TUNE either controls the low-frequency or audio range or adds respectively subtracts, exactly one octave. In this calibrated mode it provides a dead-zone around its centre-position. Thus it's easy to access all three octaves without the need of a centre-click.
With only 10 HP in width, uniCYCLE offers all the common features that you might expect: inputs for hard- and soft-sync as well as exponential and linear frequency modulation.
Even more than standard waves:
uniCYCLE offers six waveform outputs. Beside the classic sawtooth, triangle and square it generates sine, even and a special sawtooth with doubled frequency. PWM is not only available for square. Even - a shape the only has even-numbered harmonics - can be transformed to a sine-like wave whereas the doubled saw turns into half-pitched triangles.
uniCYCLE is a strong base for each Eurorack-system. At least one should be in every case.
1 in stock $227.11
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.