WMDevices

Notes: Simple but effective four-channel module, allowing you to attenuate or offset CV or audio signals. Normalled 5V source on each channel allows you to generate a standalone CV signal without an input.

Supplier notes:

4TTEN (pronounced either ATTEN or FOUR-TEN) is a four channel attenuator and offset generator.
Use 4TTEN to attenuate any CV or audio signal by running through the ins and outs.
A +5V voltage source is normalled to each input, making it a standalone offset when there is no cable patched into an input.
Each channel is completely independent.
Ever-so-useful in live performance, we designed this module with 4 sliders for easy maneuverability, visual feedback, and enjoyable to play interface. Make your eurorack modular synthesizer system more playable with 4TTEN!
*** 4TTEN's PCB is 113mm (4.45") tall and may be a tight fit in some cases ***

Highlights

- 4 independent attenuators for Control Voltage and Audio signals
- Performance friendly sliders
- Can be used as 0 to +5V Offset
- Comfortable fader caps from the Performance Mixer
- Only 4 hp!

Specs:

Size: 4hp
Depth: 30mm(with cables)
Power: +5mA , -5mA
Virtually no drop on 1V/Oct signals.
VERTICAL PCB LENGTH: 113mm (4.45")
IMPEDANCE = (SOURCE + 100ohm ) / 100kohm
UNBUFFERED

Notes: The Aperture is a variable-width bandpass filter with fast and tactile controls. It is capable of simple filtering, self oscillation FM timbres, nasty acidic squelches, and capturing images of UFOs descending from the heavens on a cold winter's night. The concept is a bandpass that ranges from transparent to gnarly, with precision controls that behave under stress, all while being joyful to wreak havoc with.

Controls
*LEDs along the top indicate width and position of the filter

Knobs
Frequency: Controls the center frequency of the band
Width: Controls the width of the band.
Freq CV: Attenuverter for the CV input for precise control over the Frequency of the filter.
HP Res: Controls the amount of resonance on the High Pass side of the filter.
LP Res: Controls the amount of resonance on the Low Pass side of the filter.
Input Level: Attenuates the input level. Unity at 12o'clock, total gain of 6 dB
Feedback: Controls the amount of feedback for more self oscillation and squelchy behavior.
Dry/Wet Mix: You know what this means.
Width CV: Attenuverter for CV control over the width of the filter.

Jacks
1V/ Oct: The aperture's cutoff frequency will track at 1V/oct. This is the input for that.
In LVL: Input for CV control over the input level attenuation.
Freq: CV input for control over the cuttoff frequency.
Width: CV input for control over the width of the band.
FDBK: CV input for control over the feedback amount.
Input: This is where your audio signal you want to filter goes.
Output: This is where the filtered audio signal comes out.
HPCV: CV input for independent control over the cutoff frequency on the high pass side of the filter.
LPCV: CV input for independent control over the cutoff frequency on the low pass side of the filter.
HP Res: CV input for control over the resonance on the high pass side of the filter.
LP Res: CV input for control over the resonance on the low pass side of the filter.

Other notable things:
Input Gain: -90dB to +6dB
Nominal Input: 10Vpp
HPF Cutoff Freq Range: 0.5 Hz to 50kHz
LPF Cutoff Freq Range: 0.1Hz to 25kHz
Poles: 8

Specs:

Power: +12V = 120mA; -12V = 100mA
Size: 12 HP
Depth: 25mm including power
Height: 3U Eurorack

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.

Notes: Stereo patching is becoming more common each day in the Eurorack Modular Synth System and we here at the shop are performing out a ton. Over the past couple years we consistently felt the need for a simple crossfader module that would allow users to switch between two stereo sources, add a stereo effect path, or easily mix a mono source with a stereo one. AXYS was born from this need.

Each crossfader features stereo inputs with normalling for mono to stereo uses as well as independent CV control. Control both crossfaders with one CV easily and decide how the Y will react to X's CV.

Easily transition between two performers similar to a DJ transitioning between decks with one channel and add some master buss effects with the other. Use one channel for adding stereo effects and the other to dial up some nice parallel compression. Perfect for live performance and momentary effect blasts. A simple easy to use module with tons of uses.

All analogue signal path keeps your tone intact and sounding the way you intended it to.

Notes: Clear and simple, the way a mult should be.

Three channel buffered multiple. Each channel has a dual color LED indicating Green for a positive voltage, and Red for a negative voltage. Each channel is normaled to the next channel for a total of nine outputs from one input.

Features:
3 Channels
Green/Red LED displays +/- voltage
Each channel normalled to the next for a total of nine outputs
Zero impedance buffer design for zero droop

Specs:
Power: +12V = 30mA; -12V = 30mA
Size: 4HP
Depth : 25mm

Notes: WMD's next utility module is a three channel buffered multiple. Each channel has a dual color LED indicating Green for a positive voltage, and Red for a negative voltage.

Each channel is normaled to the next channel for a total of nine outputs from one input.

Notes: C4RBN is a 4/2-pole state variable filter with input saturation, output wavefolding and more. It offers a wide range of characters, from nice and clean filter sounds to screaming, squeaky, sounds.

An innovative input saturation circuit and the output wavefolder of WMD's classic SYNCHRODYNE filter bring great sonic flexibility.

Features:

3 independent 2 pole outputs for High Pass, Low Pass, and Bandpass
Inverting Attenuator (attenuverter) for FM allows for positive and negative CV control over the cutoff frequency
Independent 4 Pole output with switchable frequency response
Input Saturation with 3 switchable levels and CV input for additional fine control
PING circuit generates a fast decay envelope emulating the response of a vactrol
Output wavefolder for extra bite and screaming character
Resonance with self oscillation
Temperature compensated 1V/Oct tracking.
Performance focused control scheme allows for on-the-fly changes of filter types with intention

Power consumption: 92mA at +12V and 82mA at -12V

Depth: 38mm

HP : 4

Notes: Chimera is a granular synthesis module that specializes in drum sounds. It offers a wide range of detailed sample sources as well as its own synthesis engine. Firmware updates can be performed via USB.

The module features various samples called Surfaces. The samples are mainly metallic sounds:

Tambourine
Bells
Drill
Wrenches
Cartridge cases
Coins
Chains
Metal housings
Broken modular front panels

Chimera uses impulsive sounds with lots of detail and long decay times to create detailed shaker-like sounds. The granular synthesizer was developed around the samples here, this has the advantage that the percussion sounds sound so more natural.

Power consumption: 63mA at +12V and 17mA at -12V

Depth: 38mm

HP : 8

Notes: Crucible is a drum module that specializes in metallic sounds and cymbals and tries to recreate them as realistically as possible.

By using classic digital synthesis blocks such as delay and digital filters, Crucible can synthesise sounds in real time that resemble thinly struck pieces of metal.

Size, Pitch, Tone and Deform give the user the parameters to shape their cymbal as they wish. The Excite control allows the user to change their attack, completely altering Crucible's response. Finally, you can choose where the exciter touches the engine by triggering the EDGE and MID inputs, or trigger both to strike the "bell".

All of this adds up to a lively and dynamic module that completely mimics the feel of playing a real cymbal.

Features:

Realistic sound!
Position-dependent trigger input. Strike the rim, the centre or the bell of the cymbal.
3 model types: Cymbal, Cracked Cymbal and Curved Plate
Audio input for experimental effects
Separate pitch and size controls for maximum realism
Choke input for perfectly timed hits
Proprietary synthesis model with digital filters and delays

Power consumption: 63mA at +12V and 17mA at -12V

Depth: 38mm

HP : 8

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

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

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

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

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

Features

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

Specifications

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

Notes: Originally inspired by audience applause, hip-hop samples, and classic drum machines, Fracture is a multi-particle percussion synthesizer that applies concepts from classic analogue clap circuits to granular synthesis methods.

It all starts from proprietary micro-samples we recorded specifically for this purpose and ends with an engine built to suit these samples.
Unlike our other percussion module, Chimera, which uses impulse rich samples as it's tonal center, Fracture uses single impulse samples like claps, snaps, ping pong balls, opening a beer can, and many more. It then plays a group of similar samples back in a psuedo random order for unique hits. Density, Decay, and Tail affect tone and how "tight" your virtual clappers are to playing together.

Our goal was to design a clap percussion module covering the range from classic drum machine claps all the way to full audience applause. We ended up with a module that covers a huge range of timbres beyond claps. We hope this engine provides you with the tools to intuitively create wild percussion sounds that bring your system to life in a new way.

Features
Stereo output
Control over "how many people" and " how tight" they sound together
Built in Hall and Room reverb
Two Trigger inputs for different types of sounds
3 Filter types, 3 Envelope types
Free running, Voltage Controlled "applause" capability
CV over all parameters

Specifications:
Size: 8hp Depth: 38mm (with cables)
Power: +61mA, -17mA
All CV Inputs: 100k ohm impedance
CV inputs sum with knobs
Full sweep is 5V
Gate Inputs: 100k impedance 2V threshold Schmitt Trigger
Audio Outputs: 470 ohm impedance
20Vpp range
1ms latency max

Notes: The Geiger Counter - Civilian Issue is 32 killer sounds from the original Geiger Counter. WMD stripped off the majority of the controls and took $100 off the price. This is for those players who want to dial in a tone quickly and save pedalboard space.

The Controls:

Stomp Switch - Like all WMD pedals, the GCCI (Geiger Counter Civilian Issue) is handwired and true bypass, so it won't affect your tone when disabled. When the GCCI is on, the red LED will be lit.

Gain - The gain control provides anywhere from a nice clean tone to a ton of overdrive. Use this to hit the Function tables harder or softer to produce different amounts of harmonics.

Tone - The tone control can be used to fine tune the harmonic content from the Function tables. Use lower settings for fewer upper level harmonics.

Function - Twisting this knob will cause the number on the display to change. It goes 0 to 9 and A to F. This selects the 16 presets inside the GCCI. Push the knob in to activate the Low Fidelity mode for each preset. Low Fidelity mode is indicated by the decimal point on the display.

Each Function recalls parameters from the original Geiger Counter including the Bit Depth, Sample Rate and the Wave Table. The wave tables are displayed in the manual file. As your guitar string swings up and down, the wave table is played left to right from the centre. The output is what's vertically on the graph. The more movement in the Function, the more harmonic content you'll get out.

Volume - Sets the output volume of the GCCI which can be up to 5Vpp, enough to really crush your amp's input stage.

Notes: The WMD Geiger Counter is hundreds of entirely new face melting sounds. A high gain modern preamp drives an 8 bit computer, creating sounds which range from nice (tubey overdrive, lofi aliasing, hot gated leads) to total madness (impossible amounts of gain, multiple octave foldover, harsh digital data errors, and piercing sculpted noise).

- High Gain Modern Preamp
- Dramatic Tone Control with Disable
- Sample Rate from 260Hz to 58kHz
- 1 to 8 Bit Depth with Mask mode
- 252 Wave Table Modulator
- CV In for Expressive Control
- Always saves settings
- Hand Wired True Bypass
- Top Quality Components
- Super Hard Epoxy Powder Finish
- Standard 9V Power Jack
- 4.5" x 3.5" Small Footprint

Notes: All of the features of the original Geiger Counter, with so much more. 16 footswitchable presets, MIDI control over presets, bit depth and sample rate blending, dry/wet mix, an end of signal filter - the most powerful pedal WMD have ever created. Designed for the pro to really dial in new, undiscovered sounds, never before heard in a distortion pedal.

Features

256 new wavetables! (512 wavetables in total)
Wavetable Morphing
12 bit signal path
16 foot switchable and MIDI switchable Presets
Easy to save and duplicate presets
Full MIDI control over all parameters
2 assignable CV/Expression inputs
Dry/Wet Mix
End of chain Low Pass Filter
Knob and CV soft take up on preset load
RAND button for a random new immediate setting to aid inspiration

Specifications

Power: BOSS 9VDC 300mA
Reverse & Over Voltage Protection
Dimensions: 5.8" x 4.75" x 2.5"
Input Impedance: 380kO
Output Impedance: 1kO
MIDI standard input, Channel 1
CV Inputs: 0-5V. 50kO Impedance. TS connection
Expression: 10k-100k linear. TRS connection
Relay True Bypass

Notes: The Goldilocks Planet is a distortion pedal with 3 different methods of clipping, a variable tone stack, and a knob for "density" which brings out more low end and body to your signal.

WMD's simplest to use pedal, the Goldilocks Planet is for guitarists and bassists alike who want to dial in great tone fast on a pedal that doesn't take up too much space.

Notes: The 6 HP Invert Offset module creates an easy way to modify control voltages for other modules in your system.

The Invert Offset consists of two identical channels. Signal applied to the In jack is vertically offset by the knob, additionally a CV signal may be applied to offset the signal vertically.

The +Out jack puts out a non-inverted signal with the specified offset. The -Out jack puts out an inverted signal with the same offset as the +Out.

The Offset CV input allows you to mix two signals together, Offset will never be inverted, while the signal at the In jack will be inverted based on the selected output.

There is also a sum output (1+2) that takes the non-inverted outputs and adds them together. Also there is a comparator gate output that is on if the channel 1 output is more positive than channel 2.

Notes: Javelin is a module that is basically an ADSR envelope with integrated VCA. However, it has several features that make the module an expressive sound shaping tool.

Three level ranges determine the total amplitude of the envelope, additionally three different time ranges are integrated, which can be switched between.

The accent behaviour is also unique. If several gates are applied to the Accent input at the same time, the envelope rises slightly with each gate.

Features:

Attack-decay-sustain-release envelope
Integrated VCA
Unique accent behaviour for expressive sequences
Reset input
CV control over attack and release
Looping mode for LFO-like modulations
Mode switch for gate and trigger behaviour
Linear, moderate or steep exponential shape
Short hold in the peak of the attack for more punch
Power consumption: 93mA at +12V and 65mA at -12V

Depth: 38mm

HP : 6

Notes: Kraken is a physical modelling snare drum with a wide range of sounds.

With 32 different shell models, nose algorithms and different distortion types as well as a pitch shifter, the snare sound can be customized as desired.

The additional CV inputs (velocity, accent, decay) can be used in conjunction with a sequencer or other modulation sources to create realistic drum patterns. With the optional pitch shifter at the output, reminiscent of old smapler and pitch shifter pedals, the tonal possibilities can be expanded even further.

Features:

Integrated distortion
Digital and analogue noise sources
Pitch shifter
100% digital synthesis, no samples
Great variety of sounds
Two trigger inputs, which produce a realistic "rimshot" sound when used simultaneously

Power consumption: 61mA at +12V and 17mA at -12V

Depth: 38mm

HP : 8

Notes: ***B-STOCK: Box opened, product in perfect working order***


WMD turn their hand to snare drums with this unusual physical modelling module. No samples, just 100% pure digital synthesis. Properly versatile stuff, from realistic drum sounds to creative weirdness.

Supplier's Notes:
Kraken is a physical modeling snare drum module for eurorack modular synthesizers.

No samples, 100% digital synthesis with the ability to make realistic snare drums of all sizes, shapes, materials, and colors. Similar to Crucible, Kraken uses a network of classic synthesis blocks like delay, digital filters, and noise to create a very unique resonator.

"Crack-in" to the snare drum sound you're into most by adjusting parameters that corelate to physical drum properties such as shell type and size, head tightness, amount of overtone, and how tight and bright the snares sound.

You like snare samples? Great! Although Kraken does not use any recordings to generate sound, you can get a perfectly repeatable snare sound, similar to a sampler by using digital noise to generate the sound of the "snares". Dial in the decay to cut the sound short, and use different gate lengths to mimic "gate" mode style sounds in samplers.

Want your snare to sound more realistic? Switch to analog noise to imitate the subtle difference of a drummer hitting the snare slightly different on each hit.

Perfect Pitch... kind-of. Optional pitch shifter on the output widens the sonic palette as well as the frequency range, while imparting a unique character of it's own, reminiscent of old school samplers and pitch shifter pedals. Pitch knob and CV input take control of the pitch shifter when in this mode.

Wreck the ship with the Wreck switch and CV input. 3 different distortion characters push the envelope that much further with an analog style gained up hard clipping, wavefolding, and bit depth reduction.

At some shell settings, gain gets loud and fedback like running a snare mic through a distortion pedal. The wavefolder sounds like over-the-top compression with lots of high frequency content. The bit depth reduction setting let's you dial in a desired amount of "vintage" digital artifacts. Moving the switch to these different modes is only a preview.

Use the Wreck CV input for the most control over your sound.

Kraken is begging to be sequenced. Use the Head, Rim, and Accent gate inputs to start your basic rhythm of hits, sidesticks, rimshots and accented sounds. Sequence the Velocity input with a variable CV source to bring the pattern to life and put the drummer behind the kit.

Pair with Crater, Fracture, Chimera, and Crucible for a completely unique set of drums for your Eurorack Modular Synthesizer.

Highlights:
- No samples, 100% digital synthesis
- 3 built-in distortion types
- Digital and analog noise source
- Pitch shifter
- Wide range of sounds
- Two trigger inputs - Hit both simultaneously for a realistic "rimshot" sound.

Specs:
Size: 8hp Depth: 30mm (with cables)
Power: +61mA, -17mA All CV
Inputs: 100k ohm impedance
CV inputs sum with knobs.
Full sweep is 5V
Gate Inputs: 100k ohm impedance 2V threshold Schmitt Trigger
Audio Output: 470 ohm impedance
22Vpp range
4.0ms latency max

Notes: Metron is a 16-channel trigger and gate sequencer for Eurorack with extensive functions, expansion possibilities and the tools you need to create long sequences with many variations in a very short time.

The sequencer allows pattern lengths of up to 256 steps, and the number of steps per channel can be varied to create interesting and varied rhythmic structures. These patterns can be quickly stored and exchanged between units via the SD card slot. Metron also offers a random function per step and a ratcheting function.

With the optional WMD Voltera, Metron can be expanded with four additional bipolar voltage outputs.

Features:

16 Channels of trigger and gate signals
intuitive drum sequencer
View 4 channels at a time and easily switch views
Single track view lets you zoom in on a single track and see 64 steps at a time
Up to 256 step pattern length
Different pattern lengths per channel
Five instantly recallable, editable variations
View and edit variations that are not playing for easy cue and non stop performance play
Save patterns to SD memory for easy recall on power cycle
No-stop loading from memory
Easy view memory previews lets you see a pattern before loading from memory.
SD allows for easy update as well as easy back up / file transfer from unit to unit
FX / Fills for instant / momentary variation
2 assignable inputs for external CV control
Tap in patterns with quantized recording with the buttons or external source
Quick copy / paste / clear functions
Internal clock with Swing
dedicated reset output
MIDI Preset mode lets you send MIDI messages to other modules on the Doepfer CV bus. (for use with WMD SSM, Malekko Voltage Block, and more)
Random Pattern Generation
Probability per step and group probability functions
Burst per step for ratchet / roll sounds
Custom Fill Patterns for instant fills
Trigger Mutes
Step looping
Manual gates
Power consumption: 180mA at +12V and 0mA at -12V

Depth: 31mm

HP : 36

Notes: Stereo compressor in only 4HP!
The module was mainly designed as a dynamic tool for subgroups and sums, but also works well with single signals. Similar to classic DBX units, threshold, ratio and gain can be adjusted with just one knob. Further fine adjustments can be made for attack and release times. In addition to compression, the module can also be used as a limiter. Ducking effects can be created via a sidechain input.

The MSCL is equally suitable for subtle and strong compression effects. Ratio (1.25:1 to infinity), make-up gain and threshold can be adjusted with a single potentiometer. The threshold works in the opposite direction as the other parameters. In addition, there is a threshold switch that can be toggled between three value ranges (-15 dBu, -4 dBu, +5 dBu). This allows the MSCL to be used with other audio signals outside the modular system. In addition, it is possible to limit the gain control range by 3 dB or 9 dB. This makes the module behave similar to a peak limiter. The attack and release controls can be used to adjust the settling phase and the decay time of the compressor. At the output, it is possible to increase the gain by up to 35db. With the switchable sidechain channel, the MSCL can also be controlled by external signals.

Features:

Sidechain input for classic ducking sounds
Easy and intuitive design
Threshold switch lets you compress modular level signals as well as lower level sources
Limit switch limits the makeup gain on the comp knob to make compressor act more like a peak limiter
Power consumption: 50mA at +12V and 50mA at -12V

Depth: 38mm

HP : 4

Notes: OSD, aka OR SUM DIF, is 3 independent blocks of useful utility in 4HP.

OSD is centered around combining voltage in useful ways. Audio, V/Oct, and control voltage are at home in this utility. OSD offers a fully DC coupled signal path with precision components to make this happen. High quality, configurability, and compact size ensure OSD will always find it's way into your patch.

- Combine v/Oct sequences with precision summing, or enable the the precision OR circuit for completely different results.

- Mix two envelopes or an envelope and lfo using sum to create large accented voltages or combine with OR to keep the output in the original range.

- Crossfade between audio or control voltage using the potentiometer in block one. Setting DIF will invert the signal at the B jack.

What is OR, SUM, and DIF?

OR - Input voltages are compared and the higher of the two is passed to the output.

For example, if A = 4V and B = 8V, the output will be 8V.

SUM - Input voltages are added together to create the output voltage.

For example if A= 3V and B=4V, the output will be 7V. This clips at -10V and 10V.

DIF - Lower voltage source is subtracted from the higher voltage, producing an output of the difference between the two.

For example if A= 3V and B = 5V, the output will be 2V.

Controls / Configuration:

Block 1 - Sum, OR, or Difference of two inputs and effect the mix of the A input to the B input with the Knob. The third input ORs with the result of the A/B inputs.

Block 2 - Sum, OR, or Difference two inputs with a fixed mix of 50%. The third input ORs with the result of the A/B inputs.

Block 3 - 3 input OR. Mix gates or CV from three sources for some wild results.

Specs:

Size: 4hp

Depth: 40mm(with cables)

Power: 50mA +12V, 50mA -12V

All Inputs: >=100k ohm impedance .1% Resistors

All Outputs: 470 ohm impedance impedance compensated for precision.

20Vpp range

Notes: The WMD Overseer is a stereo filter inspired by those commonly found on DJ mixers and DJ software. It features two filters on one knob, stereo ins and outs, bypass switch, and a fun stereo "Tilt" function which offsets the filter cut-off frequency across the stereo field creating some dizzying stereo effects.

Controls:

- Bypass Switch: Turns the filter on and off. LED will be red when the filter is engaged. Toggles on button release.
- Filter Cut-off Knob (the big one): Turn Left for Low-Pass filtering and Right for High-Pass filtering. No filtering in the middle. Becomes offset with CV.
- Filter Cut-off Switch: Switched to the left limits both filters to audible frequencies so you cannot accidentally filter out all signal. Switched to the right disables the limit allowing you to filter the signal into oblivion.
- Resonance knob: Controls the amount of frequency boost at the cut-off point. Will not self-oscillate. Knob becomes offset with CV.
- Tilt Knob: In the middle applies no tilt. Rotate left or right to off set the offset to the filter cut-off on each side. Knob becomes offset with CV.
- Tilt Switch: Allows you to apply the Tilt function to either or both HP and LP. Left for LP, right for HP, centre for both.
- HP - LP Knobs: Attenuverters for incoming CV over the filters.
- HP - LP Switch: Switch to the right sends 5V to the HP - LP knobs and turns them into independent controls for the cut-off frequency of both filters, allowing you to control both filters at the same time with these independent knobs.

Jacks:

- HP: CV input for the High-Pass filter
- LP: CV input for the Low-Pass Filter
- Tilt: CV input for the Stereo Tilt function
- Res: CV input for the Resonance of both filters
- Master: CV Input over both filters, accepts -5V to +5V

Other:

- Input Impedance: 40k
- Output Impedance: 220 ohms
- Frequency Response: 20Hz to 20kHz +-1dB
- LPF Cut-off Range (-3dB Fc)
- Limited LPF: 22Hz to 32kHz
- Unlimited LPF: 1Hz to 32kHz
- HPF Cut-off Range (-3dB Fc)
- Limited HPF: 3Hz to 12kHz
- Unlimited HPF: 3Hz to 38kHz
- Signal Path: AC Coupled at all times

Notes: The MKII version of the PDO is available: Better CV handling, 16 HP, single PCB instead of stacked boards. An upgrade path is available for those with MKI versions, contact us for more information.

Introducing the WMD Phase Displacement Oscillator (PDO). This hybrid VCO has all the feel of an analog VCO but with the benefits of digital waveshaping. The PDO will easily find a home in your system!

The PDO exists to utilize the phenomenon of Phase Modulation (PM). This allows for the relative phase difference of its outputs to be set or modulated, producing very interesting sounds. The result is similar to Frequency Modulation (FM) but affects the output to a greater degree without affecting the stability of the initial frequency. This is where the "displacement" comes in.

When you use frequency stable phase displacement, you create phase distortion which sounds like wavefolding and is very useful for dynamic textures and powerful sounds.

PM has the same benefits of quadrature filters/sine wave generators and greatly exceeds their capabilities at audio rate modulations. PM is highly useful for for creating metallic and bell tones and very controlled harmonic interactions.

Because PM affects the relative phase and not the frequency of the waveform generated, the PDO can self modulate its PM inputs. This creates complex harmonic signals that seem to vary in frequency but are quite stable.

Phase Modulation is also quite powerful when using the PDO as an LFO. Adjusting the relative phase of each output allows for very precise modulation of other modules. Each output can have any of the available waveforms simultaneously. There is a myriad of modulation possible with the PDO!

Notes: A game changing mixer for live performance within the Eurorack modular synth ecosystem.

The Performance Mixer is an 8 channel audio mixer designed specifically for live performance and jam sessions within the modular ecosystem. With 12 audio inputs for the first 6 channels, and 2 true stereo channels, there is plenty of room for all your modular signals and more.

2 mono auxiliary sends with dual mono returns, stereo send and return, and another set of stereo mix inputs give you the routing you need to send signals to interesting effects as well as utility uses such as bus compression and master equalizers.

Tired of not being able to tune oscillators and program sequencers on the fly? Not to worry, the performance mixer also includes a cue mix section so you can monitor your incoming signals in headphones before sending them to the front of house mix. Just like on a traditional DJ mixer, the cue mix knob determines how much of the cue vs the FOH mix you hear in the phones.

Two headphone outputs for convenience and teamwork. Collaborate with friends without wasting any channels by sending the stereo output of their mixer into the unity gain mix input. Monitor with the dual headphone outputs and you can both hear the entire mix.

Notes: Updated version of WMD's exceptional performance mixer. Full stereo design with improved sound quality, revised layout and increased expandability. An even better version of what was already one of the best mixing solutions in Eurorack.

Supplier's Notes:
Enter the WMD Performance Mixer MKII - Eight years after the MKI was released, the MKII builds on all the valuable feedback received. This is a serious upgrade, with feature enhancements and engineering improvements affecting every bit of the design.

Decisions, decisions, decisions!

If you recall, WMD showed a previous version of the PM MKII a year ago. That version was very similar to the original, with a few enhancements. Primarily focused on manufacturability and overall noise floor with some great recording features. WMD moved to an 8-layer board, replaceable channel strips, developed the MIDI and bootloader, pre/post fader headers, and made it work on both AUXs simultaneously.

Noise Performance - The MKI was alright with noise, there was a little bleed too. Going to 8-layer boards meant I could put ground planes between trace layers, and spread the traces out triple the spacing of what they were on the MKI, this reduces bleed/crosstalk by a factor of about six.

Noise Performance 2 - On the Original, the Level VCA was before the Panning VCAs, which saved on parts/power, but it meant that the Panning VCAs were always connected to the mix bus, adding noise floor that couldn't be attenuated. Making all the channels stereo and putting the Pan circuit first eliminated this problem, now the noise add is controlled by the fader. This did force WMD to make every channel stereo, so the design got simpler through figuring this out.

Panning / Crossfader - The above panning/level improvement made it possible to convert the Pan control into a crossfader, buy simply routing the post pan signals through a switch to the opposing channel, summed at the Level control. This huge improvement allowed the A/&/B input switching scheme to still work on the PM MKII, a bit differently, but it's there in spirit.

Modular Design - The channel strips are all now stereo, and identical, which makes assembly much easier, and lowers the cost. It also makes replacing them easier should a mechanical part fail or get spilled into. Further, the Patchbay, Power board, and Master section are all separate parts, so if there's a failure, they can be quickly swapped without having to RMA the whole unit.

Patchbay - The MKI and rev E MKII still had jacks misaligned with channels. This was a source of frustration for d many users of the PM MKI. And I decided to just be done with it. It didn't make sense to try to put jacks over the channel, it wasted too much space on the panel... So all the jacks go left, keeping the mixer clear of cables, this let me space the knobs out a bit to take up all 3U. It's cleaner, simpler to make, and intuitive to use.

Expandability - It's super modular now, the DB25 can connect to any two headers that spits out audio, they're all the same format across PM MKII and Channels MKII. Pre, post, mixes, connect it however you want. And the connectors can't be hooked to power, meaning no more blown opamps and RMAs to the factory. They're all shrouded too so they won't get bent in shipping!

Features Overview:

Everything is stereo. Inputs, Busses, Auxes, and Cue Mix.
INPUTS: IN LEFT is normalled to IN RIGHT.
GAIN: Each channel has a Gain trim range of -12dB to +20dB, this will let you use line level devices easily.
GAIN CLIP LED: lights red 1dB before clipping the input stage.
LVL FADER: smooth intuitive curve for easily adjusting the mix level on the fly. A yellow indicator shows the level.
MUTE: Press the channel button and the channel will soft mute with a red LED indicator.

Notes: This module adds two more stereo channels with two sets of inputs each to your WMD Performance Mixer - 8 more inputs in just 10 HP!

Can be muted with Mutes expander, and includes CV over Gain, Pan, and Aux Level.

More than 30dB of gain over each channel lets you use external sources such as consumer audio equipment, not just modular signals.

Notes: Need More Inputs?

Add four channels at a time to your Performance Mixer MKII setup, or you can use the Channels MKII as a standalone four channel mixer.

The expansion is simple -- identical channels, just more of them. Four at a time, up to four Channels units, for 24 total stereo channels.

A simple 16 pin 2mm pitch expansion cable is provided and is the only connection necessary. Units can be daisy-chained easily resulting in a clean setup.

Additionally, the outputs on Channels MKII still work when connected to the PM MKII. So you get a submix of AUX1, AUX2, and MIX available for whatever you may want to do, drum submixing, FX routing, etc.

Not Just an Expansion -- Standalone Operation
As a standalone unit, you get three stereo outputs, MIX, AUX1, AUX2. The buttons are soft mutes. It's a robust four channel setup.

FYI -- You can not connect CHANNELS MKIIs together without a PM MKII. The summing, buttons, and control brain is in the master section of the PM MKII.

Recording Outputs:
Pre and Post fade headers are available on the rear for connection to the DB25 MKII. Each Chanels MKII will fill 1/2 of a DB25 with the Pre or Post connections.

Specifications:
24HP
36mm Depth behind Panel Including Cables
Board Height Between Rails 111.5mm
Channel Input Gain: -12dB to +20dB
Fader Gain: -100dB to +5dB (Applies to Aux1, Aux2 also)
Pan Curve: -100dB at Hard L/R, -3dB at Center
All Inputs and Outputs (Including Sends, Inserts, Headers, etc) are IN PHASE
HPF: -1.3dB at 20Hz

Notes: PM Db25 is a proprietary expand module for the WMD Performance Mixer that allows for direct access to each output, balanced, including channels expand and the main outs. Connect a Db25 snake to your choice of connector on the other end and record each individual out without destruction from the faders or mutes. Reference the stereo recording while making final edits in your DAW or tape machine.

Notes: PM DB25 MKII is an expander output for the MKII versions of the Performance Mixer and Channels.

Pre-fade and Post-fade connections are available for all channels. The DB25 has 16 outputs. All mixer channels are stereo, so one DB25 handles the main PM MKII (either pre or post), and the DB25 can handle 2x Channels (either pre or post).

Simply connect the cable to the Pre or Post headers on the back of the PM MKII or Channels MKII modules to choose pre/post.

The PM MKII has an additional header with both Aux Sends, Master Bus, and Submix Bus.

Connect a DB25 cable of your choice to the front connector and then straight to your DAW or recording interface.

For use with original WMD Performance Mixer, an adapter board can be added on. Please note that width behind panel is increased by 8mm when adapter board is added on. This may require some clever position in your case. The original Performance Mixer still only offers Pre Fader Outputs.

Notes: This module gives you mute control over each channel of the Perfomance Mixer including the master Aux Sends and even the two extra stereo channels provided by the PM Channels Expander.

Also adds voltage control over the Aux Send level for the first 4 channels on the Performance Mixer.

All action happens on release.

Combo button: Hold down and select multiple channels to mute upon release.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


This module gives you mute control over each channel of the Perfomance Mixer including the master Aux Sends and even the two extra stereo channels provided by the PM Channels Expander.

Also adds voltage control over the Aux Send level for the first 4 channels on the Performance Mixer.

All action happens on release.

Combo button: Hold down and select multiple channels to mute upon release.

Notes: The WMD Pro Output is a simple and purpose built module to get your modular signal interfaced with professional and consumer audio gear. It also includes a very high quality headphone driver.

Rail to rail opamps at the input stage allow for headroom above the typical eurorack levels of 20Vpp. The Pro Output can handle 23Vpp before clipping. Signals are attenuated down to the proper levels allowing for simple adjustment free connection to any type of device, professional or consumer.

The Pro Output is DC coupled through the entire signal path, including the headphone driver. This design eliminates coupling capacitors and the distortion they can cause.

Controls and I/O:

Input - The inputs are designed to accept any normal modular level. 10Vpp is the nominal operation level. The left input is normaled to the right side for mono operation. Inputs will clip at 23Vpp, giving enough headroom for any eurorack signal.

Phones/Line - The headphone driver connects to a 3.5mm stereo jack, and a 1/4" jack for whatever type of headphones you use. It can drive both simultaneously.

The headphone output level is internally limited to protect against accidental knob turns. Connect a couple of jumpers to the rear of the module to disable this limiting. This will allow the headphone amp to drive headphones extremely loudly, but still without distortion. Output quality remains the same regardless of the jumper settings.

With the limiting enabled (jumpers off), the maximum output is around -10dBV. With limiting disabled (jumpers on), the maximum output increases to pro level, about +4dBu.

Stereo - The Stereo (-10dBV) output is designed to interface directly with consumer level gear. Hook directly to sound cards, portable recorders, and speakers. It can be used as a second headphone output but will be loud.

+4dBu Bal - These two outputs (left and right) are high quality low impedance balanced line drivers. They are designed to drive long cables and to drive balanced transformer or transformerless inputs. Use these to connect directly to mixing consoles, mic preamps, or any other piece of professional outboard gear.

Notes: The Protostar's filter is a multimode circuit with a slope of -12 dB or -24 dB per octave and four characteristics, in detail low-pass, band-pass, high-pass and notch.
Values for the cutoff frequency and resonance can be set manually. Additionally, the cutoff can be modulated by the integrated LFO, an Envelope Follower or the control voltage input.

The LFO comes with parameters for speed and modulation depth, both are controllable via CV inputs. The LFO signal can be tapped off another jack of the Protostar's patch bay.
The Envelope Follower is editable in its threshold as well as attack and release times.

The ladder share one potentiometer. A bipolar knob alters the modulation value applied to the cutoff frequency. Again, the signal of the Envelope Follower can be tapped off the patch bay, but here you have two connectors for normal and inverted phase. Using the sidechain input, musicians can run external audio signals trough the Envelope Follower.

The Protostar's compressor comes with knobs for work intensity and the dry/wet mix.
Send and Return jacks allow to tie-in an external effect. Furthermore, an expression pedal can be connected to the unit. Thanks to the patch bay, it is possible to combine the foot controller with several parameters. Last but not least, the Protostar contains a feedback loop, which can only be influenced by control voltages.

KNOBS

Attack - How fast the envelope will react
to the incoming signal. Controls both
attack and release.

Threshold - How sensitive the envelope is to the
incoming signal.

Env Amt - Attenuverter that controls how much
the envelope will affect the frequency of
the filter, either negatively or positively.

Resonance - Synonomous with feedback or Q,
this is a boost of the frequencies around the
frequency cutoff.

Freq - Also known as cutoff, this knob's
position dictates the resting place of the
frequency cutoff.

LFO Rate - Make the LFO go faster or slower
with this knob.

LFO Amt - How much the LFO will affect the
frequency cutoff.

Compression - End of chain compressor squashes
the wet signal to suppress unwanted honks, and
resonant oddities.

Dry / Wet - Amount of unaffected vs. affected signal
coming through the output.

Sidechain - Direct input to the envelope follower.
Normalled to the input, use this to have the
envelope follow an external source.

Exp Out - Output for the expression pedal
input. Exp isn't connected to any control
internally and must be patched.

- Env Out - Always sending +5V until the
envelope is triggered, bringing the voltage
down to 0V and back.

+ Env Out - Sends a CV signal following the
envelope. Signal is 0V to +5V.

LFO Out - Constantly sends the triangle
wave LFO CV signal, reacts to LFO rate knob.

LFO Rate - CV input for control over LFO rate.
Sensitivity adjustable with internal trim pot.

LFO Amt - CV input for control over LFO amt.

Freq - CV Input for control over cutoff frequency.

Feedback - CV input for control over resonance.

Expression Input (back panel) - Plug a TRS
cable from any expression pedal into this, patch
the exp out to what you want to contol, and
express yourself.

Notes: The WMD Quad Anti Aliasing Filter (QAAF) was conceptualized as the first epansion for the Phase Displacement Oscillator. It is designed to eliminate aliasing and stair-step distortion from the Digital to Analog converters. We opted to make this a seperate module because it is useful by itself as well as coupled with the PDO.

There are four independent filters inside the QAAF. Each -24dB/octave Butterworth filter runs at exactly the same frequency. The Butterworth filter has a small amount of resonance and a great sound. Each input jack is normaled from the expansion header that connects to the PDO, but any signal can be filtered by plugging in.

The frequency control circuitry uses a vactrol to control the clocking speed of each filter, slowing down the response to transient signals. This brings life and character to the sound.

Controls and I/O:

CV Input - This input is roughly calibrated to 1v/octave. It drives a vactrol that will cause the QAAF to open quickly and close slowly.

Freq Knob - This knob controls the cutoff directly or acts as a bias/level shift control for the CV input.

CLK - This jack serves as a clock input or output, directly controlling the filter's frequencies at a ratio of 100:1. A jumper on the back (lower jumper) selects it's mode. Jump for clock output, leave open for clock input.

Inputs 1-4 - Audio Inputs, these are normaled from the expansion header going to the PDO. This normal is broken by plugging into these jacks.

Outputs 1-4 - These jacks are for each channel's outut.

Mix - This output is a sum of each channel's filtered input.

Frequency Limit Jumper - This rear jumper (upper set of pins) will limit the low frequency cutoff to about 300Hz. This will stop the QAAF from producing aliasing noise itself as it's clock frequency will be limited to 30kHz. Jump for limiting, leave open to disable.

Notes: Proper surgical EQ in Eurorack format, with five parametric bands of filters for shaping sound. As usual for WMD, there's a lot of thought gone into making it versatile, doubling up as a morphing filter for mono, dual mono or stereo signals.

Supplier's Notes:
SCLPL (pronounced SCALPEL) is a Stereo 5-Band Digital EQ / Morphing Filter module for eurorack modular synthesizers. Use it to cut out problem frequencies on voices in your mix or to add pleasing enhancements to your stereo field.

Dual Mono and Stereo Control Schemes make it an excellent addition to any WMD Performance Mixer Setup. Add 4 SCLPL for 8 channels of EQ in 16HP. Put a 5th on the Master Bus and you have the ultimate eurorack mixing setup!

A simple user interface makes it a powerful tool for many use cases. It features 9 user-programmable preset slots that can then be "morphed" between seamlessly with CV or the Level knob in Morph Mode.

Each frequency band is set independently with the Level, Q, and Frequency knobs, and a helpful LED display aids in knowing exactly what's going on at all times.

Frequency bands include a Low Shelf, 3 Mid-Range Peaking Bands, and a High Shelf.

Notes: Next-level sequential switch with program storage and mixing built in, allowing you to set up complex switching setups with seriously versatile options. Hard to beat.

Supplier's Notes:
Four inputs, can handle audio and CV. Precision components for pitch accuracy.

The four inputs (rows) are routed with the buttons to output columns.

If multiple inputs are selected simultaneously for an output, they are mixed together at unity gain.

A comparator input is available and each output mix is compared to the signal on the jack. This jack has a 0.5 volt normal.

The LEDs by the buttons indicate that a connection is made.

That's all well and good. The fun part is that each input to output routing matrix is then stored in an array. You can have 16 matrices in each bank. There are four banks available.

The current matrix is shown on the 7 segment display.

The matrix counter can be advanced with a gate signal. Reset with a gate signal. The matrix counter can be offset with CV and an offset knob.

The seven buttons near the top provide additional modes and settings. Red lettering indicates push and hold (1.5 seconds) functionality.

The bank button changes bank with a tap. Saves all matrices and settings with a hold. The save takes about 1.5 seconds. All settings are recalled on power up, but must be saved before power down. This allows you to just save changes you want, and recall patches while retaining the ability to make changes.

TopSet/TopClear - sets the upper matrix in the count for gate step inputs. Hold to clear the limit and allow the matrix to count to 16 (F). LED indicates that the top is set. Decimal point on the 7 segment display will light when the top matrix is selected.

Reset/ClearMatrix - tap to reset the counter to 0. Hold to clear all routing in the selected matrix.

Rnd/RndRcl - tap to randomize the selected matrix. Hold to set the selected matrix to always randomize upon being selected (via CV or gate).

CV Limit to Top - tap to enable and light the LED. When enabled, the CV input and offset will be constrained to the upper matrix. When disabled and a top matrix is set, the CV/Offset will offset the matrix counter. For example, if the top is 3, a gate will count from 0 to 3 and reset. Disabling "CV Limit to Top" will cause CV to offset the start of the count (if offset by 8, then the count will start at 8 and go to 11 (B)). If enabled, the top will always be 3, and the CV can be used to set the starting (lowest) matrix.

Step/Hold - Tap to step the matrix counter. Push and hold to disable CV, gate and reset signals from altering the matrix counter.

Gate Mode - Tap to change the gate modes. Available modes are step up (LED off), Step Down (LED Green), Random (LED Red).

There will be a video version available using LM6172 opamps. Video version will adhere to the LZX specifications. The inputs and outputs will operate at video rates. Routing control will not. Upper frequency of the routing control is TBD, but will run at audio rates.

The DAC 1:2 output is a voltage output (0-5 volts) of the 8 bit combination of the first two columns. This allows the first two channels' routing information (lit LEDs) to be used as a voltage output. (16 step voltage sequencer). This is always operational.

Bi-color LEDs show the amplitude and polarity of input and output signals. Comparator LEDs will be lit when the output is on.

Specs:

Power: +12V = 80mA; -12V = 32mA
Size: 16HP
Depth: 25mm

Notes: Subway is a scanning crossfader with 8 inputs and 1 output.

The eight inputs can be used for control voltages as well as audio signals. A potentiometer or CV can be used to mix between the individual sources. Each of the inputs also has a manual on/off switch.

Application examples

Complex modulations
Waveform selector for oscillators or noise
Morphing waveforms from wavetables
Switching between different envelopes
Controls:

Scan knob - master control over which input goes to the output. The knob is shifted when a CV is applied to the scan CV input.
Enable switch - Controls which input is active. When the LED is off, the input is removed from the output selection. A dim LED means the input is active but not yet selected. Bright LED means that the input is currently being sent to the output.
Curves: Subway has three different curves if you hold down keys 1-3 when switching on and then release them. Button 1 sets a linear curve, button 2 sets an exponential curve and button 3 sets a steady curve.
Power consumption: 80mA at +12V and 22mA at -12V

Depth: 38mm

HP : 6

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Subway is a scanning crossfader with 8 inputs and 1 output.

The eight inputs can be used for control voltages as well as audio signals. A potentiometer or CV can be used to mix between the individual sources. Each of the inputs also has a manual on/off switch.

Application examples

Complex modulations
Waveform selector for oscillators or noise
Morphing waveforms from wavetables
Switching between different envelopes
Controls:

Scan knob - master control over which input goes to the output. The knob is shifted when a CV is applied to the scan CV input.
Enable switch - Controls which input is active. When the LED is off, the input is removed from the output selection. A dim LED means the input is active but not yet selected. Bright LED means that the input is currently being sent to the output.
Curves: Subway has three different curves if you hold down keys 1-3 when switching on and then release them. Button 1 sets a linear curve, button 2 sets an exponential curve and button 3 sets a steady curve.
Power consumption: 80mA at +12V and 22mA at -12V

Depth: 38mm

HP : 6

Notes: This is the WMD Synchrodyne Expand, we went a little crazy with it. But we figured that if you can grasp the original, you're the type that always wants to go deeper. So lets take this plunge together as we attempt to explain what it all means.

The Synchrodyne by itself is capable of a great deal, containing several modules in one, prepatched internally to create a vibrant range of sounds. It was difficult to cut many of the control capabilities from the Synchrodyne to keep it within the scope of an analog switched-capacitor filter module. The expand lets us bring many of the little nuances of the Synchrodyne to the patchable world.

It is designed to be powerful and extremely dynamic when minimally patched, but when patch cords start flying around to be open and experimental. You may also use many of the parts of the Synchrodyne and Expand separately in various parts of your patches. The open architecture allows it to do many jobs, even small ones.

Notes: Introducing the WMD Synchrodyne, a multi part and multi use eurorack module for the creation and manipulation of audio. Containing several pieces to a traditional synthesizer voice, the Synchrodyne is a powerful addition to any subtractive oriented system. However, it is designed primarily as an experimental sound source/filter, intended to push the limits of modular synthesis...WMD style. The Synchrodyne now has an expansion.

The Synchrodyne is designed as a way to implement a switched capacitor filter (SCF) chip without the use of a microcontroller to run the clock. We developed a fast analog VCO that can drive the SCF with a broad range of frequency control. The problem with this would be that the VCO is then dedicated to only running the filter. So we designed a frequency multiplier based around a Phase Locked Loop IC (PLL) to take the VCO and multiply its frequency up so that the VCO could be used as an audio source, while still controlling the filter. The SCF has a frequency ratio of 50:1 or 100:1 clock frequency to output cutoff frequency. The PLL allows for many ratios of input to output frequencies to be selected, making the VCO a simultaneous audio and control source.

The PLL introduced its own challenges. Taming the PLL to stabilize at high multiplication ratios required us to develop a damping circuit. The Damping and Track Speed controls cause the PLL to have its own sound, sort of a slew limiter and self Frequency Modulation. We wanted the Synchrodyne to distort nicely with audio input, and also to self-oscillate. We added single stage rectifiers to the -12dB and -24dB filter outputs for a more aggressive sound. We opted to develop a VCA and wavefolder for the front end of the filter to further expand the palate of distortion and processing of the Synchrodyne. We had more features to add, but space was limited and we didn't want to make an excessively expensive module, so we added two 14pin expansion headers for future development.

Notes: Compact dual slew module adds slide/glide to sequences in a compact format. Includes some nice added features allowing it to work as an envelope or envelope follower.

Supplier notes:
The acid style pitch slew effect has made it to Eurorack in a small easy to use package. You no longer need to dedicate more complicated modules patched in wacky ways to achieve this classic sound. Finally, a dual slew, with the right interface, at the perfect size. Add some slide and smoothness to your patches on your own accord with Time Warp.

TIME WARP is a dual channel, gated slew module with some extra features that make a powerful and versatile addition to any Eurorack Modular Synthesizer System.

Its unique, Gated Slew function allows users to add slew to any voltage signal at designated times by sending it a gate signal from a sequencer or similar source. Switch it up with Invert Logic on the gate input, or use the switch as a real time performance tool for hands-on control over when the slew will take place.
With two modes of symmetry and a full wave rectifier on the input, Time Warp can function as 2 independent Slews, two A/R Envelopes with tied controls, or even as an envelope follower, taking audio and turning it into a useful envelope signal. CV control over the Rate of slew! Time warp puts all of that in a compact, 4hp package.

Size: 4hp (20.32mm)
Depth: 30mm(with cables)
Power: 50mA +12V, 50mA -12V

Gate Inputs:
100k ohm impedance
2V threshold Schmitt Trigger
Patching into the Gate input disables the Full Wave Rectifier

CV Outputs:
470 ohm impedance, zero-impedance compensating buffer
1V/Octave no drop
22Vpp range
Gain error: 0.1% maximum. 0.025% typical.
Offset error: 1.5mV maximum. 0.5mV typical.

Regulatory:
RoHS, CE, & WEEE Compliant
Made with Lead Free solder and processes

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

Notes: Intoducing the WMD Triple Bipolar VCA, the input side expansion for our Phase Displacement Oscillator. This module provides dedicated inverting/polarizing/bipolar amplitude modulating inputs normaled to the Phase Modulation inputs on the PDO.

A bipolar VCA is like a normal VCA when operated with positive control voltage. But when using a negative control voltage, the output will swing back through zero amplitude and the output will be inverted. This produces deeper modulation than a normal VCA.

The Triple Bipolar VCA is also designed to be used as a standalone module, it does not require the PDO to operate.

Notes: TRSHMSTR is a collaborative effort between WMD and electro-dance heavyweights MSTRKRFT. TRSHMSTR features an aggressive combination of band-pass filtering (FLTR) and distortion (DRV). The FLTR and DRV sections can be used independently or together to produce a wide variety of tone-shaping, from subtle distress to full-on acid destruction. The INs and OUTs of the FLTR and DRV sections are cross-normalled, so you can run your signal through FLTR and into DRV or vice-versa with no extra patching.

FLTR is a nasty and versatile band-pass filter.
Three resonance flavors change the character of FLTR's feedback saturation.
DRV section provides a wide range of overdrive tones.
The HPF switch gives you control over the amount of lows allowed to enter the overdrive circuit
The DRV also has three unique flavor settings.
CV control over frequency, resonance, gain, and tone.
CV attenuverters for both FREQ and GAIN control.
LED indicators for frequency, resonance, gain, and tone
KEY IN for filter tracking.

FLTR is a band-pass filter with self-oscillating resonance and three feedback flavors. It is calibrated to have a vocal range that evokes vintage wah voicings. The FLAVOR switch controls the type and amount of FLTR's resonance clipping. In Flavor 1 (down position) provides heavily asymmetric silicon diode and LED clipping, allowing your signal to remain musical and organic sounding. FLAVOR 2 (up position) adds more resonance and grit using Zener Diode clipping, but still keeps your original signal intact. FLAVOR 3 (middle) pulls out all the stops (and clipping diodes) and overtakes the incoming signal with intense resonance and filter saturation.


Our DRV circuit is based very loosely on Tube Screamer designs of old, but it has been painstakingly re-voiced to compliment a wider frequency range and higher levels of gain. We have replaced the original TS input filter with a trimode high-pass filter (HPF) that allows you to get everything from nasally grime to bass fuzz. In position 1 (down) you have the stock TS setting, with
some low frequencies removed, but still a lot of chunk. Position 2 (up) lets the bass through, while position 3 (middle) cuts lows even more accentuating the zipper-like overtones of the incoming signal. In addition to the three HPF modes, the DRV section features three FLAVOR modes. FLAVOR 1 (down) uses symmetrical silicon diodes to a compressed and
scooped tone with lots of fuzzy gain. FLAVOR 2 (up) aligns the silicon diodes asymmetrically, creating more odd order harmonics. FLAVOR 3 (center) provides a less compressed and more crunchy tone using LEDs as clipping
diodes.

Specifications:

Power: +12V = 56mA; -12V = 53mA
Size: 12hp
Depth: 25mm with power connected.
Every WMD product is warranted for 12 months after purchase, but please contact us if you ever have problems. We will take care of you.

Notes: The Utility Parametric EQ is a staple pedal that belongs in any professional's rig. There are 3 bands of EQ with frequency ranges from about 40Hz to 15kHz. Each band is an independent bandpass filter with adjustable centre frequency, quality factor, and gain. Use them to sculpt and shape your tone however you like.

The Controls:

There are 3 bands of EQ with frequency ranges from about 40Hz to 15kHz. Each band is an independent bandpass filter with adjustable centre frequency, quality factor, and gain. Use them to sculpt and shape your tone however you like.

Stomp Switch - This footswitch activates the EQ. The centre LED will be lit when the pedal is engaged.

Freq - This selects the centre frequency of the filter. The three frequency ranges are: 31Hz to 1.6kHz, 100Hz to 4.8kHz, 300Hz to 16kHz.

Q - The Quality Factor (Q) gives you control over the sharpness of the filter. Turn it up and the filter section becomes resonant and more abrasive. Low Q settings sound like a traditional EQ, higher Q adds resonant nodes. The Q ranges from about .1 to around 30.

Level - This controls how much cut or boost you have from the band. Centre it (0) and the band is out of the circuit. Turn clockwise and you'll get more of that frequency, turn counter-clockwise and you'll hear less. If all 3 controls are at 0, you should be able to click the pedal on and off and not hear any difference.

Overall Level - This gives an overall cut or boost at the output of the Parametric EQ. Like a volume control, but with some gain available.

Notes: Volt is a precise voltage source and offset generator that adds or subtracts voltages in 1V steps. This is done either manually via two buttons or via separate gate inputs for increasing or decreasing the outgoing voltage. This allows the module to be used as an octave switch.

The module has three inputs and three outputs that can be controlled simultaneously. Thus, up to three sequences can be octavated. When there is no connection at the inputs, the Volt functions as a simple but precise offset generator.

Features:

3 inputs
3 outputs
up and down buttons
up and down gate inputs
"Set zero" to reset the voltage
Power consumption: 34mA at +12V and 17mA at -12V

Depth: 30mm

HP : 4

Notes: Voltera is an expander for the Metron trigger and gate sequencer, adding 4 bipolar voltage tracks. Up to 16 Volteras can be connected to a Metron, providing up to 64 CV outputs.

With independent voltage ranges and quantisation settings per track, Voltera allows simultaneous real-time control of 4 different parameters, so you can set the track to the parameter you are sequencing.

When used in conjunction with Voltera, it is possible to easily sequence melodies and parameters with the Metron.

Features

4 bipolar voltage outputs in 4HP
Integrated user interface with Metron
Quantised and unquantised voltages
Up to 16 Voltera modules can be connected simultaneously to a Metron
Independent voltage ranges for each output
Analogue programming
Digital accuracy
Fast haptic operation
Power consumption: 60mA at +12V and 15mA at -12V

Depth: 43mm

HP : 4

Notes: BLENDER is a four channel mixer and voltage controlled cross-fader. BLENDER simplies mixing audio and control voltages (CV) by incorporating a single control to blend two signals at a time - also known as a cross-fader.

Two manual cross-faders and a single voltage controlled master cross-fader are provided.

Use BLENDER as a main mixer or as a dynamic control for creating complex control voltages and waveforms from your signal generators.

Power Draw: +20mA, -20mA. 6HP width. 25mm Depth.

Notes: DPLR is a delay module with two interactive delay lines, each with 750ms of delay time.

One input is split into two delays which share the total delay time (DELAY) and regeneration (REGEN). Side B has control over its delay offset (SPREAD) from side A.

Delay, Spread and Regen are all voltage controlled. Regen at max will echo indefinitely and can create interesting noise swashes.

The top knob toggles through seven different crosstalk configurations (Regen isolated by ping-pong). Press and hold to cycle through four different Regen Filter settings, from very bright to dark.

Two interactive delay lines
750mS delay time
Voltage controlled parameters
Seven crosstalk configurations
Four regen filter settings
Adjustable wet or wet/dry via jumper setting

Power consumption: 67mA at +12 V and 31mA at -12 V
Depth: 45
4 HP