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.
Each channel is normaled to the next channel for a total of nine outputs from one input.
First, they recorded samples of different metallic hits to create the sonic signatures that they call Surfaces. The sources include tambourines, sleigh bells, drill bits, wrenches, shell casings, coins, chains and stomp box enclosures.
Second, they built a proprietary granular synthesis engine around the sonic signatures with the goal of making a module that could sound like a human hitting and shaking a tambourine. With the fundamentals finished, they tweaked the control ranges, built the post-engine effects, and bomb-proofed the hardware.
From there they pushed and polished the engine and user experience, squeezing every juicy drop out of 8HP.
Humanistic shakers, drum machine tambourines, laser guns, minimal techno offbeats, giant-robot movie sound design, etc. It's all yours with the Chimera.
6 in stock $197.97
- Comp knob: Adjusts makeup gain, threshold, ratio simultaneously
- Attack Knob: Controls how fast the compressor will react to incoming transients
- Release Knob: Controls the speed in which the compressor will release
- Gain Knob: Adds up to +-35dB on the output
- Threshold Switch: Changes the threshold range
- Limit Switch: Limits the comp knob's makeup gain. Makes the MSCL operate more as a peak limiter
- Size: 4HP
- Input Impedance: 20k
- Side Chain Impedance 100k
- Output Impedance: 220 ohms
- RMS and Adaptive Detector Response
- Green/Red indicator for Gain/Reduction
- AC Coupled signal pass
- DC coupled bypass
- AC coupled Sidechain
- 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.
- 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
- 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
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.
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.
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.
- 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".
- 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.
- Size: 4HP
- Connector: 20 pin ribbon cable
FLTR is a band-pass filter with self-oscillating resonance and three feedback flavours. It is calibrated to have a vocal range that evokes vintage wah voicings. The FLAVOUR switch controls the type and amount of FLTR's resonance clipping. In Flavour 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.
The 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. The original TS input filter has been replaced 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 FLAVOUR modes. FLAVOUR 1 (down) uses symmetrical silicon diodes to a compressed and scooped tone with lots of fuzzy gain. FLAVOUR 2 (up) aligns the silicon diodes asymmetrically, creating more odd order harmonics. FLAVOUR 3 (centre) provides a less compressed and more crunchy tone using LEDs as clipping diodes.
This envelope generator is capable of producing a classic, gate driven Attack/Decay/Sustain/Release (ADSR) envelope as well as a self sustaining, looping Attack Decay (AD) and Attack Decay Release (ADR) one shot envelopes.
The integrated VCA eliminates the need for an external VCA module and can be used independently when an external control voltage is utilized.
The envelope controls the shape of the VCA’s amplitude response by default.
Power Draw: +36mA, -16mA. 6HP width. 25mm Depth.
LFO 1 is a three-phase LFO with independent outputs for each phase which are set at 0, 120, and 240 degrees. Shape can be switched between Sine, Triangle, and Saw with a push of a button.
LFO 2 is a Skewable LFO with three shapes. The LFO shape can be smoothly changed from a Ramp through Triangle to Saw wave shapes. The skew shape can be changed with the Skew knob or with CV
The Sample and Hold circuit's clock is normalled to the 2nd LFO but can be clocked externally as well. The sample and hold samples voltage from and internal white noise source. There is also an input for an external sample source. White noise has its own output as well for use with other modules and applications.
Both LFOs can be sync'd to an external clock source by holding the wave shape button for different lengths of time. As they are independent of each other, one can be sync'd while the other runs free like a gazelle on an African plain.
Tempo sync calculates the time between incoming clocks and reacts instantly to each new clock pulse. Each rate knob becomes a multiplier/divider when sync is engaged.
MMF will self oscillate into a nice sine wave and track 1V/octave. The Resonance is voltage controllable.
The PING input is for a gate or trigger, and generates a fast decay envelope with a nice sound, reminiscent of a vactrol filter, but without the vactrol. PING can normal to the FM jack, or go direct (switchable behind the panel).
The FM input is connected to an attenuverter pot to give you control over the signal.
Power Draw: +62mA, -24mA. 4HP Width. 25mm Depth.
Although quite basic, attenuators are extremely powerful in a modular system.
They are especially useful for adjusting the depth of control voltages going into modules that lack CV attenuators.
Power Draw: +0mA, -0mA (Passive). 6HP width. 25mm Depth.
In addition to the standard waveforms; sine, pulse, triangle and saw, SPECTRUM features two selectable saw/pulse hybrid waveforms and two selectable sub-octave waveforms with variable range.
Additional features include pulse width modulation with CV and attenuation, hard sync and panel accessible 1V/OCT calibration.
Power Draw: +80mA, -55mA. 10HP width. 25mm Depth.
The input drive and wave fold controls make up the heart of the design, providing warm saturation and additive harmonics to the input signal.
The wave shift control offsets the input signal to allow for asymmetrical folding - unveiling the subtleties in the distribution of spectral content.
The novel bipolar feedback control takes wave folding to a new level by returning the folded output to the input, thereby skewing the wave shapes for dramatic changes to the upper harmonics.
An auxiliary feedback input is provided to allow for insane folded FM sounds when another oscillator drives this input.
Power Draw: +30mA, -30mA. 6HP width. 25mm Depth.