Search dance music

Notes: Noise Engineering is excited to announce a limited-edition BIA. Same great Basimilus Iteritas Alia (with all the perks of an Alia!), spiffy new outfit.

The panel features black ink overprinted on a black powder-coated aluminum panel. These panels will not be sold separately.

Universal drum synthesizer with roots in the analogue world on a swappable 10HP oscillator platform

Basimilus Iteritas Alia is a parameterized digital drum voice with its roots in the analog world. At its heart, the BIA is a simple six-oscillator additive and FM synthesizer with waveform, harmonic spread, and envelope controls. An adjustable noise oscillator and an extreme take on a wavefolder round out its synthesis abilities. Its straightforward controls make sound design fun and performable: create sub-shaking kicks, snares, hats, and unique drum hits with just a few tweaks.

BIA is a classic percussion module but you'll be blown away by how much more it can do. Use it for leads, basslines, or build a whole drum kit with some external CV. Plus, the envelope output means you can use the BIA for shaping and modulating other parts of your patch.

Basimilus Iteritas Alia is available on our 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Firmware Swap app and check out any other Alia firmware, free of charge, any time. More info can be found on the World of Alia page here. Hotswappable overlays are also available so you can easily panel your module to match your firmware, no assembly required.

Basimilus Iteritas Alia is the successor to the Basimilus Iteritas Alter. It was developed to sound nearly identical, with added features and new firmware-swapping capabilities.

Size and Power
10HP Eurorack
+12v:100mA
-12v: 15mA
Basimilus - small foundation - from Latin basos "foundation" with suffix -lus "small"

Iteritas - repetitiousness - from Latin itero "repeat" with suffix -tas "state of being"

Alia - another, other from Latin alia "other", also marine animals, or salty from Greek "halia"

"more small salty foundation of repetitiousness"

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


A visit to the Hainbach Studio Complex two years ago, led to a collaboration that would result in what is perhaps Joranalogue's finest design yet. United by a common passion for vintage test gear, the Joranalogue team joined forces with artist and YouTube sensation Hainbach.

Collide 4 builds upon on the lock-in amplifier concept, and brings it into the Eurorack world. These atomic age physics research instruments are known for their raw power when used in musical applications. Soon, any synthesist can experience this for themselves, at a fraction of the size and weight of a vintage unit, and with full voltage control.

The result is a wholly new kind of synth voice and audio processor, unlike any other. It's a perfect union of Hainbach's extensive experience in exploring the deepest musical realms contained within vintage test equipment, and profound knowledge of audio design and production.

'Quadrature spectral computer' is how you could describe this new kind of musical generator and processor. The sound? Quite simply: it's smashing!

Specs

Modern, fully analogue re-imagining of the lock-in amplifier concept, expanded to new heights.
Pingable variable bandwidth filter with self-oscillation capability.
Pre- and post-filter gain stages, for a total of up to 130 dB of amplification!
Through-zero sine/cosine quadrature oscillator.
Hilbert transform network for use as a frequency shifter.
Dual ring modulators with output lowpass filters.
Extensive output section, including magnitude and phase analogue computing outputs.
Unique X/Y quadrature topology, ideal for stereo use.
Handsome (and useful) signal level/overload LED indicator.
CV control over everything, with temperature compensation and excellent volt/octave pitch tracking.
20 HP, 30 mm deep. Over 600 components, yet a fraction of the weight and size of a vintage Model 124A lock-in amplifier unit.

Notes: Control Forge's core functionality is drawn from the E-mu Morpheus's insanely powerful (but hard to program on a two-line display) Function Generators. But now expanded into a supremely flexible modulation source encompassing elaborate one-shot contours, evolving cyclical patterns and sequences of arbitrary length and complexity.

At its most basic, it's an 8-segment function generator with variable time and target voltage level for each segment. Each segment's level can be defined either absolutely or relative to the ending level of the previous stage and can optionally be quantized to the nearest 1/12 volt, additionally, each segment's level may have a user defined range of randomness of either linear or gaussian distribution.

'Tempo Mode' lets you specify each segment's length in musical note values relative to a tempo set in BPM. The time scale may be modulated under CV control or manually via the encoder during runtime.

There are 67 different transition shapes between segments (indicated graphically on the display during selection), from linear and exponential shapes to various flavours of random, chaotic, and many more that don't lend themselves to one-word descriptions, including the ability to pass CVs directly through to the output for individual segments. Also included are 'DC' shapes that allow the module to be used as a sequencer with all of the module's available programmability. When combined with the Preset Sequencer described below, sequences can be hundreds of steps long and modified in real time manually or by CVs.

Each segment may optionally have a conditional jump mode that results in a jump to another selected stage if a particular condition is met. e.g. a CV being above or below the selected conditional value, the presence or lack of a gate or logic high at their respective inputs, rising or falling edges at the inputs, etc. So, in addition to one-shot shapes, extremely elaborate cyclical patterns can be programmed that evolve based on the various conditional inputs.

Control Forge's AutoChain functionality allows the creation of two very specific kinds of multi-preset patterns: A multi-preset retriggerable pattern (like a long syncable LFO), and a multi-preset 'envelope-like' pattern with retriggerability, an optional sustain section, and a 'release' section that's jumped to on gate fall. Two independent triggers can be programmed to fire in response to a variety of events and can be used to affect either CONTROL FORGE itself or external modules.

500 presets can be saved and recalled. a preset sequencer allows stepping through up to 200 user-defined series of presets under trigger, clock or manual control. This allows contours and sequences of almost unlimited length and complexity. All presets and sequences can be transferred to any number of Satellite modules, which can then operate as stand-alone modulation sources, completely independent of the Control Forge.

Notes: Patterns is a 4 channe modular sequencer designed for deep flexibility and hands on performance.

Each channel supports up to 64 steps, with essential creative tools like randomisation, probability, gate length control, swing, clock divisions, and more, giving you everything you need to build evolving, dynamic rhythms.

Its 4×4 grid layout makes programming intuitive and performance friendly, letting you quickly visualize your sequences and punch in steps with ease.

But the real power of Patterns lies in its dedicated Pattern button, your instant gateway to 16 different pattern slots. Switch between them on the fly, program your custom pattern chains, or use CV to jump between patterns and create unexpected breaks, fills, and experimental grooves.

Whether you're building complex arrangements or just jamming, Patterns gives you the immediacy and depth to stay in the flow.

Notes: The MCO MK II is a highly versatile digital VCO and voice module inspired by 90s/00s digital synths shrunk into just 6HP.

It offers a broad collection of unique, high-quality synth voices, each with extensive, customizable parameters. These parameters can be directly controlled or modulated through assignable internal and external sources. Certain per-voice parameters support audio-rate modulation, including FM, sync, and DSP. Each voice also supports up to four-voice chords, external-triggered envelopes, multiple LFOs, and dual audio outputs for comprehensive desktop like synth functionality.

Voices include a multi dimensional wavetable oscillator based on the original MCO, a complex additive synthesis engine, a multi mode 'JP' type digi-synth, a lush virtual analog implementation, a fully featured vocoder, a bass synth for both kicks and sub sonic tones and finally arebirth and porting of our discontinued SID GUTs chip voice.

Each voice includes factory presets as well as the ability to store and recall user presets. All state is preserved across power cycles.

The MCO is designed to be familiar, quick and easy to use with a high resolution colour display and a rich visual user interface.

A USB-C connection allows for easy firmware updates, user wavetables upload and device config backup and restore. Axon expander modules are also supported to increase CV control options.

Notes: A typically clever approach to modulation from Make Noise, the MultiMod takes a control signal and modifies it into eight related outputs, adjustable by phase and timing. Hugely versatile.

Supplier's Notes:
With MultiMod...from one control signal, we create many.

In a modular synthesiser, it is easy to create complex results via complex means - patching an elaborate network of independent control signals, for example. This can be very powerful but also cumbersome to set up, and potentially difficult to control in a meaningful way. MultiMod represents a new approach: it takes a single control signal and copies it 8 times, not unlike a simple mult, except that it allows you to modify those copies by weighted adjustment of their relative phase and speed. The result is modulation that is related to the source, but not identical at each destination.

Phase sets the spacing of the signal copies in time, weighted by channel, with each progressive channel getting more out of phase from the original signal and from each other. Spread allows for varispeeding the copies by different amounts, with each getting progressively faster or slower than the original Signal. Time determines the range of time captured at the input and therefore also the depth of modulation across copies of the input signal when Phase and Spread are manipulated. MultiMod also includes Tempo, Hold, and Reset features, and a variety of Read Shapes for temporal rearrangement of input signals.

When the input is not patched, MultiMod generates an LFO that is copied eight times and manipulated in the same ways.

MultiMod is built with the latest DSP hardware which offers eight high resolution outputs, with signal input and output ranges approaching the upper limits of the analogue eurorack modular system. All I/O is capable of a 20V range at +/-10V, greatly exceeding the typical 0-5V CV input ranges on typical digital modules.

Specifications

Width: 10hp
Max depth (incl power cable): 39mm

Power:
195mA @+12V
10mA @-12V

Notes: Updated Atlantix module is an even better synth voice than the original Atlantis. Based on the Roland SH-101 formula, it's a monster with dual VCOs, legendary filter and built-in envelope generator. All you need for iconic analogue sounds.

Supplier's Notes:
Atlantix

Dual Oscillator Subtractive Analogue Synth Voice

It's Massive

The Atlantix is a complete analogue synth voice. It's quick to dial in huge bass or lead sounds, and easy to push it into new sonic territory. Dual VCOs, Multimode VCF, VCA with Drive, and an ADSR envelope; all of the building blocks needed to expand or start making sound in your rack. With 32 patch points and a selection of routing switches, you can remix these blocks into something all your own.

Reimagining a Reimagined Classic

The Atlantix is the highly-anticipated successor to the Intellijel Atlantis which was originally inspired by the classic Roland SH-101. Despite the SH-101's seemingly limited architecture, it produces various creative and musically useful sounds that have inspired generations of artists and countless hits. The Atlantix is just as immediate for dialling in beautifully rich bass and lead sounds. The thoughtful design, numerous additional features, and flexible patching options open up a massive amount of new sonic territory to explore as well.

The Atlantix is an analogue, complete subtractive synthesizer voice condensed into a single 42HP module. It provides all the fundamental building blocks needed to make sounds in Eurorack: VCOs, VCF, VCA, S&H, Noise, and an Envelope.

Oscillators - Advanced TZFM and Flexible Mixer

The Atlantix uses two triangle core voltage controlled oscillators (VCO) which respond in a musically pleasing way to frequency modulation. The Atlantix primary VCO (VCO A) is capable of thru-zero frequency modulation and has a dedicated amplifier for controlling FM depth (FM INDEX). The modulation oscillator (VCO B) can be used as either an LFO or VCO. The highly flexible architecture allows you to route VCO B as a modulation source or stack it as a secondary VCO all by the flick of a switch or slider. VCO B also has a bonus "spike" waveform output which is a square wave with fixed HPF, similar to the Buchla Easel. Both oscillators track very precisely over eight or more octaves.

In the mixer section, you can adjust the balance of the primary oscillator's waveforms, sub-oscillator noise, and two auxiliary inputs that are normalled to additional VCO A waveforms or VCO B waveforms. The auxiliary inputs also allow you to patch other external signals into the mix.
The second Auxiliary input has a switch that allows you to route the source between the mixer sum or directly into the VCA (post-VCF). The latter is a way to pass an unfiltered fundamental signal to the final VCA stage and then blend it with filtered audio from the VCF. This draws inspiration from the architecture of the CS-80 where a sine wave is mixed with the filtered audio to make glassy tones with some added harmonics.

Multimode Filter - From Drips to Growls

The filter section (VCF) is a discrete cascaded 4-pole multimode filter with lowpass, bandpass, highpass, and phaser (multi-notch) modes. The filter can self-oscillate which produces a very clean sine wave that also tracks 1V/Oct. The VCF has three frequency modulation sources, two of which are normalled to the external pitch and envelope and have switches for polarity.

Add Atlx for dedicated outputs from each mode.

Envelope - A Classic ADSR

The envelope section is an analogue ADSR with three timing ranges: slow, medium, and fast. It can be gated externally or via a manual gate button located in the centre of the panel. The ADSR is routed through a VCA which can be used for level or velocity control.

Modulation - Random, Feedback, and Built-in Routing

Two eight-position rotary switches allow you to select from eight different modulation sources and route them to outputs MOD X and MOD Y. Each switch also has a polarity control and an option to level shift between unipolar and bipolar operation. MOD X is normalled to VCO A frequency modulation and MOD Y is normalled to VCF frequency modulation. The dedicated outputs allow for further creative modulation patching.

Four of the Input jacks have normal switches to change your patch without the need for cables.

The analogue Sample and Hold (S&H) circuit is normalled to the white noise source and can be clocked by VCO B, an external clock source, or via the gate input for per-note synced randomization.

Atlx - Expander w/ Ring Mod (Optional) ***Sold separately ***

The Atlx expander provides 16 additional jacks to the Atlantix, including: dedicated waveform outputs for A and B oscillators, filter outputs, and a ring modulator. Atlx adds many new possibilities for self-patching, advanced routing, and connections to other modules.

Specs + Downloads

Width: 42HP
Depth: 25mm
Power: 140mA @ +12V
138mA @ -12V

Notes: Designed for Make Noise's New Universal Synthesizer System but compatible with all Eurorack modules, the Jumbled is a 6-in/6-out VCA-based signal router, designed to manipulate and reimagine control voltage signals.

Supplier's Notes:
The Jumbler music synthesiser module is a six by six channel analogue signal combiner and distributor for the New Universal Synthesizer System or any Eurorack modular synthesiser. Jumble is one of the N.U.S.S. concepts where the routings of a patch could be re-configured, or jumbled, instantly via voltage control to produce variations on a theme.

Jumbler gives you powerful two-parameter access to the rearrangement of both origins and destinations for up to six modular signals. One to six inputs are routed to one to six outputs, in an order determined by the Rotate control, and combination determined by the Radiate control. Unlike a simple switch module, Jumbler's analogue VCA-based design is specially geared for smooth transitions and hybrid signals.

Jumbler is a great module for hybrid control voltage mashing, complex waveform mixing, on-the-fly effects re-routing, gate and clock re-combinations and more. Some folks have said it is like patching a stack of 6 RxMx circuits.

Width: 10hp
Max Depth (incl. power cable): 43 mm

Power:
178mA@ +12V
92mA @ -12V

Notes: The legendary Buchla 259 complex oscillator gets the officially licensed Eurorack treatment from TipTop Audio. One of the most versatile and characterful VCOs ever made, with endless cross-modulation options and wave shaping features. Iconic.

Supplier's Notes:
The 259t is the largest and most complex analogue oscillator from Don Buchla's legendary 200 modular synthesiser. The 259 originated the concept of the "Complex Oscillator" in the 1970s and has been reissued by Buchla and Tiptop Audio in Eurorack format. The module consists of two oscillators, called the Modulator and Principal, with a middle section that provides voltage control over the internal modulation paths between the two oscillators, resulting in highly complex timbres. Additionally, the principal oscillator passes through multiple unique voltage-controlled waveshapers and crossfaders for further signal processing. The module's pitch can be controlled with 1V/OCT or via its internal auto-tuner and ART control to create precisely pitched notes.

Notes: The mmMidi is a simple & compact MIDI interface for your Eurorack synthesiser. It translates two independent channels of MIDI note, velocity and gate information to corresponding control voltage signals via either a classic MIDI DIN type connection or as a driverless USB MIDI device.

The mmMidi also converts MIDI Clock to analogue x24 fixed clock and run outputs (i.e DIN Sync). The optional mmT expander provides a third MIDI channel of 8 key mapped gate outputs.

Requiring minimal configuration and a pain free set up, the mmMidi makes it easy to sync Pam's clock to your DAW, control multiple synth voices, and trigger drum or sample modules with the optional mmT expander. The new USB-C connection makes it easy to drive your modular not just from your computer but also via your tablet, phone or any USB MIDI Host.

(Note: New 2025 mkII version adds USB-C functionality.)

Technical Specifications

Power: +12V 50mA / -12V 0mA
Size: 4HP
Depth: 38mm
MIDI response latency: 200-400 uSec
Resolution: Factory calibrated 12 bit 0-8V CV outputs. +5V gates

Notes: Another iconic Buchla module gets the Eurorack reissue treatment courtesy of TipTop. The 242t is the brand's unique voltage-controlled clock and trigger module, generating pulses based on a 4x12 matrix.

Supplier's Notes:
The Buchla and Tiptop Audio 242t Programmable Pulser is a reissue of the time-event-based generator from the 1970s 200 series. At its center is the Pulser, a voltage-controlled clock oscillator with a wide frequency range, extending up to audio frequencies, numerous outputs, and start/stop controls. The Pulser drives a programmable matrix with three rows of up to 12 stages: (A), (B), and (C). Stages are activated using the X/Y coordinate controls, and the total number of stages can be set using the (n) row. Clock and Reset inputs allow the 242t to sync with other devices, while the Reset input can also be used to control the number of stages with external pulses.

Notes: Serious versatility from AJH here. Based on the circuits from the Oberheim Matrix 12, the Matrix VCF offers a whopping 16 different fully analogue filter modes, each with two different resonance models. All bases covered.

Supplier's Notes:
Presenting the new AJHSynth Matrix VCF - this may well be the most versatile Eurorack VCF ever.

This amazing multimode filter and VCA offers sixteen different filter types, and two different resonance models on each, totalling an incredible thirty two assorted resonant filters to choose from. AJH Synth have also included manual and CV control of filter type selection, along with 16 LED's that give a clear visual indication of which filter type is currently selected.

The filter core circuitry is based on that of the rare and highly sought after Oberheim Matrix 12 synthesiser, and of course has an all analogue signal path. The Matrix 12 VCF originally offered fifteen filter types, however AJH Synth have expanded this to 16 with the addition of AP4, a full four pole all pass phaser mode.

AJH Synth have added a unique P-Vox resonance distortion and overdrive circuit that changes the character of the resonance completely, and can force all of the filter modes into self oscillation. This effectively doubles the filter variants and hugely broadens what is already a very impressive sound pallet.

Other features include an inbuilt VCA with Input and Output Level controls, a Peak level LED, CV control of resonance, and of course the legendary AJHSynth build quality.

The Matrix VCF in depth

After two years of development AJH Synth have finally released what they consider to be the most versatile Eurorack VCF & VCA ever. Like many other AJHSynth modules it uses the very best vintage analogue circuitry as the starting point for the design, and in this case, the filter was chosen from the rare and very desirable Oberheim Matrix 12 synthesiser. AJH Synth expanded this from the original fifteen filter compliment to sixteen distinct filter types by adding in a really useful four pole phaser!

So, behind the compact 14hp front panel lies sixteen distinct filter types, including all of the favourites: Low Pass filters with a choice of one, two, three or four poles, Band Pass filtering with two or four poles, High Pass filtering with one, two or three pole options, along with Notch filtering and four complex, combination filter types. Finally, a four stage phaser with two types of emphasis that can be forced into tuneful self-oscillation!

However, this is far from the end of the story. AJH Synth decided to use their design expertise to add in some crazy resonance distortion circuitry, that could be switched on from the front panel. This was inspired by the filter from the Soviet Polivoks synthesiser, but again the implementation used here is considerably changed, improved, and best of all this can be applied to all filter types! This completely changes the filter character when engaged, and it forces all of the filters into self-oscillation at higher resonance settings. Better still, the oscillation waveforms are more harmonically rich than the usual sine waves - everything from gloriously fat to screaming and angry! Best of all, this takes the number of different filters up to a massive thirty two variations!

AJH Synth put a lot of thought into the ergonomics and how to select the individual filter type. Filter type can be changed either with the front panel Mode knob, or by using a control voltage patched to the MODE CV input. The selected filter mode is displayed by the LED next to the filter in use. This is also very helpful when using a step sequencer to change filter mode as it gives a real time display of the filter chosen as you take the step CV voltage up or down, while setting up each individual step.

Lastly, AJH Synth have also included a VCA hard-wired to the output - simply patch an envelope or an LFO to the VCA input, connect a VCO to the audio input and you have a synth voice (with a choice from 32 different filters!) using only three modules!

Thirty two Eurorack VCF's and a VCA would most certainly take up a lot of rack space - AJH Synth have got all of this into 14hp and managed to have a really finger-friendly user interface, without it feeling cramped.


Sixteen distinct filter modes to choose from

Here's a list of the different filter modes that are available:
1 - Four Pole Band Pass
2 - Three Pole High Pass combined with One Pole Low Pass
3 - Three Pole All Pass combined with One Pole Low Pass
4 - Two Pole Notch combined with One Pole Low Pass
5 - Two Pole Low Pass
6 - Four Pole All Pass (Phaser)
7 - Four Pole Low Pass
8 - Two Pole Band Pass
9 - Two Pole High Pass combined with One Pole Low Pass
10 - Three Pole High Pass
11 - Three Pole All Pass
12 - Two Pole Notch
13 - One Pole Low Pass
14 - Two Pole High Pass
15 - Three Pole Low Pass
16 - One Pole High Pass

All of the above filter types can be further altered by switching in P-Vox mode, this doubles the list up to thirty two different filter variants!

P-VOX MODE

Transforming the resonant character of every filter type

This magical switch completely transforms the resonance of the filter core by overdriving it in a similar fashion to the filter from the Soviet Polivoks synthesiser, which was renowned for it's powerful, aggressive character.
In common with the Oberheim Matrix 12 VCF, some of the sixteen filter types will not normally go into self-oscillation, however when you switch on P-Vox mode all sixteen filter types can be forced into self-oscillation at higher resonance settings. But that isn't the only change, the self-oscillation waveform is not the usual sine waveform, it is a rather more interesting and harmonically rich waveform that varies according to the filter type chosen - generally Low Pass modes produce the nearest to regular sine waves, whereas other filter types can produce very much more complex waveforms as can be seen in the diagrams below. It does not require any audio input for this, it can be a stand alone oscillator. Most of the filter types will track 1V/Oct reasonably well over a three to five octave range, so it can be used as a VCO with a few interesting waveshapes!

Of course, P-Vox mode isn't just useful for self-oscillation, it adds lots of character to any audio signal as P-Vox resonance is switched in.

Module Width: 14hp
Module Depth: 29mm (Including power lead)
Current Usage: 56mA Positive, 36mA Negative

Notes: The Ultimate Output Expander For Hermod+

Introducing xp32, the perfect expander for unlocking 32 assignable CV or Gate outputs, amplifying the creative power of your Hermod+ sequencer.

Transform your Hermod+ into a 16-track CV/Gate powerhouse, an expansive MIDI/USB-to-CV interface, a preset manager, or customize your outputs to suit even the most intricate modular setups.

The xp32 opens a new world of possibilities for both live performances and studio setups, giving you the flexibility to realize your most complex musical ideas.

Seamless Integration.

Setting up the xp32 is as easy as connecting the included expander ribbon cable to the back of your Hermod+.

The xp32 integrates seamlessly: Hermod+ will automatically recognize it, and your 32 additional outputs are ready to use instantly.

With the xp32, Hermod+'s 8 CV/Gate tracks remain untouched. Instead, the xp32's 8 additional voices are internally mapped to Hermod+'s MIDI tracks, offering maximum expandability without altering your existing workflow.

Unmatched Precision & Flexibility.

Each of the 32 output jack is powered by a dedicated 16-bit industrial grade DAC, ensuring the best accuracy for all your control voltage signals, from pitch to fine modulations.

Easily configure each output as a Gate (for notes, triggers, or clocks) or as a CV (for pitch, velocity, aftertouch, modulation...).

High-precision.

Low noise.

At the heart of the xp32 are highly-precise digital-to-analogue conversion circuits, developed with meticulous attention to detail. Squarp have incorporated high-end components to guarantee reliable, low-noise, high-performance outputs that you can depend on for both small and large modular systems.

The 32 signal LEDs are driven by a fully analogue current-control circuit, guaranteeing zero digital noise.

Specifications

Power

Consumption : -12V 70mA, +12V 80mA, +5V 20mA

Hardware
Width : 14HP
Depth : 33mm
Height : 128,5mm (3U)
Weight : 170gr (0.37lbs)
32x CV outputs resolution : 16-bit DAC (industrial grade)
32x CV outputs range : -10V to +10V

Notes: Polyphonic sequencing from Elektrofon, the Klang allows you to program and perform chords and multi-layered harmonies. Circular clock-style display gives visual feedback and real-time indication of chord progressions.

Supplier's Notes:
«Klang» is a 4 voice polyphonic controller. It stores, traverses and manipulates chord progressions.

Overview

«Klang» is a unique take on polyphonic control within Eurorack.

Displaying chords in a circular clock-like display, and giving the user immediate control over every aspect without "menu diving" makes for an easy to use and inspiring module.

The module can store up to 99 chords, where each chord is made up of 4 voices.

Each voice is represented by a colored indicator on the clock-face which in turn is controlled by an encoder.

The indicators points to notes on the chromatic scale drawn in 360- around the clock-face.

Interface

The big grey encoder in the middle of the module lets you browse the chords - the active chord and total chord count is shown just above the encoder on the display.

The + button lets you ad a new chord. The new chord is added after the currently active chord, and the new chord is then set as the active chord.

The - button removes the current chord.

Inputs

The module has 3 inputs - 1 trigger input and 2 bipolar CV inputs.

Trigger input

The trigger input triggers a chord change.

If the direction input is unconnected, a single trigger results in a single step in the forwards direction.

Direction input (+-5V)

The direction input normalizes to a single step in the forwards direction.

You can feed this input a bipolar CV (+-5V).

Direction maps the total chord count to 5V. This means that +5V results in a single trigger progressing +n steps, where n is the total chord count.

A negative voltage will do exactly the same but resulting in backwards stepping.

0V equals no movement.

Transpose input (+-5V)

This bipolar CV lets you transpose the current chord up or down within 1 octave.

It is therefore a 5V/oct input.

The reason for this is that it is intended to be used with an analoge voltage source like the Pressure Points from Make Noise, or any other analoge sequencer.

It is much easier to fine tune a 5V/oct signal with a regular potentiometer than a 1V/oct signal.

Outputs

Each voice has a separate color coded 1V/oct CV output.

Notes: The MetaModule Audio Expander (MetaAIO) adds an additional 6 CV/Audio inputs and 8 CV/Audio outputs to your MetaModule patches, via a ribbon cable connected to the main MetaModule. The MetaAIO provides the same high-quality as the MetaModule's Audio/CV jacks (24-bit, 48kHz default, up to 96kHz).

Notes: NANO modules are excited to introduce you to OCTA, the upcoming 4-channel Analog Drum module, inspired by the iconic TR-808 and redesigned with a modern twist.

OCTA delivers punchy and dynamic analogue drums, with individual outputs, mute switches, CV control over Drive, and a built-in Tilt EQ and Compressor for creative shaping. Nano stayed faithful to the original circuits, but added key controls to give each voice more range and modular versatility.

Notes: The hands-on control of hardware meets the versatility of software. Bridging the gap between Eurorack and VCV Rack, the MetaModule includes over 160 built-in modules plus access to over 200 third-party options.

Supplier's Notes:
The MetaModule puts real knobs and jacks on virtual software modules. Step back from the computer and make music with hardware, while keeping the flexibility and expandability of software.

The MetaModule comes with over 160 built-in modules from 4ms Company, Befaco, HetrickCV, NonlinearCircuits, and Scanner Darkly, plus clones of popular classics such as the Mutable Instruments eurorack modules, fun physical modeling algorithms, and lots of handy utilities.

All of the included modules are also available on the computer using the free program VCV Rack. Whether you make patches on VCV Rack and transfer them to the MetaModule, or if you just create patches directly on the MetaModule, there are plenty of creative modules to inspire new ways to make music.

MetaModule Plugins

If the 160+ built-in module aren't enough, you can load more modules as plugins. Already there are over 200 modules in third-party plugins from Bogaudio, Valley, ChowDSP, NANO Modular, and the list is growing. 4ms have an SDK available to make it easy for VCV Rack plugin developers to convert their plugin to a MetaModule plugin. 4ms' licensing terms are non-restrictive: developers are welcome to distribute their plugin in any way they wish, commercially or not.

Mapping Knobs and Jacks

The MetaModule has 12 knobs that can be mapped to virtual knobs. Each knob can be mapped to up eight virtual knobs, and each mapping can have a different range and offset. You also can save a group of mappings as a Knob Set and switch between Knob Sets with the encoder. You also can map the 8 inputs and 8 outputs to virtual module jacks. Also, the MetaModule is a USB MIDI host, so you also can map MIDI CC, note, gate, and other parameters to knobs and jacks.

Expanders

There are lots of ways to customize your MetaModule. A Wifi expander allows you to wirelessly transfer patches from your computer. Add eight more knobs with the Knob expander, or buttons with the Button expander. A CV/Audio expander adds more high-resolution inputs and outputs, and the Gate In/Out expander adds not only gate jacks but also TRS MIDI and I2C.

Under the Hood

There are six CV/Audio inputs, two gate inputs, and six CV/Audio outputs. The CV/Audio jacks are all 24-bit, 48kHz DC-coupled, -10V to +10V. A USB-C jack accepts MIDI devices and thumb drives. Patches and plugins can be loaded via a USB drive or microSD Card, and internal flash memory lets you save patches you always want to come back to.

The processor is more advanced than anything 4ms has used in the past, and is among the most powerful processors found in Eurorack. Startup time and latency are blazingly fast.

Modules

160 built-in modules
Over 200 3rd-party module plugins available so far, and the ecosystem is growing
Create patches using VCV Rack or directly on MetaModule

Patches

Patches are loaded from microSD Card, USB drive, or via the Wifi expander
Patches can be optionally saved onto internal flash memory
Create patches using VCV Rack or directly on MetaModule
Patches can be given a name and description

Mappings

Map each physical knob to up to 8 virtual knobs
Set range and offset for each mapping, including inverted control
Knob mappings are grouped into Knob Sets, and changing Knob Sets can be done quickly without menu-diving
Map physical jacks to virtual jacks, seamlessly making splits/mults
Add or edit modules, cables, and mappings in real-time while the patch is playing
Create alias names for mappings like "Kick Drum Level"

Interface

Simple, intuitive graphical interface lets you zoom in on details, or zoom out to get a big picture
Patch View displays the patch as faceplates and cables, with knobs, buttons, and lights animating in real-time
Knob Set View simplifies the display, showing only the mapped knobs for the current Knob Set
Module View shows just one module and lists the names of each jack, knob, and control legibly
Mapping View lets you adjust details of a knob mapping
Adjust styles and visual preferences to your liking
Save, rename, duplicate, and delete patches
Firmware updater and plugin loader read from microSD Card or USB drive

Hardware

12 Knobs
8 CV/Audio outputs, 24-bit 48kHz, -10V to +10V, DC-coupled
6 CV/Audio inputs, 24-bit 48kHz, -10V to +10V, DC-coupled
2 Gate inputs
USB-C jack: MIDI Host or MSC (External drive) Host
microSD Card slot
Internal Flash RAM for additional patch storage
Dual-core 800MHz Cortex-A7 plus Cortex-M4 co-processor
512MB DDR3 533MHz RAM
Bare-metal operation for fast startup and low latency

26hp

Notes: Rack power bringing 2.5A (2500mA) on both the +12V and -12V rails. There is a 5V rail, but it pulls from the +12V rail, up to 750mA. So only use the +5V rail if you have to.

Comes with 12-position flying bus cable and wall power supply. The wall power supply is the same unit as After Later Audio use on their cases, so there's plenty of headroom and you don't have to worry about memorizing which amperage is for which.

This should be roughly enough for 2 rows of modules in a 104hp case. If you just need power for 1 row, check out our Warp Drive module.

Notes: Part of TipTop's exceptional series of Eurorack-format Buchla modules, the 264t provides four sample-and-hold circuits, plus a logic circuit designed to control polyphonic patches. Deceptively simple but surprisingly creative, like most Buchla modules.

Supplier's Notes:
Four independent sample-and-hold circuits, plus a specialized logic circuit for expediently implementing polyphonic patches.

Sample-and-hold's are essentially one-cell analog memories. They are useful for "remembering" the instantaneous value of a control voltage (a detected envelope, for example), for generating equally spaced steps from a constant slope input (as from a 281t envelope generator), and for converting any continuously changing voltage (a random voltage, for instance) into a series of discrete values.

The 264's sample-and-hold circuits have two operating modes: sample and track. In the sample mode, the value of the input is sampled and applied to the output whenever a pulse is received. The output remains at this value until the next pulse arrives. The track mode diers in that an input is applied to the output for the duration of the pulse. The output tracks the input until the end of the pulse and remains at a constant value until the next pulse.

To use the 264t as four independent channels set the separate/common switch to separate. A single CV can be set to all four channels by setting the operate/common to common and plug CV in the the back jack on the with right side.

The Model 264t includes a polyphonic adaptor, which performs the logic necessary to implement four-voice polyphony. Facilities are incorporated for fine tuning and f.m. modulating the oscillators; light emitters display the adaptor's operation.

Specifications:

Size: 18 HP - Depth: 45mm
Power: +12V 60mA / -12V 30mA

Notes: A visit to the Hainbach Studio Complex two years ago, led to a collaboration that would result in what is perhaps Joranalogue's finest design yet. United by a common passion for vintage test gear, the Joranalogue team joined forces with artist and YouTube sensation Hainbach.

Collide 4 builds upon on the lock-in amplifier concept, and brings it into the Eurorack world. These atomic age physics research instruments are known for their raw power when used in musical applications. Soon, any synthesist can experience this for themselves, at a fraction of the size and weight of a vintage unit, and with full voltage control.

The result is a wholly new kind of synth voice and audio processor, unlike any other. It's a perfect union of Hainbach's extensive experience in exploring the deepest musical realms contained within vintage test equipment, and profound knowledge of audio design and production.

'Quadrature spectral computer' is how you could describe this new kind of musical generator and processor. The sound? Quite simply: it's smashing!

Specs

Modern, fully analogue re-imagining of the lock-in amplifier concept, expanded to new heights.
Pingable variable bandwidth filter with self-oscillation capability.
Pre- and post-filter gain stages, for a total of up to 130 dB of amplification!
Through-zero sine/cosine quadrature oscillator.
Hilbert transform network for use as a frequency shifter.
Dual ring modulators with output lowpass filters.
Extensive output section, including magnitude and phase analogue computing outputs.
Unique X/Y quadrature topology, ideal for stereo use.
Handsome (and useful) signal level/overload LED indicator.
CV control over everything, with temperature compensation and excellent volt/octave pitch tracking.
20 HP, 30 mm deep. Over 600 components, yet a fraction of the weight and size of a vintage Model 124A lock-in amplifier unit.

Notes: Analogue VCO with range from 16Hz up to 32.000Hz.

Variable Voltage Controlled Wave Shaper.

Advanced pitch control with Voltage Controlled Quantizer, so it is always in tune.

Hard Sync Input.

Separate Pulse Output, for use as a clock or to sync other oscillators
.
Power Consumption: 114mA @ +12V , 46mA @ -12V.

35mm depth.

Notes: Vinia is a new powerful 8-channel audio generator and processor for Eurorack. Each channel is independent and has its own signal chain. This can be a multi-engine instrument, an FX processor, a combination of both, or a chain of several FX.

The sound generator section offers 2 sample players (one plays from the 16 MB internal flash memory and the other directly from the microSD card), various VCOs (VCO, multi-VCO, harmonic VCO), Karplus, a Chord generator, noise, a drum synth and modulation generators (LFO, envelope follower, envelope).

Each of these generators has a rich set of parameters for setting up your sounds. Then, there is a powerful multi-FX processor.

Tesseract Modular has added 20 different algorithms in Vinia: FM operator, filters (multimode, ladder, rubber, bandpass), a wave folder, tube saturation, delays (filter delay, delay, long delay), reverb, metallizer, grain pitch shift, and more.

These can be flexibly set in a chain per channel and offer many customization possibilities. The module also hosts a mixer. You can also save your channels in presets and work with macro parameters.

Each of the 8 channels can be independently configured as a multi effect processor, VCO, sample player...

Audio outputs are DC coupled so it can be used to generate complex CV modulation sources too.

There are 2 types of modulation in Vinia, the first is stepped (occurs every 1,4 milliseconds approx.) and very flexible, any modulation source can modify any parameter of any track. The second is the 'audio rate' one (44,1 KHz), only a few parameters admit this type and both sources and destinations will be within the same track.

Audio sources: Audio Input, Flash Sample Player, MicroSD Sample Player, VCO, Multi VCO, Harmonic Oscillator, Karplus, Chords, LFO, Envelope Follower, Envelope, Noise, Drum Synth

Audio processors: FM Operator, Multimode Filter, Ladder Filter, Rubber Filter, Bandpass Filter, VCA / Polarizer, Folder, Tube Saturation, Exponential Envelope, Delay, Filter Delay, Long Delay, Long Filter Delay, Reverb, Metalizer, Chorus, Modulator, Vocoder 16, Vocoder 32, Bit Crusher, Rectifier, Grain Pitch Shift, Ring Modulator

Notes: Silver version of Cosmotronic's Messor module, offering stereo compression and transient shaping in just 8 hp. Ideal for mix buss compression, whether full stereo mix or drum/synth submixes.

Supplier's Notes:
Messor is an analogue stereo compressor with lots of tricks up its sleeve, in only 8HP.

From squashing drums, sidechaining kicks and sculpting transients, to glueing a mix together, it's a very versatile dynamics manager.

At its core it's a VCA based feed-forward compressor with a low noise signal path. The magic is in the internal sidechain that shapes the gain reduction envelope. This starts with a a switchable high-pass / low-pass filter, before going into a precision envelope follower, controlled by familiar parameters: the attack, release, threshold, ratio and makeup gain.

The ratio can go past limiting and into over-compression, which can completely reshape transients, a great tool for sound design.

Being modular, of course there are CV inputs for Attack, Release and the side-chain Filter cutoff. The Gain CV controls the makeup gain, but also doubles as a Stereo VCA with the Gain knob turned fully CCW.

The gain reduction envelope is also available as an output, for turning filters or other VCA's into compressors for example, or as a standalone envelope follower.

There's a bypass switch, and a Warm mode, that can bring in a bit of additional saturation and compression in the form of analog tube simulation circuitry.

Lastly there's the possibility to insert an external sidechain, for that classic kick sidechain compression.

Dimensions
8 HP
25 mm deep

Current Draw
45 mA +12V
26 mA -12V

Notes: A powerful utility module:

The 2+2 Mixer (left side) is a combo of two DC coupled 2-channel mixers with a sum out. For audio or CV purposes.

The Dual VCA is the audiophile and distortion friedly VCA taken from the Stereo Mixer. It has a special exponential response that imitates the behavior of the early Serge VCAs and allows massive amplification and overdrive. Beware - the resulting signal can get very high amplitudes (up to 16Vpp) and allows squaring of a sine or triangle wave.

Serge 2+2 Mixer / Dual VCA for eurorack:

Designed for audio performance
Eurorack format (3U), 18 hp
Power consumption: 55mA @ +12V, 50mA @ -12V
(NEW) Skiff-friendly: < 25mm (1")

Notes: Mutes goes above and beyond basic muting by allowing you to split groups of signals to multiple destinations, making it great for FX dub performing and varied signal routing.

Vactrols on the circuit gives to the switching a pleasing decay for both audio and modulation as well a totally click free muting.

Three-position switch: MOMENTARY signal pass-through (it springs back to the center when released); OFF (or muted) in the center; and ON to the right.

Notes: Intellijel have created a 1U version of the handy Atlantix Expander. It is exactly like the 3U version but arranged to fit in a 1U space. Comes with a cable for connecting to the Atlantix.

Notes: Clock Multiple, Conditioner, and Divider in a compact 2HP format

Distribute your clocks throughout your system using minimal rack space.

The first three outputs maintain the same frequency as the input, while outputs 4 to 7 provide time divisions of 1/2, 1/4, 1/8, and 1/16.

The active topology allows you to patch clocks on the fly, avoiding the tempo interruptions that can occur with passive multiples.

To reduce the footprint, the input is a TRS jack, with the clock signal on the tip and the reset on the ring. For standard clock only operation, use a regular mono cable, or use the provided splitter to access the reset function.

Notes: Introducing the TOMS909, the warmth of the classic, all-analogue, punchy tom-toms from the TR-909 drum machine. The TOMS909 contains all three of the TR-909's original LOW, MID and HIGH tom-tom circuits adapted for use in the modular format. The module was designed to sound like a fresh machine coming off the assembly line back in the 80's. To add flavour to the beast, Tiptop have extended each tom's tuning range so it's easier to dial soft bass drums on the low end and high-pitched toms on the other.

The toms circuitry is made up of 9 triangle oscillators and a stack of filters, VCAs, and envelopes which, in total, took about half of the space on the original 909's circuit board. Utilizing the latest in electronic design technology, Tiptop have managed to squeeze this enormous circuit, consisting of more than 450 components, into an area only 16HP wide. It is a beautiful board with hundreds of tiny, shiny components: it's a little analogue jewel.

Each tom includes a trigger and accent input with accent level control, manual tune, voltage-control tune input with attenuator and independent audio out. In addition, a MIX out is available that sums all three toms together as well as access to the MIXZ MixBus on the back. On each gate input, Tiptop have designed a dual pulse-shaper circuit so you can trigger your TOMS909 with trigger/gate signals from sequencers or any other pulse/clock sources.

TR-909 is a Trademark of Roland Corp Japan

Size: 16HP
Depth: 51mm
Power: +12V 120ma / -12V 100ma

Notes: Introducing the HATS909, part of TipTop's new series of drum modules that brings those classic percussion sounds into the modular synth world, instantly turning your system into a self-contained music machine.

The HATS909 is the TR-909's original Closed and Open Hi-Hats circuits adapted for use in Eurorack modular synthesizer format and was designed to sound like a machine coming fresh off the assembly line back in the 80's. Improving on the original, TipTop have added some great new features that expand the sound palette that can be produced with this small, powerful module.

The original TR-909 circuit is made with a combination of low-fi sound samples that pass through a series of analogue elements to provide envelope and filtering to the source sound. The HATS909 module allows for manual and voltage control of the sample's tuning, which provides anything from crushed hats and short ticks to the original sound and anything between. Additional controls allow you to send a voltage control signal to either the tune input or the internal VCA for modulation with external control signals and, using a modulation switch, add AM or FM synthesis in the audio range from external oscillators, other drum sounds, or just about any other sound source. Lastly, HATS909 also offers a switch that allows you to tap directly into the raw output of the module for a unique sound source that can used throughout your system.

Just like the other drums in this series, the HATS909 high-powered output gain stage allows you to further harmonize the sound through distortion and clipping. On each gate input, Tiptop have designed a dual pulse-shaper circuit so you can trigger your HATS909 with trigger/gate signals from step sequencers, clock dividers, or any other pulse/clock sources.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 36mm
Power: +12V 33ma / -12V 22ma

Notes: The MetaModule Wi-Fi Expander lets you connect to your MetaModule wirelessly using a web browser.

Quickly transfer patches you created on the computer and play them on your MetaModule without swapping disks or USB drives.

4 HP
Power consumption: +12V max 50mA. -12V: none. -5V: none.

Notes: 8 channels of audio or modulation over ethernet. There are two modules and a 3' CAT7e cable to connect them together. There are 8 total channels that are unbuffered and bi-directional. The primary usage is to connect two cases or just send a bundle of signals from one part of your larger case to another. You also get the option of buffering up to four channels on each side. This gives you a local copy of the signal and sends buffered copy to the other module, saving you from having to use a MULT to keep a local copy.

Some notes:

When one side of the Light Rail is in buffered mode, you cannot send signals from the opposite side on those 4 buffered channels (the other 4 channels can still be used in bi-directional mode)

If you are after a different longer/shorter cable, you will get the best performance with CAT7e as it offers the shielding, which is used for the ground.

While the cross channel bleed is minimal, you will notice some very minor cross talk between the channels.

Notes: A spin-off from the brilliantly experimental Strega synth, the Bruxa module offers a different type of 'Time/Filter Experiment' designed to warp and twist sounds from other modules. Excellent creative stuff.

Supplier's Notes:
Check Make Noise's website for content and pictures!

The Bruxa music synthesiser module is an audio alchemical experiment. Spill your sound into time, and let it decay through the filters to hear the results.

Bruxa is a collaboration between Make Noise and Alessandro Cortini. Inspired by Cortini's music and sonic experimentations, Bruxa embodies the seen and unseen, the sign and magic, the alchemy of sound. It is a new evolution of Tony and Alessandro's original prototype circuits which eventually became the Strega's Time/Filter Experiment. It is a multi-tap delay line with over a dozen unique feedback paths and multiple filters within those feedback paths aligned to allow for accumulation of noise, saturation and signal degradation.

While Strega is a complete synthesiser in a tabletop form factor, Bruxa is a Eurorack module designed to be used as one part of a Eurorack modular synthesiser. You will discover a number of differences in layout, signals, and sound. Living inside the Eurorack modular system, Bruxa encourages you to patch your own sound and modulation sources, yielding results surprisingly distinct from Strega.

Echoverb signal processor which shares origins with Strega
Well tuned to work nicely in a Eurorack modular system
All analogue dry signal path blended with digital/ analogue hybrid signal processor
Analog CV inputs with wide range capable of audio rate modulation
Time control with massive, smoothly variable range
Linear FM input with attenuator allows for fluttering of Time
Absorb and Filter controls dramatically shape the echo tone and reflections
New unique CV outputs for use in self-patching or mutual patching with other modules
Pairs well with DPO, STO, MATHS, Prss Pnt, modDemix and more!

Specs:

Width: 18hp
Max Depth (incl. power cable): 48mm

Power:
140mA @ +12V
90mA @ -12V

Notes: Tiptop's reissues of iconic Buchla modules continue with the 285 frequency shifter. Edgy, twangy harmonic modulation with ring mod options and stereo operation via sum and difference outputs.

Supplier's Notes:
The 285t combines two sets of functions: the top section features a frequency shifter, while the lower section includes both balanced modulation and classic ring modulation, all with voltage control. The frequency shifter can shift incoming audio using either its internal oscillator or external audio. Both SUM and Difference outputs are available simultaneously for analogue stereo widening effects and more.

As Tiptop Audio continues its aural odyssey of preserving and transforming the hallmark engineering prowess of Don Buchla's namesake synthesizer modules, the 285t brings a constellation of blistering sonic-contouring tools to your Eurorack array. Like its predecessor, the Tiptop Audio Buchla 285t is a menagerie of modulation madness, offering variable degrees of ring, frequency, and amplitude styles of modulation. Plus, its dyad of modulation sub-modules operates independently, with dedicated audio and CV I/O for each, functionally giving you the sum of performance possibilities you'd get with two modules, all in one instrument. Suffice it to say: Sweetwater's synthesists commend Tiptop Audio on capturing the electric magic of Don Buchla's imaginative engineering while transposing it for the world of Eurorack to experience. For a constellation of timbral sculpting and summitting heretofore unknown peaks of daring synthesis exploration, the Tiptop Audio Buchla 285t Frequency Shifter module is your key. Discover what awaits at the fringes of Eurorack possibility!

Note: This module is not compatible with Buchla system voltages. CV signals require a distinct connectivity configurations. Please contact your Sweetwater Sales Engineer with any questions or concerns regarding compatibility or use in your Eurorack case.

Type: Frequency Shifter
Depth: 1.77" (45mm)
HP Size: 18HP
Power Usage: +12V/70mA, -12V/40mA
Power Supply: Requires Eurorack Case and Power Supply
Manufacturer Part Number: 285t

Notes: Quad random, highly controllable, quantized-voltage generator and generative CV sequencer

Gamut Repetitor is a four-channel random quantized voltage generator with looping, range, key, and scale settings. It features a built-in quantizer with 27 scales grouped across a selection of three CV-controllable switches, so it's easy and fun to generate patterns you'll love. The trigger outputs can simply pass through the input trigger or they can generate random triggers for more modular merrymaking.

Patching GR is as simple as sending in a trigger pattern and turning Length up. Then you can use the built-in quantizer, key, and range controls to change the way voltages are generated. Once you hear something you like, turn the Length down to a sequence length you like (up to 32) and loop away!

Size and Power

10HP Eurorack
+12v: 55mA
-12v: 15mA
Gamut from medieval Latin: "a complete scale of musical notes; the compass or range of a voice or instrument."

Repetitor from Latin repetito with suffix -tor to make the noun: "thing which repeats"

"Thing which repeats all the things"

What's in the box
Module
Power cable

*** Noise Engineering no longer include screws with newly packaged modules. Bulk screws are available for purchase. ***

Notes: A rock-solid all-rounder of a VCO, the Cycle 5 is a triangle-core oscillator with morphable wave shapes as well as conventional sine, triangle, saw and pulse outputs. Switchable octaves and 5th transposition make the module even more user friendly.

Supplier's Notes:
A small Eurorack oscillator that packs a punch: that's the best way to summarise Cycle 5.

At its heart lies a refined high-stability triangle core voltage controlled oscillator (VCO), with performance matching or exceeding that of much bigger and costly oscillator modules.

Instead of a coarse frequency knob, a 7-position octave switch is provided. This in combination with a perfect fifth transposition switch and factory pitch tuning, makes Cycle 5 an exceptionally straightforward and musical VCO to use: simply centre the fine tune knob, and the module will be instantly tuned to reference C.

Meanwhile, its dual precision volt per octave inputs add a great deal of versatility. For example, one could be used for pitch sequencing and the other as a generic exponential FM input, or both sequenced together for transposition effectsithe dual inputs serving as a built-in precision adder.

Sporting all the classic waveforms, ranging from sine wave, triangle, saw and square/saw, as well as a hard sync input and low frequency oscillator (LFO) mode, Cycle 5 makes for a real workhorse VCO. The novel trigonometric waveshaper results in a very clean sine wave, ideal for sub bass duty.

Cycle 5's highlight however, is its vari-wave feature. By adjusting the vari-wave knob, the waveform on the matching output will smoothly morph from sine, to triangle, saw, square and finally a very narrow pulse. The vari-wave parameter can be CV controlled, up to audio frequencies for some intense timbres.

Equally at home as a modest modulation companion to big VCOs, as being in the spotlight in miniature or polyphonic systems, Cycle 5 might just be the most multi-talented tiny analogue oscillator yet.

6 HP | +12: 75 mA, -12: 70 mA

Notes: Enter a galaxy of rich and vibrant delays. The Dreadbox Nostalgia 3 Stage Delay is a superb effect module that can give you amazing results in moments. Delay is a true staple in the effects world and it can take your modular music to the next level via just a few cables.

The Dreadbox Nostalgia 3 Stage Delay is ideal for a range of modular music styles, from ambient to acid house. This 10HP module fits snugly in your system and has enough CV control to keep even the most avid patcher satisfied.

117 mA +12V
25 mA -12V
35 mm deep
10HP

Notes: The Endorphin.es 1U Cockpit X Black is a newly designed 6-channel stereo mixer with transparent VCAs, featuring four inputs on the front and two auxiliary inputs on the rear. Sidechain ducking makes it easy to get a great balanced sound, just input the trigger of your sound and you are good to go.

The perfect mixer for summing signals in your system while patching, or even as an end-of-chain mixer to go into your interface, mixer... whatever you fancy.

Power consumption: 55mA at +12V and 35mA at -12V

Depth: 30 mm

24 HP

Notes: AUTOPILOT 1U is an innovative tuner module. Tune your oscillators fast, just apply the AUTOPILOT 1U in between the pitch CV and apply the reference waveform. Previously available as a dual autotuner AUTOPILOT in 3U version (4hp) and now as a single autotuner 1U Intellijel format version (6hp).

440 A-note or 261.62 Hz C-note scales: selected mode saved on next power up

Tune your oscillators instantly, just apply the Autopilot in between the pitch CV and apply the reference wave

Play the reference note from your sequencer or CV keyboard. Now a single tap on the button tunes your oscillator to the closest A/C note.

Power consumption:
20 mA +12V
10 mA -12V
0 mA 5V

Dimensions
6 HP
35 mm deep

Notes: The SELECTOR module is an electronic switch for any kind of signals to select one of up to eight sources or sending a signal to a specific destination (it's bidirectional). It is also known as "Sequential switch" in former modular synths. The SELECTOR has 8 inputs for any kind of signals, no matter if audio CV or gate, and one of them can be routed to an output in different ways: Either by a knob, or by a CV, or by clock pulses to advance by 1 plus a reset trigger input. By a switch it can be set to operate as a dual unit with 4 inputs each.

It's a quite useful tool for more complex patches, e.g. for selecting between different sequencers, or sending a modulation source to varying "receivers".

Notes: The MASTER module is the base of an AE modular system if MIDI control has to be possible; it contains:

The voltage regulation (5V) for the power supply of the modules
A MIDI input (minijack; Breakout cable to DIN-5 socket is available separately); the MIDI channel can be selected between 1, 14, 15,16 or OMNI
In/out-sockets (3.5mm minijack) for audio out and/or interfacing with a Eurorack system
All bus signals (CV, GATE, CTRL, MIDI clock/start/stop) as patch sockets
The power supply is a 9V DC wall adapter (see here).


Note: The MASTER R5 is the latest revision of the MASTER module which is the core of most AE systems; what's new here is:

The bus signals CV, gate, ctrl CV, MIDI start/stop/clock can be connected with / removed from the bus individually with the microswitches

The TRS MIDI input now accepts both types of TRS-MIDI adapters

The mechanical design is changed to be compatible with the QUICKSWAP CASE.

Notes: The uPROBAGATE (also known as Bernoulli gate in the eurorack world) distributes a gate/trigger signal to two / three different outputs randomly. The probability knob controls the percentage of distribution to the outputs - from "only output 1" to "1 and 2 mixed" to "only output 2" to further distribution to the 3rd output. The switch allows two options: Only one output at a time - multiple outputs at a time.

Please note: These micro modules need a carrier, like the uBASE module. They cannot be mounted directly into an AE case.

Notes: A typically well thought-out approach to matrix mixing from ADDAC, the 814 is a stereo, expandable 6x6 design with separate control and in/out modules. Suitable for line/synth level audio or CV.

Supplier's Notes:
Introducing ADDAC's take on matrix mixers, a 6x6 stereo matrix easily expandable to larger configurations.

Matrix mixers may need some time to get used to, but they are very much self-explanatory, each knob controls the volume of a matrix point routing the respective input to the desired output. The flexibility of a matrix mixer is far superior to a standard mixer, the possibility to route any input to any single or multiple outputs allow for very complex chains, combining parallel and series processing while easily reconfigurable without any extra patching.

All Inputs Left channels are normalled to the Right Inputs.

Blank areas on the left and bottom edges of the panel allow for the user to write all the inputs and outputs sources that each channel is connected to.

Different coloured knobs for faster visual recalling: Black for A,C,E Outputs Dark Red for B,D,F Outputs Cream knobs for potential feedback diagonal: 1A, 2B, 3C, 4D, 5E, 6F.

DC coupled circuitry, can be used to mix both audio or cv signals.

Jumpers on the back of both modules allow the user to set each channel independently to Line or Synth Level, making it easier to integrate with external sources, sound processors or guitar pedals.

Internal connections

The control and input modules are connected via a large 34 wire ribbon cable, only the control module needs to be connected to the Busboard.
Extra IDC sockets are used for connecting larger configurations like 12x12 or 18x18.
Other configurations are also possible: 6x12, 12x6, 12x12, etc...
Up to 12x12 all ribbon cables are provided, for larger matrixes custom ones will be necessary, contact us directly if planning to go BIG.

Potentiometers

Although ADDAC System are using Thonk's Tall Trimmer Topper for Knobs all potentiometers used have metal shaft and are not plastic trimmer potentiometers.

Tech Specs: 25HP + 8HP (33HP total, 4.5cm deep, 140mA +12V, 140mA -12V

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: Upgraded version of WMD's excellent performance mixer module, the PM MKII features four stereo or dual mono channels, CV control of levels, panning and aux sends, plus soft mutes per channel.

Supplier's 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: The perfect pairing of a virtual analogue kick drum and side chain compressor. Designed as a single, easy-to-control module, Kickain revolutionizes your kick drum workflow by managing low-frequency artifacts and transients. The result? A cleaner, tighter mastering-standard mix featuring a truly powerful kick drum.

Spectral Compression

Kickain offers two spectral compressor modes that intelligently EQ the mix to fit around the triggered drum sound, adjusting continuously thousands of times a second. This optimizes the kick's loudness without intrusive 'pumping,' ensuring tracks sound tighter and richer in the low end.

Reverb

A 24-bit stereo drum room simulator, linked to the decay envelope, provides ambient reflections or explosive bass drops.

Notes: Modulate filter cutoffs, VCA amplitudes, and other parameters to shape your sound dynamically.

Audio & Low Frequency Oscillator

VCO Mode. Use the cycle switch to convert the function generator into a voltage-controlled oscillator for audio-rate signals.

LFO Mode. Generate low-frequency modulation signals to control parameters such as pitch, filter frequency, or amplitude.

Create vibrato, tremolo, and rhythmic modulation patterns.

Slew Limiter & Waveform Modulation

Slew Limiter. Smooth out abrupt changes in CV signals to create portamento effects or gradual transitions.

Waveform Modulation. Adjust Rise and Fall shapes to create logarithmic, linear, or exponential waveforms, adding character to your modulation.

Glide between notes, shape modulation curves for more organic sounds.

Logic Section

AND, OR. Combine signals using logic operations to create new, complex modulation sources.

Generate gate signals based on multiple inputs, create rhythmic patterns, and trigger events.
Comparator (X > Y). Compare two signals and generate a logic output when one exceeds the other.

Create gate signals from modulation sources, detect signal thresholds, and trigger events based on signal levels.

Specifications

Dimensions 24HP - 120×128,5mm
Current +12V 150mA / +5V 0mA / -12V 130mA
Input & Output Signals +/-10V
Min. time for Attack & Decay 0.5ms
Max. time for Attack & Decay 7 minutes
Impedance Input 10k - Output 10k
Materials PCB and Panel - FR4 1,6mm
Depth 40mm including connectors (Skiff friendly)

Notes: Great value dual function generator here. Create envelopes, slew signals, shape modulation and generate LFOs. All with built-in VCAs for each channel. A proper multi-function utility module.

Supplier's Notes:
Delta-V is a fully analogue dual-channel function generator, featuring a dedicated VCA and LFO cycle switch for each channel. It packs a great deal of functionality in only 10HP, and will surely find use in almost every patch.

Generate envelopes, slew gates and signals, or run LFOs with precise control over attack and decay times. Using the SHAPE knob, Delta-v can create a wide range of envelopes, from very snappy exponential curves for percussion to logarithmic thumps for bass lines.

If VCA's input is unpatched, the module outputs a regular voltage envelope. When an audio signal is patched into the VCA input, the output signal becomes the audio signal amplified by the envelope.

Sending other envelopes or an LFO to VCA input lets you modulate those modulators, quickly creating complex control voltages that go beyond the usual attack-decay envelope.

Combine this with the SUM output, which sums the two channels, and the attenuverters, which can quickly attenuate or invert the signal, and you have a whole array of signal processing capabilities.

The TRIGGER input fires a Attack-Decay envelope, while the SLEW input will affect the rate of change of the signal.

The trigger for channel 1 and 2 can be linked together, so you can fire two envelopes with one patch cable.

Each channel has an End of Cycle output, (EOC) this outputs a short trigger at the end of each envelope cycle.

The output voltage ranges from -10 to +10 volts, set with handy output attenuverters.

The CYCLE switch starts looping the envelope, creating LFO's that go up to audio rate, and that can also be used as an interesting sound source.

There are many ways to utilise Delta-V.

Challenge yourself to explore new, unconventional territories!

Width: 10HP
Depth: 27MM
Power +12V, 70 MA
Power -12V, 70 MA
Power 5V, 0 MA

Notes: Analogue discrete Synthvoice with two VCOs, three SUB-VCOs, Wavefolder, Noise, Ring Modulator, two loopable ADRS, two LFOs/VCOs, MIXER, 24db Lowpass VCF, VCAOur new Eurorack flagship hits stores this summer. Very compact (pre-patched) discrete synth voice module with excellent analogue technology for endless soundscapes at a reasonable price.

Two discrete VCOs with highly stable tracking

Three analogue Suboscillators (3/4-1/2-1/4 with SQUARE, SAW, TRI) + Gravity Mix -Sync

Wavefolder (VCO 1 TRI WAVE)

White Noise

XOR Ringmodulator

Discrete VCA

24dB LP VCF with overdrive

Dual analogue LFO (one also usable as VCO) with incredible range and keytracking -Two superfast and punchy analog ADSR sections with LOOP function and four TRG outputs (End of ATT, End of DEC)

Mixer section with Master level -Glide presets and huge Patchfield to communicate with other Eurorack Modules.

Screwed metal shaft potentiometer

Rackspace: 36TE
Depth: 25mm

Notes: What does this do?

This is an analogue filter based on the 1974 SEM filter. The original early design did not self oscillate into a sine wave. This one also does not self oscillate. The sound, however, makes up for that. You get the original notch sweep, and incredible band pass mode at such a low friendly price.

Added Features

-Onboard VCA
-Onboard envelope generator (decay)
-Variable trigger input circuit. Emulates a Vactrol.
-Dual audio input possible

Width: 10HP
Depth: 1 PCB stack, skiff compatible

Notes: Expand the sound of your modular rack with incredibly lush, ethereal reverbs. Enhance signals with gorgeous chorus, flanging, and modulated delays. Create uniquely expressive synth voices with Karplus-Strong string synthesis. StarLab is a single module that will completely transform your modular rack.

The seemingly simple idea of allowing the pre-delay signal to be fed directly to the module's output led to the development of rich sounding delay, chorus, and flanger effects, all of which can be used together with or independent of the reverb.

While experimenting with short delay times using feedback and filtering, Strymon began finding very musical and expressive Karplus-Strong string synthesis sounds, and realized that StarLab could move beyond signal processing and become a truly unique voice module as well. All this ultimately resulted in the creation of a module that is equal parts reverb, delay/ modulation, and playable instrument.

From patch creation to live performance, StarLab's powerful features are easily accessible at the turn of a knob or the touch of a button. With no menus to wade through, StarLab's interface is designed for intuitive hands-on sonic exploration, while every function and control works together to respond musically and smoothly.

From perfectly voiced room ambience to vast, immersive, nearly infinite decays, StarLab offers the pinnacle of premium reverb sounds with unparalleled depth and spaciousness. Add musical intervals to the reverb signal with Shimmer, and enhance the harmonic spectrum with Glimmer, while enjoying real-time control over the size/pitch of the reverb process.

StarLab has vastly expanded what reverb pre-delay can do by allowing you to bus the pre-delay signal to the output while making the pre-delay time a modulation target. This results in the ability to create rich choruses, sweeping flanger effects, and beautiful modulated delays, while also processing signal through the reverb.

In addition to input signal processing, StarLab is a powerful Karplus-Strong string synthesis voice module that allows freely alternating bowing and plucking as well as dynamic string damping. This results in an astoundingly expressive and lifelike instrument with a unique voice all its own, which can be enhanced and expanded by the full range of StarLab's reverb capabilities.