Search dance music

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


Erica Synths Bass Drum is developed in collaboration with the French company e-licktronick and it's our take on analogue bass drum circuits adapted for modular systems. Massive, punchy sound, Accent & CV control over key parameters of the module make it distinctively expressive in live performances.

Features
Pitch
Tune
Tune Depth controls
CV control with attenuators over Pitch, Decay and Drive
Manual trigger
Accent for better expression

Dimensions
14 HP
30 mm deep

Current Draw
60 mA +12V
30 mA -12V

Notes: Module A-155-2 is a small, very compact designed analog sequencer with a lot of features. The sequence length is 8 steps. Each step has available a control for the adjustment of the control voltage for this step and an illuminated momentary switch (button). The buttons are used in the standard running mode to turn on/off the gate of the step in question (button illuminated = gate on, not illuminated = gate off). In combination with other controls at the bottom of the front panel the buttons are used for additional functions: depending on the position of the Program toggle switch the button Function is used to program the length of the sequence (switch position Limit), the running direction (switch position Direct.) or to call up the preset management (switch position Preset)

When function Direct (Direction) is selected these running modes are available:

Up

Down

2 x Up (each step is played twice with the normal tempo, not to be confused with Ratcheting x2, see below)

2 x Down (each step is played twice with the normal tempo, not to be confused with Ratcheting x2, see below)

Pendulum type 1 (start and end step are played twice)

2 x Pendulum type 1 (each step is played twice with the normal tempo, start and end step are played 4x)

Pendulum type 2 (start and end step are played once)

Random (Rnd)

When function Preset is selected the illuminated buttons are used to call up one of the 8 presets. In each preset these parameters are stored: active steps, running direction, length of the sequence, ratcheting. To call up one of the 8 stored presets one has to push and hold the button Function and then operate short-time one of the buttons 1 - 8 while the toggle switch Program is in position Preset. To store the present paramaters in one of the 8 presets the procedure is similar but one has to operate one of the buttons 1 - 8 for a longer time (approx 3 seconds).

Depending on the position of the Program toggle switch the Ratcheting button is used to program the ratcheting feature (x2, x3, x4) individually for each step of the sequence (toggle switch Program in position Rx2, Rx3 or Rx4). In case that at the step in question another ratcheting is already programmed (eg x2 or x3 when x4 is chosen) the other ratcheting is overwritten (kind of radio button function between the ratchetings x2, x3 and x4). Details about the ratcheting function are explained at the module A-160-5.

The button Start/Stop is used to start or stop the sequence manually. Button Reset sets the sequence to the first step. For this also the external input Reset can be used.

The module does not feature built in clock generator. Rather an external Clock signal is used. The positive edge of the incoming clock signal triggers the advance of the sequence to the next step.

The voltage range of the control voltage generated by the module can be switched to 3 different ranges by the toggle switch Range: 0 - +1V / 0 - +2V / 0 - +4V. The control voltage is available at socket CV. The voltage is not quantized. But there is an internal pin header available that outputs the data via Midi (note on/off from Midi note 36. Midi channel 1). It can be used to control a MIDI-to-CV interface if quantized control voltages are required, eg the planned Micro-CV-Interface A-190-9)

The Gate signal appears at socket Gate. The pulsewidth of the gate signal is defined by the pulsewidth of the clock signal provided that ratcheting is not active at the step in question.

Controls and displays:

1 - 8 (rotary controls): manual adjustment of the control voltage for each step

1 - 8 (illuminated momentary switches/buttons): manual gate setting for each step, also used for special functions in combination with other controls (setting of first/last step, running direction, ratcheting)

Range: toggle switch for selection of the control voltage range

Program: toggle switch for selection of a function in combination with the buttons Ratcheting and Function

Ratcheting: button for the programming of ratcheting in combination with the toggle switch Program

Function: button for the programming of sequence length (Limit) and running direction (Direct) as well as for the Preset management (Preset)

Sta/Stp: button for the manual control of Start and Stop, in running state the LED of this button displays the state of the Gate output (ie it flashes in the rhythm of the Gate output)

Reset : manual reset button

CV : control voltage output

Gate : gate output

Clock: clock input, the pulsewidth of the clocjk signal defines the pulsewidth gate signal

Reset: reset control input, reset type selectable via internal jumpers (eg positive edge triggers the jump to first step/positive leveltriggers the jump to first step and remains at first step as long as the reset input is high/waiting for the next positive edge of the clock signals before reset is carried out)

Notes: The current G module is an updated version of the now-discontinued 2016 G. Its functions are the same as the old one, but it features significant design upgrades that improve its usability: the selectors for the group output's behavior are now on the front panel, and the knob is now 12 mm in diameter, like the new SC and QSC.

The G (Group) is a stereo module that blends the signals coming from the channels linked to it (up to eight) and manages their signal routing.

The G "puts into practice" all the information defined by the channels' controls: volume, effect send volume, stereo panning.

It consists of three sections: the amplitude controls (white) and the two effect sends and returns (yellow and green).

A switch lets you define the group outputs' behavior: it can be either the sum of all the channels and their effect return or just the wet signal.

The first option is great for smaller setups, where you can use the group as your system's output without a master module.

Should you have a master, the second option allows for more advanced effects parallel processing or multitrack recording.

As of today, the Group is the only module that does not require power, as a Channel powers it through its IDC cable.

Ships with a 1-group-to-2-channels Link System.

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: uBurst

This is a new build of the micro version of Mutable Instruments Clouds. The module retains all the functions of the original Clouds, taking up significantly less rack space.

These modules use tall bushing potentiometers to offer a more stable feel.

The module is fully assembled, tested, and calibrated. Eurorack power cable is included.

Notes: While modular synthesisers are most often used as stand-alone instruments, they also present exciting opportunities for processing external signals. Anything from an electric guitar to an effects send on a studio mixing desk can benefit from the unique sonic capabilities of even a modest Eurorack system.

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

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

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

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

Adjusting the gains is a breeze thanks to the dual peak-responding LED meters. A mix output is included as well, so external signals can be easily mixed directly in the module.

Notes: 'MUM M8' is an 8hp Eurorack low pass filter building on the filter design used in the classic Akai S950 12 bit sampler with the addition of resonance, voltage control, clipped saturation and a dedicated VCA.

The low pass filter gives the recognisable super smooth vacuum like tone sucking sound which works magic on complex sources. The addition of clipped overdrive and intentionally aggressive self-oscillating resonance compliment the smooth filter core by juxtaposing it into more wasp like territory with acidic squeals and a more gritty sound.
Mum M8 features dual voltage control with attenuation (and inversion) of filter cut off and voltage control of resonance together with dual audio inputs - one of which includes a VCA to with the capability to aid overdriving signals into the filter core.

The filter core is a 6th Order Butterworth switched capacitor type design featuring an analog core but controlled by a high speed digital clock. This produces the characteristic smooth sounding filter but, as with the original S950, has a relatively high minimum cut off as to avoid 'clock bleed' into the filter output from the digital control. This minimum cut of point (and introduction of bleed if required) can be controlled via trimmers on the rear of the module (see calibration chapter). It is not unusual for there still to be some low-level artefacts from the clock present, particularly during filter sweeps - these add to the filters character.

The motivation for the module came from discussing filters in classic samplers with the artist Jack Adams - aka Mumdance. Jack suggested investigating the S950's filter well known as for it use in classic use in early jungle and hardcore. From that point onward Jack provided inspiration, help and feedback in the development of the filter. Big up Mumdance.

Notes: The Golden Master from Endorphin.es is a multi-band processor that takes inspiration from studio mastering and radio loudness units from the 1990s. It gives control over the EQ, compression, and mid/side processing of incoming audio.

Thanks to the 16-bit/96kHz audio fidelity, you'll get incredible processing power. It features three bands - low, medium, and high - each handling a distinct portion of the audio spectrum. These controls feature a single knob that both boosts and cuts signals. Set the overall loudness limit of your sounds, and the brickwall limiter ensures all your sounds stay in check. This multi-band effect is the perfect end-of-chain module, ensuring that anything you throw at it sounds dynamic and full.

Multi-band processor inspired by mastering tools from the 1990s: adds punch and dynamics to your sound

Compression, EQ, and mid/side processing

Three frequency bands with +7 db boost and -20 db cut

Brickwall limiter sets upper limit of signals

16-bit/96kHz audio I/O with 32 bits internal processing

Enhance/mute buttons

Available in 1U / 22HP version

Power consumptions:

135 mA +12V
25 mA -12V
0 mA 5V

Dimensions:
6 HP
30 mm deep

Notes: XFADE 1U is a classic DJ-style stereo crossfader, with a few extra tricks up its sleeve. The 'A' and 'B' sides both have L+R inputs. The crossfader blends two stereo input signals together - crossfading one into the other depending on the position of the slider and the selected XFADE Shape. The blended output appears at the MIX L and MIX R output jacks.

In addition, XFADE 1U can be used as a modulation source for controlling other modules, since the crossfader also outputs control voltages from the CV A and CV B jacks. A switch determines whether these voltages are unipolar (crossfading from 0V to 5V; and 5V to 0V), or bipolar (crossfading from -5V to +5V; and +5V to -5V). The two LEDs indicate the polarity and relative levels of the CV A and CV B signals.

XFADE 1U uses a precision Innofader crossfader submodule, with moving capacitance technology for smooth and precise control. This is the same part found on many high-end DJ mixers.

Features:

Smooth and ultra-low friction Innofader Mini-Innofader module with moving capacitance technology
Stereo or Mono operation
DC coupled inputs and outputs
Three crossfade shapes: DJ cut, Constant Power and Linear
Unipolar or Bipolar CV outputs

Width: 26HP
Depth: 38mm
Power: 48mA @ +12V / 41mA @ -12

Notes: The Mutant Brain is the central nervous system connecting your modular analogue eurorack system to MIDI gear, especially for percussion, polyphonic notes and sync duties! It packs 16 eurorack compatible outputs into a tiny, super affordable 8HP package.

The 4 CV outputs and 12 Gate/Trig outputs are all universally reconfigurable. Triggers, gates, clock divisions and sync signals, polyphonic keyboard playing, velocity, sequencer transport, LFOs - you name it!

Configuring your patch is easy - just assign each output as you like in the Mutant Brain Surgery configuration utility, then send the MIDI SysEx file to the module and forget about it - the Mutant Brain remembers it all for you.

Hexinverter supply a convenient download pack of pre-configured, ready to use Mutant Brain patches for some select sequencing and drum machine devices on the market today, easily turning those sequencers and drum machines into a modular control powerhouse!

Designed with live and studio performance in mind, the Mutant Brain does away with wasted panel space and complex menu-diving interfaces, while freeing you from the limited "auto-learn" type MIDI interface. An auto-learn interface sometimes doesn't play well with the limitless combinations of different gear setups which today's modular performers play live with.

4 CV Outputs (0V to 8V) can be

Notes (Mono or Polyphonic, V/Oct or V/Hz)
Pitch Bend, Velocity or Aftertouch
MIDI CC values (LFOs, modulation, etc.)
Fixed Voltage Values
12 GATE Outputs (0 to 5V) can be

Note Gates and Triggers
Drum Triggers, Retriggers
MIDI Transport (Start, Stop, Run, Resets)
MIDI Clock Ticks (Divisions)
CC Value Above/Below Threshold
Each GATE output has an adjustable trigger length between 1 and 120ms

Dimensions
8 HP
38 mm deep

Current Draw
19 mA +12V
4 mA -12V

Notes: The Tone Science Chance Delay is a unique concept in Eurorack modules as it combines chance and randomness, with pulse delay and pulse conditioning. It is a collaboration between electronic musician/composer Ian Boddy and AJH Synth.

It can perform as a Chance generator, but is also capable of pulse stretching for Trigger to Gate conversion, pulse shortening for Gate to Trigger conversion, Gate Delay, Sub Bass Generation and also "divide by n" clock division.

There is a wide range of control and all functions can be operated manually from the front panel or can be automated using external CV voltages. Chance can range between 0 to 100%. The Gate out can be delayed by anywhere between from 0.5mS to 30 Seconds, and the output Pulse length can also vary from 0.5mS to 30 Seconds.

The TRIG push button allows manual triggering of pulses, also determined by the Chance control, and a green LED shows the output pulse status.

Includes a handy "Gate pass through" mode; when the Length control is set to zero the incoming pulse or trigger will still be determined by the Chance and Delay controls, whilst the outgoing gate length will be the same as the incoming gate length.

Compact 8hp form factor and very low power consumption make this an excellent addition to any Eurorack system.

Key features:

Chance, Gate Delay time and Pulse Length can all be set manually or controlled using external CV voltages.

The 'TRIG' push button allows manual triggering, and Chance will be applied to any manual triggering too.

Fast processing allows operation into the lower audio range, so it can perform sub bass generation on drone type sounds. In this mode the Length pot (or an external Length CV) can be used to change the PWM of the output waveform.

After the initial trigger pulse has been acted on, further incoming pulses are ignored until the current cycle has finished. This useful feature allows it to perform "divide by n" division on gate pulses, so it can be used for clock division, and the delay function can be used to add a "swing" away from the rhythm.

Gate pass through mode - if the Length pot is set to zero, then the incoming gate length is preserved, so in this case the gate has Chance and Delay time applied to it, but the outgoing gate length is the same as the incoming gate length.

By setting Chance to 100% and Delay to zero (0.5mS) it can be used as a Gate to Trigger converter, or a Trigger to Gate converter, depending on the Pulse length set with the LENGTH control. We can also use an external Length CV to shorten or increase the length of the output pulse in real time.

Fast and slow ranges for both DELAY time and PULSE length - Fast range is 0.5mS to 2 Sec and Slow Range is 2 Sec to 30 Sec.

Green status LED shows when the output pulse is high.

Front panel controls

Chance Control and CHA Input

This sets the probability of an incoming trigger or gate being passed through to the Pulse Generator circuit. The chance can be set anywhere between 0% and 100%.

The CHA input allows an external control voltage (CV) to control chance remotely. In this mode the Chance control acts as an attenuator for the incoming CV. With the Chance control fully clockwise a CV of +5V will give 100% chance, and lower CV voltages reduce the Chance accordingly. For example, a +2.5V CV will give a 50% chance. The attenuator function is useful if we are using higher control voltages of for example 0 to +10V. If we set the Chance control to the 12 o'clock position it would then halve the incoming CV signal, so in this case +10V will give 100% chance and +5V will give a 50% chance. Negative CV voltages are ignored and will be treated in the same way as zero volts..

Delay Control and DEL Input

This sets the delay amount that is applied to the leading edge of the incoming Gate or trigger received at the IN jack (or a press of the Manual Trigger button), assuming that the "Chance" has been determined to be positive. With the Delay Time switch set to FAST the Delay range will be from 0.5mS to 2 Seconds. With the Delay Time switch set to SLOW the Delay range will be between 2 Seconds and 30 Seconds.

The DEL input allows an external CV voltage to control Delay Time remotely. In this mode the Delay control acts as an attenuator for the incoming CV. With the Delay control fully clockwise a CV of +5V will give the maximum Delay time of either 2 Seconds or 30 seconds depending on the position of the Fast / Slow switch. Lower CV voltages reduce the Delay Time accordingly, so if we apply a CV of zero volts then we will get the minimum Delay time. The attenuator works on any CV patched to the DEL input in the same manner as described for the Chance control.

Length Control and LEN Input

This sets the length, or rather pulse width of the output pulse. With the LENGTH Switch set to FAST the pulse length can be anywhere between 0.5 mS to 2 Seconds. With the LENGTH Switch set to SLOW the pulse length can be between 2 seconds and 30 Seconds.

The LEN input allows an external CV to control Delay Time remotely. In this mode the Length control acts as an attenuator for the incoming CV in the same manner as the Chance and Delay controls.

Setting the Length control to zero invokes "Gate pass through" mode - in this case the incoming gate length is preserved, so the incoming pulse or trigger will still be affected by the Chance and Delay controls, but the outgoing gate length will be the same as the incoming gate length. Turning the Length control slightly clockwise will then invoke the minimum pulse length around control position 1, and further clockwise rotation will increase the Pulse Length as expected. This behaviour also applies to external CV's patched to the LEN input, where a CV of 0V will enable Gate pass through mode.

Fast / Slow mode switches

These switches allow the selection of Fast or Slow mode for Delay time and pulse length, so these ranges can be selected independently for Delay and Length. Fast range is 0.5 mS to 2 Seconds, and Slow range is 2 Seconds to 30 Seconds.

TRIG Switch

The TRIG push button allows manual triggering, and Chance will also be applied to any manual triggering, so depending on the setting of the Chance control, pressing the button has a chance of not doing anything! Holding the button down keeps the incoming gate high for as long as the button is pressed, however this is only really relevant in "Gate pass through" mode - normally only the leading edge of the input pulse is used.

IN - input jack

Connect your input here - a gate, output from an LFO, or even waveforms from a VCO. Any negative component of the input voltage will be ignored, so unipolar or bipolar signals can be used.

OUT - output jack

This outputs the binary pulse (or stream of pulses) that are generated by the Chance Delay circuitry. The gate low level is 0V and gate high level is +6V. The green status LED shows if a pulse is currently being generated.

Module Width: 8hp
Module Depth: 26mm (Including power lead)
Current Usage: 25mA Positive, 6mA Negative

Notes: Everything sounds better with compression - whether you need a bit of extra pressure for your drum sounds or just that extra touch to make your modular mix more nimble and tight, the Erica Synths Stereo Compressor will make your live performances a joy. The module is optimized for percussion sounds and will be a great addition to any Erica Synths Drum module rig. The Stereo sidechain can be used to animate melodic layers on the beat and to truly bring your Basslines to life.

Features

THAT chip-based stereo compressor
DC coupled sidechain
Gain, Threshold and Compression Amount (Ratio) settings
Stereo Link for level detectors
Bypass switch
8 segment output level VU meter

Specs

Audio input level -5...+5V
Threshold -40dB to +10dB
Makeup gain -12dB to +12dB
Ratio 1:1 to 8
Power consumption +60mA, -22mA
Module width 10HP
Module depth 35mm

INPUT LVL; Adjust the input signal level to your taste
GAIN; This knob adjusts the makeup gain of the compressor
THRESHOLD; Set the compressor threshold
COMP. AMT;This knob adjusts the compression ratio
STEREO LINK; Sending hard-panned or significantly different audio levels on the left and right channels into the audio inputs may result in undesired left-right panning on the output of the compressor, because the level detectors on each channel will ensure a different amount of compression. With the STEREO LINK switch on, the level detectors on both channels are merged and the min/max function is engaged. This ensures equal compression on both channels.
PROCESS; The bypass switch allows for turning off the compressor instantly
8 SEGMENT VU METER; 8 segment VU meter gives a visual reference of the output signal
IN L / IN R; These are the L and R audio inputs
OUT L / OUT R; These are the L and R outputs of the module
SIDE IN L / SIDE IN R; These are L and R sidechain inputs. You can process each channel individually
SIDE OUT L / SIDEOUT R; These are the sidechain signal outputs - they are buffered copies of the sidechain inputs

Notes: Really nice approach to sequencing from Omni-Tone. The Melodi generates 'semi-random' patterns based on tunable parameters and probabilities. Dial in combinations of scales, pitch range, tempos and so on to create unique melodies.

Supplier's Notes:
Melodi generates sequences based on the mood you set so you can create the sound you're searching for- it can be tweaked to create anything from a powerful bassline to a sparkly melody.

Ships with version 2 of firmware

Improvements: Skip, tie, length are now LIVE knobs. Added a ping-pong trend line and a blues scale.

GENERATE

1. NEW - will prompt Melodi to generate a new sequence.
2. TRIGGER IN - accepts a trigger to prompt Melodi to generate a new sequence.

CYCLE

1. ON/OFF - determines if the sequence will loop or require retriggering.
2. TRIGGER - button and jack trigger the sequence to restart at the beginning.

TUNE

* While adjusting tunable parameters, the light bar will reflect the current selection. For continuous parameters the light bar shows amount from 0-100%, for quantized parameters the light bar shows steps.
1. SKIP (continuous) - sets the probability that a note will be skipped in a sequence.
2. PLUCK (continuous) - sets the length of the gate, from short plucks to gliding between notes (portamento).
3. TIE (continuous)- sets the probability that a note gets tied to the next (effectively making the note last two clock cycles).
4. TREND (continuous) - sets whether the sequence trends upwards or downwards in pitch.
5. SCALE (quantized) - select the quantization of the notes used in the sequence. Choose from perfect notes, pentatonic scale, diatonic scale, chromatic scale and completely unquantized.
6. RANGE (continuous) - sets the range of notes from 1 to 4 octaves (unquantized)
7. LENGTH (quantized) - select the number of notes to play in a sequence (from 1-16, or infinitely generating at the max position).
8. SPEED (continuous) - sets the tempo of the internal clock, between 20 and 2000 BPM.

OUT
1. GATE - outputs the gate of the notes in the sequence.
2. PITCH - outputs the pitch (in V/OCT) of the sequence.

CLOCK

1. SELECT - Melodi will generate internal clock signal if select switch is up, and will use external clock signal when down
2. IN - connect external clock signal
3. OUT - output clock signal

Technical specs:

- Module Size: 3U X 8HP X 25 Mm Deep.
- Current Draw: 85mA @ 12V, 10mA @ -12V.

What's in the box:

- Ready to use Assembled Module
- Mounting Screws
- Power Cable
- User Manual

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Introducing SUM0, a voltage-controlled oscillator with expanded harmonic possibilities, in a Eurorack format.

The 4 classic waveforms are generated by a meticulously designed oscillation engine.

You can modulate its frequency and its pulse width thanks to its integrated LFO, capable of reaching audible frequencies to achieve expressive modulations with the simple touch of a switch.

Expand the voice of your system by creating complex waveforms and high harmonic content thanks to its output mixer. This mixer also has an input to integrate an external signal to the mix output.

Of course, all its parameters (FM, PWM, SYNC, V/OCT) are at your fingertips through its patch points on the front panel.

And of course, assembled with a load of passion in Bocuma's studio-workshop in Guadalajara.

Nerdy-specs:

22HP
+12V > 12mA -12V > 12mA

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: Introducing the CYMBL909, 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.

CYMBL909 is a dual voice module containing the TR-909's original Crash and Ride circuits adapted for use in Eurorack modular synthesizer format and was designed to sound like a fresh machine coming out of the assembly line back in the 80's. On top of the original, Tiptop have added some great new features that expand the sound palette of what can be produced with these two voice circuits.

The original circuits use a combination of low-fi 6-bit sound samples that pass through a series of analogue elements that provide envelope and filtering to the source sound. The CYMBL909 module adds manual and voltage control of the sample's analogue tuning section creating tones which range from heavy industrial at the low end, to the original crash/ride sound at the mid range, and bright hats-like sounds at the top end. Modulating the tune with an envelope, CV sequencer, or LFO makes interesting sound bending effects, which can be applied either in or out of sync with the triggering of the sounds.

Just like the other drums in this series, the CYMBL909 high-powered output gain stage allows you to further enhance the sound through distortion and clipping. Tiptop have designed a dual pulse-shaper circuit on each gate input so you can trigger your CYMBL909 with trigger/gate signals from step sequencers, clock dividers or any other pulse/clock.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 46mm
Power: +12V 60ma / -12V 40ma

Notes: The QSlider black is an analogue CV source with four 60 mm faders.

The control range of the four sliders can be defined with two min/max controls.

The Min controller determines the output voltage at zero position of the slider and the Max controller determines the output voltage at the end position of the slider.

The slider now regulates between these two voltages. This allows you to restrict the control range and still have the entire control path of the slider available.

The reverse voltage is available at a second output socket (min and max are reversed). This means that the slider can also be used as a crossmix fader.

Two common channels can be operated unipolar or bipolar. The voltage ranges are 0..+10V or +/- 5V.

The output sockets are located on an extra 4HP panel for mounting at any point (with approx. 40cm long connection cable). This means that several modules can also be mounted seamlessly next to each other.

Power consumption: 30mA at +12V and 20mA at -12V and 12mA at +5V

Depth: 28mm

18 HP

Notes: Simple to look at but deceptively powerful, Dreadbox's Telepathy is a full analogue synth in a small module, featuring VCO, low-pass and high-pass filters, LFO, envelopes and VCA.

Supplier's Notes:
Telepathy is a full voice analogue synthesizer module with deep modulation options due to its multi-destination LFO and Envelope. From Bass to Lead sounds, to drums and drones, Telepathy has broad and versatile sound design capabilities. It has a Full Analogue path (Typhon VCO, 4-pole low pass / 2-pole high pass filters, analogue VCA) that is digitally controlled for more precision over its parameters, resulting in a warm, present and distinct Dreadbox sound.

With lots of useful and musical features integrated into a compact size (10hp), and its skiff friendly design, Telepathy is a great addition to small or large Eurorack systems.

Features:

1x Analogue Oscillator with saw, square, -1 oct square sub and noise, plus PW control for square, level for noise and waveshape
Automatic tuning for the oscillator and fine tune
Analogue 24db Resonant Low pass filter with Oscillator FM and Noise FM and 6db High pass filter
Analogue VCA
1x LFO with Free/Key/Track/BPM/BPM Key modes, Fade in, Triangle/Saw/Ramp/Square/Random waveforms, that is mapped to various parameters
2x Envelopes, one dedicated to the VCA with Velocity control and one loopable for Low pass Filter, Pitch and PW
CV in patch that can be mapped to all the basic parameters in parallel with dedicated amount for each parameter
MIDI in/out+through
CC in/out, Program Change in/out
Multitimbral Chaining functionality via MIDI up to 8 modules 16 presets
10HP

Notes: The Morphor Plectrum - Analogue BBD Pluck is the successor of Morphor's successful module. Now only 8 HP instead of 10 HP with additional CV-able feedback!

Plectrum is a high quality, fully analogue Eurorack module that can produce plucked string-like sounds. It is a compact all-in-one solution for generating amazing bass, acoustic guitar, percussion and other amazing sounds.

The module is based on the Karplus-Strong principle with a true analog audio path built with an authentic bucket brigade delay (BBD) circuit which is recognizable by its specific timbre. By using carefully chosen high quality components, this module has a rich, warm analogue sound.

Now being only 8 HP in width, you won't need a lot of space to get going and start creating some incredible sounds. If you're looking to fully sculpt the string-like sound, you can extend the internal Karplus-Strong loop by breaking out the signal and adding external modules like filters and/or FX modules to it.

Features

100% analogue
Karplus-Strong principle
Built with classic BBD chip
Break-out BBD loop
Internal/external loop switch
Trigger input
1V/oct input
Tune knob
Pitch modulation CV input
Feedback CV input
Colour CV input (i.e. internal loop LPF cut-off frequency)
Mono output

Specifications

Panel width: 8 HP
Panel height: 3 U
Module depth: 40 mm
Current draw: 12V : 40 mA | -12V : 40 mA | +5V : 0 mA
Dimensions: 128.5 x 40.3 x 40 mm
Weight: 259 g
Frequency Range: sub-audio range to roughly 800 Hz
Power Socket: 16-pin

Notes: This useful module is a Bipolar Mixer, DC voltage source and Linear DC coupled VCA.

- With no input to channel 1 the Input 1 pot becomes a voltage source with a range of +/- 6V.
- The control pot and input for channel 4 can be switched to become an offset control and/or a second CV input for the VCA.
- Input 3 has 2x gain, so it can amplify lower level CV's too.
- All inputs are bipolar, which means that either non-inverted or inverted version of the input signal can be added to the mix depending upon the Input control being turned clockwise (non-inverting) or anti-clockwise (inverted). The 12'o'clock position is zero.

Notes: You must absolutely own Skippy to use this module; it cannot operate independently.

The firmware version 2.21 or higher must be installed on your Skippy.

Additional features:
1 CV gate or trig input for Reset
1 CV gate or trig input for Play/stop
1 Reset button
1 Play/stop button
1 Live mode on/off button
16 function potentiometers distributed over 4 rows: you can freely choose a function (BPM, STEP, BEGIN, END, GAUSS, GATE, PROBA, CHAOS, SWING, WAY) for each row.
1 row of 4 algorithm potentiometers: you can freely choose an algorithm (Euclid, Jazzy, PolyR, Tiles) for each potentiometer.
The Save function takes into account the settings used in Skippy Live.
The selected parameters for Skippy Live are automatically saved.

Technical specifications:
10 HP
Depth: 25 mm
Power consumption:
+12 V 0 mA
-12 V 0 mA
+5 V 15 mA
Comes with a connector to Skippy and Knurlies.

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: DASSBRUM is a powerful kick module capable of producing a wide variety of sounds, ranging from classic kick tones to complex folded timbres. It features an analogue core processed through a digitally controlled matrix of analogue wave folders and envelopes, offering deep sonic flexibility in a compact 8HP form factor. A built-in sweet spot mode ensures optimal pitch envelope relationships for consistently punchy and dynamic kicks.

Consumption: 120mA +12V /30mA -12V
Width: 8HP
Depth: 29mm

Inputs maximum ratings
Fold type (rear switch): 0/5V
Trigger IN: 5V (>0.5V)
Other inputs: -5/10V

Notes: Cutting Room Floor V3 Eurorack Module

(Vintage Reel-to-Reel Tape, Echo, and Stutter)

The Cutting Room Floor was designed to emulate the sound and functionality of vintage reel-to-reel tape overdrive and echo. This eurorack module reaches into the 21st century with customized features that traverse the world of modulation and delay. Imagine an abandoned factory with a fluttering tape machine left on repeat.

The Cutting Room Floor provides beautifully marred saturated tape tone, and ethereal repeats in a streamlined 6hp interface. Other features include a freeze button that traps any tone while still playing and CV control for time.

Designed and assembled in Seattle, Washington. Includes a limited 1-year warranty, if registered within 30 days of purchase.

6hp, 43mm deep, 150ma current draw.

Notes: ASCOLTA is a dual high fidelity input preamp with envelope follower and peak detector output for each channel.

Ascolta consist of two individual high quality preamp connected to an envelope follower and a peak detector output.

On the back of the module you can select the behaviour of its internal normalization when no cable is plugged into I2:

S: the first input I1 will accept stereo 3.5mm standard cables from any source and split L and R to output O1 and O2 respectively. This way you can directly amplify stereo signals without the need of external splitters and regulate the gain of each channel individually.

G: the second amplifier will double the amplification of the first totalling a gain range of 80dB - 10.000x.

Envelope E and peak P outputs are strictly related to the gain level of their corresponding amplifier and will follow the dynamic of any input plugged.

Features

Two high quality 40dB amplifiers.
Customizable internal normalization.
Envelope and Peak output following the input signal
Audio graded potentiometers.
"Whatever" power connector a.k.a. don't mind the polarity.

Technical Specs

Width: 4HP
Depth: 25mm
50mA +12V
30mA -12V

Notes: EME (Eloquencer MIDI Expansion) is the perfect companion for the Eloquencer, adding capabilities to sync with MIDI devices, control most of the eloquencer parameters with MIDI interfaces, generating MIDI voices from the eloquencer tracks, and converting MIDI signals to the eurorack world.

Description:
MAIN FEATURES
IN / OUT
DIN-5 MIDI Input, DIN-5 MIDI Output, USB Host.

BUTTONS
4 freely assignable buttons. They can be assigned to:

Next/previous pattern
Next/previous part
Direct access to Pattern mode, Play parts, Duplicate, Project, Gate REC, CV Key REC, MIDI key REC, Free Play...
Save current project
Random 1 to 3 layers of selected track
Reset LFO of selected track
On/Off LFO of selected track
Freeze
Revert
Fill A to H or selected track
Mute A to H or selected track
DJ Nudge FWD/BCK fine/coarse

MIDI CLOCK
Eloquencer can receive 24ppqn sync from MIDI device from its DIN-5 MIDI Input, and can send 24ppqn MIDI clock through its DIN-5 MIDI out.
When working as 'internal' it will send the internal clock to the MIDI output.
When working as 'external' will send the eurorack incoming clock to the MIDI output transformed into 24ppqn.

MIDI OUT
The Eloquencer tracks can be independently assigned to:
- Voice events (note on/off, velocity, ch pressure...) For example Track A can be assigned to Channel 1 Note on/off and Track B can be assigned to Channel 1 Velocity, so track A gates and CV control Channel 1 notes and pitch, and track B controls Channel 1 Velocity.
- Control Change (CC)
- Program Change (PC)

The gate and CV output will work as usual when a MIDI OUTPUT is assigned, so voices can be doubled using the modular and an external synth.

There's a particular execution order for MIDI out events, so the first to be launched is the Program Change, followed by the CC and then the voice events. This way, we can launch program changes before the note on message is received allowing preset changes for each step.

MIDI IN
Both, the DIN-5 MIDI in and the USB can be used to change eloquencer parameters using controllers or to introduce notes in REC MODE using a keyboard.

There are 3 different groups of controls associated to MIDI channels:
- Channel : 8 MIDI channels to control parameters of specific tracks from A to H
- Global : 1 MIDI channel to control Global parameters.
- Focus: 1 MIDI channel to control the parameters of the currently selected track (track in focus). That means that if Track A is selected and we send CC 38, we will be shifting track A, but if we select track B and we send the same CC 38, we will be shifting track B.

When using the USB host input, the EME can send feedback information in case the controller that is being used has LEDs to be updated.

There is a big amount of eloquencer parameters that can be controlled using an external MIDI interface / controller. For example:

Non-destructive track parameters addition/subtraction (CV, CVP, CVR, GL GLP, R...)
Track length
Step mode / Step mode DIV / Step mode REP
Track shift
LFO on/off / Type / Length / amplitude.
Fill
Mute
Random
CV Gate link
Scale group and root
Tempo
DJ Nudge
Shuffle
Clock out
Play / Stop
Direct access to modes (Pattern, Project, Live REC...)
MIDI INTERFACE

A MIDI Channel can be assigned to an Eloquencer Track, so the gate and CV outputs will stop listening to what is sequenced and start listening all note on/off messages coming from the chosen MIDI channel.

Notes: One of the most authentic sounding emulations of the famous Russian synth the Formanta Radio Factory Polivoks in 10HP

Erica Synths Black Polivoks VCF is one of the most authentic sounding emulations of the famous Russian synth the Formanta Radio Factory Polivoks.

The original Russian ICs K140UD12 are used in the sound circuit. Several updates were added to adapt the VCF for contemporary modular synth demands, it has independently buffered inputs, extended Cutoff knob, eliminated clicks when switching filter modes and output stage added to eliminate signal inversion. The result is a much punchier bass sound and very smooth controls.

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, design and usability was prioritised over module width. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

Technical specifications:

Input level: up to 20Vptp
CV input level: 10V - +10V
Filter modes: BP(6dB/oct)/LP(12dB/oct)
Power consumption: +11mA, -11mA
Module width: 10 HP
Module depth: 25mm

Notes: Best value Buchla module ever? An official Buchla module produced by TipTop Audio, the 258t is a dual triangle-core oscillator, with sine/sawtooth wave shapes in the top half and sine/square at the bottom. Bags of character.

Supplier's Notes:
Two independent voltage-controlled oscillators. Each has one processing input, a frequency modulation input and a 1V/oct input.

Waveshapes, as well as frequency, can be voltage controlled. Model 258 oscillators feature low sine wave harmonic content, negligible settling error, and high short and long-term stability, even with rapidly changing ambient temperatures.

Trimmers:

There are three trimmers for each oscillator on the back of the module:

1V/oct is the octave tracking trimmer and is set at the factory using high precision instruments.
SHAPE is the trimmer that set the sine wave, for the lower harmonic content of the sine wave.
VC WAVE SHAPE sets the response of the waveshaper to the incoming control voltage. Both SHAPE and VC WAVE SHAPE trimmers are used to adjust the sine wave purity.

Size: 18HP
Depth: 45mm
Power: +12V 70mA / -12V 40mA

Notes: 8HP Tides version 2

Fully calibrated.

Notes: The Quad VCA is a compact and feature packed module that is sure to find its way it almost all of your patches. In addition to being used for standard VCA duties it can also be used as a mixer and signal booster.

Features:

- Manual LEVEL control per VCA which is convenient when using the module as a mixer or for biasing when CV modulating the VCA with a bipolar LFO.
- Dedicated CV attenuators with dual colour LEDs for monitoring bipolar CV signals.
- Continuously adjustable response from linear to exponential per VCA.
- Each CV input is normalled to the adjacent one for cascaded control.
- Each output is normalled to the mix input of the adjacent one which allows you to use adjacent sets as submixes or the fourth output can be used as a master mix output when none of the other outputs are patched.
- Each VCA has a boost switch that increases the output level by approximately +6dB (double).

Notes: The Shifty is essentially a combination of four sample and hold stages, a sequential gate and sequencer controller. This collection of functions allows for some specific and useful utility application.

One of the primary uses for Shifty is to take a monophonic sequence source and route each new note of the sequence to up to four different synthesizer voices in a specific pattern. In this way you can create pseudo polyphonic sequences since each voice can be triggered to play and sustain while the next voice int the sequence gets triggered. Another term for this is hocketing.

The other main application of the Shifty is to function as an Analog Shift Register. In this mode each new gate input received causes the current set of pitches to be shifted to new output locations as a new one is added and the oldest one is replaced. This can be an interesting way to create chords that are up to four stacked notes when used with a pitch sequence source that has a harmonious series of notes (e.g. a pentatonic scale works really well). Even just using two of the outputs will yield very interesting melodic interplay and is an excellent way to make a simple sequence much more complex and interesting.

In a more basic way the Shifty could be used as a simple Sample/Track and Hold module or as a sequential gate.

Notes: Introducing the Cortisol Legend: a spiritual successor to one of my early designs, the Steroid Legend, it presents as 4hp of white hot saturation and hairy distortion, and features manual control over two op-amp driven gain stages, with a diode saturation control in the middle, giving you precise control over distortion ranging from smoldering saturation all the way into utter rail-to-rail fuzzification.

As for the diodes, the Cortisol Legend has two flavors on tap: Steroid Legend-inspired diodes and genuine, Cold War-era USSR-made Germanium diodes from the far reaches of Europe. These diodes are getting increasingly hard to find, but have been known for their warm and fuzzy characteristics by guitar pedal enthusiasts for years. Here, you get the genuine article, for as long as they can be reliably sourced.

In addition to having control over the saturation depth, the Cortisol Legend offers an additional control parameter: Eustress and Distress. Roll off the edge and noise a bit with a Styroflex-capacitor filter which varies with saturation depth, or leave no edge unjagged with this setting.

Speaking of noise, this thing is LOUD, so you may want to have an attenuator such as the psATT on hand, unless of course the loudness is exactly what you want. Hand in hand with the overdrive and distortion comes, of course, beautiful new harmonics added to anything from single waveforms to samples, sounds and entire mixes.

Various diodes will be available at different times, but all variants are ultimately limited - all Germanium diodes used in these are new old stock from the Cold War, and one day they will run out.. Expect individual modules to have a bit of their own character.

Notes: KRONO offers multiple clock modes (including Euclidean, Logic, Probabilistic, and more), tap-tempo or external clocking, real-time A/B output swapping, and full state memory.

All 12 outputs are customizable, and everything runs on an STM32F411 - with open code available via GitHub for advanced users and developers.

Modes - firmware v1.0

Ratios: Direct multiplications and divisions of the base tempo for proportional rhythmic ratios.

Euclidean: Generates Euclidean rhythms by distributing K pulses over N steps.

Musical: Applies common musical ratios (e.g., triplets, dotted notes, predefined swing divisions).

Probabilistic: Outputs trigger based on defined probability thresholds for each output.

Sequential: Generates clocks based on mathematical sequences (Fibonacci, prime numbers).

Swing: Applies individual swing/shuffle levels per output, delaying even beats.

Polyrhythm: Assigns independent X:Y ratios to outputs; output 6 can generate a logical sum.

Logic: Applies logic operations (AND, OR, XOR, NAND, XNOR) between internal clocks or external inputs (if configured).

Phasing: Generates pulses with configurable time offsets (phase shifts) relative to the main clock.

Chaos: Creates unpredictable rhythmic patterns based on chaotic algorithms

Notes: For decades, the voltage controlled slew limiter has been a staple of modular synthesisers. With its extreme versatility, it can be used to slew control voltages (CVs), create envelopes, as a low-frequency or audio oscillator and much more.

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

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

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

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

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

Explore anything from shape-shifting envelopes to rich VCO timbres: Contour 1 will make you re-think what a slew limiter can do.

Dimensions
8 HP
30 mm deep

Current Draw
90 mA +12V
85 mA -12V

Notes: What's that I hear? You want grit and filth for your system? Tired of not having enough harmonics in your signal? Maybe all your sounds are a bit too cold and sterile?

Why not a light inside your system with the Optika VCA - two independent optical VCAs with drunken muscles and a chip on their shoulder, they can go nice and easy on your signal, or they can inject it with a hot dose of raw power that'll give you guitar-face in no time.

The vactrols? Hand made in my workshop, of course, guaranteed cruelty-free, no dolphins harmed and zero palm oil. The sound? You'll get that slewy, chewy, turn-your-triggers-into-envelopes mess that you love vactrols for, but with the utmost care taken to minimize bleed and all the other things we don't always love about vactrols.

Yes, great, you've got lots of VCAs with "clean gain on tap" and "exemplary responsiveness" and all that other stuff - please excuse me if I'm yawning with utter boredom and rolling my eyes- now, get yourself a fully analog optical VCA that'll make your hairs stand on end when you push the gain into distortion and press the vactrol into saturation.

Use it for stereo, use it for two signals, use both channels in sequence, but please let your signals go towards the light and put it to use! Don't make me beg

Notes: Simple but effective output module, converts stereo instrument-level signal to balanced XLR outs. Ideal for live use but just as good for avoiding unwanted hum in the studio.

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

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

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

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

Adjusting the main output level is a breeze thanks to the dual peak-responding LED meters. A high-end headphone amplifier is included as well, controlled by a separate level knob. It can deliver the voltage and current required to power practically any headphones, regardless of the impedance or driver technology. This 3.5 mm stereo socket can function as an auxiliary stereo line output or even drive small passive speakers, making Transmit 2 an all-round flexible answer to all your output needs.

Notes: The SCM Plus is a clock multiplier with eight gate outputs and complex beat manipulation features. It combines the classic Shuffling Clock Multiplier (SCM) and SCM Breakout (SCMBO) into a single module using higher precision hardware than its predecessors.

Specs:

Electrical and Mechanical Specifications

12HP Eurorack format module
0.95" (24mm) maximum depth (includes power cable)
16-pin Eurorack power header

Power consumption
+12V: 52mA max
-12V: 15mA

Clock Input
2.5V threshold
40kHz maximum

Clock Outputs
12V gate outputs, rise/fall time approximately 1us
40kHz maximum
Jitter (x1 output): max 30us < 120BPM, max 5us >= 120BPM
Latency (clock in to x1 output): 8us worst-case, 3.5us typical

CV Inputs:
Rotate, Slip: Knob attenuates jack signal. Full range: 0V to +3.3V
Shuffle, Skip, PW: Knob offsets jack signal. Full range: -5V to +5V
Gate Inputs:
4x Fast, Mute: 2.5V threshold. Button toggles state.

Notes: 221.x2 is a clean and precise utility module that is equally at home mixing Control Voltage as it is audio. At its simplest, it is two independent 2-to-1 mixers that offer per-channel attenuation and inversion, as well as +6dB of gain available at the summed outputs. With a tap of the "All Mix" button, these separate mixes can be combined into a 4-to-1 mix at the "All Mix" output - meanwhile, the first 1+2 mix is still available at its respective summed output. A rear expansion input and output allows for combining multiple modules into larger systems.

In addition, each channel also offers a Direct Output that can be taken pre or post attenuation/inversion.

A 6-volt offset is normalled into the input jacks of channels 2 and 4. This voltage is available at the channel's Direct Output, as well as added to the mixed outputs. Useful as an offset for mixing with another CV signal, or simply as a voltage source.

Each summed output group has two blue LEDs for displaying the shape of the summed CV, and can also serve as signal present indicators for audio. Peak LEDs trigger at ~9.6V, allowing for a bit of headroom before things get out of hand.

Specifications:

Width: 10HP
Depth: 3.3 cm
Power: 133 mA @ 12V
129 mA @ -12V
Inputs/Outputs: All I/O is unbalanced
Input Impedance: 10 Mohms
Output Impedance: Mix Outputs: 330 ohms
Direct Outputs: 10 ohms

Notes: ST.FONT is a stereo liquid filter that takes the beloved core of our FONT module and expands it into a powerful stereo filtering tool.

With a dual filter core (one for each channel), it offers a massive liquid sound with smooth resonance, adding warmth and depth to any audio signal.

Independent filter cores for left and right channels with Low Pass, Band Pass, and High Pass modes, plus seamless crossfading between filter outputs.

Built-in VCA with soft clipping for rich sound shaping, plus CV control.

Switch between Mild for traditional resonance or Wild for extreme distortion and aggressive filtering.

Dedicated FREQ Span, RES Span, and MODE Span knobs allow you to create a wide, immersive stereo field by adjusting the spread of parameters across both channels.

Notes: The Flame u16MCC is a compact MIDI interface, which converts received MIDI control change commands on 16 outputs into CV voltages between 0 and + 5V. The resolution of the data bytes is 7bit. The outputs each have a passive lowpass filter, which smoothes the output voltages.

Each of the outputs can be assigned a separate control change number between 0 and 127 on its own MIDI channel. The module is programmable via the LEARN function with a MIDI keyboard and MIDI controllers, or via SYSEX commands. Some SYSEX files with default settings already exist.

The module has two MIDI sockets (mini jacks in TRS-B standard) INPUT and THRU. The data received at MIDI-IN is forwarded via MIDI-THRU. Additional MIDI modules can then be connected there.

MIDI/USB to CV/Gate/Sync

Features:

16 ControlChange to 16 CV outputs 0..+5v
programmable via MIDI keyboard/DAW/computer
MIDI start/stop trigger outputs
MIDI input and THRU (TRS MIDI B standard)

Power consumption: 50mA at +12 V and 30mA at -12 V
Depth: 40mm
5 HP

Notes: The SD909 adapts the iconic TR-909 snare drum and noise generator for use in the Eurorack modular synthesizer format. Tiptop painstakingly tested the module in their lab to sound like a fresh machine coming off of the assembly line back in the 80s. On top of the original circuit, Tiptop have added new features that expand the palette of what can be produced with this analogue circuit.

The sound of the SD909 consists of two main sections: the binary noise generator and two modulated triangle oscillators. The oscillators provide the low end punch while the noise makes up the upper sonic spectrum, resulting in a combination that makes the 909 snare sound so rich. In the SD909 module, the noise generator and oscillators are variable and voltage-controllable, pushing the circuit beyond its original boundaries, offering new sounds and many variations of the original tone. The panel also has markings to guide setting the knobs to reproduce the vintage snare sound of the original machine.

Just like the other drums in this series, the SD909's high-powered output gain stage allows further enhancement of the sound through distortion and clipping. Tiptop have designed a dual pulse-shaper circuit on each gate input so you can trigger your SD909 with Trigger/Gate signals from step sequencers, clock dividers, or any other pulse/clock sources. Also, the SD909 is equipped with access to the MIXZ MixBus, matching the rest of the Tiptop line of percussive modules.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 46mm
Power: +12V 35ma / -12V 30ma

Notes: Part of Xaoc's Leibniz subsystem, which processes signals and voltages by manipulating binary 8-bit numbers, the Poczdam allows switching between two data sources.

Supplier's Notes:
Poczdam is a binary data routing solution for the Xaoc Leibniz Subsystem. It facilitates manual and remote switching between two Leibniz data sources, modifying individual bits of the data stream, and re-clocking the data with its onboard voltage-controlled wideband oscillator or any external clock signal. Poczdam is particularly useful within complex Leibniz setups where the user needs to reconfigure the data flow between multiple modules. However, it can also be employed in small creative patches, e.g., for waveform splicing, disrupting rhythmic loops, or generating digital chaos.
To better understand the device and avoid common pitfalls, it is strongly advised to read through the entire user manual before use.

Component of the Leibniz Binary Subsystem
Routing Leibniz data
Reclocking Leibniz data
Additional CV clock generator (up to 2MHz)

6hp, 30mm deep
Current draw: +20mA/-10mA
Reverse power protection

The high quality Coal Mine black panels are available for all Xaoc Devices modules. Sold separately. Ask your favourite retailer.

Drezno is the input/output front-end of the system, consisting of an analogue-to-digital converter (ADC) and a digital-to-analogue converter (DAC), that alone can be used for manipulating analogue signals and voltages based on their binary representation.

Lipsk is a binary logic processing expander module that can flip (invert) individual bits of the digital signal representation. There are more Leibniz Binary Subsystem elements coming, with specialized and advanced sets of features.

Jena is a digital module that may be used as a flexible waveshaper for CV and audio signals, a wavetable oscillator, a Walsh function generator, or a rhythm generator.

Erfurt is a bi-directional digital counter, frequency divider. It has multiple applications: the output of the counter may be used as a phase source driving a digital wavetable, connected to other Leibniz modules it may scan waveshapes in Jena, produce stepped voltages useful for making interesting glissandi with Drezno and any VCO, generate gate patterns animating the spectrum of Odessa harmonic banks, spawn pseudo-chaotic sequences when fed back to Lipsk, etc.

Notes: A comprehensive solution for stereo signals in Eurorack, the Enhance 2 offers stereo and mid/side processing with tons of CV control. Balance, widen and sculpt frequency bands.

Supplier's Notes:
Moving from mono to stereo sound: a logical progression for any synthesist looking to expand their sonic palette. Making use of two audio channels, rather than just one, quite literally adds another dimension to the capabilities of a synthesiser.

Unfortunately, controlling stereo signals can be a challenge within a modular system. This realisation led to the development of Enhance 2: a convenient yet high-fidelity tool for stereo enhancement. It can be used to adjust balance, width and spectral content, while also opening up a world of mid/side processing; all under voltage control and in just 8 HP.

The primary stereo parameters are balance (moving the sound left or right) and width (making it narrower or wider). The balance circuit uses a true constant-power gain law, while the width stage allows for seamless transitions from pure mono to extra-wide stereo.

In addition, tone control is provided by a pair of unique, wide-ranging mid/side voltage controlled tilt filters with selectable corner frequency. These make 'cleaning up' a muddy-sounding mix straightforward, but also provide unique binaural effects when modulated.

Mid/side processing encodes the stereo signals into one containing only the mono material (mid), and another containing the differences between both channels (side). Apart from the internal tilt filters, mid/side outputs also enable external signal processing such as compression or reverberation. An integrated mid/side decoder returns the results back to standard stereo. And at all times, a LED bar phase meter ensures that phase correlation can be easily maintained.

Stereo field modulation, mid/side equalisation and beyond; Enhance 2 brings true analogue stereo control to the Eurorack world.

8 HP
+12: 70 mA, -12: 70 mA

Notes: User-friendly mid/side processing module. Tweak the stereo image or split a stereo signal into mid and side elements then route out to other modules for further processing before summing back together. Powerful.

Supplier's Notes:
Minsk is a stereo image processor. It is a hybrid tool that combines digital and analog processing to facilitate advanced mid/side (M/S) manipulation of a stereo signal pair. It allows for separate treatment of the mid and side components, which affects the depth and width of the auditory scene. Minsk offers both manual and voltage control of the stereo width, as well as two dimension effects for enhancing the existing stereo image or creating a faux stereo image based on the stereo or mono input source. Minsk is especially handy during the preparation of a vinyl release or before a club concert, because it can eliminate out-of-phase low-end frequencies (high pass filter at 300Hz with the filter slope 12dB/oct, 50Hz with the filter slope 24dB/oct).

Dimensions:
6 HP

Current Draw:
140 mA +12V
40 mA -12V
0 mA 5V

Notes: Great value from this versatile percussion module, built around a noise generator and four linked envelope generators, each with its own VCA. Generate hi-hats, envelopes, shape drums or create modulation sequences.

Supplier's Notes:
Ricochet is a compact, fully analogue module featuring four interconnected decay envelopes, each with its own VCA and an integrated noise generator.

The module's design is inspired by the way skipping stones bounce on the water, creating a versatile tool for crafting percussive sounds.

The exponential envelopes are specifically designed to generate dynamic percussive tones. The unique linking function connects the end of one envelope's decay to the trigger of the next, enabling the subsequent envelope to activate once the previous one ends. This innovative feature allows you to create ratcheted envelope.

A front-panel trimmer lets you adjust the threshold for triggering subsequent envelopes, while a rear header enables connecting two Ricochet modules together, or linking the last envelope to the first. This feature transform the Ricochet to a weird sequencer where the steps length depend of the decay times.

Since Ricochet is fully analogic, trig inputs are velocity-sensitive, responding to a standard gates but also allowing attenuation to modify the envelope's velocity (you can play with the dynamic of your sound by attenuating the trigg input. Ricochet is also perfect to play with drum pads).

Each VCA features a gain control that can be pushed to achieve subtle saturation.

All envelopes and VCAs have separate outputs, but there are also mixed audio and envelope outputs. When an individual output is connected, it is removed from the mix. The decay modulation inputs are normalized between each other.

Last but not least, an analogue noise generator is normalised to the first input, so you can use ricochet on it's own to create hi hat kind of sounds

Main features:

- Fully analogue design so everything is responsive to the amplitude
- Unique linked envelopes feature
- Compact 4 envelopes 4 VCAs module
- Linkable to a second ricochet or looping back the last envelope to the first one

Some applications:

- Envelope generator
- Drum shaper
- Hi-hat
- Clap envelope shaper( with short ratcheted envelopes)
- Envelope sequencer
- Trigg delay
- Burst generator

Technical details:

- Fully Analogue design
- 14hp
- Skiff friendly
- Reverse power protection

Notes: 1U version of Happy Nerding's effects module, offering a total of 32 effects, with user-storable presets and CV control. Great value in a convenient package.

Supplier's Notes:
32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analogue Dry/Wet control with dedicated CV input. High quality stereo signal pass. Assignable CV input to effect controls or to Sample Rate reducer (changes internal clock). Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, assigns and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other effects in any order.

Reflashing procedure is quite easy: playing 40 sec long .wav file of line level amplitude to CV input.

Reflashing mode: hold both buttons for 10 sec.

By default it runs on 32.77 kHz and, if sample rate reduction assign is used, this sample rate can be decreased down to 2000 Hz or brought up to 48 kHz.

Dimensions

24 HP
40 mm deep
Module is a 1U tile in Intellijel format

Current Draw

80 mA +12V
30 mA -12V

Notes: The Mutant Rimshot is a fully analogue rimshot and clave generator inspired by the rimshot found in the legendary 909 drum machine; a triple bridged-T oscillator coupled with a state variable filter. The clave sound (not a feature of the original 909 rimshot) is achieved by using just one of the oscillators.

Features

Three oscillator modes

Rimshot HI mode brings classic rimshot sounds
Rimshot LO gives a lower pitch range; try playing with the filter on this setting to get low tom and kickdrum sounds.
CLV (Clave) mode uses just one of the oscillators to give you a brighter, higher percussive sound.
A switch on the back lets you select between original and extended pitch modes. Original mode can give you rimshots exactly modelling that of classic machines (in Hi mode), whereas extended mode gives a wider range of pitch, at the expense of classic accuracy.

Three filter modes

Use the lowpass or highpass filter modes for classic sounding rimshots
Highpass and bandpass can give a wider range of clave and rimshot sounds, as well as completely different percussive elements (especially when turning the resonance up!)
VCF IN lets you blend the clave or rimshot with other sounds. Try adding some filtered noise for a more acoustic sounding rimshot, or for pseudo-snare type sounds.

Novel decay and filter mod controls

The MOD DECAY envelope controls the decay of the VCA envelope
The VCF MOD attenuverter allows you to modulate the filter cutoff with the MOD DECAY envelope
Alternatively, a switch on the back lets you modulate the filter cutoff with the pitch-controlled internal VCO, for filter FM style percussive hits.

Technical specifications

Width: 8HP | Depth: 30mm
Current draw: +45mA, -50mA @ 12V

Notes: The Erica Synths Black DADSR (Delay-Attack-Decay-Sustain-Release) is a fully analogue envelope generator that gives you extended control over events in your modular synth. It's a looping exponential envelope generator that has voltage control over each stage of the envelope. An independent Gate Delay section adds extra functionality to design advanced soundscapes, like delayed modulation e ects, wave morphing, etc.

SPECS:
Attack time (with max CV) 0...2,5" (4,4")
Decay time (with max CV) 0...5" (12")
Sustain level 0...10V
Release time (with max CV) 0...4,5" (10")
Gate delay time 0,7"
CV level (full sweep) -5V - +5V
Panel width 10HP
Module depth 30mm
Power consumption 42mA@+12V, 58mA@-12V


ATTACK
Set the attack time of the envelope

GATE
Patch the gate signal here to start the envelope. If nothing is patched here, the gate input is normalled to the gate

DELAY OUT
CV ATTENUATORS
These are CV attenuators for attack, sustain and release stages

SUSTAIN
Set the sustain level of the envelope

GATE DEL
Set the gate delay time

TRIGG
You can retrigger the envelope at any stage by applying trigger signal here. The trigger alone initiates an AD envelope instead of ADSR

DELAY OUT
This is the gate delay output. The gate delay section can be used independently to control other modules in your modular setup

D GATE
If you wish to use gate delay functionality, patch the gate signal here

BP OUT
This is the bipolar output - the CV here is centered against 0V and this output serves as an LFO

EG OUT
This is the envelope generator output

M. GATE
This is the manual gate button. A built in LED gives a visual reference of the output voltage

RELEASE
Set the release time of the envelope

DECAY
Set the decay time of the envelope

LOOP
This is a LOOP switch. When it's ON, the envelope generator outputs a signal for which the rise time is defined by the Attack setting and the fall time is defined by the Release knob setting.

Notes: GITGUD is a pack of 9 chained LFOs.

Why:

To move stuff all around.
To creatively trigger drums and voltage-controlled gates.
To change the whole vibe of a composition with just a slide on the skin-sensitive panel.
To create dependencies on a group of modulations and defuse them un-chaining the LFOs on the fly.

With:

Filters - create a relation between the cutoff and the resonance.
Drums - send a pulse to the trigger input and a ramp to modulate another parameter.
LPGs - squares to make them BONG and ramps for slow linear increments.
FM or any other CV inputs you want it to take care of.

Dimensions:

8 HP
18 mm deep

Current Draw:

135 mA +12V