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Notes: The Entropy Expander is a 3hp Analog Random Voltage Generator that expands upon the features of the Entropy Euroack Module. Available as a Eurorack DIY Kit, PCB and Panel, or Built Module.

The Entropy+Expander packs together some of the most random voltage options in 6hp. It provides a controllable "Glide"(slew) out for the S/T\H, a comparator with a controllable rate("Thrsh") of random gates("Rand Gate") out with an input to compare other waveforms(Comp In, inserting a cable into here breaks the white noise normalization), and high pass filtered white noise resulting in approximate "Blue noise" (+3db/octave) and "Violet noise"(+6db/octave) outs.

The unique part of the circuit is a voltage controlled A/B switch thats normalled to the "Rand Gate" out that's switching between the S/T\H out(left Blue led window)and Infra out(right Red led window), the Glide control also effects the S/T\H coming out of the switch so you can get really random results from the "Entropy Out." Inserting a cable into "Switch CV In" breaks the random gate normalization and lets you toggle between A/B(left S/T\H out and right Infra out, indicated by the led windows) with your own gate or trigger.

There is a jumper on the pcb to select if you want glide on the s/t\h at, Entropy out, or un-slewed operation. There is also a trimmer for setting the amplitude of the incoming signal at "Comp In" which sets the frequency range of random gates. This may have to be adjusted depending on your Entropy version.

The random gate range can also be set up more as a noise oscillator by turning the pcb trim(clockwise) up or it can be set so random gates are extremely slow(trim counter clockwise) with minutes between random gates.

Notes: The Dual VCA is a 2hp 2 channel Analog VCA and Mixer Eurorack Module available as a Eurorack DIY Kit, PCB and Panel, or Built Module.

It is a DC coupled OTA(LM13700) Dual Linear VCA based on the same fabled design of the VnIcursal VCA. The 2 VCAs are summed together so it can be used as a voltage controlled mixer at the "SUM OUT" or all 3 outs can be used separately and simultaneously. 5 volts into the CV in will provide unity gain, anything above 5 volts can clip the input.

Notes: A seriously versatile filter here, much more than meets the eye. Stereo, state-variable, multi-mode design gives you huge control over frequency response and stereo image.

Supplier's Notes:
Zagrzeb is a stereo multimode 4-pole (24dB/oct) state variable voltage-controlled filter (SV VCF). It offers five distinct frequency responses, three of which are available simultaneously. Spread control allows for animation of the stereo image by moving the left and right filter cutoff frequencies in opposite directions. Zagrzeb is designed to sound smooth and clean unless it is overdriven with a hot signal- however, it does not lack character! We believe it will be appreciated by fans of old Japanese synthesizers, but bear in mind that Zagrzeb is not a clone of any existing design. The four-pole state variable structure is a new development and offers unique sonic characteristics. While Zagrzeb is designed for filtering stereo signals (e.g. samples or stereo oscillators like Xaoc Devices Odessa), it can easily handle mono signals and is capable of creating a faux stereo pair thanks to a special phase shifting network at the input.

Dimensions:
8 HP

Current Draw:
70 mA +12V
60 mA -12V
0 mA 5V

Notes: Warna is a very useful utility module that helps you to manage control voltages in the system. Crammed in just 6 hp, there are five normalled sections: two buffered mults, two inverters, and a summing mixer. Each multiple routes the input signal to separated outputs without loss in voltage. Warna is designed for unity gain - if you apply a specific voltage to any input, it remains the same on the respective outputs. Inverters are hardwired to mults and invert the polarity of the signal applied to them. Both mults are also normalled to the mixer section via inputs. Patching anything to these inputs breaks the normalization.

The top and the bottom section both are buffered 1-in-4 multiples. The input can be inverted with a switch, i.e. its polarity will be changed by 180 degrees. Four inverted copies are then available at the outputs, meaning you can use these two sections as inverter. Bi-polar LEDs display whether the signal is positive or negative: yellow = negative, red = positive. The centre section is a four-input summing stage with amplification factor 1, a so-called unity-gain mixer. The multiples are normalized to the mixer which can be deactivated by patching.

Notes: Another cracker from Xaoc, the Timiszoara is a take on digital multi-effects with stereo in and out, an intuitive interface and CV control of effect parameters. Big power with 176 factory programs.

Supplier's Notes:
Timiszoara is a stereo, Eurorack compatible, voltage-controlled multi-effect signal processor based on the popular Spin Semiconductor FV-1 DSP chip. It features a full stereo signal path with two adjustable audio inputs, two outputs, and a stereo voltage-controlled wet/dry mixer. In addition, there is a microSD memory card slot on the front panel that allows for loading factory and custom effects without any restrictions or copyright protection, which means you can use many effects available on the Internet and even create your own.

Effect programs are organized in banks of 8 and can be selected using a rotary encoder, as well as CV and trigger signals. Timiszoara features a crisp OLED screen that displays the program parameters and its name. It also facilitates navigating the list of banks. Up to three parameters per effect can be controlled from the front panel with illuminated slider potentiometers and dedicated CV inputs.

Xaoc Devices have prepared quite a few banks of algorithms (176 in total) that cover most effects needs: delays, reverbs, filters, modulation effects (such as choruses and flangers), pitch shifters, and, of course, shimmers (no multi-effects unit would be complete without its share of those). However, Xaoc Devices wanted to ensure that users had access to some more adventurous programs, so some special banks have been created to allow you to take a walk on the wild side.

For detailed description, please refer to the manual.

Technical details:

10hp, skiff friendly
Current draw: +120/-45 mA
Reverse power protection

Notes: Tallin is a dual voltage controlled amplifier (VCA) with overdrive, offering some unusual control features and a range of attractive tonal characteristics. Each of the two identical channels offers two simultaneously available inputs for voltage control over signal attenuation or gain, with linear and exponential response to CV. Volume control knobs offer manual gain settings ranging from fully closed (-80dB) up to +18dB. A colour LED indicator displays output signal levels. A soft-clip circuit avoids harsh clipping distortion, while a switchable overdrive circuit offers two carefully crafted distortion responses, simulating the sound of classic tube amplifiers.

Since both CV inputs are simultaneously active, they can be jointly exploited within patches featuring more complex volume control that otherwise would require using two traditional VCAs in series. As the signal path is DC-coupled, Tallin can also be used for handling the control voltages.

Notes: Sopot is a compact utility module handy when the need arises to sum multiple stereo and mono sound sources (up to four signals for each section). It is a triple summing mixer featuring three signal adding sections with the middle one optionally fed to the top and bottom ones. The contribution of the middle section is switchable between 0%, 50%, and 100%. Each of the summing sections is built with high quality audio opamps and features a soft clipping circuit for nice saturation. Gain can be optionally reduced to -12dB in order to allow summing of hot signals.

Dimensions
6 HP
30 mm deep

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

Notes: A big deal even by Xaoc's prolific and eclectic standards. Fully analogue VCO based on the none-more-old-school fonction d'onde formantique, implemented with extensive CV control. Transcendent waveforms indeed.

Supplier's Notes:
Sofia is a fully analogue voltage-controlled oscillator (VCO) based on an original waveforming principle. It features a modern, well-calibrated, temperature compensated triangle core and two elaborate waveshaping and modulating sections. The sound is a mixture of a warm, saturated base tone and two ripple components. Besides its main output, Sofia offers access to individual components of the sound plus a multitude of modulation inputs allowing for extensive self-patching and animation of the waveform. To better understand the device, it is strongly advised to read through the entire manual before using the module.

Sofia implements and extends the classic computer music method for synthesis of formant sounds called FOF (fonction d'onde formantique), which uses a combination of simple, time-domain components (decaying sinusoidal waves) to achieve desired spectral characteristics.

In Sofia, two of such ripple elements are added on top of a slightly saturated sinusoidal base tone. Each new cycle of the base tone spawns a new pair of ripple elements. The ripples' density and decay rate may be adjusted over a wide range. Additionally, the elements may be warped so that their density accelerates or decelerates within the cycle. Finally, their basic waveform may be switched from sine-like to square-like for additional richness.

Despite the seemingly divergent frequencies present in the signal, it remains strictly harmonic due to how all elements are waveshaped from the core tone and therefore phase coherent. Thus, Sofia is not a complex oscillator in the Buchla sense; however, it goes beyond the traditional set of primary waves and wavetables, hence the name.

Analogue VCO with complex waveforms
Extended FOF synthesis
3 frequency control inputs
8 parameter control inputs
6 signal outputs

24hp, 30mm deep
Current draw: +90mA/-80mA
Reverse power protection

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

Notes: Sarajewo is an analog delay module based on old school (but newly manufactured) BBD (Bucket Brigade Delay) chips. It features three delay taps, an external clock input with various tempo sync factors, and a wide range of settings controllable via CV. It is based on high quality components with maximum effort put towards the highest sound quality possible, while still preserving the charm of the BBD technology. The module offers a clean and warm analog sound with tons of character and a comfortable user interface with a tap tempo button, signal level indicators, sync and CV inputs, four signal outputs, and an adjustable feedback filter.

TECHNICAL DETAILS:
Eurorack synth compatible
12hp, skiff friendly
Current draw: +180mA / -120mA
Reverse power protection

Notes: Samara is a "Swiss Army Knife" type of module, intended to serve the most common voltage and audio signal processing purposes such as attenuation, offsetting, mixing, inverting, and even basic waveshaping. Samara features four channels, each with two inputs and an attenuator, additional switchable offset generators, four voltage level and polarity indicators, two adders with switchable scale, and a precision four-channel processor that selects minimum and maximum voltage.

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: Three-band isolator with stereo inputs and outputs, splitting the signal into highs, mids and lows then allowing you to control level and frequency via CV for some clever sound sculpting and modulation.

Supplier's Notes:
Katowice is a stereo variable-band isolator that allows the user to manipulate a selected range of frequencies. It is the first module in a series of upcoming Xaoc Devices products designed specifically for processing stereo signals.

Katowice splits the stereo input signal into three bands: low, middle, and high. While the knobs and CV inputs define the center frequency and bandwidth of the mid band, the low and high bands are automatically adjusted so that the sum of all three is a complete signal. All three bands are passed through high quality VCAs and their stereo outputs are available separately for further processing. A stereo mixdown signal is also available.

Katowice may be used as a crossover network, a parametric EQ, DJ-style kill filter, or other band-selective applications, including multiband compression and stereo enhancement.

TECHNICAL DETAILS:
Eurorack synth compatible
10hp, skiff friendly
Current draw: +100mA / -100mA
Reverse power protection

Notes: Gera is a component of the Leibniz subsystem that allows masking individual bits of the digital data by the use of logical AND operation.

It features 8 individual gate inputs that affect the individual bits of data, as well as 8 illuminated tact switches for manual inverting of each control input. When connected to Drezno that is processing a waveform or voltage, masking of individual bits yields various forms of quantization. However, Gera can function on its own. The AND operation is a basic building block for sequence automation, chaos and rhythm generation, and various computer-like modular patches.

Bit processing logic in Gera is hardware based, hence there is virtually no latency, and the binary signals may change at extreme rates.

Main features:

Logical AND operation on Leibniz data
Masking of individual bits controlled manually and by gate signals
Visual indication by illuminated buttons
6HP
30 mm depth (including ribbon cable brackets)
- +12V: +45mA / -12V: 0mA / +5V: 0mA

Notes: Belgrad is an all-analogue voltage controlled filter module which - on par with our other modules - brings something new to the table. While it can be used as a traditional VCF for "academic" subtractive synthesis, we guarantee countless hours of exciting timbral explorations thanks to its unique character, flexibility, and features. The most prominent feature is that it offers a multitude of frequency responses with two resonant peaks.

- Eurorack synth compatible
- 14HP, skiff friendly
- Current draw: +45mA / -42mA
- Reverse power protection

Notes: AXXENT is an expander module for the METRON trigger and gate sequencer and adds 16 "accent" gate outputs. Each track is specifically tied to METRON tracks, making it a very intuitive addition to any METRON sequencing ecosystem.

Use AXXENT to send signals to additional envelopes, slews, drum accents, and other gate triggered functions.

METRON will need its Firmware updated to support AXXENT.

Dimensions:
Width: 4HP (20.32mm)
Height: Eurorack 3U (128.5mm Panel, 112mm PCB behind panel)
Depth Including Cables: 43mm

Do not connect power to expansion headers.

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

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

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

Features:

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

Depth: 38mm

HP : 6

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

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

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

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

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

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

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

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

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

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

Features

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

Specifications

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

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

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

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

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

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

Depth: 38mm

HP : 8

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

Supplier notes:

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

Highlights

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

Specs:

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

Notes: 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: Nicely creative sequencer module based around controlled randomness. Build patterns and then morph them in real time. Great for live performance as well as studio use.

Supplier notes:
The Eloquencer is a powerful and versatile eurorack sequencer that can be used both as a performance and a composition tool. It's designed to be intuitive, easy to use, and quick to edit. It has been built around the "controlled chance" concept. This means you can decide when and where there will be randomness and how much this randomness will affect your sequences. It features 8 tracks of CVs and Gates in a 16 step disposition, but with the ability to define larger bar counts or chaining patterns to build multiple song parts of 256 steps each.

INPUTS AND OUTPUTS
8 V/oct CV Output
8 Trigger / Gate Output
Reset Input
External Clock Input (configurable. i.e: can be used as a clock divider / multiplier)
Accent Output (configurable)
Clock Output (configurable. i.e: can be used as a clock divider / multiplier)
2 CV Input (assignable to different parameters)

Notes: There is almost no modular system without at least one filter-module. You can look at them as the stars within the giant Eurorack-jungle. twinVCFilter is such a star as well. A dual filter module with flexible routing and excellent audio properties. It covers a huge range of different applications without the slightest effort.

Features and Routing:

Each filter section of twinVCFilter works as low- or highpass-filter with a slope of 12 dB/octave or as bandpass-filter with 6 db/octave. Signals can be directed in three ways through the module:

- Serial: The incoming signal passes both filter sections in a row.
- Dual: The filter sections act completely separated of each other. As if they were two individual filter modules.
- Parallel: The incoming signal passes both filters at the same time.

With these routings you can i.e. generate bandpasses or notches with variable slopes and different resonance settings or doubling the filter's slope. These are the more obvious combinations but there is a lot more to discover.

The convenient link-feature allows to couple cutoff- and resonance of both filter sections for straightforward stereo use in dual mode.

Mix section:

The flexible signal-routing is supplemented by the mix-section. Here you can crossfade both filter sections manually or by control voltages. Seamless movements from low- to highpass-filter, is as easy as crossfading from half to doubled slope. Of course you can mix two completely individual signals or toggle between them by using a rectangle-LFO-modulation.

Resonance:

Resonance is a key factor in the context of sound-shaping and sound-generation using a filter. Therefore we carefully trimmed twinVCFilter's resonance to be as musically and stable as possible. You can apply subtle frequency-dependent emphasis to signals and tear them up to self-oscillation. The latter generates a solid sine-wave which is an excellent base for percussive sounds. Possible cross-modulations significantly enhance the sound-generator features. By the way: If you are missing a vibrato-LFO in a patch, twinVCFilter can do the job.

twinVCFilter offers a huge set of features to form impressive soundscapes. It can take subtle influence to signals or massively truncate frequencies. It leaves nothing to be desired. Despite, for those who need additional possibilities we especially designed the tVCF-Extension module.

Notes: Explore modulation beyond the standard ADSR with Verbos's complex polyphonic envelope, opening up the potential of ADAsR and AHDsR slopes. Use the four envelopes independently or trigger sequentially in three separate modes.

Supplier's Notes:
The Verbos Polyphonic Envelope module is a set of four envelope generators which can be used together or independently. Cascade logic allows the four envelopes to trigger sequentially with subsequent envelopes starting at the Hold, Decay or End of the previous envelope.

Each envelope offers its own gate input, CV output and end pulse output, so it can be used in up to four-voice polyphonic patches. The three skew controls allow the times to change as each new envelope is switched on. All parameters can be voltage controlled.

Power consumption: 75mA at +12 V and 30mA at -12 V

HP : 22

Notes: The Mini Horse from Verbos Electronics GmbH is a multi-dimensional touch activated voltage controller. At 42HP wide and ultra thin, it can be added to a synthesizer system either inside the Eurorack or out front in the forthcoming Black Box extra low profile powered enclosure. Twelve keys run across the front, each with its own Gate out, Pressure out and Position out. In addition to the individual keys' outputs the master section presents the parameters of which key was last pressed in addition to a tuneable from the knob behind the key and a "Fixed" voltage, spanning from 0-10v across the keys from left to right. Position outs have memory of their position when last touched, allowing the user to draw a mix across the keys when connected to voltage controlled mixers as in the Harmonic Oscillator or Bark Filter Processor.

Dimensions
42 HP
15 mm deep

Current draw
140 mA +12V
115 mA -12V

Notes: Inspirational west coast sounds from one of the masters. Additive oscillator with eight harmonics, direct outputs and powerful CV control to scan, tilt and mix the waveforms.

Supplier's Notes:
For the first time in Eurorack, this oscillator module provides outputs for the first 8 harmonics as sine waves. Also included are triangle, saw, square waves.

A voltage controlled mixer with various methods of address allows the user to scan, tilt and mix the harmonics from both panel and external voltage control. It is built on a discrete, all analog triangle core with an old school discrete transistor exponential converter. It has inputs for linear and exponential FM, the exponential with a reversing attenuator. Of course there's a 1 volt/octave trimmed CV input as well.

Power consumption: 120mA at +12 V and 90mA at -12 V

HP : 32

Notes: The Control Voltage Processor from Verbos Electronics GmbH is a suite of control voltage processing possibilities divided into 3 sections in a slim 18HP package. The lower 2 sections are DC coupled mixers that allow mixing, inverting, offsetting, scaling, multiplying, dividing, crossfading or a combination of these functions. The top section is a voltage controlled slewing processor with independent control of Positive and Negative slew rate, with some unique tricks. The Positive and Negative slew, or Rise and Fall rates if you like, have reversing attenuators. The slopes can be blended from linear to RC curves (starting all slides fast and ending slow, like a proper "East Coast" Portamento) without a change in speed. It can be triggered like an AD envelope and has a Gate out that goes high when the CV out is below 100mV. Of course it can loop by patching the Gate out to the Trigger in. The Bounce control adds a unique flare of overshoot to CV changes, a bit like the effect of stopping a tape reel from turning and then letting it go. The combination of multiple voltage processors offers the user the functions of analogue computer.

Notes: TouellSkouarn Strakal Brulu is a handmade distortion and fuzz module. The great sound is due to the new-old-stock east-German germanium transistors.

Very characteristic for the module's sound if the feedback that is coupled to the feedback. The more fuzz, the more feedback - the Strakal Brulu 2 can get pretty nasty and it screams a lot at high fuzz settings and low input level. The fuzz amount can be voltage controlled, with an inverse attenuator. Input and output levels can also be set separately.

Notes: PERC features 256 percussion sounds with tight attacks and a bright harmonic spectrum. This collection is specifically focused on shorter percussive samples and includes material such as multi-layer drum & percussion hits, chopped & processed loops, synthesized FM strikes, mallet and bell tones, sampled drum machines, various toms and hand drums, obscure noise boxes, sampled old-school game chips and much more. PERC makes full use of ONE's snappy character.

All samples on the card are available for playback at 48k, 64k and 96k for maximum versatility in pitch control while maintaining latencies of as low as 0.25 ms.

Design by: Glitchmachines
Type: One Shot
Character: Percussive

Only compatible with the Tiptop Audio One Digital Audio Flux Eurorack Module.

Notes: ZVERB is a collection of all new reverb algorithms developed by Tiptop ranging from typical reverbs to more complex effects that combine delay and pitch shifting with reverb. The effects are grouped by decades based on either the era an algorithm was introduced or the time when the effect was most popular. This variety of reverbs covers small to epic size spaces with the addition of shimmering, feedback tunnelled pitch shifting, tape delay drivers, gated reverbs and a lot more. Analog clocking of the DSP chip and CV over the parameters enables even more experimentation. This is a collection inspired by the best from the past right at your fingertips.

Notes: The Z8000 Matrix Sequencer is a modulation source like no other: The 16 knobs of the Z8000 are accessed by ten sequencers with their own clock, direction and reset inputs. The ten sequencers are as follows:

Four 4 step CV sequencers on the horizontal.
Four 4 step CV sequencers on the vertical.
One 16 step CV sequencer on the horizontal.
One 16 step CV sequencer on the vertical.

The Z8000 can simultaneously modulate up to 10 CV parameters poly-rhythmically, with unprecedented motion complexity. One knob affects all 10 CV outputs! Imagine modifying 10 parameters from one knob. With its 30 gate and clock inputs and 10 CV outputs one can only imagine the possibilities, and all clock inputs can even be driven at audio rates! The Z8000 pairs well with the Trigger Riot and Circadian Rhythms and using it with the QuantiZer extends its capabilities as a high-precision 1V/Oct note sequencer.

Introduced in 2017, a new version of the Z8000 maintains the original circuitry but adds output range adjustment switches on the back and Tiptop's new colored look, which helps highlight the sections, on the front.

Size: 28HP
Depth: 15mm
Power: +12V 70ma / -12V 10ma

Notes: The Z4000 NS is a snappy voltage-controlled analog envelope generator with a built-in CV processor for scaling, inverting, and voltage-controlled deviating of the envelope shape. The Z4000 generates an envelope made of the four classic segments: Attack, Decay, Sustain and Release, in which each segment can be manually set using knobs or dynamically set under voltage control.

Control knobs for the Attack, Decay, and Release segments are scaled. The first 0-50% of the knobs rotation is dedicated to high resolution adjustment in the millisecond range.

The output levels are fully adjustable with signals that can reach up to 10V in either polarity and can be mirrored into the opposite polarity or clipped using the voltage-controlled deviater-scaler. A bi-color LED indicates intermediate values in both polarities and their crossfade state.

The Attack slope switch allows selection of a logarithmic or exponential curve for the Attack segment. This subtle effect helps further the fine adjustment of the Attack segment slope. A Shoot button is provided to let you fire the envelope manually. The Z4000 also provides a retrigger input allowing you to create legato notes when using a classic keyboard interface.

Going down to nuts and bolts, the Z4000's smoothness and snappiness is made possible by a four segment active-charge discrete circuit which is an extended version of circuits found in classic two segment rise / fall transient generators.

Size: 8HP
Depth: 28mm
Power: +12V 34ma / -12V 18ma

Notes: Tiptop Audio's Z-DSP is a cartridge-based open source digital sound processing and effects generating platform for your modular synthesizer. Lush audio processing, greater stereo depth and a unique set of digital synthesis is what the Z-DSP is all about.

The Z-DSP has a stereo digital sound processor with 24-bit sampling, 15kHz of bandwidth, voltage-controlled parameters of stereo feedback, program switching, DSP parameters, equal power crossfading dry/wet mixing, as well as sequential program control switching and a clear display - all in Eurorack format. A dedicated clocking input for the DSP chip does wonders to passing sound by bending the algorithms in an unexpected way, a hardware technique computer plugins can't do and is unique to the Z-DSP.

In a recent update, the Z-DSP (NS) got an all new design of its analogue circuitry, contributing to a lower noise signal path, clearer sound of the entire frequency range, lower distortion and better immunity to noise emitted by other modules sharing the same power supply. A new analogue dry/wet circuit has been implemented to remove the 3db gain drop when the mix knob passes through the centre of the dial making the use of this function more practical in a live application. A reverse polarity protection has been added as well. The new front-panel matches Tiptop's colourful design, and a single printed circuit board and surface mount technology improve reliability during production and use. The powerful Z-DSP engine remains the same as the original Z-DSP module and all cards are compatible across both versions.

An assortment of interchangeable cards, programmed by Tiptop Audio and specialists like Valhalla DSP, provide a wide range of boutique effects algorithms such as Halls of Valhalla, Time Fabric, Clocked Delays and Grain De Folie. Tiptop Audio also offers blank Z-DSP cartridges and a development tool called NumberZ for developers, students and power users who want to design their own effects and cards with the FV-1 DSP chip programming language. Blank cards can be loaded using programs that are freely available for non-commercial use and can be found in the modular community through online forums. With each card swap, the Z-DSP takes on new effect algorithms, changing like a digital chameleon and bringing colourful digital effects processing to your Eurorack setup.

The Z-DSP comes included with 2 cards: Halls of Valhalla and Dragonfly Delay MKII.

Notes: MIXZ is a multi-channel mixing module for mixing audio, CV, and gate signals with excellent linear response and low noise. Balancing a clear visual layout and multiple mixers in a small footprint makes the MIXZ easy to use in a variety of configurations within a modular synth. Its high-quality analog mixing circuitry makes for a great sounding mixer with plenty of headroom, providing a smooth, organic merge of dynamics and excellent separation of mixing sections and channels. MIXZ has three sections:

Mixer A: a low-noise, 4-channel mixer with independent gain control for each channel.
Mixer B: a low- noise, 4-channel mixer with master gain control.
MixBus: a multi-channel mixer that mixes signals from modules utilizing the Tiptop MixBus.

Mixer A and B can be configured as either two independent, 4-channel mixers or as a single 8-channel mixer. If the output of Mixer A is not in use, then Mixer A will be routed internally to Mixer B forming the 8-channel mixer.

Tiptop MixBus is a new method we have developed to mix audio signals through the Eurorack power bus board without patch cables. A little bit of magic, eh? Although this technique is not ideal for a low-noise mix, we found it to be useful for some applications, including mixing our drum modules, which all have a MixBus-enabled output. The result is that your drum modules are always available and mixed on the master out of the MIXZ with a flip of a switch. This will save you time and frees up cables for repatching sound again and again, while keeping the channels of MIXZ free to bring other signals into the mix.

Combining the MixBus with Mixer A and B, the MIXZ sums dozens of channels in only 10HP.

Dimensions:
10 HP
36 mm deep

Current draw:
14 mA +12V
14 mA -12V

Notes: The Circadian Rhythms is moving modular synthesizer technology another step forward by gluing all the pieces of a system together. Each module or voice can now be programmed to play straight from an intelligent, eight-channel, 512-step master trigger sequencer made for composers looking to make music on the modular. Building on the sequencing concept of step programing multi-channel patterns of musical phrases can be repeated, looped, chained, muted and manipulated on the fly in real-time, and most importantly, all of this is done through a simple, clearly labeled interface. Using an array of multicolor illuminated buttons and innovative grid views provides a highly functional live performance sequencer with a beautiful glowing appearance of the programmed music that will look amazing on stage for both performer and crowd. As a master controller, the heart of the modular synthesizer, Circadian Rhythms generates high precision clock and reset signals for all the other sequencers and devices in the system to align with and can also act as a high precision bridge for DAW synchronization.

Views - Unlike most hardware sequencers that have a single static display of a timeline, Circadian Rhythms offers four different horizontal views of the timeline and two unique vertical views that scale from macro to micro. Switch between viewing 64 steps at once or all 8 channels side by side instantly. Stretch gates over multiple patterns to drive envelopes or use Zoom view to move a single hit back a few milliseconds in time to get the right feel all from the same interface.

LED Grid Built for Quick Access - Built around 72 buttons set as a multi-color illuminated 8x9 array, Circadian Rhythms displays both note data and settings in a clear and precise manner. It takes only one click to switch to vertical view and the grid turns into a set of programming and realtime playing functions like Mutes, Loops, Swing, Fills, Copy and Pate, Grouping, Randomizing, Manual trigger entry drum machine style and many many more. Activate any of those functions with only a button press or two.

Clock - Inside the CR ticks an extremely precise clock with jitter and latency measured in mere microseconds for the ultimate feel of groove. The four modes of clock sync make interfacing with other modules, hardware or software simple. Whether driving a large Eurorack system or synced to a DAW, the groove always remains tight.

SyncBus Technology - The Tiptop Audio designed SyncBus enables the CR to connect to any number of other SyncBus devices with the highest possible level of synchronization. A SyncBus master directly injects its core clock and running status into every connected unit so they work seamlessly as one device. Hook up two CRs to make a 16 channel device or add a Trigger Riot (or three) to the mix for further experimentation. Plus, the connection is done behind the panel so no need to patch anything together.

Under The Hood - When state of the art chip technology, musically driven firmware, and professionally engineered hardware design all come together in one electronic device, the result is a music sequencer with unparalleled specifications. Starting with a powerful, precise sequencing engine that has superb feel for the groove, add internal functions that automatically balance performance and smooth user interface operation, and finish with outstanding low power consumption placing minimal stress on power supplies even at maximum output, Circadian Rhythms has a design focused on the requirements of the most dedicated musicians and composers. Long time pros will immediately feel a machine made for their needs, while the newcomers can instantly dive into next level programming and performance.

Notes: The Circadian Rhythms, is a professional performance gate sequencer in Eurorack format. Sitting at the centre of your system the Circadian provides triggers and gates to all your drum modules and percussive sounds as well as clocking your other sequencers with exceptional timing accuracy. Each channel voice can be programmed directly from the intelligent, eight-channel, 512-step master gate sequencer designed for composers looking to make music on the modular and perform live. Building up from basic step programming, multi-channel patterns of musical phrases can be repeated, looped, chained, muted, and manipulated in real-time, and, most importantly, all through a simple, clearly labelled menu-free interface.

Led Grid

Built around 72 buttons set as a multi-colour illuminated 8×9 array, Circadian Rhythms displays both note data and settings in a clear and precise manner. It takes only one click to switch to vertical view, turning the grid into a set of programming and real-time playing functions like Mutes, Loops, Swing, Fills, Copy and Paste, Grouping, Randomizing, and Manual drum-machine-style trigger entry. Activate any of those functions with only a button press or two. Using an array of multi-colour, illuminated buttons and innovative grid views provides a highly functional live performance sequencer with a beautiful, glowing appearance that will look amazing on stage for both performer and crowd. As a master controller, the heart of the modular synthesizer, the Circadian Rhythms generates high precision clock and reset signals for all the other sequencers and devices in the system and can also act as a high precision bridge for DAW synchronization.

Clock

Inside the CR ticks an extremely precise clock with jitter and latency measured in mere microseconds for the ultimate feel of the groove. The four modes of clock sync make interfacing with other modules, hardware, or software simple. Whether driving a large Eurorack system or synced to a DAW, the groove always remains tight.

Under the Hood

When state of the art chip technology, musically driven firmware, and professionally engineered hardware design all come together in one electronic device, the result is a music sequencer with unparalleled specifications. Starting with a powerful, precise sequencing engine that has superb feel for the groove, add internal functions that automatically balance performance and smooth user interface operation, and finish with outstanding low power consumption placing minimal stress on power supplies even at maximum output, Circadian Rhythms has a design focused on the requirements of the most dedicated musicians and composers. Long-time pros will immediately feel a machine made for their needs, while newcomers can instantly dive into next-level programming and performance.

SyncBus Technology

The Tiptop-Audio-designed SyncBus enables the CR to connect to any number of other SyncBus devices with the highest possible level of synchronization. A SyncBus master directly injects its core clock and running status into every connected unit so they work seamlessly as one device. Hook up two CRs to make a 16 channel device or add a Trigger Riot (or three) to the mix for further experimentation. Plus, the connection is done behind the panel so there is no need to patch anything together.

Size: 36HP
Depth: 29.4mm
Power: +12V 160ma / -12V 0ma / +5v 0ma

Notes: Introducing the BD808, part of our new series of drum modules that brings analog percussion into the modular synth world, instantly turning your system into a self-contained music machine. Its small size, minimalist design, and modern production methods have allowed us to bring the world's most famous bass drum sound generator back at a very low cost. The real thing is here again.

The BD808 is the Roland TR-808's Bass Drum circuit adapted for use in Eurorack format and tuned to sound like a machine that comes fresh off the original 80's assembly line. The adaptation to modular format has allowed us to add some special features like independent Accent levels, a high-powered gain stage, dual-input pulse-shaper, and extended decay - all without compromising the signature sound of the TR-808.

A widely used technique with TR-808 machines is to run the drum sounds through outboard amplifiers to add gain and then pass the sound through just about anything to generate additional harmonics caused by clipping and distortion. In the BD808, we have already included this high-powered output gain stage capable of producing signals up to 20Vpp, extending from the original palette of sounds and allowing you to get an assorted array of harmonized bass drums ranging from sharp attacks to crushed tones using this simple yet effective technique! On the inputs, we have also designed a dual pulse-shaper circuit so you can trigger your BD808 with Trigger/Gate signals from step sequencers, clock dividers, or any other pulse/clock sources. This saves you the need to shape the pulses sent to the module and ensuring the same stable sound at its peak power, regardless of differences in your pulse source.

All these little, but unique, features make integrating this legendary sound generator into your modular easy, unleashing the power of real analog drums and making those speaker cones shake.

Notes: A deep, comprehensive digital LFO offering 16 waveforms, sync, built-in VCA and more. All made even more powerful by the fact you can control every parameter via dedicated CV inputs.

Supplier's Notes:
Fully voltage controllable Eurorack format, externally syncable, 16 waveform low frequency oscillator with built-in VCA and sample & hold.

Powered by a socketed VCLFO10 IC from Electric Druid.

The core idea behind this module is all about control voltage. Hence all features are individually broken out to CV inputs, making the most use possible of the benefits of the digital wavetable oscillator. This means that the design is geared towards allowing hands-off control of all aspects and some concessions have been made to that effect.

Initial setup basically consists of connecting the power cable to the module and your bus. The cable has a slotted socket for correct orientation, but mind that the red stripe faces the white line on the edge of the pcb. The included screws are nylon in order to minimise rack-rash.

Tuning the module is possible by adjusting the small smd trim potentiometer on the back. It adjusts the offset voltage that affects the center point of the lfo oscillations. It should be close to its three o'clock position, but you can adjust it by turning the module on, reducing the output level to almost zero and turning the trim potentiometer until you find the point where the gate output led just barely turns off.

The LFO sync type is hard sync, meaning that it resets the current cycle to the beginning of the waveform. It does not control the duration of the cycles. This allows you to further shape the output to, say, three quarters of a sinewave by using external sync and adjusting the HZ knob so the duration of a cycle is just a little longer than the time between incoming sync pulses.

Color coded nuts indicate the type of jack, with gold representing Gate/Trigger input, black is +-5v CV inputs and red jacks are outputs.

The CV inputs are scaled down to +-2.5v and added/subtracted with the knob setting, meaning that to sweep the full range of the parameter with CV, the knob should be in center position. The inputs are clipped to the allowed range after mixing, so you can apply any eurorack voltage here.

The module's core processor is socketed, so using a simple PIC programmer and some basic Assembly knowledge you can modify its functionality to suit your needs.

The code is written by Electric Druid who supplies the chips preprogrammed.

Height: 3U (128.5mm)
Width: 12hp (60.6mm)
Depth from panel: 31mm
Depth total: 51mm

+12v: 80mA
-12v: 60mA

Notes: A whole lot of module for the money. Eight-track trigger sequencing with built-in drum synth, sample player and MIDI. Amazing value for studio use or live performance.

Supplier's Notes:
Trigger sequencer with audio and midi

TUKRA is an 8 track eurorack trigger sequencer with drum synth, sample player and midi.

This module can be an 'all in one' solution for drums, but also has great integration capabilities with other gear (eurorack modules, drum boxes, DAWs, midi devices and midi surface controllers).

There are no submenus, all functions and views are accessible all the time.

Brief overview:
- Up to 64 steps per pattern, 64 patterns, 64 parts and 16 songs per project. 64 projects in the microSD card.
- Play mode, clock divider, length & choke settings independent per track & pattern.
- Step value (can be used for modulation, to define the midi velocity, midi note & drum synth pitch or sample selection).

Ins & outs:
- 8 trigger/gate, clock & reset outputs. Clock & reset inputs.
- 4 CV inputs with offset potentiometers (so they're manual controls when no CV is plugged in).
- Audio L & R out (6 additional ones with the expander for independent track output).
- Front panel midi TRS in & out, and USB host for midi controllers.

Midi and audio:
- Midi note and channel configurable per track & song, midi note and velocity can be set by the step value.
- Drum synth, noise with envelope and 'one shot' sample player (factory and user banks) per track.
- Flexible sample selection (each track can play up to 128 samples).
- Mixer with volume, balance, reverb, bit crusher, filter cutoff, resonance and type (smoothly crossfades LP - BP - HP).

Modulation:
- CV & assignable midi CC plus 8 internal LFOs, 3 stepped random sources and step value.
- Modulation matrix for almost all parameters.

Rhythm variation:
- Probability for step, gate and roll.
- Euclidean Rhythm Generator.
- 'Ramifications' generative tool.
- Live view with solo, mute, fill, roll, invert pattern, reverse play direction and rotate.

Time:
- High precision clock source and low latency.
- External sync (via trigger, midi TRS or USB).
- Triplets and swing (aka 'shuffle'), triplet and swing can be generated from a straight clock input or midi clock.
- Micro grid edit, each step has 6 micro steps (24 ppq).
- Half and double tempo functions.

Notes: Tesseract's step sequencer is designed for hands-on playability, configured as a 16-step or dual 8-step design. Unique features include a 'drunk' mode to add variety to your sequences.

Supplier notes:
Step Fader mkII is a 'hands on' eurorack dual sequencer, featuring two 8 step lines or one with 16 steps, plus quantizer, slew limiter, internal clock generator, CV inputs to control any parameter and more...

Each sequencer has independent settings for the play mode, start point, size (length), clock divider (or step repeat), transposition and duty cycle.
There are 16 presets to store & recall all the above settings plus CV input assignment, scale, tempo, step repeat and clock out ones.
The 2 channels of the quantizer can be used for processing external signals, same for the slew limiters.
The 16 illuminated buttons can be used to set several parameters, even to play the sequencer as a keyboard.

There are 3 MAIN SETUPS:
DUAL (2 totally independent 8 step sequencers)
PARALLEL (one sequencer with 2 rows of CV and 8 steps)
SINGLE (one sequencer with 16 steps)

There are also these PLAY MODES:
Normal
Reverse
Pendulum
Drunk
Random

Each sequencer features:
Clock input (clock input 1 is normalised to clock input 2)
Clock output
Reset input
Gate/Trigger output
Slew limiter output (unquantized)
V/OCT output (quantized)

Additionally, there are 2 summing outputs:
Gate/Trigger 1+2 (OR output of both G/T)
CV 1+2 (sum of both slew limiters)

Features 2 CV inputs with offset pots. Assignable parameters are mode, start, size, clock divider, key (the position of the sequencer is controlled by CV), transposition and duty cycle.

Dimensions: 26 HP

Current Draw:
85 mA +12V
36 mA -12V

Notes: Dual tidal modulator with max, min & mix outs

FranKinksTides is a 18hp dual Tides (based on the Swirls pcb layout) with the max/min circuit from Kinks and some switches for sync, quadrature, pll and fm operation . It can be a double/complex oscillator, a dual function generator or any combination of oscillator, Lfo and Envelope generator with lots of cv control plus some interesting cross-modulation and sync features.

Some improvements in version 1.2:

-Mix output is now buffered, no signal bleeding on single outs.
-Mix pot controls also the balance of the signals sent to the max/min circuit.
-Uni/bi switch now also determines the signal sent to FM1.
-Clock/sync switch has now a center OFF position, no need of plugging a dummy cable in the Clock1 when using Sheeps firmware to avoid ultra fast sound bank changes.
small improvements for DIY:
-Bigger font size on the pcb.
-Parts renumbered for easy DIY.

Original design by Emilie Gillet
Available assembled and DIY (pcb+panel)
+12v
-12v

Notes: VU meter for eurorack.

BLINKS is a VU meter for eurorack with 24 RGB leds per channel, function is pretty easy, it has 2 inputs, one for each led column (no output).

PATT button changes the led pattern ( 6 patterns to choose ).

SENS button changes the input sensitivity, cycling in 7 steps.

Long pressing the PATT button enters the color scheme selection.

Long pressing SENS button enters the brightness adjustment. Most probably you'll prefer the lowest setting.

The module has a 5v regulator in case you don't have 5v in you eurorack PSU. A jumper in the back select if the led board would be powered by the 5v rail or the internal regulator (which works with the +12v rail)

Up to 3 stereo signals can be connected to a buffered input using the rear headers.

Easy DIY with only a few components, the led board is already assembled.

5v not indispensable
+5v: 30 mA (on lowest brightness)
+12v: 4mA (or ~40mA if 5v rail is not used)

Notes: The QUANTIZER takes four different CV inputs and processes them in a way that the CV values "snap" to the exact values so that oscillators controlled by the outputs of the module play the notes of a selected musical scale. With an encoder one of 16 scales can be selected and is displayed in a text display,

There are 4 independent channels that are quantized to the same selected scale.

As an additional feature, the module provides a trigger signal for each channel on every change on the output CV.

Finally, with a switch the scale selection can be "frozen" so there is no accidental change possible.

There are 4 independent channels that are quantized to the same selected scale.

Module power consumption: 15 mA

Inputs
CV 1 - accept CV for channel 1 of the quantizer
CV 2 - accept CV for channel 2 of the quantizer
CV 3 - accept CV for channel 3 of the quantizer
CV 4 - accept CV for channel 4 of the quantizer
Outputs
CV 1 - Quantized CV from channel 1 of the quantizer
CV 2 - Quantized CV from channel 2 of the quantizer
CV 3 - Quantized CV from channel 3 of the quantizer
CV 4 - Quantized CV from channel 4 of the quantizer
TRIG 1 - Gate signal on change of CV from channel 1 of the quantizer
TRIG 2 - Gate signal on change of CV from channel 2 of the quantizer
TRIG 3 - Gate signal on change of CV from channel 3 of the quantizer
TRIG 4 - Gate signal on change of CV from channel 4 of the quantizer
MULT - unbuffered multiple, unconnected from the module's circuitry
B. CV - CV signal from MIDI
Please note:

The notation of the outputs is slightly different on the panel than indicated here. There are two rows of identical outputs, side by side. For each output-trigger there is an activity LED, indicating a change in quantized CV.

Controls
SCALE Knob - selects the current scale. 16 scales are available, the selected scale will be displayed in the small display to the right of this knob
LOCK Switch - prevents accidental changes of the selected scale when activated
OFFSET Knob - Select from up to 12 notes from the well-tempered scale as base-value, depending on the scale selected. All left would be equivalent to a key of C
Please note:

Scale selection directly takes place when the SCALE Knob is turned, clicking it has no specific effect.

Available SCALES, as indicated on the display, are as follows:

Minor (e.g. equivalent to A-B-C-D-E-F-G in ‘A minor’)
Major (e.g. equivalent to C-D-E-F-G-A-B in ‘C major’)
Dorian (e.g. equivalent to C-D-Eb-F-G-A-Bb in ‘C Dorian mode’)
Phrygian (e.g. equivalent to C-Db-Eb-F-G-Ab-Bb in ‘C Phrygian mode’)
Lydian (e.g. equivalent to C-D-E-F#-G-A-B in ‘C Lydian mode’ )
Mixolyd [Mixolydian] (e.g. equivalent to C-D-E-F-G-A-Bb in ‘C Mixolydian mode’ )
Locrian (e.g. equivalent to C-Db-Eb-F-Gb-Ab-Bb in ‘C Locrian mode’)
Gypsy (e.g. equivalent to C-D-Eb-F#-G-Ab-B in ‘C Hungarian minor scale’ )
Whole (equivalent to C-D-E-F#-G#-A# or B-Db-Eb-F-G-A as ‘Whole tone scales’)
Pent Min [Pentatonic Minor] (e.g. equivalent to C-Eb-F-G-Bb in ‘C Minor pentatonic’)
Pent Maj [Pentatonic Major] (e.g. equivalent to C-D-E-G-A in ‘C Major pentatonic’)
1-3-5 (e.g. equivalent to C-E-G in ‘C’)
1-3-4 (e.g. equivalent to C-E-F in ‘C’)
Fifth (e.g. equivalent to C-G in ‘C’)
Octave (e.g. equivalent to C in ‘C’)
Chromat (The 12 welltempered notes of the chromatic scale)

Notes: The 1U Stereo Mixer is intended for pannable stereo output, but it is also suitable for both DC (Gates, Triggers and Control Voltage) & AC (audio) signals.

Specifications:
Current draw: +12: 13mA, -12: 9.2mA
Depth: 32mm
Width: 24HP
Please note: Synthrotek's 1U products do not fit in Vermona or Intellijel cases.

Notes: Nicely thought out four-voice sample playback module from Parisian innovators Squarp. Load up a microSD card with samples (up to 2600 kits), then trigger and process. Neat.

** Firmware update- February 2024 ***

Thanks to a major rework of the OS, this upgrade includes an overall better sound quality and an improved latency.

Moreover, the effects Freeze and Bitcrusher have been redesigned, and the parameters Start and Sample Length are now exponential to facilitate the fine-editing of your samples.

Supplier's Notes:

Rample waves system

Eurorack 4-voice sample player & audio processor

Versatile sample machine

From percussive drum-machine kits to synth samples, breakbeats to sound FX, backing tracks to hour-long audio music, Rample can play up to 4 .wav files on independent audio outputs :

These samples are stored inside the provided SD card, and organized as kits, from A00 to Z99... allowing up to 2600 banks of 4 voices, with on-the-fly loading! The SD card is preloaded with tons of samples, and we made it very easy to import your own kits.

Thanks to the DC coupled audio outputs, it's also possible to play CV waveforms.

Effects rack

Each voice has its own "rack" of effects, and all audio effects can be enabled at the same time, allowing you to manipulate your samples in real time, from a gentle lowpass to massive destruction!

pitch - a great sounding pitch engine, based on a 6-pole interpolator, which ranges from -1 octave to +1 octave.

bits - two different bitcrushing algorithms, based on sample rate and resolution reduction. It produces distortion and warms the audio signal.

filter - a low resonance filter, DJ-style, cutting off the high frequencies or the low frequencies.

freeze - sample and loop a fraction of the played waveform, creating a glitching effect.

levels - decrease the gain or drive the signal.

It's also possible to edit 'advanced parameters' like the start point, sample length, attack/decay and run mode, and create mute groups without breaking a sweat.

Finally, thanks to the 4 CV inputs, any of the effects (or advanced parameters) can be assigned to create amazing modulations!

Multi-layer sampling

One of the key feature is the ability to "multi-sample" your kits, multiplying Rample's potential. Each voice supports up to 12 samples, can be played randomly or in a controlled fashion. It's a great way to add complexity and variations, to create organic/acoustic sounding drums, or simply to increase the number of samples per kit (up to 48).

As an example, Squarp are providing a multi-layered drum kit, with 12 different recordings of a kick, 12 different recordings of a snare, etc. Sequencing them randomly leads to a more natural drum playing.

Another kind of multi-layered acoustic drum kit is also provided, where each drum is recorded with 12 levels of velocity. Controlling the layer to be played leads to intricate, convoluted drums programming.

Of course, it's very easy to create your own multi-layered kit, and you can use this method to perform multiple synth chords, sound glitches, voices, breakbeats, ...

CV/Gate and Midi interface

Rample is designed to be the perfect rhythmic companion of your eurorack system thanks to its Gate (trig samples) and CV (modulate samples) connectivity.

You can also use it as a standalone midi machine, without using the CV/Gate connectivity: the midi in port allows you to trig & control all samples parameters + effects values at the same time. Each Rample comes with a 'stereo jack to midi DIN' and 'stereo jack to jack' adapters, easing the chaining of multiple modules in order to create an 8-voice, 12-voice, 16-voice (or more) midi drum machine!

SD card preloaded with 200+ kits from artists and sound designers, covering a large range of audio samples

Notes: The Kontact MIC is a lo-fi theme park. It's a Eurorack microphone preamp with a piezo contact mic built into the panel.

The creative applications are endless: finger percussion/rubbing/scratching, guitar input (works surprisingly well with just a little lofi crunch), acoustic sources to CV, etc.

The PCB fibreglass has quite a nice rough texture - rubbing it with a finger or a plectrum creates quite a wide range of sounds. The back of the panel is plated to expand the surface area of the contact mic. The mic will also pick up all the physical sounds in your modular- patching, cables rustling, switches, fingers on knobs - without picking up airborne sounds i.e. the sound your modular is making. At very high sound levels will pick up vibrations from the speaker output and start to feedback.

The module will work with both DIYed contact mics made from inexpensive piezo transducers, off the shelf contact mics (often called Piezo Pickups) made for guitars and violins which you can pick up for ten bucks from Amazon or eBay or more bespoke mics like the popular Jez Riley French models (including hydrophones!) which are firmly aimed at Sound Designers.

It is an easy way to bring environmental noise and feedback into a modular system, inspired by the early days of electroacoustic music in Paris and Cologne, and by the contact microphone and phonograph cartridge experiments of John Cage, Gordon Mumma, Robert Ashley and Nicholas Collins.

Notes: LYRA8-FX is a processor that can give you a significant part of the mysterious LYRA-8 sound thanks to the FX section from the LYRA-8, expanded with CV controls and packed into a Eurorack module.

It contains a double modulated lo-fi delay with cross-feedback and the unique possibility of self-modulation, where the delay output signal modulates its own sample rate. Also, it packs a parallel distortion with CV control of the drive. The distortion is after the delay. It's much more than a delay - you can get a simple reverb, comb filter, chorus and much more cool FXs which are hard to describe.

It has a famous LYRA-8 build quality - no SMD, no twisted plastic shafts.

Pots:
IN volume
Stage 1 delay time
Stage 2 delay time
Stage 1 delay time modulation depth
Stage 2 delay time modulation depth
Delay feedback
Delay feedback CV amount
Delay mix
Distortion drive
Distortion mix
Distortion drive CV amount

Switches:
- Stage 1 delay time modulation source
Stage 2 delay time modulation source

Ins:
Audio in
Delay time CV
Delay feedback CV
Distortion drive CV

Outs:
Main audio out
Delay only out

Dimensions:
Width: 20HP
Depth:40mm

Power consumption:
+12V - 90ma
-12V - 20ma

Notes: The Serge Dual Universal Slope Generator (DSG) is probably the most versatile module of a Serge Modular system, incorporating a wide range of functions for both CV and audio. Some functions for which one Slope Generator can be used: VC Transient Envelope Generator, VC LFO, VC Portamento device, Envelope Follower (Detector), VC Pulse Delay (Monostable), Sub-Harmonic Series Generator (Divider), Audio Oscillator with variable waveform symmetry (saw to triangle), Non-Linear Audio Processor (low-fidelity VCF).

From the catalog: "The Universal Slope Generators are unity gain voltage followers with voltage controllable slopes. The range of control is exponential, extremely wide, and the Rise and Fall times can be controlled independently. The range of the Slope Generator is from sub-sonic to high audio frequency. Trigger inputs and trigger outputs allows each section of this dual module to function as a transient (envelope) generator, pulse delay, or in a "cycling mode" (to produce an LFO or clock). Since the Rise and Fall times are voltage controllable, this adds another dimension to the above functions.

The DSG mk2 version has been optimized for audio performance and speed/precision. The top section covers a frequency range up to more than 10kHz. It also offers improved tracking and some temperature compensation.

Dimensions
26 HP
40 mm deep

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

Notes: Rossum Electro-Music Software Architect Bob Bliss (who also, as it happens, fathered E-mu's famed "EOS" Emulator Operating System) has created Panharmonium, a unique music and sound design tool that analyses the spectral content of any audio signal and uses that analysis to drive a bank of from 1 to 33 oscillators. Depending on various control settings, Panharmonium can accurately reproduce the input spectrum in real time or modify it in a multitude of wildly creative ways. All with an interface whose immediacy encourages performance and interaction.

Panharmonium input can be anything from a single oscillator to an entire mix (including vocals). From dense, swirling pads and drones that evolve with the input's changing spectrum, to clock-syncable spectral arpeggiation, to as-yet unnamed harmonic effects, Panharmonium opens up an entirely new world of sonic possibilities.

Additionally, Panharmonium can take a snapshot of an instantaneous spectrum and use that as a complex harmonic oscillator, which can then be modified and modulated by all of Panharmonium's other controls.

Panharmonium accomplishes its magic though a combination of functional submodules:

Spectral Analyser:

The Spectral Analyser provides tools for defining the analysis process.

- The Slice parameter sets the rate at which the incoming audio is transformed to spectral data. It can be set by the Slice and Multiplier controls, the Tap button, or by an external clock signal. Very short slice times result in real-time spectral data, while longer times can create rhythmic spectral patterns.
- The Centre Freq and Bandwidth controls (and associated CV inputs and attenuverters) control the range of frequencies to be analysed. The Bandwidth control allows the selection of narrow to wide pass bands on the left side of the pot and narrow to wide notches on the right side of the pot. The ability to sweep the frequency and modify the bandwidth under CV control opens up a wide range of sonic effects.
- The Freeze button lets you freeze the spectral integrator, sustaining the currently analysed spectrum.

Spectral Modifiers:

These controls allow you to creatively modify the analysed spectra.

- The Voice parameter lets you select from 1 to 33 oscillators to resynthesise the spectrum.
- The Blur parameter (and associated CV input) is a spectral lag processor that controls how quickly the spectrum can change.
- The Feedback control (and associated CV input) lets you route the re-synthesised audio back into the entire processing chain for subtle or dramatic feedback effects. At its max, the output becomes self-sustaining, even if the input is removed.

Oscillator Bank:

The Oscillator Bank resynthesises the analysed spectra.

- The Waveform parameter selects the oscillators' waveform. In addition to the usual sine, triangle, sawtooth and pulse waveforms, two special crossfading sine and sawtooth waveforms are included.
- The Freq control lets you tune the oscillators over a +/-7 semitone range. The frequency is further controlled by the 1V/Oct input and the FM input and attenuverter.
- The Octave control, not surprisingly, shifts the pitch of the output by octaves.
- The Glide parameter sets the amount of polyphonic glide (i.e., each oscillator has its own glide circuit).
- The Mix control (and associated CV input) sets the balance between the original input audio and the resynthesised audio.

Optional Functions:

A number of optional functions can be selected by using the Output Mode and Tap buttons.

- Holding the Output Mode button and adjusting the Slice control enables Drums Mode, which optimizes the spectral analysis for drums and other percussive inputs.
- Holding the Output Mode button and adjusting the Centre Freq control allows you to instead set the lower frequency of the analysis range.
- Holding the Output Mode button and adjusting the Freq control enables Spectral Warping. In contrast to conventional frequency adjustment, where the harmonic relationships between the spectral elements are preserved, Spectral Warping shifts the harmonic elements individually, producing a variety of clangourous, swarming textures.
- Holding the Tap button and adjusting the Freq control quantizes the resulting frequency adjustments to semitones.

Spectra Memories and Presets:

Panharmonium provides 12 user Spectra memories and 12 user Presets (in addition to 12 each factory memories).

- The Spectra memories let you store up to 12 frozen slices. When selected, a spectrum (up to 33 oscillators wide!) replaces any live input and can have its pitch controlled by the 1V/Oct input and FM controls.
- A Preset is a snapshot of all of the module settings, along with the value of any CVs present at the moment the preset is saved.

Panharmonium is 26HP wide and 25mm deep.
Power requirements (max): 140mA +12V, 30mA -12V. Reverse polarity protected.

Notes: With our MORPHEUS digital filter module, we're finally able to unleash the full power of the 14-pole Z-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

The MORPHEUS Eurorack module includes over 280 filter configurations, what we call Cubes. Each Cube is composed of up to 8 complex filters that you can picture as being at the corners of a three dimensional cube (hence the name). Morpheus gives you the ability to smoothly interpolate between those 8 filters within the cube's three dimensional space.

Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing in one dimension, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.

With the MORPHEUS filter module, you now have simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you've ever heard before. In stereo.