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Notes: A user-friendly take on modulation processing, capable of envelopes, LFOs, envelope followers and processing other signals. Fully analogue, with built-in four-quadrant VCA.

Supplier's Notes:
The Boundary is a multi-purpose modulation and signal control center. It consists of a cycling slew and a four quadrant multiplier (VCA). The cycling slew (which can be used as an envelope or LFO) has individual control over rise and fall, rate and shape, as well as dedicated inputs for trigger, slew (for gates or pitch cv), full wave rectification (for envelope following), and a unique BOUND input which allows for bouncing ball effects and additional modulation of the envelope. The four quadrant multiplier is an OTA design and is usable as a VCA or ring modulator with a soft limiter on the output to tame extreme signals or push into distortion.

LFO and modulation oscillator (from cycles measured in minutes to high audio rate)
Trig input can be used for attack-decay envelope
Slew input can be used with gate signals for attack-release envelope
Slew input can also be used as portamento for v/oct signals
Rectify input has a full wave rectifier to act as a high quality envelope follower
Bound input allows for unique bouncing ball effects and combined AM/FM modulation
Trig input can also be used for voltage controlled frequency division at clock or audio rate
EOR output can be used for gate/trigger delay
Four quadrant VCA allows for ring modulation
Soft limiter on the VCA output allows for taming or distortion of wild signals
All analog design

Dimensions
12 HP
25 mm deep

Current Draw
112 mA +12V
59 mA -12V

Notes: The Boundary is a multi-purpose modulation and signal control center. It consists of a cycling slew and a four quadrant multiplier (VCA). The cycling slew (which can be used as an envelope or LFO) has individual control over rise and fall, rate and shape, as well as dedicated inputs for trigger, slew (for gates or pitch cv), full wave rectification (for envelope following), and a unique BOUND input which allows for bouncing ball effects and additional modulation of the envelope. The four quadrant multiplier is an OTA design and is usable as a VCA or ring modulator with a soft limiter on the output to tame extreme signals or push into distortion.

LFO and modulation oscillator (from cycles measured in minutes to high audio rate)
Trig input can be used for attack-decay envelope
Slew input can be used with gate signals for attack-release envelope
Slew input can also be used as portamento for v/oct signals
Rectify input has a full wave rectifier to act as a high quality envelope follower
Bound input allows for unique bouncing ball effects and combined AM/FM modulation
Trig input can also be used for voltage controlled frequency division at clock or audio rate
EOR output can be used for gate/trigger delay
Four quadrant VCA allows for ring modulation
Soft limiter on the VCA output allows for taming or distortion of wild signals
All analog design

Dimensions
12 HP
25 mm deep

Current Draw
112 mA +12V
59 mA -12V

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


More aggro filth from the troubled minds at Schlappi Engineering. This time it's a distortion/filter module with touch-sensitive metal conductors for hands-on control. Screaming saturation and self-resonance ideal for angry techno. Nasty.

Supplier notes:
The 100 Grit is a touch-controlled distortion unit inspired by the output section of a vintage synthesizer. Sonically it can range from subtle tone shaping to complete sonic obliteration depending on the positions of the knobs and output chosen
.
The 100 Grit consists of a low pass filter, VCA, and distortion section with 8 touch points, voltage control overdrive, resonance, and frequency, along with a plethora of feedback paths allowing it to operate as a hands-on performance instrument with or without any input.

The touchpoints enable touch-controlled resistive patching between the cv points (gain, frequency, and resonance), sensitive points in the distortion circuit, and different distortion outputs for a mix of touch-controlled audio rate modulation and crackle box-like noise freakouts.

The low pass filter is a 24dB self-oscillating transistor ladder type with a jumper selectable resonance compensation scheme allowing more bass and volume at higher resonance settings.

The VCA is an OTA based circuit, which when pushed past 75% will impart a soft distortion characteristic, turning a triangle wave into a sine before being finally driven into a square wave close to max. If the levels are kept lower it is a reasonably clean vintage-style output section.

The distortion circuit is driven by the VCA, allowing for a voltage controlled gain amount and goes from heavy to extreme, especially when the x100 gain switch is engaged or the various self-modulation/feedback paths are utilized. The circuit is loosely based on a headphone amplifier circuit cranked into instability and self-oscillation.

Each Audio and CV input is normalized to a different feedback path, allowing for wild, self-oscillating distortions and extensive tone control with no external CV applied, or full control from external sources.

Notes: The SPIN section is a quadrature sine wave oscillator. The GRIND section compares each phase against the input signal, then subtracts the resulting square waves from the input signal. If the spin section is either damped enough or enough signal is fed into it from the GRIND section then it will stop oscillating and become a state variable filter.

The Angle Grinder tracks volts per octave and can be used as a sine wave oscillator with voltage control over harmonic content available at the GRIND OUT. With no input it's four phase related sine outputs (0, 90, 180, and 27 degrees) remain clean from 0.1Hz to over 20kHz and are suitable for quad panning or XY applications.

With an input signal applied the GRIND out ranges from quadrature pulse width modulation (at LFO rate) to sync-like metallic tones (at audio rate). When GRIND is fed into the SPIN then it becomes a nonlinear feedback network with the faders and corresponding CV inputs providing instinctive control over phase cancellation, oscillation, and distortion. The four phase related outputs will become low pass, band pass, high pass, and inverted band pass filter outputs.

The function of the Angle Grinder depends on both the position of the knobs and the presence of an input signal.

Notes: More aggro filth from the troubled minds at Schlappi Engineering. This time it's a distortion/filter module with touch-sensitive metal conductors for hands-on control. Screaming saturation and self-resonance ideal for angry techno. Nasty.

Supplier notes:
The 100 Grit is a touch-controlled distortion unit inspired by the output section of a vintage synthesizer. Sonically it can range from subtle tone shaping to complete sonic obliteration depending on the positions of the knobs and output chosen
.
The 100 Grit consists of a low pass filter, VCA, and distortion section with 8 touch points, voltage control overdrive, resonance, and frequency, along with a plethora of feedback paths allowing it to operate as a hands-on performance instrument with or without any input.

The touchpoints enable touch-controlled resistive patching between the cv points (gain, frequency, and resonance), sensitive points in the distortion circuit, and different distortion outputs for a mix of touch-controlled audio rate modulation and crackle box-like noise freakouts.

The low pass filter is a 24dB self-oscillating transistor ladder type with a jumper selectable resonance compensation scheme allowing more bass and volume at higher resonance settings.

The VCA is an OTA based circuit, which when pushed past 75% will impart a soft distortion characteristic, turning a triangle wave into a sine before being finally driven into a square wave close to max. If the levels are kept lower it is a reasonably clean vintage-style output section.

The distortion circuit is driven by the VCA, allowing for a voltage controlled gain amount and goes from heavy to extreme, especially when the x100 gain switch is engaged or the various self-modulation/feedback paths are utilized. The circuit is loosely based on a headphone amplifier circuit cranked into instability and self-oscillation.

Each Audio and CV input is normalized to a different feedback path, allowing for wild, self-oscillating distortions and extensive tone control with no external CV applied, or full control from external sources.

Notes: The 100 Grit is a touch-controlled distortion unit inspired by the output section of a vintage synthesizer. Sonically it can range from subtle tone shaping to complete sonic obliteration depending on the positions of the knobs and output chosen
.
The 100 Grit consists of a low pass filter, VCA, and distortion section with 8 touch points, voltage control overdrive, resonance, and frequency, along with a plethora of feedback paths allowing it to operate as a hands-on performance instrument with or without any input.

The touchpoints enable touch-controlled resistive patching between the cv points (gain, frequency, and resonance), sensitive points in the distortion circuit, and different distortion outputs for a mix of touch-controlled audio rate modulation and crackle box-like noise freakouts.

The low pass filter is a 24dB self-oscillating transistor ladder type with a jumper selectable resonance compensation scheme allowing more bass and volume at higher resonance settings.

The VCA is an OTA based circuit, which when pushed past 75% will impart a soft distortion characteristic, turning a triangle wave into a sine before being finally driven into a square wave close to max. If the levels are kept lower it is a reasonably clean vintage-style output section.

The distortion circuit is driven by the VCA, allowing for a voltage controlled gain amount and goes from heavy to extreme, especially when the x100 gain switch is engaged or the various self-modulation/feedback paths are utilized. The circuit is loosely based on a headphone amplifier circuit cranked into instability and self-oscillation.

Each Audio and CV input is normalized to a different feedback path, allowing for wild, self-oscillating distortions and extensive tone control with no external CV applied, or full control from external sources.

Notes: Oscillator, filter and waveshaping distortion in one module. Thick and juicy oscillator, screaming multi-mode filter and savage feedbacking distortion. Loads of potential for filth here.

Supplier's notes:
Angle Grinder is a quadrature sine wave oscillator, filter, and distortion effect.

The SPIN section is a quadrature sine wave oscillator. The GRIND section compares each phase against the input signal, then subtracts the resulting square waves from the input signal. If the spin section is either damped enough or enough signal is fed into it from the GRIND section then it will stop oscillating and become a state variable filter.

The Angle Grinder tracks volts per octave and can be used as a sine wave oscillator with voltage control over harmonic content available at the GRIND OUT. With no input it's four phase related sine outputs (0-, 90-, 180-, and 270-) remain clean from 0.1Hz to over 20kHz and are suitable for quad panning or XY applications.

With an input signal applied the GRIND out ranges from quadrature pulse width modulation (at LFO rate) to sync-like metallic tones (at audio rate). When GRIND is fed into the SPIN then it becomes a nonlinear feedback network with the faders and corresponding CV inputs providing instinctive control over phase cancellation, oscillation, and distortion. The four phase related outputs will become low pass, band pass, high pass, and inverted band pass filter outputs.

The function of the Angle Grinder depends on both the position of the knobs and the presence of an input signal.