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Notes: Osc 1 and 3 - Bytebeat oscillators

Generates sound based on equations converted to analog signals , there are sixteen equations selected by Up and Down switches. Four LEDs indicate equation number in binary mode. Three Pots modify numbers used by the equation, A0 , A1 and A2 , fourth pot Sample Rate controls pitch and speed of the oscillation. There's an Output Level pot for the oscillator and a dedicated jack for patching the Oscillator sound to external modules .

Hold toggle switches select between fast decay, long decay and hold mode, for the touch trigger input. There are CV inputs for pitch on these two oscillators

Osc 2 and 4 -Wavetable oscillators

Digital oscillators, touch controlled or gate controlled by gate jacks, pitch is controlled by pitch pot, modulation by LFO A or LFO B and cv inputs.

A0 pot selects waveform, A1 pot morphs between two waveforms.

There are individual output jacks.

LFO 1 and 2

Low frequency oscillator routed to MOD inputs for oscillators 2 and 4, also to modulation input for delay section, selectable by toggle switch , RATE and WAVEFORM shape
pots.

Dimensions
36 HP

Current Draw
200 mA +12V

Notes: Very nice old-school vocoder for Eurorack, featuring a built-in mic pre-amp and full 10-band patch bay. Internal VCO and straightforward control setup help simplify operation.

Supplier's Notes:
The VXC-2220 is an 10-band analogue vocoder with patch-bay for each individual filter section. VXC-2220 vocoder is based on the iconic classics 222 vocoder. For stand alone usage the VXC-2220 is equipped with an internal oscillator generating saw and pulse waves form C1 to C6. A simple and efficient vocoder.

Specifications

Microphone input for speech signal
Line input for speech signal
Line input for carrier signal
Input level control for speech and carrier signal
Output level control
Line output
10-Band analyzer outputs
10-Band synthesizer input
Internal VCO (1 semi-nut step size);
* Saw wave (C1 - C6)
* 3x 10% Pulse wave (C1+C2+C3 - C4+C5+C6 )
* White noise
- Synthesis for 's' and 't' sounds
- Feed-trough level control for speech and carrier channel
- Bypass switch
- 10pin power connector (+/-12V)

Dimensions:
(36HP) 128,5×182.5mm (depth: ca. 35mm incl. power connector)

Power Consumption:
+12V = 125mA
-12V = -125mA

Notes: Kraken is a physical modelling snare drum with a wide range of sounds.

With 32 different shell models, nose algorithms and different distortion types as well as a pitch shifter, the snare sound can be customized as desired.

The additional CV inputs (velocity, accent, decay) can be used in conjunction with a sequencer or other modulation sources to create realistic drum patterns. With the optional pitch shifter at the output, reminiscent of old smapler and pitch shifter pedals, the tonal possibilities can be expanded even further.

Features:

Integrated distortion
Digital and analogue noise sources
Pitch shifter
100% digital synthesis, no samples
Great variety of sounds
Two trigger inputs, which produce a realistic "rimshot" sound when used simultaneously

Power consumption: 61mA at +12V and 17mA at -12V

Depth: 38mm

HP : 8

Notes: A typically comprehensive approach to noise sources from Befaco, featuring five different circuits plus two analogue multimode filters and plenty of CV controls for sculpting the output.

Supplier's Notes:
Noise plethora has three different noise generators:

The first two are identical and are composed of digital algorithms followed by a 12dB analog multimode filter.
Each program has two variables (Named X and Y) addressed by two manual controls and two associated control voltage INs.
Ships with an extensive (and expanding) algorithms library: textures, wave clusters, harsh noises, and glitches.

Generator C has three simultaneous outputs:

White. Flat Response Classic white noise.
Gritty. Granulous texture noise, with voltage-controlled grit quantity.
Filtered. Is the White or Gritty noise followed by a 24dB multimode VCF.

A total of 5 different noise sources in one module!

Dimensions:

14 HP
25 mm deep

Current Draw
110 mA +12V
67 mA -12V
0 mA 5V

Notes: Module A-126-2 is a fully analog frequency shifter for audio signals. A frequency shifter is an audio processing unit that shifts each frequency of the incoming audio signal by the same frequency. If the shifting frequency is e.g. 200Hz an incoming audio frequency of 1000 Hz becomes 1200 Hz, 2000Hz becomes 2200 Hz, 3000 Hz becomes 3200 Hz and so on. Pay attention that this is different from pitch shifting where all frequencies are shifted proportional (e.g. 1000>1200Hz, 2000>2400Hz, 3000>3600Hz) !
The frequency range of the internal quadrature VCO is about 8 octaves (about 20Hz ... 5kHz). If required an external quadrature VCO can be used.

The module is equipped with these controls, inputs and outputs:

Frequ. 1: first manual control of the shifting frequency (factory setting: coarse, range about 20Hz - 5 kHz)

Frequ. 2: second manual control of the shifting frequency (factory setting: fine)

by means of internal jumpers the sensitivity of Frequ.1 and 2 can be swapped (i.e. Frequ.1 = fine and Frequ.2 = coarse)

the relation between coarse and fine control is about 25:1 (corresponding to about 8 octaves to 1/3 octave)

FCV In (socket) and FCV (small control without knob): control voltage input with attenuator for the external voltage control of the shifting frequency

Mix: manual control of the up/down shift panning unit, fully CCW = down shift, fully CW = up shift, in between a mixture of down and up

Mix CV In (socket) and Mix CV (small control without knob): control voltage input with attenuator for the mixing unit for external voltage control of the up/down mixing

Audio In (socket), Level (small control without knob) and Overload (LED): audio input with attenuator, typ. audio in level = 1Vpp, the level control has to be adjusted so that the overload LED just begins to light up a bit, when the LED is fully on clipping/distortion occurs, when the LED is permanently off the input level is too low and the signal-to-noise ratio increases

Audio Out (socket): audio output of the frequency shifter

Squelch (small control without knob): controls the squelch function: fully CCW (Env.) the output VCA is controlled by the envelope signal, which is derived from the audio input signal, fully CW (open) the output VCA is permanently open (no squelch function), in between the squelch intensity can be adjusted

Quadrature VCO Outputs (sockets Sin and Cos): outputs of the internal quadrature oscillator, about 12Vpp level (+6V/-6V)

Ext. Inputs Sin and Cos (sockets): required when an external quadrature VCO (e.g. A-143-9 with a wider frequency range or A-110-4 with thru zero feature or A-110-6 with different waveforms) is used instead of the internal quadrature VCO, the levels of the external VCO should be about 10Vpp (8...10Vpp are OK) and the signals have to be symmetrical around zero Volts, the sockets are normalled to the internal quadrature VCO (i.e. the sockets are equipped with switching contacts that interrupt the internal connection as soon as a plug inserted)

VCA ext. CV (socket): used when an external control voltage (e.g. from an envelope generator) should be used to control the output VCA instead of the internal squelch unit, the socket is normalled to the output of the squelch control (i.e. the socket is equipped with a switching contact that interrupts the internal squelch connection as soon as a plug inserted). From about +8V external control voltage the VCA is fully open.

Internal terminals (pin headers, e.g. for a DIY breakout module):

envelope follower output

dome filter output 1

dome filter output 2

ring modulator 1 output

ring modulator 2 output

Up shift output

Down shift output

Notes: 'Vintage' black panel version of Doepfer's updated frequency shifter module, offering weird and wonderful effects by shifting all frequencies by a fixed amount. Unique sound, not to be confused with pitch shifting.

Supplier's Notes:
Module A-126-2 is a fully analog frequency shifter for audio signals. A frequency shifter is an audio processing unit that shifts each frequency of the incoming audio signal by the same frequency. If the shifting frequency is e.g. 200Hz an incoming audio frequency of 1000 Hz becomes 1200 Hz, 2000Hz becomes 2200 Hz, 3000 Hz becomes 3200 Hz and so on. Pay attention that this is different from pitch shifting where all frequencies are shifted proportional (e.g. 1000>1200Hz, 2000>2400Hz, 3000>3600Hz) !
The frequency range of the internal quadrature VCO is about 8 octaves (about 20Hz ... 5kHz). If required an external quadrature VCO can be used.

The module is equipped with these controls, inputs and outputs:

Frequ. 1: first manual control of the shifting frequency (factory setting: coarse, range about 20Hz - 5 kHz)

Frequ. 2: second manual control of the shifting frequency (factory setting: fine)

by means of internal jumpers the sensitivity of Frequ.1 and 2 can be swapped (i.e. Frequ.1 = fine and Frequ.2 = coarse)

the relation between coarse and fine control is about 25:1 (corresponding to about 8 octaves to 1/3 octave)

FCV In (socket) and FCV (small control without knob): control voltage input with attenuator for the external voltage control of the shifting frequency

Mix: manual control of the up/down shift panning unit, fully CCW = down shift, fully CW = up shift, in between a mixture of down and up

Mix CV In (socket) and Mix CV (small control without knob): control voltage input with attenuator for the mixing unit for external voltage control of the up/down mixing

Audio In (socket), Level (small control without knob) and Overload (LED): audio input with attenuator, typ. audio in level = 1Vpp, the level control has to be adjusted so that the overload LED just begins to light up a bit, when the LED is fully on clipping/distortion occurs, when the LED is permanently off the input level is too low and the signal-to-noise ratio increases

Audio Out (socket): audio output of the frequency shifter

Squelch (small control without knob): controls the squelch function: fully CCW (Env.) the output VCA is controlled by the envelope signal, which is derived from the audio input signal, fully CW (open) the output VCA is permanently open (no squelch function), in between the squelch intensity can be adjusted

Quadrature VCO Outputs (sockets Sin and Cos): outputs of the internal quadrature oscillator, about 12Vpp level (+6V/-6V)

Ext. Inputs Sin and Cos (sockets): required when an external quadrature VCO (e.g. A-143-9 with a wider frequency range or A-110-4 with thru zero feature or A-110-6 with different waveforms) is used instead of the internal quadrature VCO, the levels of the external VCO should be about 10Vpp (8...10Vpp are OK) and the signals have to be symmetrical around zero Volts, the sockets are normalled to the internal quadrature VCO (i.e. the sockets are equipped with switching contacts that interrupt the internal connection as soon as a plug inserted)

VCA ext. CV (socket): used when an external control voltage (e.g. from an envelope generator) should be used to control the output VCA instead of the internal squelch unit, the socket is normalled to the output of the squelch control (i.e. the socket is equipped with a switching contact that interrupts the internal squelch connection as soon as a plug inserted). From about +8V external control voltage the VCA is fully open.

Internal terminals (pin headers, e.g. for a DIY breakout module):

envelope follower output

dome filter output 1

dome filter output 2

ring modulator 1 output

ring modulator 2 output

Up shift output

Down shift output

Notes: A fresh take on granular processing with this stereo DSP module. Grain delay, texturising and freezing with plenty of hands-on control and modulation via CV, gates and triggers. Versatile.

Supplier's Notes:
Melotus Versio is a stereo texturizer that uses granular processing to transform and reshape sound.

Designed to be played by hand or manipulated within a patch, Melotus is everything from a grain delay to a completely transformative texturizer with grain control and manipulation of triggering, direction, and randomness.

Filter audio with a lowpass/highpass combo filter that adds haunting shimmers and subharmonics. Freeze grains by hand or with triggers and gates, or clock them to create rhythmic effects.

Plus, Melotus Versio is part of the Versio DSP platform: transform it into a completely different effect by loading a growing number of alternate firmwares, completely free - or develop your own firmware with our open-source documentation.

Notes: From one of the most iconic names in modular synthesis, the Variable Bandwidth Filter is a unique design, combining two state-variable VCFs with extensive CV control for clean, versatile filtering.

Supplier's Notes:
The Serge Variable Bandwidth Filter (VCF2) is probably the rarest classic filter in the Serge system, offering a unique combination of 2 filters. According to the 1983 Serge catalogue, the Variable Bandwidth VCF (VCF2) "has a band-pass output which can be varied manually or with voltage control. This is a standard response synthesizer VCF, typical to filters used in many studio systems. In the VCF2, two state-variable VCF's are connected in series to produce a total of five outputs. High pass, low pass, two fixed bandwidth outputs, and one variable bandwidth output are available. The outputs are all flat-response (no resonance) so the VCF2 is suitable for processing concrete sounds without introducing resonant coloration to the timbres. Under voltage or manual control, cut-off frequency of the high and low-pass outputs are affected, as well as the center frequency of the two band-pass outputs. Both center frequency and bandwidth are independently controllable on the variable bandwidth output."

Now - for the first time, designed and licenced by Serge - the VCF2 is available as a eurorack module. A new switch has been added which determines if the CV-controls are routed to the first (left), second (right) or both filters, bringing even more sonic options than the original.

Some details of the Random Source Serge VCF2 module:

Original Serge design, under licence and in cooperation with Serge Tcherepnin
Uses for High-end VCAs
Eurorack format (3U), 20 hp
Power consumption: 45mA @ +12V, 45mA @ -12V
Module depth: < 30mm (1.2")

Notes: Excellent value from this unique dual analogue oscillator, heavily based around the concept of 3D morphing using touch-sensitive control strips. Deep modulation options and stable TZFM add up to impressively deep sound design.

Supplier's Notes:
Norand unveils Morphos, a morphing dual analogue oscillators packed with creative features.

3D Morphing

Morphos' preset strips are groups of four specially developed FSR sensors that can precisely detect vertical, horizontal and pressure information from the pressure distribution of your finger. 3D morphing allows you to create entirely new soundscapes by morphing between multiple user presets, in three different dimensions. All at the reach of your fingertips, it opens up a whole new world for live jamming!

The Synthesis

The two all-analogue, digitally controlled Oscillators provide very pure harmonics, 4 waveform types on a continuously variable potentiometer and extremely stable TZFM (Through Zero Frequency Modulation). Thanks to its digital brain, an active calibration system allows it to track over 10 octaves, even at high TZFM ratio.

Contextual Modulation

Morphos inherits Norand Mono's Contextual Modulation technology, adapted for the modular world. It is possible to modulate every parameter under CV. The module provides 3 Modulation Modes - Attenuverter, Modulator and Ping Envelope - allowing you to modulate timbre and create drum sounds.

Technical Specifications

Synth Voice Features

Fully analogue signal path 2x analogue oscillators Continuously variable waveform Thru-zero frequency modulation Hard-sync

Modulation Features
Controls: 8x dedicated ping envelopes 8x dedicated modulator
Modulator: 4 waveforms Type settings : Free/Synced/Audio-Rate Audio-Rate anti-aliased, quantized to OSC1 Free from 0.1 to 80 seconds
Envelope: Decay segment from 10us to 20s

Memory Storage: 4 banks 3 layers per bank 4 presets per layer
Outputs
Eurorack level audio outputs: Output level: 10Vpp maximum Output impedance: 1000 Ohm
CV outputs: Voltage range: -5V/+5V 1V/oct resolution : 3 cents of a semitone
Electrical Specification: +12V: 460mA -12V: 90mA +5V: 0mA

Physical Specifications
Width: 28HP
Height: 3U
Depth: 25mm

Warranty: 2-year Norand warranty

Notes: Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions
16 HP
26 mm deep with power ribbon cable connected.

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: This is an exact hardware replica of the Mutable Instruments Blades module.

This model uses the original "hard-to-find" opamps, but After Later have substituted V2164M with AS2164D. All of After Later's products use AS2164D and there should be no measurable change in behaviour.

Notes: Another clever one from Knobula, this chord-based sequencer/arpeggiator adds versatile harmonic options to your creative process. Pair it with the Poly Cinematic module for best results.

Supplier's Notes:
Generate extraordinary chords without using a keyboard.

Chord Pilot introduces a whole new take on the task of chord creation and performance offering 192 chord memories, a strummer, an arpeggiator and an 8 step chord progression sequencer, all in one compact 12hp package.

Knobula have thrown away the music theory rule book and instead offer a module that encourages the curious mind to discover alternative musical pathways, whether for generative patches or for EDM riffs.

To generate a new chord, Chord Pilot uses a series of controls that alter the width and spread of 'fingers' over a virtual keyboard before conforming them into a variety of musical moods from the pure and harmonious to the terrifying and cacaphonic.

Like all Knobula products, Chord Pilot has been designed primarily with performance in mind, to inpsire by experimentation, to lose yourself in the moment, and to occassionaly generate impossibly hard to play super chords.

With the ability to store and transfer chords in sets of eight, Chord Pilot makes a great companion module for Poly Cinematic, but it is equally at home serving any poly synth with a midi input.

Discover Chord Pilot, your guide, navigator and explorer to a whole new universe of musical harmony, and beyond.

Notes: The Precision VCO (PCO) is Serge's legendary oscillator. It combines raw vintage sound with astonishing precison.

The PCO is a versatile, voltage controlled oscillator now offering four high quality waveform outputs (sine, triangle, pulse and sawtooth) and both linear and exponential frequency modulation capabilities . A front panel switch conveniently extends the range of the PCO from the audio range (16 to 16,000 Hz) to a sub-audio range (.1 to 200 Hz) for use as a Low Frequency Oscillator.

EXCELLENT RESPONSE, TRACKING AND STABILITY: Featuring the identical exponential response, exceptional tracking characteristics, and perfect temperature stability as the NTO, the PCO is especially suited for use with the NTO or another PCO as a modulation source for dyanamic depth linear FM.

Two calibrated one volt per octave inputs as well as a variable processing input are provided for complex frequency control. FM depth can be varied with the front panel adjustment. A Sync input is also available for locking the PCO to another oscillator's fundamental, harmonic, or sub-harmonic frequency.

The Serge PCO is the only authorized version of Serge's classic design.

Some details of the Serge PCO eurorack module:

Authentic Serge design
Now with PULSE OUT
Variable oven temperature
Manufactured in Germany
Eurorack (3U) format, 18 hp
Power consumption: 75mA @ +12V, 60mA @ -12V
Skiff-friedly, Module depth: < 30mm

Notes: The Shaped Dual EnvVCA is a two-channel analogue envelope generator with waveshapers and a stereo linear VCA. Unlike conventional analogue envelope modules, the waveform of each envelope can be controlled with a slider or CV without changing the envelope timing. With a wide time range from an hour to 2.5kHz, and a plethora of CV inputs and attenuverters, it can be used as an LFO, audio-rate oscillator, slew limiter, waveshaper, ASR/ADSR/complex EG, independent audio/CV VCA, envelope follower, sidechain processor, and general utility module. Each channel has dedicated linear outputs plus attenuverters and offset controls for the variable waveshape outputs, making it an ideal modulation source and stereo VCA.

100% analogue

Shaped Dual EnvVCA

20HP Eurorack format module
0.95" (24mm) maximum depth (includes power cable)
10-pin Eurorack power header

Power consumption
+12V: 255mA
-12V: 230mA

Audio/VCA
100k input impedance, 1k output impedance, DC-coupled
VCA gain range: -90dB to +2.0dB, linear response to CV from 0V to 5V
VCA unity gain: 4.4V CV
DC to 20kHz, +/-0.1dB

Envelope Times
Minimum rise or fall time: ~200us per segment (2.5kHz max frequency)
Maximum rise time: >20 minutes (typically > 40 minutes)
Maximum fall time: >12 minutes (typically > 20 minutes)

Jacks:
Env jack: Min = -10.2V, Max = +10.1V, maximum amplitude 9.3Vpp
Trigger jack: rising edge threshold = 1.25V
Follow jack: active range = 0V to +5V

EO* jacks:
EOR (channel A): <80mV low to >4.50V high gate output
EOF (channel B): <80mV low to >4.95V high gate output
Minimum stable pulse width: 1ms. Shorter than this may produce extra 50us pulses
Audio In/Out jacks: -10V to +10V maximum range without clipping

Notes: ALM turn their hand to sequencing with the ASQ-1. Multiple modes allow you to sequence up to two CV/gate channels and four trigger outputs.

Supplier's Notes:
The ASQ-1 is a multi mode Eurorack sequencer. It can simultaneously sequence two CV/GATE and four trigger patterns, as well as perform synchronised quantisation of an external CV signal. Programming of all patterns is performed using familiar classic paradigms - SH101 style step-time note entry and classic drum machine pattern editing - with satisfying mechanical computer style keys.

Pattern position, step info, length and clock division settings are communicated via the keys and LEDs. Through simple key combinations, global and performance oriented features such as mutes, transposition and saving / loading patterns are available.

ASQ-1 is designed to be a simple, immediate sequencer ideally suited to quickly jamming out ideas, having happy accidents and performing live. It is intended to be a fun and hands on alternative to the many increasingly complex hardware sequencers out there.

Features
2x step time style CV/Gate sequencers. Think 'SH101' but more turbo.
4x drum machine style pattern sequencers.
1x Clock synced external hi-res CV quantiser.
Intuitive, immediate and fun performance orientated interface with great ASMR.
Internal or external clocking with optional internal division per pattern.
Independent poly rhythmical sequence lengths.
All patterns saveable and persist with state across power cycles.
USB-C port for easy drag and drop FW updates and backing up sequence data.
Skiff friendly with reverse power protection.
Made in England.

Technical Specifications:

Supply: +12V 50mA / -12V 10mA
Size: 32HP
Depth: 32mm
Outs: 0-5V 16 bit CV outputs, 5V Triggers

ASQ-1 pairs well with Pamela's NEW Workout, Squid Salmple and ALM's drum voice modules.

Notes: The XPO or Stereo Prismatic Oscillator music synthesizer module is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.

The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic »

Features:

Stereo Analog VCO with eleven simultaneous outputs (five mono outs and three stereo pairs)
Modulate Timbre via Stereo Pulse-Width Modulation, Stereo Vari-Timbre, and Stereo Wavefolding
Sine, Triangle, Sawtooth, Spike, and SUB mono outs
Unique Mono versions of all Stereo Waveforms via Left output normalizations
Modulate Left and Right channels together or separately thanks to normalization and attenuverters
Center parameter adds additional timbre control to both sides of Vari-Timbre and Wavefolded outputs
Linear FM Bus features voltage-control over FM depth and a normalization of SUB to FM input for easy GROWL
Hard SYNC circuit
Two 1v/oct inputs for transposition, melody stacking, or richest FM
Expo FM input with attenuverter
Designed to pair well with QPAS, Mimeophon, and X-PAN

Specifications:

Width: 18hp
Max Depth
(incl. power cable): 45mm
Power:
145mA @ +12V
135mA @ -12V

Notes: Polydactyl Versio is Noise Engineering's take on a multiband dynamics processor. Polydactyl Versio is equally at home on single-instrument timbral processing and on end-of-chain gloss. Taking inspiration from Noise Engineering's Librae Legio, Polydactyl Versio applies a unique and transparent algorithm across three bands for maximal dynamic impact. Add in a multiband saturation knob and noise gate, throw in a limiter, and you have a processor that gives ultimate control of color and dynamics.

Polydactyl Versio is part of the Versio family: this platform module can be transformed into a completely different effect by loading a growing number of alternate firmwares, completely free! Plus, with open-source support and documentation at LibDaisy, you can write your own firmware. Grab a Polydactyl Versio and process your signal into submission or total rebellion with three separate bands, saturation, limiting, and noise gating.

Size and power:
10 HP
+12v: 125ma
-12v: 10ma
+5v: 0ma

Notes: Unique synth voice based around a digital triangle wave oscillator with percussive element, dual filters, envelope, LFO, spring reverb and touch pads for performance.

Supplier's Notes:
The Quandrantid Swarm module is a versatile and unique synth voice for sound designers and musicians looking to explore exquisite and unfamiliar timbres that range from subtle to outrageous, nebulous to shimmering.

It features a digital synthesizer voice with a percussive element, an analog 2-pole filter, an LFO with eight waveforms, and a spring reverb. The 8 touch keys can be used as a mono keyboard, polyphonic keyboard or an eight step sequencer. The synth interfaces with other instruments via MIDI, and CV/Trig inputs. The semi-modular design allows you to get hands on immediately, but you can and should use patch cables to fully explore the potential of this instrument.

Power consumption: 170mA at +12 V and 70mA at -12 V

HP : 40

Notes: Jomox's legendary analogue kick drum prowess distilled into Eurorack form. Hugely versatile sound with plenty of CV control on the front panel, plus MIDI via DIN sockets hidden round the back.

Supplier's Notes:
The mightiest Bass Drum - MK II

Tune Varies the pitch envelope of the VCO

Pitch Basses as low as 10Hz reach up to 175Hz

Decay Up to 2 sec

Harmonics Enrichment of harmonics of the VCO - for the hardest kick drums on planet earth

Pulse Change of the pure pulse part of the attack - gate time affects this parameter also

Noise Change of the pure noise part of the attack - gate time affects this parameter also

Attack Level of the mixing of Pulse and Attack

EQ Filters the bass drum with a low pass filter - for soft and 808ish kick drums

Gate T Varies the gate time from 0.1ms to 16ms

Compr Compression of decaying envelope - for slim and clicky kicks and all the depth that is needed

MetNze Metalized noise. A complex digital multitone pattern of 499 different combinations feeds the attack noise

CV1-CV4 can route the external 0-5V CV signals to any of the above parameters including LFOs. Also negative amounts are processed.

LIN.FM This is a true analog dedicated CV FM modulation input for the bass drum VCO. It only works linear-wise and does not offer musical semitones across the CV scale.

ACC This is a CV input for the kick drum accent / velocity. This input may also trigger the kick drum dynamically if the ACC trigger mode is set and the sequencer is able to generate dynamic pulses.

LFO The ModBase 09 has 2 LFOs that work on the pitch of the bass drum. The LFO always starts syncronous to the gate trigger.

The wave forms are: saw up, saw down, sine+/-, triangle+/-, rectangle+/- and portions of it.

MIDI The midi controllers of this module are identical to the Alpha Base/XBASE999/MBase11. All parameters including LFOs can be remotely controlled by Midi CCs.

Bus Env Is the programmable level of the audio out signal from the bus on the back mixed to the Kick Drum VCA envelope. Works with experimental Jayemsonic modules.

140 mA +12V
80 mA -12V
0 mA 5V
53 mm deep

Notes: Unique hands-on performance effects module inspired by DJ gear, featuring colour processing, compression, reverb, glitch and much more besides. Great sound and lots of CV options.

Supplier's Notes:
Per4mer is a 14hp eurorack formatted quad performance effects unit. Inspired by time-honored DJ effects processing boxes, Per4mer allows for a hands-on and CV / Gate controlled eurorack effects performance interaction. Whether momentarily engaging or latching FX, Per4mer offers an unrivaled and fun experience.

The basic principle of Per4mer is to feed in an audio input and to trigger on-the-fly effects, bringing DJ style live improvisation to a modular environment. Effects can be triggered simultaneously or individually where an inspiring effect palette combines to generate unique creative beats and melodies.

Per4mer includes 4 performance effects (Delay, Reverb, Glitch, Tape Stop) and 2 processing effects (Color processor & Compressor). Each of the 4 performance effects has its own set of 4 parameters controlled by the 4 knobs or CV inputs. Effects can be used simultaneously or individually allowing for a vast variety of creative effects combinations.

The Color processor allows for engaging any of the 4 coloration presets - Classic (12bit), LoFi (8 Bit), Saturation, and Wax. Combine any one of these color presets with the onboard Compressor and Side-Chain input to instantly transform any audio signal's mood and vibe.

Engaging the Reverb along with the "12-bit classic" color option gives an incredibly lush lo-fi reverb sound while disengaging the color option allows the reverb to remain just as beautifully lush and hi-fi. The potential is nearly limitless.

Per4mer's 'Glitch' effect is inspired by classic beat repeat and looper effects offering 4 controls - Wet/Dry (sound on sound), Loop size, Pitch, and reverse. Conversely, the Tape Stop effect allows for the perfect punctuation of any audio signal.

Width: 14HP
Depth: 25mm
Power: +12V: 50mA, -12V: 0mA

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: The RS-650 Echo / Reverb is a combination of the RS-310 and RS-440 which are based on the same circuit.

It offers both delay (echo) and reverb settings in one module. It is based on a bucket brigade device (BBD) with six parallel delay taps. Those six delay times have no relationship to each other and their outputs have different levels. You have to consider the reverb effect as a mixture of six different short delays what results in a dense sound. The clock frequency which scans the bucket brigade is audible and you'll have to use a low pass filter in order to eliminate or minimize it. In Reverb mode the delay time can be set between 2.5ms and 150ms and in Echo mode it spans from 75ms to 200ms.

All modules by Analogue Systems come ready to use with five years warranty mounted in the by the customer preferred rack or cabinet.

Depth: 65mm
HP : 12

Notes: *** Free software update available as a free download, along with updated documentation, at the Mob of Emus product page on the Rossum Electro-Music website***

A lot to unpack here. Six-channel multipurpose oscillator/noise source/modulation generator with quantisation, trigger generators and even more. Seriously powerful all-round digital goodness.

Supplier's Notes:
Mob of Emus is a powerful music and sound design tool that packs an enormous amount of creative power into an amazingly compact 16HP module.

Mob of Emus gives you six channels of oscillators, noise sources, cyclical and 1-shot modulators (including LFOs, envelopes, and various other shapes), sample and hold waveshapes, slow random modulators, triggers, rhythm patterns, and quantization (of both internal and external signals) in pretty much any combination (well, any combination of six channels, anyway).

In addition to being able to independently program the function of each individual channel, Mob of Emus' Hex Mode provides a macro control layer that allows you to control all of its channels simultaneously (while maintaining the relationships of each channel's independent programming).

What's more, Mob of Emus' "harmonic" control structure makes it extremely easy to combine its oscillators into rich additive timbres, to combine its LFOs into stacked harmonic low frequency modulation waves, and to create modulation sources and triggers with intricate polyrhythmic patterns.

With an external trigger input, six CV inputs that can operate in six different control modes, six independent outputs, and an assignable mix output, Mob of Emus can operate as the heart of an almost unlimited variety of patches. And its 8 real-time controls will give you immediate hands-on access to a channel's (or all six channels') key parameters, inviting (and rewarding) exploration and improvisation.

Mob of Emus features include:

Six channels that can function independently or can be further controlled by a Hex Mode macro layer that lets you control all six simultaneously. Channels can be:
Wide-range digital oscillators
Noise sources
Cyclical and 1-shot modulators (including LFOs, envelopes, and various other shapes)
Sample and hold waveshapes
Slow random modulators
Triggers
Rhythm patterns
Quantizers (of both internal and external(!) signals)
Six CV inputs that can function in six different control modes
Eight real-time controls for immediate access to key channel parameters
Six individual channel outputs and an assignable mix output
The ability to store and recall 12 user presets
And much more.

Mob of Emus is 16HP wide and 25mm deep.

Power requirements (max): 130mA +12V, 25mA -12V. Reverse polarity protected.

As of March 2021, there has been a been a small bug fix to the recent software update for Mob of Emus.

The update fixes a bug where holding the Channel Selector Buttons for a short time to select a single channel and deselect any others was not working correctly.

The update fixes a bug where some Hex Mode parameters were not ignored when Hex Mode was set to off.

The update introduces a feature allowing users to double-click and hold the Hex button to reset all Hex Mode parameters and set Hex Mode to on.

Rossum Electro-Music made a change to the behavior of the LEDS when using the utility 'Display Software Revision'

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: Maestro is a 6 channel clocked modulation controller inspired by the automation lanes found in digital audio workstation software, brought into eurorack and made playable and performable. Maestro will push and pull the parameters of your other modules with rapid or slowly evolving voltages, always in perfect sync with eachother and the rest of your system.

Details:

20hp

25mm deep

65mA on +12, 18mA on -12, 0mA on 5V

Notes: Audiophile Circuits League serve up the premium goodies with this hybrid quad VCA/mixer. Four high-quality exponential VCAs with built-in summing and individual outs.

Supplier's Notes:
The ACL VC AMP MIX is a high quality quad exponential VCA with three summed outputs.

The module allows to create a mix of up to four audio sources to three different sums. Available outputs are the sum of channel 1+3, the sum of channel 2+4 and sum of all channels 1+2+3+4. Of course all 4 individual VCA outputs are available as well. It includes an aux input, which will be added unity gain to the sum of all outputs 1+2+3+4 for cascading purposes.

The module can be combined with ACL- RCVS-4 and/or ACL- FCVS-4 CV Source to form a 4 channel voltage controlled mixer very conveniently.

HP : 12

Notes: Jürgen Haible's legendary redesign of the Tau "The Pipe" Phaser has now (and for the first time ever) been adapted to Eurorack format. The 2021 version is a new, skiff-friedly design. It includes some additions and modifications compared to the original Haible version like Extended CV control: -1V/Oct and an attenuverting CV input.

Some details of the Haible TAU Pipe phaser module:

Faithful adaption of Jürgen Haible's design
Uses crazy caps for sonic performance.
Eurorack (3U) format, 18 hp
Skiff-friendly: < 30mm deep
Power: appr. 45mA @ +12V and 40mA @ -12V

Notes: Proper creative stuff with this one. Lush, characterful stereo reverb with CV control, distortion, pitchshifting, a freeze button and more. Oh, and it's got user-customisable DSP firmware for good measure.

Supplier's Notes:
Desmodus Versio is Noise Engineering's take on a synthetic-tail generator reverb. In only 10hp, it features true stereo in and out, seven CV-controlled parameters, and three reverb modes. Desmodus Versio's feedback control sets the length of reverberation, from short echoes through infinite regenerations.

At its max, the reverb ducks when it receives input, useful for creating sidechain ducking and atmospheres for percussion. The different reverb modes offer even more sound options with clean, distorted, and pitch-shifting shimmer settings. The FSU button acts as a freeze and also creates some noise to stimulate the reverb when there is no external input.

Desmodus Versio isn't just a reverb, though: it's a DSP platform. Its firmware can be changed via USB, so users can load future firmwares onto it or develop their own with upcoming open-source support.

With Desmodus Versio, Noise Engineering continues their tradition of supporting conservation:a portion of proceeds from every Desmodus Versio sold goes to Bat Conservation International. Find out why bats are not only cool but also an important part of our ecosystem at Bat Conservation International's website, batcon.org.

Notes: Brilliantly powerful trigger module, capable of acting as a master clock and a sequencer, generating gate signals and pulses. Good hands-on control options for live performances.

Supplier's Notes:

The Trigger Riot is a multipurpose trigger module that makes ultra complex patterns of gates triggers and clock pulses. The Riot covers a lot of ground in any Eurorack system from the master clocking for your entire system to algorithmic generation of pulses for envelopes, step sequencers, drums and accents that can venture into highly complex territory driven by simple yet powerful logic and algebra with a dash of pseudo randomness for some unpredictable results.

The user interface allows a great deal of control over pulses with each knob acting as a clock divider, clock multiplier, step injector, time shifter, clock shifter, pulse-width modulator, and an arithmetic probability processor. Now take that control and multiply it by 16 and feed it into 8 outputs for maximum Trigger Riot madness!

Furthermore the interface features a master clock knob, push switches to mute unmute and select rows, and multiple switches to configure, adjust, create loops and save your work for later recall from memory banks.

Trigger Riot integrates nicely in the studio with non-volatile memory, generous synchronization options with external gear including sample accurate sync with DAWs, smart synchronization to other Tiptop modules using SyncBus, and DIN Sync for vintage gear. A precise internal tempo clock generator with tap tempo and BeatSync to manage precise changes round out the features.

Notes: This is a complex Gate / CV generator based on probabilities.

Functions:

Knob 1:
%1 = Gate 1 Probability
5TG = Fifth Output Type: Trigger/Gate
N1 = Note 1 Tuning

Knob 2:
%2 = Gate 2 Probability
T.SIZE = Trigger Size
N2 = Note 2 Tuning

Knob 3:
%3 = Gate 3 Probability
DIR = LOCK Mode Direction: Backwards/pendulum/forward
N3 = Note 3 Tuning

Knob 4:
%4 = Gate 4 Probability
S.SIZE = LOCK Mode Sequence Size: up to 16 steps
N4 = Note 4 Tuning

Knob 5:
SWING X = Clock Swing X: 1 to 16
Y = Clock Swing Y: 1 to 16
N5 = Note 5 Tuning

Gate Outputs Behaviour:

At every clock input, based on the four knobs probability settings, the module will select one active gate out, only one of the five gates will be active at all times. All Gate outputs can also behave as a Trigger instead, Trigger size can also be adjusted.

The knobs set the probabilities of each gate to be chosen, here's an example of how this operates

With all first four knobs at 12 o'clock the first Gate has 50% of being the chosen one, the remaining 50% of the times will be passed through the next knobs. So Gate 2 at 12 o'clock has 50% of the remaining 50% left by setting one, which leaves it with 25% chance of being the chosen one, the remaining 25% will be passed through Knob 3 which will have 12.5% chance of being the chosen one, the remaining 12.5% will be sent to Setting 4 which will have a probability of 6.25%. The remaining percentage left by the 4 Settings will always be the probability of Gate 5, in this case the remaining 6.25%.

Here's a couple more examples.

All knobs at 12 0'clock
Setting 1 = 50% chance, 50% left for remaining settings.
Setting 2 = 25% chance, 25% left for remaining settings.
Setting 3 = 12.5% chance, 12.5% left for remaining setting.
Setting 4 = 6.25% chance, 6.25% left for Gate 5.

All knobs at 9 0'clock (aproximate values)
Setting 1 = 20% chance, 80% left for remaining settings.
Setting 2 = 16% chance, 64% left for remaining settings.
Setting 3 = 12.8% chance, 51.2% left for remaining setting.
Setting 4 = 10.24% chance, 40.96% left for Gate 5.

Tuning and CV outputs:

While in the Tuning page you can use all knobs to set the 5 pitches
When in tuning page knobs should be rotated one at a time!
While rotating the knobs the CV out 4 will be used as a monitor, the other 3 CV outs will be behaving normally.
The module detects which pot is being rotated and outputs the relative pitch CV on CV out 4 for all knobs.
While on this page the tuning will be quantized or not relative to the panel Quantize on/off switch. Even if this process is done in quantized mode the module always store the free value in order to allow quantisation to be turned off later.
Once you're happy with the tuning you can exit the page, new values are stores to memory while exiting the page.
When tuning the module detects both the note selected and the relative octave.

CV Outs behaviour
This will be easier to explain with examples

Let's say we tuned these notes:

C0 or 0v
D1 or 1.166v
F2 or 2.466v
G3 or 3.583v
A4 or 4.75v

1. Next Logic out calculated is gate 3.
CV outs 1-2-3 will output a note in octave 2, the note itself is randomised from the 5 tuned notes (C,D,F,G,A).
CV out 4 will output the exact note tuned with knob 3 (F2)

2. Next Logic out calculated is gate 5.
CV outs 1-2-3 will output a note in octave 4, the note itself is randomised from the 5 tuned notes (C,D,F,G,A).
CV out 4 will output the exact note tuned with knob 5 (A4)

Out 1-2-3 is octave related
Out 4 always output the original tuned note

Knobs Pages access:

MENU/TRIGGER button is used to access pages
After power up it gets to first page by default.

Page 1:
MENU/TRIGGER button is off and blinks with clock inputs

Page 2:
Pressing the MENU/TRIGGER button for 3 seconds the Button Led lights up meaning you're in Page 2, changing knobs will affect the secondary function.
Releasing the button jumps to Page 1

Page 3:
Pressing the MENU/TRIGGER button for 3 seconds the Button Led lights up, keeping it pressed without moving any knob for 3 more seconds makes the Button led go off. At this time you can release the button. After that the button will light up meaning you're in page 3, or the tuning page.
Pressing the button one time jumps to Page 1

Soft-Recall and Memory:

Knob positions are stored in memory while in operation to be able to have a soft recall of the settings, so when jumping from page to page you'll need to rotate the knob until you find the last setting and only then they start to operate. Whenever the pot crosses the last setting point the MENU/TRIGGER button will blink indicating that the knob is now active.

Page 2 & 3 have permanent memory so it will always load the last settings after power up.
Page one is volatile and powers up with the initial knobs settings.

Notes: The ADDAC603 VC Triple Bandpass Filter provides three channels of bandpass filters, fantastic for sculpting complex sounds. Each of the channels feature a gain/distortion control with switch to select between x3 or x100 gain, which can cause the input signals to distort, adding another layer of harmonic interest.

The inputs are cascaded together to allow for one source to be filtered three different ways - or each filter can be used independently. The three filters also feature controls for frequency, which sets the cutoff point; width, which sets the width of the band that is being filtered; feedback, which at high settings causes the filter to self-oscillate, and level control, which sets the amplitude of the output. Frequency, bandwidth, and output level each have CV inputs with attenuverters.

A switch sets whether the filter is 24 dB or 12dB per octave. There are individual outputs with phase switch, plus a mix output and dry/wet output with adjustable control for mix balance. This module provides a wide variety of filtering options to add complex tonal shaping to your rack.

Tech Specs:

22HP
3.5 cm deep
250mA +12V
250mA -12V

Notes: This module was developed upon the Tubaz Filter which was released in 2014 by Gotharman but is currently no longer in production. We loved the original module so much that we officially licensed it's circuit and expanded it to feature several new functionalities.

Here's a paragraph from Gotharman regarding the original design:
"I designed it with the purpose of adding crunch, edge and distortion to my eurorack system. It is not an ideal bandpass filter, that cuts off all frequencies above and below the center frequency.
Because of its high drive, there are, in most cases, some bleedthrough of the harmonics, that should have been cut off. You might consider calling it a "Band Add" filter. The main purpose of it, was to add edge, not to be a perfect bandpass filter."

While everything he mentions is still true we believe he was being modest, It's a dirty, gritty, growling and whining monster which promises you some of the most peculiar filter sounds you'll ever hear.
However do not classify it as a "weird" distortion unit just yet because besides this hairy character it can be easily tamed (using lower volume levels) and then, with some care and intention from the user, it will transforrm itself showing it's feline purrrrr and cuddle sweet and caring, or like any good mut, showing up at night all happy, wet and dirty from a full dog's day and will lay down at your feet while wiggling it's tail howling as yawning just happy to be back home.

As such, standard volume principles do not quite apply to these units, the Audio Levels will go up to x2 amplification, Drive will go up to x11 and master outs go up to x2. The combination of these will cover all diferent qualities it can present. Overall sound can be distorted pre-Tube (raising input levels), in Tube (raising drive) or post-Tube (raising Out levels).
Higher Inputs and Drive will always be gritty, lower Inputs and Drive volumes together with higher Output levels will make the overall behaviour more mellow and closer to what a typical filter would behave like.

No standard expectations should be considered when acquiring these units, all of the tubes were built in the 70's and were bought from various sources, we always kept the premise that no tube was a bad tube (unless not really workinng) so due to each specific characteristics no module will sound exactly the same, making each unit particularly unique. This uniqueness will be particularly evident on their resonance/self-oscilating timbre as well as in their own microphonic qualities.

Regarding power and current draw, the module is designed using a low power tube, so it won't starve your eurorack power supply.

Tech Specs:
12HP
3.5cm deep
90mA +12V
60mA -12V

Notes: Very nice little physical modelling voice, serving up to eight notes of polyphony via stereo outputs. Plucked strings, tuned percussion, an excellent prepared piano mode and more.

Supplier notes:
Surface is a multi-timbral physical modeling voice. Its output ranges from plucked strings and marimbas, all the way to FM drums.

Each model features stereo outputs and up to eight unique voices that can be active at a time.

Notes: Tone is a quad, voltage controlled filter with low pass and band pass outputs. Its four channel architecture enables the intuitive patching of shimmering, polyphonic textures. The 24dB slope provides a warm, buttery character. Self oscillation allows each channel to double as a sine wave oscillator with v/oct tracking across four octaves. Cascade OTA topology. A perfect match for the Chord.

Notes: Any signal can be expressed in terms of a few parameters: frequency, phase, amplitude and timbre. It is through modulation of these aspects that synthesists create electronic sound. With Generate 3, it is now possible to create a signal and control all its parameters by through-zero modulation within a single 12 HP wide module.

Everything starts with the exceptionally precise triangle-core voltage controlled oscillator (VCO) at the module’s heart. Through-zero linear frequency modulation (FM) enables rich yet pitch-stable FM sounds, by allowing the oscillator to run backwards into ‘negative frequencies’.

The resultant triangle wave is then processed by the through-zero phase modulator, providing a total phase shift range of 900°. Phase modulation offers an interesting alternative for FM, as it enables deep FM-type tones without actually changing the oscillation frequency.

The timbre of a signal is determined by its harmonic content. This full set of harmonics can be grouped into three main parts: the fundamental, even and odd harmonics. Generate 3’s harmonics generator separates out these three timbral ‘channels’. By adjusting their relative amplitudes, a vast array of different waveforms can be created, including but not limited to the classic sine, saw and square waves.

While the amplitudes can be adjusted manually, each timbral channel supports through-zero amplitude modulation, also known as balanced or ring modulation. When audio-frequency modulation signals are applied, the harmonics become ‘split’, enriching the spectrum.

In addition to all the usual analogue synthesis techniques, the extensive set of modulation options makes Generate 3 especially suited for exploring multiphonic synthesis: a monophonic source creating a complex timbre, much like throat singing, yet by electronic means.

Notes: The RESONANT EQUALIZER (EQ) is a unique ten-band filter designed specifically for electronic sound synthesis and processing. Except for the top and bottom frequency bands, the bands are spaced at an interval of a major seventh. The Resonant Equalizer is designed to produce formant peaks and valleys similar to those in acoustic insstruments.

There are three equalized outputs: the two COMB outputs provide the sums of the two alternate filter bands, while the two top outputs are the (identical) mix of all filter bands. Please note that there is no sharp separation between the bands, moving any frequency knob will have an influence on both COMB outputs. This equalizer is special in that the bands can be set to be resonant: when the knobs are in the middle position, the response at the main EQ Output is flat. When the knobs are positioned between the 9 and 3 o'clock position, up to 12 db of boost or cut is set at the band. If the knob is set beyond the 3 o'clock position, the band will become resonant, simulating the natural resonance of acoustic instrument formant structures. Below the 9 o'clock position, increased band rejection is achieved.

The Random*Source version of the filter is a licensed and authorized adaption of the legendary Serge equalizer for Eurorack. It adds an input mixer with 2 inputs that can be built/used to attenuate or amplify/distort the input signal(s) before they are sent into the EQ and a Feedback section (knob and phase switch) which allows to feed back the output signal or the inverted output signal (depending on the Phase switch). Adding inverted feedback leads to phase cancellation effects - unlike the "normal" feedback, level decreases and the signal thins out.

Notes: Fusion VCO2 is a full analogue sound source with lots of distinct features.

The core of the module is highly stable AS3340-based VCO with three simultaneously available waveforms, transistor-based suboscillator and detune function - two BBD delay lines that make frequency shifter that is mixed back to the principal oscillator in order to emulate two detuned VCOs. Tube crunch - distinct tube overdrive - is added on the top of the mix. Furthermore, Audio input mixes an external audio signal with the principal oscillator which results in crazy sonic experience. Fusion VCO2 is exactly what you need, if you wish to get really low frequencies and have a sound that sets your modular system apart from mass!

Features:
" Full analogue design
" Great tracking over 8 octave range
" Detune function for thickening the sound
" -1 oct transistor based suboscillator
" Tube overdrive circuit
" External audio input
" VCO synchronization
" Simultaneous waveform outputs

Dimensions
14 HP
42 mm deep

Current Draw
228 mA +12V
55 mA -12V

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: The Falistri is a fully analogue multi-purpose movement manager designed to generate and edit voltages to easily accomplish any patch.

The module can be divided into two big parts: in the upper two-thirds of the panel take place two specular function generators, while the lower third is composed of a dual cascaded frequency divider, a linear slew limiter, and a four-quadrant multiplier.

Key features:

Two Function Generators: Envelopes, LFOs, Oscillators
Adjust the Shape Without Changing the Time
Exclusive Shapes per Stage
Trig Buttons: Play Those Envelopes!
Three Play Modes (Voltage-Selectable)
Interacting Functions: Quadrature Mode
All the Outputs, Everywhere
Cascaded Frequency Dividers
Four-Quadrant Multiplier
Linear Slew Limiter

Size 18 HP
Depth 38 mm

Current draw
170 mA @ +12 V
170 mA @ -12 V

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: The SAPEL is a random control voltages source for Eurorack modular systems. It is composed of two main sections, one that generates audio noises, in 4 different versions, and another which includes two specular random clock, random voltages and clock sources.

Noise outputs are colour coded, based on the noise colours, and include:

- Blue (+3dB/oct spectrum)
- White noise (0dB/oct spectrum)
- Pink noise (-3dB/oct spectrum)
- Red noise, a.k.a. Brown or Brownian (-6dB/oct spectrum).

The random voltage and clock section features four uncorrelated random CV generation paths, divided in;

- Fluctuating random voltage;
- Quantized random voltage with 2n stages tuned in semitones referred to 1V/oct scale;
- Quantized random voltage with n+1 stages tuned in octaves referred to 1V/oct scale;
- Non quantized sample & hold.

It is also possible to set a probability distribution with a potentiometer, and apply (or do not apply) the chosen distribution setting to each of the four paths independently.

Furthermore, each of the two random sources section features an independent built-in clock generator, with clock output and random clock output, which can be used in "more than" or "less than" mode. It is possible to use an external clock signal as a clock source, bypassing the built-in one. In addition to that, it is also possible to hand trigger the clock via a manual sample & hold button, which can be also modulated by gate signals.

Notes: Clouds, the granular synthesis module from Mutable Instruments, was discontinued in 2017. Supercell brings back Clouds in a more accessible 34 hp form factor, offering an improved user interface and several additional features:

- Each of the Blend parameters (Feedback, Panning, Mix, and Space) have dedicated knobs with their own CV inputs and inverting attenuators (attenuverters).

- The inputs and outputs now have mute switches, stereo VCAs, and separate VU meters. The knobs act as offset controls when their respective VCA inputs are patched.

- A stereo output gain control has been added, providing an additional +6 dB of gain to compensate for low output levels when using certain parameter combinations.

- The complex process of changing the sampling time and managing presets has been simplified with dedicated switches and status LEDs.

- Extensive modulation options for all parameters including direct patching of external CV, distribution of one CV to all parameters via the AUX input, or an internal smooth random CV that is normalized to any unpatched inputs when AUX is also unpatched. The attenuverters control the modulation depth in all three cases. As of firmware v1.01 the internal modulation rate can be adjusted within a range of 1 to 100 Hz.

- The inputs and outputs now include stereo VCAs and separate VU meters. The knobs act as offset controls when their respective VCA inputs are patched.

- Pitch is now controlled by two separate inputs: the V/Oct input is exponential and the Pitch input is linear. When both inputs are used, their voltages are summed.

- A manual Trig switch (for capturing individual grains) has been added, in addition to the Trig input that was present on Clouds.

All other features of the original Clouds remain intact, including access to the alternate modes. Thanks to Olivier Gillet for making the original Clouds hardware and firmware available under open-source licenses. Third-party firmware such as Parasites (by Matthias Puech) and Beat Repeat (by Julius Kammerl) will be supported in future firmware updates after the initial release of the module.

Notes: Incredibly powerful two-channel filter module capable of much more than just filtering. State-variable digital filters with built-in VCAs designed to overdrive beautifully. Sounds great.

Supplier's notes:
BIONIC LESTER MARK III is a 2-channel 2-pole state-variable digital filter with an unusual amount of good sonic character. The filter mode is continuously variable under manual or CV control, smoothly fading from lowpass to bandpass to highpass to notch to allpass with a single motion. The resonance stops just short of self-oscillation. A digital VCA controls the amplitude and the distortion of the input signal pre-filter. The filters have independent inputs and outputs, and an additional Mix output with balance control. The filter design was initially inspired by the best of late-1990s "virtual analog" filters and has gone far beyond.

The audio input controls have dual behavior. When the control (or CV input) is turned from zero position to the center, it operates as a simple gain control for that input. When turned past the center position towards the maximum, the signal will begin to soft-clip, adding hard clipping as the maximum is approached. This smooth and subtle distortion adds violence to otherwise unremarkable input material, generating additional harmonic content for the filter to process. The digital VCA that controls the gain and distortion functions is aware of the input signal's zero crossing, eliminating "clicking" noises when the gain is modulated.

Each filter section has three CV inputs. The first is a high-speed input hardwired to the filter's cutoff frequency, appropriate for snappy envelopes and slow moving voltages alike. The other two inputs (one with attenuverter control) are freely assignable to any of the filter parameters (cutoff, resonance, mode, gain), storable in a preset. The Mark III preset system stores eight fully programmed panel setups, instantly recalling everything under the harshest demands of performance. The Morph mode allows smooth fading between all of these presets.

Activate Filter B's LINK control for patch-free routing of the filter's control or audio signal. You can achieve dual-peak resonance, cable-free series routing, cascaded 4-pole filtering (with two stages of distortion), and full stereo using only one set of filter controls. The input normalization, LINK settings, and parallel mix output further reduce cable clutter while rapidly patching an elaborate signal flow.

The controls are arranged for maximum tweakability and minimum cable interference, with metal-shaft potentiometers attached to the panel on the large knobs. The Mark III OLED display displays the cutoff frequency in Hertz, resonance amount, and filter type morph. The CV inputs process all input voltages between -10 to +10 volts. Panel size is 15HP.

Notes: This 30HP wide module features twelve fixed frequency, inductor based bandpass filters, set at half octave interval spacing and covering from 125 Hz through to 5.8kHz. It also features low pass and high pass shelf filters, again they are fixed frequency and both are active inductor based circuits. It has a vintage pedigree that harks back to the original and highly sought after 914 Fixed Filter bank from the 1960's Moog 900 series modular synthesiser system, however we have brought this design up to date and made it compact enough to fit into skiff friendly Eurorack cases by using gyrator based active inductors, and have added some other very useful features too - the bands are split alternatively to left and right channels, each having their own individual output, and there is also an inbuilt Voltage Controlled cross-fader that allows panning between the left and right banks, with a mix of all bands available in the central position.

In addition, we have a second cross fader that can mix between the dry incoming signal, or an external signal fed into input 2, and this is cross-faded against the wet MIX Output - this allows Voltage Controlled crossfading from wet to dry signals, or between wet and external signals - and the level of each can be adjusted using the Input 1 and Input 2 level controls.

A further addition is the feedback control, this is similar in design to the resonance control on a regular VCF, but because of the multiple fixed filters topology it is rather different in operation - it would normally be added in small amounts to thicken up the sound, however we have allowed the feedback to traverse to quite extreme settings for howling feedback and even soft clipped self-oscillation, especially for the noise merchants out there...

Using L/C inductor topology bandpass circuits rather than the usual Sallen Key R/C active bandpass filters does give a slightly different sound and this is part of the magic of the original 914 filterbank, as the LC based circuit exhibits less phase shift against frequency that the more common Sallen Key R/C based bandpass filters that are used in many Modular synths.

Many people often wrongly assume that a fixed filter bank is exactly the same as a graphic equaliser - however this is certainly not the case, if all of the controls of a graphic EQ are set to centre then a flat frequency response is expected and the output will sound very similar, or identical to the input - this does not happen with a fixed filter bank, the frequency response rises and falls as it passes between each stage (but to a lesser extent than if the filters are all set to maximum output), so it acts as a soft slope comb filter, and the resulting output sounds very different from the input signal. Also, with all of the individual filters turned to zero there will be no output at all.

Notes: The Tapographic Delay is a complex multi-tap delay in the Eurorack format with a unique interface designed for live performance. It excels at transforming the simplest audio (a drone, a percussive sound) into complex rhythmic structures, meshes of organic textures, lush harmonic mille-feuilles, liquid and resonant effects.

Have you ever got tired of the monotonous repetitions that your standard delay pedal/module produced? Have you ever wished for a more complex rhythmic structure than just decaying repetition? If yes, you have come to the right place: the Tapographic Delay is an advanced effect that lets you handle repetition in a completely novel way. It is to a traditional delay what a full rhythmic sequencer (with pattern recall, velocity control, tactile input) is to a simple clock. With the TD, you interactively define the rhythm that the repetitions will follow: a velocity-sensitive sensor allows you to record, edit, modify, and sequence your own arrangements of delays. In a sense, the TD is the converse of the classic Frippertronics sound-on-sound setup popularized by Robert Fripp in the 70's: you don't play the guitar, you play the tape loop!

The Tapographic Delay is an expressive experimental instrument meant to be played in real-time, rather than a set-and-forget end-of-chain effect. Interact with it! Experiment! Push it to its limits!

Notes: Perfect for adding that final touch to a modular patch, the AJHSynth Finaliser R-EQ module includes seven Mono / Stereo reverb types, along with a four band equaliser and a Sonic Maximiser / Enhancer.

The Reverb, EQ and Maximiser can be used in Mono IN, Mono OUT mode or Mono IN, Stereo OUT modes. The reverb alone can also be used in Stereo IN / Stereo OUT mode too.

The fully analogue four band Equaliser includes three parametric equalisers for Low, Low Mid and High Mid ranges, and the High EQ has switchable shelving of either 2kHz or 5kHz. The Low EQ also includes a shelving mode.

The Maximiser is a fully analogue circuit too, with low and high treatment bands which change the phase and amplitude relationships of the sound to add punch and harmonics and really bring the sound to life in the mix.

The Reverb engine is based on 20 year old DSP technology, harking back to the reverb units which were used extensively on many synth and EDM tracks a couple of decades ago. We have added full control of reverb wet / dry mix, either manually or under CV control.

Notes: Excellent Eurorack sequencer based on random chance and evolving patterns. Dial in a series of notes and build melodies, generate and tweak patterns in real time. Huge depth for studio production or live performance.

Supplier's Notes:
The Melodicer from Vermona is a CV/Gate sequencer with an innovative concept; the melody sequencer offers twelve faders for setting the note probability and two dice-(or random) buttons for generating melody and rhythmic structure.

Notes: Record. Mangle. Destroy.

Nebulae is a granular sampler and DSP platform. Its phase vocoder audio engine provides elastic audio, which can be time stretched, granularized, and mangled to no end. With independent control over pitch and speed, and granular controls such as overlap, window, and density, finding new sonic territory is only a knob turn away. Nebulae can use live audio input, a recorded buffer, or audio files as the source material for its powerful audio manipulations. The live input buffer can record up to five minutes of stereo audio at 48kHz, 24 bit. In addition, up to 75 MB of stereo audio can be loaded simultaneously through the USB port. No naming convention or special formatting necessary; just plug and play.

Nebulae lives a double life as an open source DSP platform with an extensive library of off the shelf alternate instruments. You can turn the module into a lush reverb, spectral delay, or tape-style looper simply by loading a new file onto the flash drive. Do you want to tweak one aspect of an existing instrument, even the default functionality? No problem. No prior coding knowledge is necessary to tweak and refine existing firmware to your liking or start with one of our templates. Alternate firmware files can be written with Pure Data, Csound, SuperCollider, and even bare-bones C programs.

Notes: Studio Electronics' version of the boxy, Blade Runner-sweet and Boomstar-brash dual mode CS80 filter, initially married to the Omega Series Synths, and then tucked-in the 'Stars, now joins the Modstar Collective. They've twisted and turned the SE88 to unflatten the earth, so to speak; the original CS80 fed a HP filter into a LP filter, but with the SE88 your can select MODE 1's HP or BR to feed MODE 2's LP or BP, or patch it to reverse that pleasant path. The audio signal is completely controllable with input and output levels for each filter. Cherish and respect your filter's input gain stages, for a smooth yet often brassy sound - shed your mercy to strike hard for boiling, snarling bite, even to the blackout/cutout point (see Greg St. Regis, Tim Caswell, and Marc St. Regis' SEM filter commentary for a detailed diatribe on this "feature too far"); then and only then, uniquely blend mode settings for the filter family values you revere.

To get things merrily modulating, each filter employs attenuverters for frequency and resonance experimentation and decimation. While the SE88 does not self oscillate (Yamaha's creation didn't either), we did amp up the resonance level for full-throttle squelching. An additional master FM (frequency modulation) attenuverter-controlled level can feed both filters (when hungry enough) simultaneously, and tracking switches allow for individual keyboard response for each of the contrasting and complimentary filter modes.

Potentiometer Potential:
Five attenuverter and eight attenuation pots control the FREQUENCY MODE 1, FM IN, FREQUENCY MODE 2, RESONANCE, M1 FM, RESONANCE, M1 RES CV 1, M2 RES CV, INPUT, M2 FM, OUTPUT, LEVEL (M1 OUT), and LEVEL (M2 OUT).

Switch it Up:
2/3 - 1/3 TRACK (M1), FULL - HALF TRACK (M2), HP - BR, LP - BP.

Patch it Up:
Ten patch points: 1 V/O, FM IN, M1 FM, M2 FM, M1 RES CV, M2 RES CV, M1 IN, M1 OUT,
M2 IN, M2 OUT.

All Controls and Patch Points:
FREQUENCY MODE 1 - Adjusts the frequency, or cutoff of Mode 1.
2/3 - 1/3 TRACK - Toggles tracking options for Mode 1.
FM IN - Adjusts the master frequency modulation input.
FULL - HALF TRACK - Toggles tracking options for Mode 2.
FREQUENCY MODE 2 - Adjusts the frequency, or cutoff of Mode 2.
RESONANCE - Adjusts the resonance of Mode 1's filter.
M1 FM - Adjusts Mode 1's frequency modulation.
RESONANCE - Adjusts the resonance of the Mode 2's filter.
HP / BR - Toggles the High-Pass and Band-Reject option.
M1 RES CV - Adjusts Mode 1's resonance control voltage.
M2 RES CV - Adjusts Mode 2's resonance control voltage.
INPUT - Adjusts the master audio input.
M2 FM - Adjusts Mode 2's frequency modulation.
OUTPUT - Adjust the audio output.
1 V/O - One volt per octave control voltage input.
FM IN - Master frequency modulation input.
M1 FM - Mode 1 frequency modulation input.
M2 FM - Mode 2 frequency modulation input.
M1 RES CV - Mode 1 resonance control voltage input.
M2 RES CV - Mode 2 resonance control voltage input.
M1 IN - Mode 1 input.
LEVEL - Level control for Mode 1.
M1 OUT - Mode 1 output.
M2 IN - Mode 2 input.
LEVEL - Level control for Mode 2.
M2 OUT - Mode 2 output.

- Size: 20hp
- Depth: 39.7mm with ribbon cable attached
- Power Usage: 42mA (+12 / -12)