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Notes: Quantus Ampla is a compact four-channel VCA. But it's not just any VCA: with some unique normalizing, mixing, and CV options, and a bit of NE flair, you can use it for tonnes of stuff. From the top, each channel has two independent modes: Amplify, which gives you normal VCA response, and Attenuate, which makes the VCAs close instead of open in response to positive CV.

The CV inputs are circularly normalled, so you can easily create ducking effects over multiple voices, volume fades, and transitions, all with minimal patching. Plus, the outputs mix down, so it can be two two-channel mixers, a 3-channel mixer plus a VCA, a 4-channel mixer- mix and match to your heart's content. Did we mention it's DC-coupled? Yep, you can use it to process CV signals, too.

You can never have too many VCAs. Your Quantus Ampla is waiting for you.

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: Junction requires a +12V / -12v power supply with a 2x5 pin ribbon cable (included). The red line of the ribbon cable must be aligned with the -12V marking next to the module's power header and on your case's power distribution board. Junction draws 23mA from the +12 rail and 20mA from the -12 rail. Please ensure you have
enough power available before installing.

About Junction

Junction is a compact, 4 channel attenuverter, cascading mixer and multiple designed to fine tune the control voltages in your rack to the perfect range for their destinations. Junction can be used as a source of fixed voltage, offset another voltage, or mix multiple voltages together to create complex and dynamic modulation.

Features

Each channel on Junction has a knob (1) that acts as a manual control for the attenuverter. Center position (12 o clock) is 0V. The first channel input (2) is normalized to +5V when no cable is plugged into it.

A buffered copy of the input signal of the first channel is present on all of the other inputs from from the first (2) to the last (8). This duplication is "cascading" as shown by the arrow graphics on the panel - if a cable is patched into any input, it "breaks" the cascading multiple - all unpatched inputs carry the signal present at the uppermost patched input (or +5V if no inputs are patched). For example, if a signal is patched into the second channel's input (4) the third (6) and fourth (8) channel inputs would carry a copy of the second channel's input instead of the first channel input.

Junction's channels are mixed on the outputs. The output mixer is also "cascading" - when a cable is patched into an output, it carries a mix of it's own output and all unpatched channel outputs above it. For example, if only the last channel output (9) is patched, this output will carry a mix of all of the outputs. Patching the first channel output (3) would remove it from this mix.

Even though Junction's inputs cascade and outputs mix, Junction's output will clip at the Eurorack power rail voltages of +12 and -12V. It is not possible to output a voltage outside of this range, regardless of the signals patched into Junction.

23mA +12 / 20mA -12 4 HP / 25mm
Deep Reverse Power Protection

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

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

Dimensions:
8 HP

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

Notes: Creatively inspiring business from Xaoc as usual. The Erfurt is a digital phase accumulator, digital oscillator, binary counter or clock/audio frequency divider. Versatile stuff.

Supplier's Notes:
Xaoc Devices Erfurt is a digital module that may be used as an 8-output clock and audio frequency divider, a bi-directional binary counter, or a component of the Leibniz binary system, i.e. a programmable digital oscillator.

Erfurt features an 8-bit register which holds its current state: an 8-bit number representing digital values from 0 to 255. The state is available at the front panel via eight binary (5V gate) outputs and reflected by the 8 status LEDs. There are three clock inputs: one incrementing the state at each impulse, one decrementing, and one resetting the state to zero. The state may also be changed manually with two buttons.

When operating alone, the state of Erfurt changes by 1 at each impulse from the clock inputs, so that it counts from 0 to 255 in a cycle (modulo 256). This yields the signal frequency divided by 2, 4, 8, etc. up to 128, available at individual bit outputs. Depending on which clock input is used, the clock patterns correspond to the so called mathematical or musical divisions of the rhythm.

With two different clocks patched to the inputs, the counter alternately increases and decreases its state, and ultimately it counts with a rate proportional to the frequency difference between the clocks. A third clock patched to the Reset input may be used to shorten the sequence thus making the cycle incomplete for even more rhythmic diversity.

When there is a Leibniz data source connected at the back (even as simple as Lipsk), the state increases or decreases in larger steps, depending on the data present at the Leibniz bus (eg. the value programmed by the Lipsk buttons). The counter overflows quicker, and produces more complex patterns.

The state of the counter may be used as a phase input to a digital wave table. Connected to other Leibniz modules, Erfurt may play various roles, eg. it may scan waveshapes in Jena, produce stepped voltages useful for making interesting glissandi with Drezno and any VCO, generate gate patterns animating the spectrum of Odessa harmonic banks, spawn pseudo-chaotic sequences when fed back to Lipsk, etc. Since Erfurt is based on CMOS logic (no CPU!), it can be clocked at very high frequencies (exceeding audio rate), therefore some selection switches are provided for clock pre-scaling.

Dimensions:
6 HP

Current Draw:
25 mA +12V
30 mA -12V
0 mA 5V

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

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

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

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

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

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

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

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

Notes: 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: Module A-149-4 generates four triggered random voltages which meet the criteria choosen by several controls.

Manual controls for the criteria selection:

Octave range (manual control "Oct."): this parameter defines how many octaves are covered by the random voltages (0 ... +5V, with "Oct." control fully CCW only 0V are generated)

Grid (6 illuminated radio buttons): this parameter defines the grid of the random voltages:

Octaves (Oct)

Octaves + Quin (Quint)

Chords

Scale

Semitones

continuous (i.e. stepless)

Minor / Major (2 illuminated radio buttons): this parameter defines in case of chords or scales if they are minor or major. For all other grids this parameter has no meaning

Sixth / Seventh (2 illuminated separate buttons): these parameters defines if the sixth or seventh is added. Valid only if Oct, Quint, Chord or Scale is chosen as grid.

The output voltages follow the 1V/octave standard with exception of the Continuous mode. The voltages in this mode are totally random and do not follow the 1V/oct standard (i.e. not a multiple of 1/12V).
The generation of a new random voltage at the output (CV Out 1...4) is triggered by the corresponding trigger input (Trig. In 1...4). The trigger inputs are normalled top down. The minimum trigger level is +2.5V (up to max. +12V).

Applications:

random polyphonic structures (in combination with the polyphonic modules A-111-4, A-105-4, A-132-8, A-141-4 and e.g. A-157 as trigger source and A-173-1/2 for transposition of the polyphonic structures)

any application that requires several random voltages

Width: 4 HP / 20.0 mm
Depth: 45mm (measured from the rear side of the front panel)

Notes: 1U version of the excellent Golden Master, a surprisingly creative little output module which combines radio-style multi-band compression with brickwall limiting and mid-side stereo processing.

Supplier's Notes:
Golden Master is a multiband processor module in Eurorack format. Inspired from the studio mastering and radio loudness units from the 90's, this tool is a game changer for everyone who performs live with a Eurorack synthesizer.

The whole magic of Eurorack lies in its raw sound and simple analog mixes - processing through the Golden Master brings instant punch and sound pressure, as well as controlling the overall volume.

Features:

instantly improve your raw Eurorack mixes to sound balanced and powerful on stage or wherever you are
96 kHz 16 bit digital audio stereo processing
3-band compressor with intuitive adjustment and brickwall limiter
mid/side stereo field processing
Power consumption: 125mA at +12 V and 12mA at -12 V

Depth: 42mm

HP : 22

Notes: Endorphin.es add to the ranks of clever 1U format modules with this take on their Cockpit four-channel stereo mixer. Simple design including a CV/trig input for sidechain compression/ducking.

Supplier's Notes:
Endorphin.es Cockpit² is a 4-channel stereo mixer with side-chain ducking.

Key facts:

Increased headroom
Improved sound quality
the LEDs are blue/red instead of red/green (Daltonic friendly)
No TRRS jacks anymore
New knobs on the black module version
Power consumption: 37mA at +12 V and 23mA at -12 V

Depth: 41mm

HP : 24

Notes: A full-on digital modular system in a single module. Eight-voice polyphony, audio processing and CV/MIDI functionality, all customisable via the PC/Mac editor. Serious DSP power in 22 hp.

Supplier's Notes:
Integrate the power of EaganMatrix Sound Technology into your Eurorack! The EaganMatrix Module is a full-featured EaganMatrix Sound Engine for Eurorack, and can be controlled by control voltages and/or Midi. This versatile module can act as a sound source, a sound processor, a CV source (via connection to an external Control Voltage Converter), a Midi source, or a customizable combination of all these capabilities.

The EaganMatrix Module provides a truly versatile framework for both studio and live performance. Flexibility is key, due to its audio inputs and outputs, integrated CV inputs, external CV outputs (via Control Voltage Converter), and robust implementation of MPE and MPE+ Midi.

A single EaganMatrix Preset can give completely different sonic results, depending on how it is patched into a particular Eurorack ecosystem. Hundreds of System Presets are included with the EaganMatrix Module. In addition, an external cross-platform (Mac and PC) Haken Editor may be connected to modify and customize the supplied EaganMatrix System Presets, or create completely new presets from scratch.

The EaganMatrix Sound Technology, originally created for the gesturally highly sensitive Continuum, is now available to you in a Eurorack module. The EaganMatrix Module will quickly become a 'goto' component in your modular sound design and sonic composition.

Haken Audio's EaganMatrix Module offers:
Polyphony: Nominal 1, Maximum 8
Direct CV note control is limited to 1 voice at a time, but higher polyphony avoids voice stealing when EaganMatrix presets have long decays, and higher polyphony is often useful for Midi input.
4 Per-note CV Inputs: W, X, Y, Z
Gate (W) - Triggers at 1V, with max range -10V to +10V
Pitch (X) - 1V per octave, with programmable offset for Middle C; useful input voltages are a subpart of -10V to +10V (depends on the programmable offset selected)
Timbre (Y) - Function depends on EaganMatrix preset; voltage range is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
Loudness (Z) - normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
4 Global CV Inputs: i, ii, iii, iv

Functionality depends on EaganMatrix preset; these CV affect all voices (notes from WXYZ and Midi); each global CV is normally 0V to 5V, but -5V to +5V can be useful when combined with a programmable offset
2 Analog Audio Inputs: Left and Right, or Mono
2 Analog Audio Outputs: Left and Right, or Mono Sum
-12dB switch selects between Eurorack Level and Line Level
Midi over USB
Allows bidirectional MPE and MPE+ connection to other devices; allows connection to the Haken Editor for editing and archiving EaganMatrix presets (USB-A cable included with purchase)
Universal 3.5mm Midi In (Type A, Type B, and TS)
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi In included with purchase)
Type B 3.5mm Midi Out
Allows connection to other Midi devices without need of computer or USB (adapter to 5-pin DIN Midi Out included with purchase)
i2c Port for Communication to the Control Voltage Converter
(a switch selects between 3.5mm Midi Out and i2c functionality)
12 Switches, 1 Rotary, and LED Matrix

A menu system allows stand-alone operation without need of computer, and provides monitoring for notes being played and CV input levels
The EaganMatrix is a modular digital synthesizer invented by Edmund Eagan, utilizing a DSP engine designed by Lippold Haken. This is the same EaganMatrix Sound Technology internal to the Continuum Fingerboard, the ContinuuMini, and Expressive E's Osmose keyboard. The EaganMatrix allows the user to finely craft their musical sound by digitally connecting audio and control modules via a patching matrix. The EaganMatrix Module contains a sophisticated digital modular patching world of its own, ready to interact with your other Eurorack modules to make musical results never before possible.

Power and size

The EaganMatrix Module requires +12V, +5V, ground, and -12V from your Eurorack enclosure.

A 16-pin standard Eurorack power cable is included with purchase.

Current requirements: 25mA at +12V and -12V. 300 mA max (190 mA avg) at +5V.

The processing power of the EaganMatrix Module is 2x, same as the ContinuuMini.

The EaganMatrix Module dimensions are 22 HP and 3cm depth.

Notes: Hexmix VCA is a compact six channel VCA with an unique response curve range from logarithmic to linear and to exponential using a pot.

All outputs are routed to output six to act as a mixer, with a normalization of each one to remove each channel from the Mix.

The module can act as six independent VCAs as well as a Mixer for all the inputs (Selectable via a switch).

Every VCA has a response pot for the incoming CV, being full logarithmic at maximum setup and full exponential at minimum setup, having the linear response in the center position.

Level pot of each channel is an attenuator of the signal coming out of each VCA.

Jacks are normalled to 10 volts, so when we have no CV present VCA would be fully open and our Level pot will act as a volume.

Specs:
Current needs: +12V: 50mA, -12V: 50mA
Width: 14 HP
Depth: 35mm (including power connector)
Aluminiun, heat-treated front panel.

Notes: Expander module adds four more assignable CV inputs to Squid Salmple for advanced modulation and sample manipulation. A must for all Squid Salmple owners.

Supplier's Notes:
AXON-1 is a 4HP expander module for the SQUID SALMPLE that provides 4 additional freely assignable CV inputs.

The addition of AXON-1 brings Squid's total number of CV inputs to 7, greatly increasing the possibilities for vast modular sample manipulation.

Each modulation assignment includes digital attenuation and offset and behaves just like Squid's 3 built in CV inputs.

AXON-1 requires firmware 166 or later installed on the Squid Salmple to function!

Notes: Updated expander module for the Moskwa II sequencer. The Ostankino adds additional connectivity to the Moskwa II, allowing CV control of most parameters, plus extra outputs.

Supplier's Notes:
Ostankino II expander adds CV inputs for many Moskwa II functions, as well as a transpose input, clock out and individual gate/bit outputs for each step.

Notes: Performance-focussed crossfader module designed to simplify the process of morphing CV and audio signals. Quad channel design with lots of creative potential.

Supplier's Notes:
Morphader is a performative tool designed to make multichannel CV/Audio crossfade easy and comfortable. Fading from one quad CV/audio scene to another. The core of the module has four CV controlled crossfaders, each with their individual control and a master fader to control them all. The module mixes the four crossfades at its fourth output, thanks to a clever normalization scheme. Each of them can be easily removed from the mix by plugging a cable at its own output.

Main Features:

CV Controlled four channel crossfader.
Attenuators per input.
Normalized voltages to every input, allowing cv levels morphing.
Fader control to crossfade all channels at the same time.
Cv or Audio switch per channel to change resposne curve.
Leds per channel for signal level monitoring.

Notes: T-Wrex is an analogue bitcrusher and decimator!

T-Wrex has two separate sections: STOMP is a bitcrusher and CHOMP is a decimator. You can sweep each effect from imperceptible all the way to rumbly, growling sonic debris. Use each section's voltage-controllable dry/wet circuit to find the perfect balance of harmony and havoc!

At the core of each section is a high-speed, low-leakage analog sample & hold circuit. The bitcrusher's SYNC input is ORed with its internal s&h trigger which steps the output voltage. Mult IN to SYNC to force a static waveform, or use another VCO for the bitcrusher equivalent of hardsync!

The decimator's internal analog VCO controls its sample rate, but you can override it by patching your own signal to the SAMPLE input. Use complex waveforms to flavor your decimation (spicy!), or even use subaudio-rate signals for a traditional helping of sample & hold!

T-Wrex provides an attenuverter on each CV input for your patching convenience. Crank the CHOMP attenuverter fully counterclockwise to make the decimator's internal VCO track its CV at 1V/octave!

Specifications:
Power: +12V / 80mA, -12V / 70mA
Width: 12HP
Depth: 30mm (including power connector)

Includes power cable and Befaco Knurlies M3 mounting screws.

Notes: 2TONE is a dual bass-treble tone control, that is a quite useful companion for the MIXCONSOLE, to shape the overall spectrum of individual signal paths.

Notes: The Five Amp is a throwback to SynthRotek's original 5A Power Supply with some upgrades. It uses a quality 12V power brick for the +12V power regulation instead of a +12V converter. The plus side of doing it this way is that whatever amperage the -12V and +5V rails are not using can be used by the +12V rail, which always draws the most of the three.

Five Amp comes in three different power configurations. It is recommend that you select an option based upon your -12V rail draw. For a rule of thumb, Red (with red LEDs) will power a single row of 84 or 104HP, Green will power two rows of 104HP, and Blue will power three to four rows of 104HP.

Notes: The Mankato Filter is a four-pole lowpass filter with positive and negative outputs at every pole, giving you slopes of 6 dB/oct, 12 dB/oct, 18 dB/oct, and 24 dB/oct simultaneously. The negative slope outputs allow you to use the Mankato as a quadrature sine oscillator with 8 available phases. The Mankato will self-resonate from subaudio to superaudio, and responds to one volt per octave through its unattenuated control inputs. When resonating, the 6dB/oct outputs are slightly hotter than the others and can be driven to lightly saturate at full resonance. The signal inputs are DC coupled, which allows you to use the Mankato as a voltage-controlled slew limiter at very low cutoff frequencies.

Notes: Get glitchy with it.

The 2hp Slice is a compact beat repeat/glitch engine built to add clickless stutters, digital glitches, and more to your patch. With an onboard Triplet button, seamlessly switch between straight beat repeats to offset triplets, perfect for those trap style fills you can't live without. With massive repeat range, and CV/Gate inputs for complex glitch sequencing, Slice is everything you need to get glitchy with it, all in 2HP.

Tech Specs

Width: 2HP
Depth: 45mm
Power Consumption: +12V=83mA, -12V=8mA, +5V=0mA

The 2hp Slice will be available in both Silver aluminium and Black PCB front panels.

The 2hp Slice ships with a 10-16 power cable and 2 Silver M3 mounting screws.

Notes: Xer Dualis is a compact analogue four-channel stereo mixer. Each channel has left and right inputs, a level control, and a mute.

Want to use mono signals? No problem! The left inputs normal to the right ones. On the stereo pair output, XD features a simple meter and a clip indicator to keep your mix clean. Xer Dualis is a compact and performable choice whether you need a submixer for a large system or an easy way to mix all the elements of a portable case together.

Notes: Hue is an audio colour processing effect, in 6HP eurorack format. Hue is comprised of a chain of 5 effects (Drive, Filter, Tape Saturation, LoFi, Compressor). Each effect imparts a particular coloration, tone, distortion, and/or texture to the source audio. With Hue, Drums bang with more intensity & melodies morph into lush LoFi tones.

Hue's goal is to simply colour your sound. The initial concept was born of a debate about the techniques and processes used to make drum machines sound big, bold, and delicious. The sounds that tug at the hearts of boombap, LoFi, and subsequently modbap, enthusiasts are those that have great texture, lush degradation, soft distortion, and big bold strokes of colour. The classic beloved drum machines were often processed with outboard gear, recorded to tape, pressed to vinyl, played in big booming systems, sampled, and resampled and on and on. Ultimately, those are the sounds that become nostalgic and reminiscent of all that we love about classic LoFi boombap production. Hue is Modbap's attempt at bringing that vibe into eurorack with a cute little 6hp package.

The effects chain audio signal path is as follows; Drive, Filter, Tape Saturation, LoFi, Compressor. The panel layout allows for the DJ style filter knob to sit in first position for ease of tweaking. Drive boosts and lightly distorts the signal, while shift+Drive adjusts the Drive tone. The Filter is a low pass filter to the left and a high pass filter to the right. Tape effect is intended to impart cassette tape saturation, while shift+Tape adjusts the intensity. LoFi adjusts bit depth, while shift+LoFi adjusts sample rate. Lastly, the one knob compressor mini pot serves as the final glue in the signal path that brings it all together.CV inputs for Drive, Filter, Tape Saturation, and LoFi opens loads of creative possibilities. Hue is a textural beast when creative modulation is thrown at it.

Hue puts the power to shape and transform your sound at your fingertips. It's great for beefing up drums and equally as magical on melodic content. Hue can be the glue that brings it all together. It also, pairs well with Trinity and Osiris. All in all, Hue exemplifies the tagline "Made for eurorack, dope enough for boombap!"

Tech Specs

Width: 6HP
Depth: 28mm
Power: 50mA +12V, 50mA -12V

Features
5 effects (Drive, Filter, Tape Saturation, LoFi, Compressor.)
4 CV inputs for modulating the effects
Mono in and mono out
6HP

Notes: A full size version of Mutable Instruments Warps. It is functionally identical and will run all firmware that ran on the original.

Width: 10hp
12V: 110mA
-12V: 5mA

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: An 8hp version of the retired Mutable Instruments Grids. It is an identical functional clone, so it will behave in the same was as the full size version, and will run any firmware that runs on the full size version.

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

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

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

Main features:

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

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


The MST Low Pass Filter is a precision analog dual slope output 2 & 4 pole filter. Simultaneous -12 DB and -24 DB outputs with CV control over all parameters. Can be used as a 1V/O sine wave oscillator

Specifications:

Current draw: V+ max 23.5mA, V- max 15.5mA

Width: 6HP Depth: 3.5cm (1.75 in)

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: The Dual EnvVCA is a two-channel analogue linear envelope generator with two fully independent low-noise exponential VCAs. With time ranges from 30 minutes to 8kHz, it can be used as an LFO, slew limiter, ASR/ADSR complex EG, audio-rate oscillator, stereo audio/CV VCA, envelope follower, sidechain processor, and general utility module. The outputs can be attenuated, inverted, and offset without disrupting the VCA, making it a versatile modulation source.

100% analogue

Dual EnvVCA

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

Power consumption
+12V: 156mA
-12V: 131mA

Audio/VCA
100k input impedance, 1k output impedance, DC-coupled
VCA gain range: -90dB to +0.9dB
DC to 20kHz, +/-0.1dB
VCA response to CV: exponential

Envelope Times
Minimum rise or fall time: ~62us per segment (8kHz max frequency)
Maximum rise time: >10 minutes (typically > 13 minutes)
Maximum fall time: >20 minutes (typically > 40 minutes)

Jacks:
Env jack: Min = -10.2V, Max = +10.1V?, maximum amplitude 9.3Vpp
Trigger jack: rising edge threshold = 2.5V
Cycle jack: rising edge threshold = 2.5V
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: This module provides you with four motorised faders (aka flying faders) to be attached to your DROID master. You can attach up to 16 of these units (or any other DROID controllers) to one master, so the maximum number of faders on a DROID is 64. Below each fader is a touch button and an LED.

You can use the faders, the buttons and the LEDs in very flexible ways to control all parameters in your DROID patches, like steps of a sequence, volumes of channels of a digital mixer (controlled via MIDI with the X7), parameters of a large bank of envelopes, CV values that are organized in presets and much more.

The special thing about the motorized faders is that each fader can be assigned several functions or presets. When you switch the function, the fader moves to the exact position that corresponds to the current value. The usual Eurorack "picking up" of potentiometers or faders, where you never know exactly which value is currently set, is now a thing of the past.

Another unique feature is the "haptic feedback". If a fader is used, for example, in a sequencer to select a note from a scale, you can feel each individual note like an artificial notch. The fader intelligently creates these virtual grooves with its motor. This is very useful and very intuitive whenever you use the fader to select one out of several discrete values. Other examples are clock divider settings, the number of a preset, a waveform, a clock offset and much more. Due to the haptic feedback you don't need any display for seeing what you are doing. You can concentrate on making music and play very intuitively.

Another kind of haptic feedback is a kind of "pitch bend wheel", where the fader always pushes back to the center position by itself. Here the motor creates an artifcial spring. When setting analog values such as a volume or a filter cutoff, the fader then runs freely, of course.

Applications

The DROID plus the faders can be used for various applications - and due to the possibility of switching even at the same time! Here are some example:

A multi track performance sequencer
Use a MIDI controllable digital audio interface as mixer
Control a bank of four envelopes with A, D, S, R each with just four faders
Use the faders for CV presets
Use the faders and their haptic feedback for live performing with pitch bends, ratcheting and all other crazy stuff
Power
Motor faders need much energy. Theoretically one single fader can draw up to 800 mA when at full power. That seems to be the main reason why nobody dared in bringing motorised faders into Eurorack so far.

Der Mann Mit Der Maschine have solved that challenge by making use of the fact that the fader need their power always just for a very short time. The M4 unit comes with four big power tanks (called super caps) that are loaded with a low current but provide the full power when the faders need them. That way the maximum current of one M4 unit is limited. With jumpers on the back you can choose between a peak current of 350, 450, 500 or 600 mA.

Dimensions
14 HP
42 mm deep

Current Draw
350 mA +12V

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

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

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

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

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

Dimensions:
10 HP
36 mm deep

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

Notes: Volume 1 pot: regulates the volume for the mini jack input 1.

Volume 2 pot: regulates the volume for the mini jack input 2.

Volume 3 pot: regulates the volume for the mini jack input 3.

Send out the mixer signal before the resonant equalizer, mini jack out, to use with external effect or as mixer dry out.

Return pot: regulate the volume for the mini jack return input, to use with external effect or as a 5- input.

Resomix has one mono mini jack out.

High pass, band pass, low pass switch; selects the filter type.

High, mid, low switch; selects the filter frequency range.

Cutoff pot: regulates the cutoff frequency of the filter, the 0-10v CV input affects the cutoff frequency to obtain the CV in maximum effect keep the cutoff pot to 0.

Resonance pot: regulates the resonance level.

Gain pot: regulates the gain level at the filter input, work as general mixer gain.

Resomix works with a +/-12v 10pin modular connector.

Dimensions

8 HP
38 mm deep

Notes: Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:

QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Depth: 45mm
HP : 12

Notes: Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:
QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

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: Running Order is a two track trigger sequencer. It can be a precise master clock or manipulate incoming clock signal and works great in use as a sub-sequencer/divider in your Eurorack environment.

Zero-jitter clock generation: less than 50 microseconds internal clock jitter
101 style 1/16th note input mode (step/rest) with manual or CV controllable amount of triggers repeats when the active trigger step happens
Euclidean mode enabled for each track where we set Euclidean total steps amount in the circle and then amount of triggers happening in that circle.
Per step trigger probability in 101 mode and global probability in Euclidean mode.
Separate synchronization (reset) inputs, sync for track 1 is normalled to sync track 2
Clock divider for incoming external clock allows to quickly obtain various musical divisions on the fly incl. triplets of course, but more importantly tuplets mode allows you to stretch desired amount of triggers happening into a single bar
Separate mute buttons for each track
8 patterns of triggers sequences stored in the module and recalled on the next power up
Available in 3U / 6HP version

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

Dimensions:
22 HP
26mm deep with power ribbon cable connected

Notes: Running Order is a two track trigger sequencer. It can be a precise master clock or manipulate incoming clock signal and works great in use as a sub-sequencer/divider in your Eurorack environment.

Zero-jitter clock generation: less than 50 microseconds internal clock jitter
101 style 1/16th note input mode (step/rest) with manual or CV controllable amount of triggers repeats when the active trigger step happens
Euclidean mode enabled for each track where we set Euclidean total steps amount in the circle and then amount of triggers happening in that circle.
Per step trigger probability in 101 mode and global probability in Euclidean mode.
Separate synchronization (reset) inputs, sync for track 1 is normalled to sync track 2
Clock divider for incoming external clock allows to quickly obtain various musical divisions on the fly incl. triplets of course, but more importantly tuplets mode allows you to stretch desired amount of triggers happening into a single bar
Separate mute buttons for each track
8 patterns of triggers sequences stored in the module and recalled on the next power up
Available in 3U / 6HP version

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

Dimensions
22 HP
26mm deep with power ribbon cable connected

Notes: The C-1U module is a one-channel module for recording and playing back movements of controller. Those can be recorded with channel's knob. The movements will be output as control voltage. The record time amounts to one minute maximal.

The track can be played once only (one shot) or in loop. The speed of the play back or the output offset is controllable with the pot. There are an additional CV input for CV recordings and a reset input.

The track data remains permanently stored when a 3V battery is used to buffer the RAM. When the module is switched on, the recorded data is available again. The module can be operated unipolar or bipolar (set by jumper on the back).

Note: The C-1U KnobRekorder uses a standard 3v lithium backup battery , type CR2032. The battery is needed to keep recordings and settings stored when the Eurorack case is turned off.

Dimensions: 12 HP
Power consumption: 20mA at +12 V and 9mA at -12 V

Module is a 1U tile.

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: Make quick changes to signal routing manually or with CV control. Any audio or CV signal can be routed via two outputs in series, parallel or reverse series. Quick, clever and easy to use.

Supplier's Notes:
Signal flow is an essential concept in modular synthesis: the path taken by audio or control voltages (CVs) may be long or short, branching or linear, intuitive or highly complex.

While the patch programmability of a modular system is its greatest strength, it can also be a weakness: quick experimentation is often hampered by the need to repatch the synthesiser to change the signal flow.

Pivot 2 offers a unique solution: a compact, fully voltage controlled variable signal router. At the turn of a single knob, any signal can be routed through two external modules in series, parallel or reverse series, as well as any combination in between.

Experiment with patching wavefolders before, after or alongside filters, shuffle multiple delay lines, precisely dial in two-stage audio compression or easily control intricate feedback patches.

Looking beyond the basic signal routing application, Pivot 2 will also function as a complementary pair of counter-acting linear voltage controlled amplifiers (VCAs), a voltage controlled crossfader or a voltage controlled panner.

Analogue voltage controlled send/return router.
Seamless transitions from series, through parallel on to reverse series effect routing.
Also functions as a complementary VCA pair, voltage controlled crossfader or panner.
Impedance-compensated outputs with dual-colour LEDs.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium.

4 HP | +12: 60 mA, -12: 60 mA

Notes: Two Of Cups - include samples in your live set. Two of them at once with a wide variety of CV-able features. Simply load one of 8 (!) banks each containing up to 24 samples for each of the two voices and off you go (unlock this feature with firmware 1.1!). Needless to say you can change the samples under CV and if needed - you can set up the trigger delay for each voice because that boy plays its sample so instantly and sample accurate with the with lightning speed. Breathe life and fresh sounds into your setup with a small footprint (6 HP) you would normally need to carry around a gazillion of gear to reproduce the sonic capabilities. Alternatively, use it the boring way and simply play drum one-shots off it.

2 voice intuitive sample player each containing 24 samples and organized in 8 banks

Zero-latency sample playback - directly from micro SD card

Factory sound-bank by Julia Bondar

On-board envelope generator decay control, pitch control with 1V/Oct input and sample selection control with meta cv input

Arbitrary sample rate: 8, 16 and 24 bit samples with 12 bit output bitrate

Power consumption:

125 mA +12V
20 mA -12V
0 mA 5V

Dimensions:

6 HP
30 mm deep

Notes: Wonderland is an 8×8 active patchbay/matrix mixer/switcher for both audio and control voltages. It features:

8 inputs (1 through to 8), each with micro-attenuators (which can be set with a small screwdriver)
8 buffered inverted outputs (A through to H) which are 180o out of phase with the inputs
8 buffered normal outputs (A through to H) which are in phase with the inputs
A switch matrix of 64 push on/push off switches
Any of the 8 inputs can be patched to any of the 8 outputs simply by pressing the corresponding switches. A patched signal will appear at both normal and inverted outputs simultaneously.

A single input can be patched to a single output. A single input can be patched to multiple outputs. Multiple inputs can be patched to a single output. Multiple inputs can be patched to multiple outputs.

Each input features a micro-attenuator which can be set with a small screwdriver. This space saving feature allows you to reduce the volume of an incoming signal without having to resort to external attenuators. If you add many inputs to one output you will of course cause clipping (which may or may not be desirable!), the micro-attenuators are your on-board way around this. I find it useful to leave the micro-attenuators set to 50% (which is how they come pre-set at delivery). Of course, their size is a little bit of a compromise, but they are a useful feature nonetheless. Wonderland’s sister module Looking Glass includes full size input attenuators as well as LED status indicators.

Product Specifications
12V draw
30mA

5V draw
0mA

-12V draw
31mA

Depth
35mm

Width
18HP

Notes: ADDAC809 is a dynamic CV operated I/O router that allows one source (Audio or CV) to be routed through 2 different chains (of one or more modules) before being sent to an output.
Six routing patterns are allowed:

1. IN > OUT
2. IN > CHAIN A > OUT
3. IN > CHAIN B > OUT
4. IN > CHAIN A > CHAIN B > OUT
5. IN > CHAIN B > CHAIN A > OUT
6. IN > > OUT
A practical example is to have an audio source, a delay and a looper.
And the question: should the delay be placed before or after the looper? Sometimes you may need the delay to be before the looper as you may want to sample the audio with the delay or sample the pure audio source and apply the delay afterwards.
This small utility module solves this issue on the fly without having to repatch anything.

INPUTS & OUTPUTS

TO CHAIN B: Connect to your Chain B input
FROM CHAIN B: Connect to your Chain B output
TO CHAIN A: Connect to your Chain A input
FROM CHAIN A: Connect to your Chain A output
INPUT: Connect to your Input Source
OUTPUT: Connect to your Output Source

ROUTING PATTERNS

There are 2 ways to address the six routing patterns:

Buttons: using the frontpanel push buttons and/or dedicated trigger inputs to latch between 2 states.
BYPASS: Chooses between Pattern 1 and any other pattern
PARALLEL: Chooses between Pattern 6 and any other pattern
ORDER: Chooses the order A before B or B before A
DUAL/SINGLE: Chooses to use a Dual (A>B or B>A) or Single chain (A or B)
CV: The dedicated CV input expects a 0 to +5v input and allows to jump to the precise routing pattern using a specific voltage interval in increments of approx. 0.83V:

Pattern 1: 0v to 0.83v
Pattern 2: 0.83v to 1.66v
Pattern 3: 1.66v to 2.5v
Pattern 4: 2.5v to 3.33V
Pattern 5: 3.33v to 4.16V
Pattern 6: 4.16v to 5V

Tech Specs:

Width: 12 HP
Depth: 55mm
Current: 80mA +12V / 30mA -12V

Notes: Ultra-versatile LFO module with tap tempo, internal/external clock support, 16 different waveforms and a clever Waveform Twist option, allowing a PWM-style effect.

Supplier's Notes:
The MiniMod Tap Tempo VC-LFO is a 12HP wide LFO with a huge range of useful features including Tap Tempo and internal / external clock control.

Sixteen different waveforms are available over two banks and an eight way rotary switch and Bank switch allow easy waveform selection.

The unique Waveform Twist function allows PWM like duty cycle variation to be applied to fifteen of the waveforms.

CV controllable multiply function - with this we can double, treble, quadruple or half the LFO rate, so that we can vary the modulation frequency but still keep it relative to the tempo of the track.

Large modulation range from 0.05Hz (one cycle every 20 seconds) to 50Hz

Random stepped voltages (similar to S&H) and also a very useful random sloped voltage outputs are also available.

Voltage control is implemented for all functions, including waveform selection and exponential control of modulation frequency

Bipolar and Unipolar outputs are available simultaneously and the built in VCA allows easy control of the modulation level of both outputs.

Module Width: 12hp
Module Depth: 26mm (Including power lead)
Current Usage: 35mA Positive, 25mA Negative

Notes: Dual AB Switch

The A/B Switch selects between A and B and the middle position of the switch is a "mute", works with any kind of signal (cv or audio) and is bidirectional.

This is an utility module that was made for switching stereo signals, but other uses are possible:

Select between 2 stereo sources.

Select between 2 stereo destinations.

Bypass control for mono signal processing.

Routing control for a single signal.

Panel is reversible so it can be mounted with the switches on the right or left.

This module does not draw any power.
Size: 8 HP
12 mm deep

Notes: Loop is a high fidelity looper with four unique recording modes and an intuitive user interface. It can capture up to five minutes of audio with reverse, and half-speed playback accessible. Each recording can use one of four modes: Sound on Sound, Dub, Replace, and Infinite (i.e. Frippertronics). Whether you're looking for minimal part layering, or full blown ambient soundscapes, Loop will take your patch for a ride.

High fidelity audio - 24-bit, 48kHz with five minutes of recording time
Four recording modes: Sound on sound, Dub, Replace, and Frippertronics
Intuitive interface
Half speed and reverse playback

Tech Specs:
Width: 2HP
Depth: 42mm