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Notes: Discrete VCOs with three Subs, SYNC, Wavefolder, discrete VCA and VCF, Dual analog LFO (one also usable as VCO) into audio rate with Keytracking, huge Mixer section, Ring mod, Glide and Patchfield.

Power consumption: TBA

Rackspace: 36HP

Notes: The Precision Disrupter is a generative Eurorack sequencer that relies on controlled randomization to create melodic & rhythmic patterns with ease and relentless conviction.

The idea

Unlike other generative sequencers in euorack, the Precision Disrupter
offers complete command over the randomization parameters and then immediately empowers you with fine-editing controls for precise, real-time performance punch.

The bottom line

The Precision Disrupter is a melody generating powerhouse. Quickly find the the perfect sequence, breathe in the inspiration, and show them what you are made of.

Width: 40HP
Max Depth: 25mm
200mA @ +12V 5mA @ -12V

Notes: Eurorack version of 1010's superb Bluebox. Vast power in 30 HP, with the ability to mix, record and play back in mono and stereo, hook up to a computer over USB for stereo I/O and run effects, all with CV control.

Supplier's Notes:
The bluebox Eurorack edition is the new Eurorack mixer with effects and multichannel recording/playback based on the award-winning bluebox desktop mixer. With the Eurorack edition's USB-C EXT port, you can send 2 channels of audio to and from your computer. Plus, you can control up to 6 mix settings with the 6 CV inputs. Whether recording your Eurorack jams, using it to play stems as backing tracks, or a combination of both - bluebox Eurorack edition will rock your rack!

Connect your eurorack, sampler, drum machine, and synthesizer outputs to 12 mono, 3.5 mm inputs and map them to 12 mono tracks or 6 stereo tracks - all with independent control for recording and playback. Connect your computer to the USB C port to send and receive two channels of audio.

The bluebox Eurorack edition is the ultimate in compact mixing, effects, recording, and playback for Eurorack. Smack it in your rack and hit the road with a self-contained, electronic music powerhouse!

When you purchase a bluebox Eurorack edition, you will receive:

a bluebox Eurorack edition 30 HP Eurorack module
A microSD card with bluebox firmware and pre-loaded project files
two Eurorack power cables
a bluebox Eurorack edition Quick Start guide
two MIDI Adapters

Technical Specs

Dimensions & Power
30 HP
Module dimensions including knobs: 6" x 5"x 1.6"
Depth behind front panel with ribbon cable: 1.0"
Requires the +5V rail which may not be present
on some older racks.
Uses 500-850mA at +5V (depending
on screen brightness), 320 mA at +12V, and 82mA at -12V
Requires two power connections
Capabilities
12 mono tracks, 6 stereo tracks or something in between
Connect to TRS or USB C MIDI for beat syncing effects
Lots of headroom with support for Eurorack levels up to +/-5V inputs and outputs
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
Durable aluminum faceplate
Stream 2 channels of audio in and out over USB C

Inputs and Outputs
12 mono 3.5 mm TS inputs
2 independently controlled 3.5 mm TS output pairs that can be used as 4 mono outputs
1 stereo 3.5 mm headphone output
6 CV Inputs
1 USB C MIDI Device port
1 TRS MIDI Input
1 TRS MIDI Output
1 USB C Ext jack for streaming audio
3.5" touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons

Notes: Successor to the excellent Metropolis, the Metropolix is a performance-focussed step sequencer with some really neat features, including modulation and sub-sequences in Loopy mode.

Supplier's Notes:
The Intellijel Metropolix is a unique and powerful Eurorack format musical sequencer. With an abundance of hands-on, tactile controls and a wealth of modulation possibilities (both internal and external) you can quickly and easily create infectiously musical sequences that are never boring. Even the simplest riff can be brought to life with seemingly endless options to create variations or real-time manipulations. Equally at home in the studio or a live improvised performance, the Metropolix is sure to become a staple source of fresh ideas and killer riffs in your creative process.

Width: 34HP
Depth: 25mm
Power: 95mA @ +12V 10mA @ -12V

On first blush, it appears to be a simple 8-stage sequencer - but there is far more functionality than first meets the eye:

There are two tracks (TRK 1 and TRK 2) that are variants of the single master pitch/gate sequencer, which is programmed via the PITCH sliders, PULSE COUNT and GATE TYPE switches. Each track interprets the master sequence in a variety of ways - creating complementary sequence variations that enable you to generate counterpoint, polyrhythms, and all manner of sonic movement (both subtle and extreme). Each of these tracks has its own playback ORDER, sequence LENgth, clock DIVision, SWING amount, SLIDE time, and track GATE lengths. Other track-based sequence variables are accessible from the TRACK MENU, and include Pitch Slider inversion; sequence note range; track transposition; and more. In addition, Tracks 1 & 2 both have multiple lanes of per-stage playback parameters, including: GATE override; PITCH override; RATCHet count; PROBability of playback; ACCUMulating transposition, and a dedicated CV lane. Each stage also has a SKIP feature, and a pitch SLIDE option.

8 separate and individual MODulation lanes are accessed via the MOD button. Each MOD lane has 8-stages of modulation values and its own playback ORDER, LENgth, and clock DIVision; and each lane is routable to one of Metropolix' two assignable outputs or to dozens of internal destinations, allowing for some sophisticated and powerful self-modulation.

A trio of AUX inputs allows for external modulation of user-assignable sequencer parameters for even greater variation, while two assignable CTRL knobs give you direct access to the parameters you want to adjust most frequently during a performance. With dedicated Pitch/Gate outputs for both Track 1 and Track 2; two totally user-assignable outputs (A and B); and internal MOD routing, Metropolix features a wealth of patching opportunities.

Metropolix also features a Loopy mode, allowing you to instantly play back short sub-sequences, or even "play" the stage buttons directly (like a 'keyboard').

Metropolix stores up to 64 preset configurations (in 8 banks of 8 presets), and all live settings are stored in EPROM, ensuring that your Metropolix will always power up exactly as you left it - even if you haven't saved them to a preset. By default presets can change all the structural (menu-based) elements of your sequencer without overwriting the front panel controls, but full recall is also available.

The operation of the Metropolix is optimized for live performance and jamming, with quick access to all the most important performance parameters, and the ability to greatly affect your sequences with a single slider or switch.

Notes: Second-generation version of 1010's outstanding Bitbox sampler module, featuring improved processing power, higher-quality touchscreen and new effects.

Supplier's Notes:
Next Generation Sampling Module for Eurorack

The bitbox mk2 is a follow up to 1010's successful bitbox module. Do more with bitbox mk2's more powerful processor and improved touch screen. This module has all of the features of the original bitbox and adds effects and mixing capabilities that take advantage of the faster and more powerful processor.

Sample Playback

Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Sample Recording

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes

Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode - no need to look up CC numbers
Module Features
Use the 3.5" diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

When you purchase a bitbox mk2, you will receive:

a bitbox mk2 Eurorack module
a microSD card with with a bank of demo presets and samples loaded on it
a Eurorack power cable
a bitbox mk2 Quick Start guide
a MIDI Adapter

Technical Specs

Supports 1 and 2 channel WAV files with 16, 24 or 32-bit resolution at any sample rate (48kHz preferred)
26 HP
Module dimensions including knobs: 5.25" x 5"x 1.75"
Depth behind front panel with ribbon cable: 1.25"
+12V: 400mA
-12V: 0mA
5V: 0mA
24-bit ADC and DAC

Inputs and Outputs

Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

Notes: Endlessly customisable digital 'modular system within a modular system'. Includes more than 80 modules, allowing you to create effects, synths, control devices, oscillators, filters and much more.

Supplier's Notes:
What's a Euroboro?

The ZOIA Euroburo is a digital modular system that can be placed in your modular system, a real Russian nesting doll situation. We added a headphone output and a super-slim optional case so the Euroburo can live happily on your desktop or be easily mounted in a Eurorack case. Hence the euro + buro, pronounced "bureau"...get it!?

Create unique signature effects, synthesizers, sequencers and more while using 4 freely assignable CV ins and 4 outs to interface with other CV enabled devices. The additional headphone output and powered 9v case makes the module even more desktop friendly. With over 90 modules from CV utilities to audio effects, oscillators and envelopes to MIDI, the Euroburo can do almost anything to fill the gaps in your setup.

There's no need to worry about getting bogged down with endless menus or a cluttered interface. Creating patches and performing with the ZOIA is a tactile experience. Patching, deleting or moving modules and editing values can all be done quickly using the push-button grid and a flick of the encoder. With the addition of dedicated push buttons for the CV and Audio I/O, patching on the ZOIA has never been faster.

Notes: Based on a new digital hardware platform, the Spectraphon is a powerhouse spectral oscillator, capable of everything from analogue-style dual complex oscillators to FM and much more.

Supplier's Notes:
The Make Noise/Soundhack Spectraphon is a dual Spectral Oscillator coded by Tom Erbe of Soundhack. It uses real-time spectral analysis and resynthesis to create new sounds from those that already exist. It is inspired by classic electronic musical instruments of the past, including spectral processors, additive synthesis, vocoders, and resonators especially the Buchla 296 and Touche, but it takes a physical form more resembling the classic analogue dual complex oscillator in the lineage of the Buchla 259 and the Make Noise DPO.

The Spectraphon is the first module to be built by Make Noise on its new digital hardware platform. This hardware, engineered by Jeff Snyder and Tony Rolando, provides more i/o at higher resolutions, and a lower noise floor than we have ever had access to in a digital module, allowing us to unleash Tom Erbe's DSP code to a previously unattainable degree.

The Spectraphon has two nearly identical sides, A and B, which oscillate in one of two ways: Spectral Amplitude Modulation (SAM), or Spectral Array Oscillation (SAO). In SAM, instead of oscillating at all times like an analogue VCO, sound at the Spectraphon's input is used to modulate the amplitude of a set of harmonics. In SAM the Spectraphon can be sequenced and frequency modulated like any VCO. At any time the current spectrum can be used to create an Array for later use in SAO mode where the Spectraphon oscillates at all times, with the spectrum at the Odd and Even harmonic outputs being drawn from those stored Arrays.

The Slide and Focus controls are mode-dependent: in SAM, they determine how the Spectraphon responds to sound at the input for Spectral AM, while in SAO, they are used to modulate the Array.

In either mode (SAM or SAO), the Partials control works as a combined amplitude and timbre gate for the Odd and Even harmonic output and the FM Bus will create high definition internal frequency modulation from the opposing side of the Spectraphon. The two sides can also interact via the internal FM Bus, the Follow and Sync modes, and by patching them together.

Width: 34hp

Power:
230mA @ +12V
55mA @ -12V

Module Depth (incl power cable): 36mm

Notes: Long-awaited sequencer module from Endorphin.es, offering four tracks (three melody CV/gate, one for drum triggers) with lots of live performance options and MIDI support.

Supplier's Notes:
Ground Control is a 42 hp Eurorack performance sequencer announced at Superbooth 2019.

The sequencer has 4 tracks: three melodic tracks and a drum track consisting of 8 drum triggers and modulation/accent output. There are also dedicated mute buttons for each track, MIDI and USB-MIDI I/O, external CV and a 2-octave piano-style keyboard.

The keyboard serves for playing the melodies as well as entering the menus - in that method the module eliminates tedious menu diving.

Each track can contain 24 patterns, which can be played separately or chained together in any order. All those tracks are organized into 24 projects. The number 24 is associated to the 24 letters of the Latin alphabet.

Ground Control features a very stable internal analog and MIDI clocks preserving low jitter operation, which is crucial for tight sequencing.

The patterns are entered either in 101-style step input or live recording and can be adjusted using the 303-style editor.

The drum sections features a X0X-style sequencer.

Depth: 25 mm (with ribbon cable connected)
HP : 42

Notes: Flame Curves is an analogue moving resonance filter bank. It includes a twelve-channel analogue filterbank and a pattern player which can be programmed with a software editor. You can use a freeware "Curves editor software" (Win/Mac) for setup and user pattern editing. The module needs a clock to run in pattern-mode. It also features a reset input to set the sequence back to the first step. The memory in the module can save up to 99 patterns. The active pattern can be seen on the display and selected thanks to two buttons.

If Curves is in sequencer mode, the Envelope potentiometer controls the AR envelope, the Variation knob adds random velocity and release, and the Fill potentiometer controls the level of all the channels.

In manual mode, when the sequencer is off, you can select different filter-types with the Variation potentiometer: allpass, lowpass, bandpass 1-3 and highpass. Thanks to the Fill knob it is possible to sweep through the twelve filter bands. The Envelope knob smooths the sweep by activating a second band next to the selected filter band. Thus, the change from one band to another is not so abrupt.

It is also possible to play the twelve filters via MIDI like a drum module, thanks to the supplied MIDI to minijack cable. It even reacts to velocity.

The twelve bands are subdivided in odd and even bands, which you can feed or tap out separately thanks to the various inputs and outputs. Try patching the odd outputs on one side and even outputs on the other side and you will get an amazing stereo effect! ALL output features a Dry/Wet and a Level potentiometer.

Additionally, the module features also a direct audio output and direct VCA input of each filter channel. Thus, it is possible to feed gate, triggers or envelopes to the VCA of various filterbands and play them independently.

Furthermore, there are several CV inputs for controlling Envelope, Variation and Fill parameters as well as the pattern number.

Notes: Wow. Oscillators don't come much more special than this. Two contrasting, fully independent VCOs with waveshaping and complex cross-modulations, plus the 'Thru Zero Trinity' of FM, phase and amplitude modulation. Beautiful.

Supplier's Notes:
Thru Zero Complex Oscillator

A new complex oscillator, featuring two independent VCO's. Both voices have a unique signal path and flavour. Complex cross modulations entangle them together, opening up completely new timbral territories.

Features include the Thru Zero trinity; Frequency, Phase and Amplitude modulation.

Each oscillator also has its own Low Pass Filter, which works great to mellow the harsher tones from complex intermodulations.

Each VCO has great tracking and temperature stability, there is no distinction between a carrier and modulator.

The FM bus lets you modulate the index of each individual voice, with linear and exponential inputs for external sources. There are also inputs for Sync in, with both soft and hard sync.

VCO 1

The left VCO signal chain starts with a shape function, that let's you morph between triangle and saw. This waveform is also available as a separate output.

Next is a sinusoidal wavefolder, which changes its response dramaticaly based on shape of the waveform. The circuit is based on a modified version of a design by Barrie Gilbert from 1977, popularized by Open-Music-Labs (used with permission).

This circuit also creates the possibility of Thru Zero Phase Modulation, here the depth is controlled with the third slider. The source is normaled to VCO 2, but external modulation sources can be patched in, and the depth can also be modulated with CV.

Lastly there's a 2-pole Low Pass Filter, before going out the MAIN output. All parameters can be CV controlled, and feature handy attenuators at the inputs.

VCO 2

The first slider is a continuous waveform shaper, that morphs from sine to tri to saw.

This waveform then enters the Thru Zero Amplitude Modulation (Ringmod) section. The slider sets the depth of modulation, with the source normalized to VCO 1. The depth can be CV controlled, and an external source can be patched as well. The result is also available on a separate output, pre wavefolder/filter (VCO 2 sine).

The third slider is a wavefolder, it's based around a novel wavefolding topology, with a unique and more aggressive sound compared to the sinusoidal folder of VCO 1.

The wavefolded signal goes into a 2 pole Low Pass Filter, and out of the MAIN output.

Dimensions
26 HP
27 mm deep

Current Draw
190 mA +12V
190 mA -12V
0 mA 5V

Notes: The NTO is Serge's legendary and most ambitious analog oscillator. It combines raw vintage sound with astonishing precison.

The new NTO by Random*Source has been developed in close cooperation with Serge. It took about 2 years to replace obsolete parts and bring the NTO to SMT with some optimizations (precision references and parts) for stability. It also features a new Pulse Out (square wave) in addition to the classic outputs.
The Serge New Timbral Oscillator (NTO) is the state-of-the-art VCO, featuring exceptional range, superb temperature stability, and accurate tracking. Dynamic depth frequency modulation and voltage control of waveform allow unprecedented control over a wide range of sound qualities.

Features:
Exponential 1V/Octave response
Accurate tracking, temperature stability, wide frequency range
Dynamic depth linear frequency modulation
Now with PULSE OUT
NTO on multilayer pcb with all SMT parts soldered in
PCBs in SMT, manufactured in Germany

Dimensions
18 HP
40 mm deep

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

Notes: A serious trigger sequencer for generating complex, multi-layered rhythms. Eight channels of Euclidean pattern generation meet probability, modulation and CV control for real depth and power.

Supplier's Notes:
Constellation is all about rhythm. It is an 8 channel pattern generator that works by combining multiple dense and sparse patterns to create long, complex and musically interesting trigger and gate rhythms. Constellation takes a "parametric" approach to rhythm - there is no explicit step sequencing on the module, rather the rhythms are defined by euclidean (and more) parameters that build the rhythm mathematically.

Constellation aims to evolve the concept of euclidean rhythms far beyond the useful but repetitive patterns we often think of when we hear the term "euclidean rhythm". This is accomplished by by combining up to 8 individual euclidean patterns of different lengths and density. Each pattern may provide only a small component of the final output, but together create immensely musical and varied rhythmic material over a very long time frame - up to 999 steps! If each of those steps are 1/16 note in length at 120 bpm, that's a full 2 minutes of explicitly defined, yet non repeating rhythmic material.

In addition, Constellation's parametric approach allows any of these parameters to be modulated with CV through one of 8 freely assignable CV inputs. CV modulation introduces further ability for Constellation's rhythmic output to vary over time. Paired with a Maestro or Navigators, hours of interesting morphing rhythms are possible without the need for tons of step programming or the uncontrollable chaos of a purely generative approach.

When writing music, rhythmic interest is often built through the combination of repeating and non repeating elements that work together to anchor the overall feel but also keep the ear free from boredom over the duration of the piece. Constellation provides a unique set of tools to accomplish this goal and achieve rhythms that are intentional, unexpected and exciting to use as the foundation of your compositions.

28hp, 25mm deep
75mA +12, 18mA -12

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

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

Dimensions
42 HP
15 mm deep

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

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

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

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

Panharmonium accomplishes its magic though a combination of functional submodules:

Spectral Analyzer

The Spectral Analyzer provides tools for defining the analysis process.

- The Slice parameter sets the rate at which the incoming audio is transformed to spectral data. It can be set by the Slice and Multiplier controls, the Tap button, or by an external clock signal. Very short slice times result in real-time spectral data, while longer times can create rhythmic spectral patterns.

- The Center Freq and Bandwidth controls (and associated CV inputs and attenuverters) control the range of frequencies to be analysed. The Bandwidth control allows the selection of narrow to wide pass bands on the left side of the pot and narrow to wide notches on the right side of the pot. The ability to sweep the frequency and modify the bandwidth under CV control opens up a wide range of sonic effects.

- The Freeze button lets you freeze the spectral integrator, sustaining the currently analysed spectrum.

Spectral Modifiers

These controls allow you to creatively modify the analysed spectra.

- The Voice parameter lets you select from 1 to 33 oscillators to resynthesize the spectrum.

- The Blur parameter (and associated CV input) is a spectral lag processor that controls how quickly the spectrum can change.

- The Feedback control lets you route the resynthesized audio back into the entire processing chain for subtle or dramatic feedback effects. At its max, the output becomes self-sustaining, even if the input is removed.

Oscillator Bank

The Oscillator Bank resynthesizes the analysed spectra.

- The Waveform parameter selects the oscillators' waveform. In addition to the usual sine, triangle, sawtooth and pulse waveforms, two special crossfading sine and sawtooth waveforms are included.

- The Freq control lets you tune the oscillators over a +/-7 semitone range. The frequency is further controlled by the 1V/Oct input and the FM input and attenuverter.

- The Octave control, not surprisingly, shifts the pitch of the output by octaves.

- The Glide parameter sets the amount of polyphonic glide (i.e., each oscillator has its own glide circuit).

- The Mix control (and associated CV input) sets the balance between the original input audio and the resynthesized audio.

Optional Functions

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

- Holding the Output Mode button and adjusting the Slice control enables Drums Mode, which optimizes the spectral analysis for drums and other percussive inputs.

- Holding the Output Mode button and adjusting the Freq control enables Spectral Warping. In contrast to conventional frequency adjustment, where the harmonic relationships between the spectral elements are preserved, Spectral Warping shifts the harmonic elements individually, producing a variety of clangorous, swarming textures.

- Holding the Tap button and adjusting the Freq control quantizes the resulting frequency adjustments to semitones.

Spectra Memories and Presets

Panharmonium provides 12 user Spectra memories and 12 user Presets.

- The Spectra memories let you store up to 12 frozen slices. When selected, a spectrum (up to 33 oscillators wide!) replaces any live input and can have its pitch controlled by the 1V/Oct input and FM controls.

- A Preset is a snapshot of all of the module settings, along with the value of any CVs present at the moment the preset is saved.

Panharmonium is 26HP wide and 25mm deep.

Power requirements (max): 140mA +12V, 30mA -12V. Reverse polarity protected.

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


USTA is a 4×4 tracks sequencer for voltages and gates with variable stage duration, designed to quickly see and edit multiple voltage relationships in real time.

Variable stage duration means that every single stage duration can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one stage per every clock impulse).

4×4 tracks means that every stage can store and generate up to four separate voltages (two CVs and two gates), and that up to four independent stage sequences can be arranged into as many different tracks.

Its architecture is based on an array of 16 'Stages' which form a 'Pattern'; 16 patterns form a 'Track', and four tracks form a 'Project'. Within each track, each stage can provide two gates and two CVs, and a wide set of options is available to define and modify the value of each output ('Layers') and the way it is played ('Colours').

Every Stage is related to a dedicated stepped encoder for quick and intuitive editing, and all the 16 encoders are arranged in an oval layout with a circular playhead. Every encoder is surrounded by a ring of 16 LEDs and a RGB led, to provide a visual feedback of the current setting of that step basing on the layer you are working on (like raw CV, quantized CV, length, gate...) and the way it should play depending on the RGB colour.

Notes: One of many performance mixers released in 2023, NANO's offering treads its own path with knob recording, allowing you to automate and play back movements. A clever approach which opens up some interesting performance techniques.

Supplier's Notes:
Performance Mixer serves as a central control and mixing hub for your modular system, allowing you to combine and shape multiple audio signals from various sound sources.

But what really makes it stand out is its Knob recording feature. Just hit REC, twist the knob, and let the module record your moves.

4 different areas

MONO

Channels 1 . 2

Volume, Panning and Auxiliary send controls with CV for each function.

Knob recording (REC), CUE bus and MUTE function are operated through the switches.

STEREO

Channels 3 . 4

Same as MONO Channel, but the CV for the AUX function is replaced by the right (R) audio input.

AUXILIAR

2 Mono Sends (X & Y) with pre-fader / post-fader selector for each channel.

2 Stereo Returns with volume adjust.

MASTER

Master volume adjust for the main outputs with vu-meter for checking the signal levels.

Headphone output with volume and cue/mix blending knob.

Knob Recording.

Easily record and loop the movements of AUX, PAN and VOLUME controls on each channel, adding depth and dynamism to your sound.

Just press the REC button and then move the desired knobs to start recording.

MUTE LED

The light on the MUTE button not only shows whether each channel is muted or not, but also gives information about the status of its Knob Recording function.

Specifications

Dimensions 28HP - 142,2×128,5mm
Current 200 mA +12V / 125 mA -12V / 0 mA +5V
Input & Output Signals +/-10V
Impedance Input 10k - Output 10k
Materials PCB and Panel - FR4 1,6mm
Depth 40mm including connectors (Skiff friendly)

Notes: The S1 is a promotional bundle that Tiptop Audio is offering to users, providing a 33% savings to get you started with ART. With these bundles, this incredible voice is included: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by the beloved 4-pole Z2040 filter that has been with TipTop since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

ART QUAD QUANTIZER is a four channel CV to ART Quantizer to play ART oscillators from CV sequencers, LFOs and anything that outputs CV. This is Tiptop's second ART controller option and is designed for those of us playing ART without a computer or MIDI source. The inputs take in positive, negative, bipolar CV voltages. Scales include Major Minor and the five other modes (Dorian, Lydian, etc). The module is simple to set up with a simple menu and one knob with switch for navigation. The 4th channel can be set to generate Chords and polyphonic note streams for ART Polyphonic oscillators.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 38mA / -12V 4mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.

Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop's redesign of the most famous analogue filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colourful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: A serious bargain for anyone putting together a modular system, TipTop bundle three VCOs and the Octopus controller with their mixer, filter, dual envelopes and VCA. Great value.

Supplier's Notes:
The S2 is a promotional bundle that TipTop is offering to users, providing a 33% savings to get you started with ART. With these bundles, TipTop have included an incredible voice: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by TipTop's beloved 4-pole Z2040 filter that has been with them since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing. OCTOPUS is TipTop's first ART controller with more to follow, please select between Octopus or ART V/Oct Quantizer to get started with ART. Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.
Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop#s redesign of the most famous analog filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colorful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: Deckard's Voice is an entry level semi-modular synth from Black Corporation for eurorack systems. Sharing the same paradigm and circuit as it's bigger brother Deckard's Dream, trimmed down for eurorack and supplemented with the flexibility available only in a modular format.

Features:

VCO with pulse, glitch saw and sine outputs
Dedicated LFO for PWM
Noise source
External audio input to a filter
Discrete hipass and lowpass filters with resonance and IL-AL-ADR envelope
LFO with sine, saw, ramp, square, smooth and stepped random output
Output VCA with ADSR envelope and velocity control over volume
ADSR (0-10V) and LFO (-5V/+5V) outputs
Master and line level outputs
32HP size
+12/-12V standard eurorack power
38mm deep

Notes: Updated version of the excellent Bitbox sampler module offers more powerful sound processing and an improved touch screen. Improved effects and mixing with all the same creative power of the original.

Supplier notes:
Bitbox mk2 delivers powerful sampling and mangling for Eurorack. With this module you can add recording, sample playback, clip launching, slicing, granular sounds and musically intelligent looping capabilities to your Eurorack rig. With a 3.5 inch touchscreen, bitbox mk2 makes easy work of selecting, editing, and tweaking your samples. You can stream large samples of up to 4 GB file size straight from the microSD card. Interact with other musical components via CV and MIDI. Tweak your configurations to get them just right, then save them to multiple presets for future reuse. With the new bitbox mk2 hardware, you can now do more with the new more powerful processor.

Sample Playback
Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes
Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
Inputs and Outputs
Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode- no need to look up CC numbers
Module Features
Use the 3.5? diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

Notes: The Multi-Delay Processor is a creatively usable echo effect with eight taps. The module's sound may remind you of classic bucket-brigade devices. - It even generates distinctive pitch effects when altering the delay time. An input mixer gives audio material a crisp, analogue character. Thanks to feedback channels with pitch shifter and reverb processor, shimmering echoes and other atmospheric effects can be achieved. A total of nine envelope followers and 14 audio outputs invite you to do extensive feedback patches and other edgy experiments.

The Multi-Delay Processor isn't just a high-quality echo effect but was designed to be a fundamental ingredient of patches. Its core is a bank of eight digital delays, which are wired in series. Together, the circuits form a multi-tap echo. The volume of each signal repetition as well as the raw material can be adjusted via faders. Furthermore, there are individual audio and envelope follower CV outputs for the dry signal and all taps. An analogue clock is used to control the echo circuits. The delay time can be set manually via a potentiometer plus there are two CV inputs with bipolar attenuators. Altering the delay time parameter during operation leads to pitch effects. At this point at latest, you'll realize the superiority of the serial memory design used by Mark Verbos over average effect chips. Despite its digital core, the Multi-Delay Processor offers charming sound reminiscent of a classic bucket-brigade device. - Only cleaner and more transparent.

A three-channel mixer with dedicated level potentiometers adds analogue character to signals before they are fed to the delay circuits. Without patch cables plucked into the second and / or third input, you can use these channels as feedback paths with additional effects. In detail, a pitch shifter calibrated to +1 octave (channel 2) and a reverb (channel 3) are available. - A perfect setup for creating shimmering echoes and other atmospheric effects. High feedback values make the module self-oscillate. In contrast to the multi-tap delay, which consists of individual components, an FV-1 chip is used for pitch shifting and reverberation. This processor is well-known, as it is the main component of multi-effects modules like the Erica Black Hole DSP and numerous guitar pedals. Here, the FV-1 is "just" a creative addition to the main effect.

In addition to the manual mix output, which emits the mixture of raw and effect material dialled in via the faders, there are four other audio outs. Two of these connectors provide signals derived from summing up all even respectively odd taps. The other sockets emit preset mixes with increasing or decreasing level. - Very cool for quickly creating special effects.

Notes: Warp is a novel synth engine that combines the best of additive and wavetable synthesis.

In the center of Warp's control panel is a colorful XY LED matrix that represents the sound space from which Warp draws its sounds. This XY sound space consists of 32x16 frequency spectra. Each of Warp's four voices can move freely and independently across the XY space. It always uses the surrounding frequency spectra to calculate a wavetable based on 512 sine waves in real time using additive synthesis. By changing the position, wicked wavetable sounds are possible, playable with four voices and eight oscillators and navigable in two directions. An intuitive integrated editor allows playful modeling of your own frequency spectra.
With Warp's SPEC effects the frequency spectrum can be filtered and deformed in realtime before a wavetable is calculated. The wavetable can then be modified with WARP effects like wavefolder, PWM bend, overdrive and redux. The resulting wavetable serves as source for two oscillators per voice, which can be detuned and also synchronized to each other. Each voice is followed by a 12/24dB/octave high pass and low pass filter.

Warp offers an integrated editor, with which you can playfully draw and modify your own frequency spectra. The XY-Sound Space is seen as a canvas on which you can draw your own frequency peaks. Several drawing algorithms are available as tools to edit single or a group of harmonics in a musically meaningful way. There is also the possibility to derive frequency spectra from audio samples from the SD card or to put whole wavetable audio files into the XY sound space. Likewise, the XY sound space can be exported to the SD card as a wavetable audio file of any length and bit depth, so Warp can also be used as an intuitive wavetable generator for other synthesizers.

Also on board are two internal ADSR envelopes and two LFOs, which can be routed to a variety of internal destinations using a modulation matrix. To keep the overview, all modulations are color-coded and are additionally visualized by pulsating LEDs in the modulation matrix view.

Navigation through the menu is as intuitive as with our QUASAR module and is simply done via a push-encoder and a back button. The display always shows which function the four surrounding aluminum encoders currently have, and colored LEDs next to the encoders provide visual assistance. Likewise, the tuning of the module is done via a detented encoder, which adjusts the pitch either in fine steps, in semitones or in octaves. An octave switch is thus already integrated.

For all its feature-richness, Warp still remains a playable and performance-oriented instrument. The large potentiometers serve as macro controls to control several parameters under the hood at once. This keeps the instrument straight forward with a manageable number of controls, but they are all very expressive.
Likewise, the module offers the ability to save and load presets and also comes with audio files and presets on board. Thus, Warp is ideally suited for both detail-oriented sound design and hands-on performance.

In the standalone version, Warp is a monophonic four-voice synth voice that can also be used as an oscillator. With an expander module, it will also be possible to play Warp four-voice polyphonic via MIDI and CV/Gate in the future.

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.



Main functions
4 Voices & 2 oscillators using a hybrid additive-wavetable synth engine
Big knobs act as macro controls for underlying parameters and enable expressive Hands-On playability
Polyphonic with expander, monophonic as standalone unit
Usable as a full synth voice or as an oscillator module
Additive synthesis with 512 sine waves per oscillator = 4096 sine waves in total
XY sound space as a collection of 32x16 frequency spectra
Each voice travels independently across the XY space and uses the underlying spectra to synthesize a wavetable in real-time
Spectral FX are applied on the spectrum before a wavetable is generated
Wavetable FX are applied once the wavetable is generated, e.g. Wavefolder, PWM-Bend, Redux, Overdrive
Two Post-Filters per voice: 12/24dB Lowpass and Highpass with resonance control
Independent oscillator settings per voice, e.g. volume, pitch, stereo pan, detune, sync, X/Y position
Integrated modulation by 2x ADSR, 2x LFO with many waveforms
Modulation matrix view to see everything that is going on at once
Integrated editor for playful drawing of own frequency spectra
Algorithms for musically meaningful drawing of harmonics

Width: 24 HP
Depth: 30 mm
Current draw +12V: 205mA
Current draw -12V: 20 mA
Current draw +5V: 0 mA

** Includes 3mm screws, 16-Pin to 10-Pin eurorack power cable, USB cable for firmware updates **

Warp uses a novel hybrid engine that combines the best of additive and wavetable synthesis. With the integrated editor you can playfully draw your own frequency spectra like on a canvas into the colorful XY sound palette. Warp is a feature-rich powerhouse that lets you create all kinds of sounds, from glassy clean to crunchy crunch. Thanks to expressive macro tone controls, extreme morphs are possible in a single pot turn.

Notes: Analogue synth percussion, melodic bleeps and mutating zaps are the name of the game from this clever module. Sequencing options allow you to introduce randomness and organic evolution of the sound.

Supplier's Notes:
Zaps is a percussion-line-synth voice designed for creating organic percussive sequences that can mutate over time.

It uses a combination of different techniques like controlled randomness, morphing, and storing (or locking) synth-voice parameters in externally sequencable CV-controlled slots.

The synth voice is a digitally-controlled-two-oscillator-FM and AM-analog engine with two envelopes and cross-modulation.

These are some of the things that can be done with it:

Sequence Preset Slots externally for changing percussion or synth lines
Add subtle randomness to any parameter for slightly changing sounds, or go wild for unpredicted surprises on every trigger
Morph sounds between Slots
Assign accent to any parameter for added expressiveness
Randomly generate full banks of sounds
Capture any randomly generated sound into a preset slot for further editing
Freeze/Revert the state of the module for careless editing during live performances
Live editing of a single or multiple Slots simultaneously for expressive tweaking
Generate melodic percussion or synth lines with the V/O tracked oscillators
Use CV-in control of any parameter or CV-out control for external modules (control FX-sends or automate external-synth parameters)

The synthesis board is an analog circuit with two VCOs, two envelopes, AM, FM, high-pass filters, and a two-channel mixer.

VCOs:

Triangle core VCOs with V/oct inputs and Fine and Coarse controls.
VCO 1 waves: Sine, Triangle, Sawtooth, and Square.
VCO 2 waves: Sine, Triangle, Sawtooth, Square, Double Sine, and White Noise.
VCO2 has two separate wave outputs, one for the AM and the other for the FM and the Mixer-Channel 2.

ENVELOPES:

Two AHR (Attack, Hold, Release) envelopes.
The hold time can be set internally or externally (Gate ON) for each envelope.
Envelopes can be faded from logarithmic to linear responses.
Each envelope can control the Pitch/Tone of the VCOs (Pitch Envelope), the amount of AM or FM (Envelope 1), the VCA for both channels (Envelope 2).

AM:

The amplitude modulation goes from VCO2 to VCO1.
It can be set in two ways: straight to VCO1 or through a VCA controlled by Envelope 1.

FM:

The frequency modulation goes from VCO2 to VCO1 and from VCO1 to VCO2 (XFM).
FM can be set in two ways: straight to VCO1, or through a VCA controlled by Envelope 1.

MIXER:

Two-channel mixer for the two VCOs.

HIGH-PASS FILTER

There are two HPFs. HPF1 filters the mixer output. HPF2 filters the white noise.

DIGITAL CONTROL

STRUCTURE:

Each project contains twelve banks; each bank contains twelve slots; each slot contains a sound.
All projects are stored on an SD card.

RANDOM:

Randomize values on a per trigger basis
Independent random control for each synth parameter
Set ranges to any random value for controlled randomness
Relatively attenuate all parameter-random amounts with a single global random fader
Populate slots or banks with randomly generated sounds

FREEZE/REVERT :

Take a snapshot of the whole project, modify it and go back to the original state.

MORPH:

Parameter interpolation between two slots on a per trigger basis.
Control the balance between the two slots with one fader - crossfade style!

CV ASSIGN:

Any of the six CV-connectors can be configurable as both inputs or outputs and set to different ranges (0/10V, 0/8V, -5/5V, 0/5V).
CV-inputs can be internally attenuated
Control almost any synth parameter, value, or setting on a per trigger basis. For example, Accent, Slot Selection, Morph assignments, Next/Prev Slot, Random Slot, Oscillator-Wave Selection, any of the synth parameters (Pitch, Release, AM, FM, Global Random...) or any of the random parameters (Random Pitch, Random Filter, Random Hold)
Output any parameter-CV values through any of the assignable I/Os
Alt-fader-CV output for controlling external parameters, like Send-FX for each slot.
CV-slot/Gate out - Useful for externally recording finger drumming!

ACCENT ASSIGN:

. Add dynamics by assigning the accent input to control any one of the synth parameters

COPY:

Copy Slots (also between banks)

SNAPSHOT:

Take a snapshot of the last sound heard (flatten the values for further editing), including the effects of CV-in, Morph, and Random. Very useful for easily creating banks from scratch!

EDIT ALL:

Action over faders has an effect on the twelve Slots. Use hints: Live tweaking, homogenize, "tame" a Sound Bank, or modify all Slot parameters while sequencing the Slots via CV-input.

FILE SYSTEM:

Save, Load, Name, and Rename projects, banks, sounds and sort them into folders.

Notes: The CS-8 VCF02 is a very versatile, fully analogue, programmable and voltage-controlled filter (VCF). It is capable of processing all sorts of audio signals. It is designed for mounting into a 3U Eurorack with an internal +/- 12V power supply.

This module is capable of producing 121 different filter types (27 low-pass, 18 high-pass, 13 band-pass, and 63 all-pass/notch/phase-type filters). External control voltages can be used to control all functions, thus the CS-8 VCF02 can be remote-controlled by sequencers, foot pedals/switches etc. The CS-8 VCF02 features some unique and very powerful functions that are entirely new to voltage-controlled filter modules such as emphasize, 2nd harmonic distortion, and drop.

The CS-8 VCF02 features a unique "layer cake" design. This way, its installation depth is reduced to a minimum, compared to other Eurorack modules.

Design and implementation meet highest technical standards concerning usability, sound quality, and signal-to-noise ratio. The front panel is made from an anodised and printed piece of aluminium sheet metal of 2 mm gauge. The entire design and production work was done in Germany.

Notes: The WT-QUAD-LFO module consists of four individual, digital, wavetable based low frequency oscillators (LFO) with an easy and intuitive featuring a 1.8" OLED color display. The module can be updated easily by inserting a flash drive with the firmware files in the USB port on the front panel.

The oscillators and their respective controls, inputs and outputs are organized in four channels. The frequency of each oscillator can be linearly or exponentially (1V/Oct.) controlled through the voltage applied to the corresponding CV input.

Each LFO channel can output one of the predefined waveforms (including sawtooth, ramp, square, sine, triangle), morph between two different waveforms or generate a random waveform. It can be externally reset through the sync input.

Each trigger output can be set to output a specific phase of the corresponding waveform.

The module offers cross frequency modulation (FM) and internal sync between LFO channels. It features also phase distortion and phase spreading of the outputs, including a classical quadrature mode (90- phase spread). Frequency relationships between the four LFOs can also be set.

Hardware

4x CV inputs -5 V to +5 V
4x Sync inputs 0 V to 5 V, active low or active high
4x Clock inputs 0 V to 5 V, active low or active high
4x LFO outputs -5 V to +5 V
4x Trigger outputs 0 V to 10 V, active low or active high
1.8" OLED Display with 160 x 128 pixel
4x push encoder
USB port for firmware update
Size: 14HP
WT-QUAD LFO - Features list:

Wavetable based, 4 channel LFO
Default waveforms: SAW, SQUARE, SINE TRIANGLE
Random waveform generation
Custom wavetables can be loaded using USB flash drive
LFO output: offset and attenuation programmable
LFO Frequency range from 0,0032 Hz to 4 kHz
Frequency free (Hz) or quantized (note)
Presets can be selected through CV input
LFO channel can be internally synced and cross modulated
Single shot modus

Notes: The RT-311 can store up to 8 memory setups with 8 snapshots each, holding all oscillator settings and memorizes them even after powering down your modular synth. One highlight of this module is the opportunity to interpolate between these parameter snaphots. Interpolation can be controlled with an external control voltage or with a built in LFO. The speed of the internal LFO can be controlled with an external control voltage as well. The interpolator has even an external output to interpolate one parameter of an attached module. Both oscillators can built swarms of oscillator clones. Up to 16 Oscillators are running simultaneously at the highest setting. The detune knob changes the pitch of all oscillator clones between ultra slow oscillator frequency beating effects and multiple frequency drones and chords. The swarm can be pitched in musical intervals, chords, clusters or fat detunes. The swarm tuning can be stored into the snapshots too. That allows for to built up to 8 different chords with different sound settings one can change while playing in a setup.

Both oscillator swarms have independent outputs. If one sets the exponential FM inputs depth to maximum, the inputs run with Volt per Octave scaling. The oscillator swarms can then be used like two independent Synth voices. The scale inputs can also get quantized to musical scales. That makes it easy to control the swarm from a step sequencer. Just select the root key with the tune knob and a pentatonic scale and turn the knobs of your sequencer for always matching tonal sequences.

Electrical and mechanical Specifications:

250 mA +12V
40 mA -12V
0 mA 5V
30 mm Depth
32 HP

Notes: A semimodular synthesizer consists of 9 essential synthesis modules whose combination provides a very powerful and straight forward starting point into the world of Eurorack synthesizers. Let's see, which modules are included in Radikal's latest brainchild: The system includes one swarm oscillator, a mixing stage with a noise source, a very powerful filtering section around the analog multimode filter plus stereo digital emulations of 12dB multimode and 24 dB ladder filters and one VCA. One LFO and one snappy envelope generator for modulation purposes plus the secret weapon of all Radikal Technologies digital modules, the SNAPSHOT INTERPOLATOR are adding extra excitement to your sonic adventures. The icing on the cake of the sound engine is a digital FX section with incredible modulated stereo delay effects including tape delay, phasing, chorus, flanging etc.!

In a modular synth system, the different sound generating and altering sections are not connected. The user has to establish all the connections that are necessary to generate sound effects and tones with patch cables. In a semimodular synth the most essential connections are hardwired. This means you can play the DELTA CEP A right out of the box. Of course you can go a step further and add your own module patching.

The DELTA CEP A has a MIDI interface, which is essential when you want to use the paraphonic mode of the Synth. The paraphonic mode let's you play chords and turns the DELTA into the perfect pad and ensemble section. The MIDI Interface has additional outputs for external modules and a special digital bus allows for controlling the SWARM OSCILLATOR RT-311 direct with notes and chords to layer additional voices in monophonic and chords mode using an external MIDI keyboard.

The SNAPSHOT INTERPOLATOR is a very unique feature in the synthesizer world. First you have the ability to store snapshots of your sound creations into the internal memory. Then you can play these snapshots sequentially for very cool sonic sequences. But that is not all. You can even create smooth transitions from one snapshot to the other for stunning sound morphing effects. Independent from the Interpolator, the snapshot memories can also be used as preset memories and are filled with sounds from our sound designers.

23 knobs, 14 buttons, 28 RGB LEDs, 14 outputs and 17 inputs - the DELTA CEP A has a great synthesis potential that can even grow by adding additional modules. The connectivity provides the freedom to use it as part of your existing Eurorack system or as an independent solo synthesizer with our special DELTA CEP A desktop case.

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

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

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

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

HP : 32

Notes: The ADDAC807 VC Stereo Summing Mixer can provide up to 9 stereo channels of supreme Eurorack audio.

The main modules ADDAC807A and ADDAC807B can be expanded via the ADDAC807C Expansion Console for 4 additional stereo channels.

MECHANICAL:
Format: Eurorack
Width: 38 HP
Depth: 4.5 cm
Weight: 0.6 kg (1.3 lb)

CONTROL VOLTAGE I/O:
CV inputs: i 5v

ELECTRICAL:
Max current: 250mA on each rail
Compatible with +-12v and +-15v power supplies
Bus Board Cable: 8 × 2 IDC (Doepfer style) connector

Notes: All-in-one modular synth system designed for standalone use or integration with other Eurorack gear. Classic two-oscillator monosynth setup with an impressively deep range of features.

Supplier notes:
An all-in-one sound factory, the MODULOR114 eurorack analog modular synthesizer is our first product designed as a complete and powerful unit. A great entry ticket to the modular world for someone, a treasure trove of sounds for others, the MODULOR114 encloses the most sought-after analog textures and the modern additions that renders this product unique.

Notes: Intended as a single-box drum instrument, the Drumstation gathers Sound Machines modules into a convenient format. Sequencing, hands-on control and drum synthesis all in one.

Supplier notes:
Meet the DS1drumstation, a bundle of our best modules enclosed in a self-powered enclosure with a lot of performance power to offer!

Enclosed in a 42hp panel, you find three of our best-selling modules: the LS1 lightstrip, the DC1drumcomputer and the SDsimpledrum. Together, they form a modular drumming powerhouse with space for patching, live performance and sound deepness.

Four LS1lightstrips perfectly match with the four CV inputs of the DC1drumcomputer allowing you to change the behaviour of the sequencer in realtime with your gestures (or your recorded CV loops!). The DC1 8 outputs can drive the SD1simpledrum instruments and also connect to a potential external eurorack system.

The DS1drumstation is perfectly compatible with eurorack standard modules and it can be re-housed into your case if you need to. Just remove 4 screws and connect the ribbon power cable!

Notes: Modern take on an old-school concept, offering tactile control of synth parameters over MIDI, CV or USB. Built-in CV step sequencer and drum trigger sequencer make it a real all-rounder.

Supplier notes:
(arches) is Sound Machines' pinnacle in control interface for music machines.

Blending inspiration, power and ease of use, the perfect evolution of the concept of tactile controllers has been created. Built on the foundation of first class touch interfaces (LS1lightstrip and LP1lightplane), present today on thousands of eurorack systems worldwide, Sound Machines have designed a beautiful work of art and technology.

(arches) put a never seen before set of controllers at your fingertips. Sliders, lightstrips (with rec/loop capabilities), lighplanes with z-axis sensitivity and pressure sensitive buttons. Behind those state of the art touch controllers lie a high-speed microcontrollers that joins the elements to create keyboards, sequencers, arpeggiators and eventually your perfect performance setup.

Notes: The 984 Four Channel Mixer is an AC coupled 4-input, 4-output matrix with bass and treble tone controls for each output channel. Each input has a separate attenuator for each of the four channels. Thus a mixer of 16 input attenuators provides maximum channel separation, or variable combinations of volume balance. Tone controls for each of the output channels can attenuate or emphasize bass or treble signals. Flat signal response is archieved with the control settings kept at "5" on the potentiometers. These are 2-pole active tone controls.

Input Impedance: 25k ohms
Output Impedance: 5k ohms
Inputs: Four input potentiometers per channel
Outputs: Four
Frequency Response: Audio only, AC couplet, DC and Low Frequencies are blocked.

Specifications:
Power: +12 (45mA), -12 (45mA)
Depth: 40 mm
Doepfer compatible

Notes: The AION 921ABB is a VCO-bank with two variable waveform generators which produces frequencies ranging from sub-audio (LFO) to 40.000 hz. Four waveforms are available: sine, triangular, sawtooth and rectangular (with variable duty cycle A.K.A. pulse width modulation).
Both oscillators are controlled by the driver on the left side of the module. 3 control inputs for frequency and 2 control inputs for PWM, as well as manual operation for frequency and pulse width. Each of the two oscillators has a frequency adjust pot, an octave switch, the 4 waveform outputs and one exponential and one linear input for frequency control. A switchable synchronization input for each oscillator completes the operability.

Frequency range:
0.01 hz - 40.000 hz

Range switch:
sub audio - 0.01 - 400 hz
audio - 1 - 40.000 hz

Scale switch:
2 or 12 octave frequency span.

Specifications:
Power: +12V (45mA) -12V (45mA)
Depth: 40mm
Doepfer compatible

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

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

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

Notes: Powerful Eurorack sequencer designed to work just as well in the studio as a live performance tool. Eight tracks of CV and gate based around a 16-step sequencer, with clever randomness features.

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

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

Notes: One of the most exciting oscillator modules we've seen in a long time, taking a unique approach to a complex VCO. Based around two thru-zero triangle core oscillators with a wealth of timbre shaping options.

Supplier notes:
Brenso is Frap Tools' primary analog source of articulated waveforms whose degree of entanglement can be precisely set by the musician.

Its concept developed from a reflection on the very meaning of the word 'complex,' which comes from the Latin verb plector, literally meaning 'to braid', or 'to weave.' The purpose of Brenso is to update the usual approach to 'complex oscillator' by offering many threads to be woven together, rather than a pre-defined plait of controls and waveforms: this to improve clarity, manageability and offer more sonic options to the artist.

Brenso consists of three sections: two for sound generation (yellow and green), and one for sound processing (white and red).

The generation sections allow control over the two triangle-core oscillators, which can be modulated from external sources and can modulate each other's frequency too. The frequency modulation can be any combination of exponential and/or linear through zero.

The processing section is composed of a waveshaping section (white) and a last stage of amplitude modulation (red): the first provides further degrees of modulation using two parallel wave-shapers and includes PWM, blends these two with a mixer and everything is passed into a wave folder with symmetry control and a dedicated clock input with shapeable nonlinear behavior.

The result of this is passed into an amplitude modulation section (red) which can be unbalanced (AM) or balanced (RM).

The white section modulations inputs are semi-normalled by a timbre bus, which is semi-normalled to the green sine wave.

Every oscillator has a button that locks its coarse frequency to the current value. From this moment on, every twist of the 'Coarse' knob will be ineffective (but The Fine knob is still available, from small adjustments).

BRENSO's oscillators are exceptionally stable and provide rich harmonic content. This happens thanks to the two thru-zero triangle cores, which guarantee the most playable behavior and the best response to audio-rate modulation.

You won't need to find a sweet spot because BRENSO is calibrated to sound 'as expected' in any setting.

Many controls allow for complex and detailed FM sound shaping. It is possible to set the amount of exponential and linear thru-zero FM independently per each oscillator and control their amount of 'deviation' through two separate knobs or CV inputs.

(The green oscillator can also work at sub-audio rate, and can therefore become a super complex LFO.)

BRENSO's 'complex' signal path is expanded on the front panel and grouped in four 'modulation buses': two for modulating frequencies, one for modulating timbre and one for AM and RM.

The green oscillator is always the semi-normalled modulator, but any other source can be used.

The timbre modulation section has been designed from scratch and offers a versatile blend of two wavefolders, a waveshaper, and a PWM circuit.

A dedicated VCA controls the global amount of modulation to be sent to each modulation section, but the semi-normalization can be broken anytime.

An analog circuit was designed from scratch that, when excited by an external trig, opens the wavefolder above its maximum level and then closes it down with a non-linear slope, whose length can be manually regulated.

This solution can generate percussive tones with a very organic decay.

HP : 30

Notes: A unique graphical take on an oscillator design, E-RM's brand-new polygonal synthesis approach is unlike anything else we've seen. Stereo oscillator capable of a huge range of timbres. Innovative stuff.

Supplier's notes:
The polygonal synthesis is a kind of graphical complex amplitude shaping method. With the help of the built-in modulation sources, polygonal synthesis in polygogo opens up a wide range of sonic possibilities from clicky pinged sequences to unique dark thunderstorms, bass lines, leads and colored noise.

This mighty stereo oscillator impressed the audience with its wide range of possible timbres. The idea of sculpting a shape on the screen of the module that then translates into sound works really well and invites the user to interact with the module.

Notes: Proper freaky digital Eurorack business. Based on the synth plugin of the same name, Waverazor is a bonkers aggro waveshaping oscillator. Ideal for filthy bass sounds and nasty leads.

Supplier notes:
The Waverazor Dual Oscillator is a result of a special collaboration between 1010music and MOK. It is the first hardware module to bring MOK's patented wave-slicing? oscillator design to Eurorack format. Waverazor's novel approach to synthesis splices waveforms into twisted and aggressive new timbres. Featuring fresh sound generation techniques like Multi-Sync and Mutant AM, the Waverazor oscillator is perfect for biting leads, glitched-out basses, cinematic drones and everything in between.

One Waverazor Eurorack oscillator can contain up to 8 wave slices, creating a multi-segment "Frankenstein" waveform that produces extended harmonic content beyond any single wave shape. Each individual slice has independent control over wave pitch, volume, phase and DC offset, allowing a single oscillator to contain a multitude of timbral colours. Even the "Razor" itself can be adjusted, with parameters for its own slice frequency, step size multiplier and duty cycle.

The Waverazor Dual Oscillator module provides a central waveform display that allows you to visualize the output. There's an audio input for slicing up any sound you like. Four endless knobs make it possible to morph multiple parameters at once, while the touch screen enables X/Y performance controllers that allow you to manipulate the sound with the swipe of your finger. Top it all off with 20 modulation CV inputs for complete sonic insanity!

What is included:

- Waverazor Dual Oscillator Eurorack module
- MicroSD card with Waverazor firmware and patch data loaded on it
- Eurorack power cable
- Waverazor Dual Oscillator Quick Start guide
- MIDI Adapter

Notes: The idea of the Polivoks Mini analogue synthesiser came into mind in 1990, as the junior version of its older brother well known Polivoks full synth. The aim was to develop a way simpler and lighter device that has less components, offers the same broad capabilities, and removes possible flaws of the Polivoks full synth. As the result of this research a new minimalistic schematic appeared. It has fewer controls that are compensated by greater functionality.

The overall design of the Polivoks Mini is made in collaboration with Ms. Olympiada Kuzmina, Polivoks full synth concept designer.

Notes: One of the most impressive granular synthesis approaches in Eurorack, combining looping and granular effects with buffer sizes up to five minutes. Hugely creative and powerful dual-module setup.

Supplier's Notes:
There's a long history behind the granular concept and many reinterpretations of it's core principles, this is ADDAC's take on it.

In a loose description digital Granular refer to pieces of sound files being played at the same time with slight or completely different parameters originating what is commonly referred to as granular clouds. Normally there's a buffer size from which the granular engine snips it's pieces from and plays them according to the parameters set. This buffer size is normally small in size where grains are so small that can reach the hearing spectrum and be heard as a sort of ever changing complex wavetable, this is the principle behind granular synthesis.

ADDAC have added the possibility of long buffer sizes up to 5 minutes, allowing "softer" approaches to the granular principle using it as an effect that can generate from "accidental" effects like slight "stutters" to extreme processing and transformation of any incoming audio signal.

This module is conceptually deep but easy to grasp and operate as all controls are in its dedicated panel, all jack inputs and outputs have its own separate panel to allow no compromise when playing it's controls.

There are three main sections in this module:
Looper Engine: The Looper is where all the Real-Time recording happens. The audio input feeds the recording buffer, multiple controls allow to record and play loops into a list so that any sample in the list can be accessed at ay time and more acting as a standard looper
Granular Engine: The Granular acts upon the buffer of whatever LOOP is selected.
Output Mix The output mix allow individual control for the Dry Input, Looper Volume and Grains Volume.
Besides these main sections there's also a simple strip down MENU mainly used to LOAD and SAVE Banks, no Menu diving guaranteed.

For more detailed info, please refer to the User's Guide.

Audio Specs:
Audio input: Stereo, 16bit 44.1Khz
Audio output: Stereo, 16bit 44.1Khz

Tech Specs:
32HP + 13HP
4.5cm deep
240mA +12V
70mA -12V

Notes: In the great tradition of West Coast synthesis, the Verbos Electronics Touchplate Keyboard is a gold plated controller with 3 independent sections for sending control voltage signals. First is a 32 key volt/oct trimmed piano arrangement with 3 octave selects. It has an output for pitch CV, pressure (actually a measurement of the surface area of the finger touching the key), gate and 10ms trigger. Second is a pressure sensitive up/down bender that can be used to bend the VCO or anything that needs bending. Finally, an 8 key tuneable keyboard with CV pressure and gate outputs. The Keyboard can be powered from normal Euro power or an external 9-15 volt positive tip DC supply, for use with un-power skiffs.

Notes: Metron is a 16-channel trigger and gate sequencer for Eurorack with extensive functions, expansion possibilities and the tools you need to create long sequences with many variations in a very short time.

The sequencer allows pattern lengths of up to 256 steps, and the number of steps per channel can be varied to create interesting and varied rhythmic structures. These patterns can be quickly stored and exchanged between units via the SD card slot. Metron also offers a random function per step and a ratcheting function.

With the optional WMD Voltera, Metron can be expanded with four additional bipolar voltage outputs.

Features:

16 Channels of trigger and gate signals
intuitive drum sequencer
View 4 channels at a time and easily switch views
Single track view lets you zoom in on a single track and see 64 steps at a time
Up to 256 step pattern length
Different pattern lengths per channel
Five instantly recallable, editable variations
View and edit variations that are not playing for easy cue and non stop performance play
Save patterns to SD memory for easy recall on power cycle
No-stop loading from memory
Easy view memory previews lets you see a pattern before loading from memory.
SD allows for easy update as well as easy back up / file transfer from unit to unit
FX / Fills for instant / momentary variation
2 assignable inputs for external CV control
Tap in patterns with quantized recording with the buttons or external source
Quick copy / paste / clear functions
Internal clock with Swing
dedicated reset output
MIDI Preset mode lets you send MIDI messages to other modules on the Doepfer CV bus. (for use with WMD SSM, Malekko Voltage Block, and more)
Random Pattern Generation
Probability per step and group probability functions
Burst per step for ratchet / roll sounds
Custom Fill Patterns for instant fills
Trigger Mutes
Step looping
Manual gates
Power consumption: 180mA at +12V and 0mA at -12V

Depth: 31mm

HP : 36

Notes: Loquelic Iteritas Percido is an extension of the original Loquelic Iteritas. Like Loquelic Iteritas, it is a digital VCO with interpretations of three classic synthesis algorithms involving dual pitch control parameterized by four tone controls. LIP adds an envelope that can be shaped, modulated, and routed to pitches and tone controls, making it into a stand-alone voice.

Notes: CONTROL FORGE's core functionality is drawn from the E-mu Morpheus's insanely powerful (but hard to program on a two-line display) Function Generators. But now expanded into a supremely flexible modulation source encompassing elaborate one-shot contours, evolving cyclical patterns and sequences of arbitrary length and complexity.

- At its most basic, it's an 8-segment function generator with variable time and target voltage level for each segment.
- Each segment's level can be defined either absolutely or relative to the ending level of the previous stage and can optionally be quantized to the nearest 1/12 volt.
- Each segment's level may have a user defined range of randomness of either linear or gaussian distribution.
- A new 'Tempo Mode' lets you specify each segment's length in musical note values relative to a tempo set in BPM.
- The time scale may be modulated under CV control or manually via the encoder during runtime.
There are 67 different transition shapes between segments (indicated graphically on the display during selection), from linear and exponential shapes to various flavours of random, chaotic, and many more that don't lend themselves to one-word descriptions, including the ability to pass CVs directly through to the output for individual segments.
- Also included are 'DC' shapes that allow the module to be used as a sequencer with all of the module's available programmability. When combined with the Preset Sequencer described below, sequences can be hundreds of steps long and modified in real time manually or by CVs.
- Each segment may optionally have a conditional jump mode that results in a jump to another selected stage if a particular condition is met. E.g., a CV being above or below the selected conditional value, the presence or lack of a gate or logic high at their respective inputs, rising or falling edges at the inputs, etc. So, in addition to one-shot shapes, extremely elaborate cyclical patterns can be programmed that evolve based on the various conditional inputs.
- Control Forge's AutoChain functionality allows the creation of two very specific kinds of multi-preset patterns: A multi-preset retriggerable pattern (like a long syncable LFO), and a multi-preset 'envelope-like' pattern with retriggerability, an optional sustain section, and a 'release' section that's jumped to on gate fall.
- Two independent triggers can be programmed to fire in response to a variety of events and can be used to affect either CONTROL FORGE itself or external modules.
- 500 presets can be saved and recalled
- A preset sequencer allows stepping through up to 200 user-defined series of presets under trigger, clock or manual control. This allows contours and sequences of almost unlimited length and complexity.
- All presets and sequences can be transferred to any number of Satellite modules, which can then operate as stand-alone modulation sources, completely independent of the Control Forge.
- Like all Rossum Electro-Music digital modules, all parameters are available for adjustment with a single button press. No menu diving.

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

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

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

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

Notes: Four CV/gate tracks directly control your collection of oscillators and percussion. Seven pages of parameters determine your musical performance, edited in realtime with a bank of 16 sliders. A series of hotkeys immediately generate or modify sequences or individualized parameters across all four tracks, with no menu diving whatsoever. Two CV inputs and large manual controls mutate any number of sequence parameters, with programmable modulation amount per step. 32 preset slots are provided for your storage of sequencer data. The keypad, rotary encoder, CV modifiers, LED feedback (on all buttons, sliders, and numerical display) and slider bank work in harmony to allow astonishingly fast music creation across all four tracks, in an ergonomically valid user interface uncommon in modular synthesis. It is possible to quickly generate and meaningfully manipulate a full 4-track sequence with minimal slider interaction.

Notes: A game changing mixer for live performance within the Eurorack modular synth ecosystem.

The Performance Mixer is an 8 channel audio mixer designed specifically for live performance and jam sessions within the modular ecosystem. With 12 audio inputs for the first 6 channels, and 2 true stereo channels, there is plenty of room for all your modular signals and more.

2 mono auxiliary sends with dual mono returns, stereo send and return, and another set of stereo mix inputs give you the routing you need to send signals to interesting effects as well as utility uses such as bus compression and master equalizers.

Tired of not being able to tune oscillators and program sequencers on the fly? Not to worry, the performance mixer also includes a cue mix section so you can monitor your incoming signals in headphones before sending them to the front of house mix. Just like on a traditional DJ mixer, the cue mix knob determines how much of the cue vs the FOH mix you hear in the phones.

Two headphone outputs for convenience and teamwork. Collaborate with friends without wasting any channels by sending the stereo output of their mixer into the unity gain mix input. Monitor with the dual headphone outputs and you can both hear the entire mix.

Notes: It's black, it's loud, it's dark.

BLCK_Noir is an amazing 30 HP modular drum synth with a very flexible sound-engine inspired by the Roland CR-78 CompuRhythm. Unlike other modules from Endorphin.es, this one is black, thus the name: Blck_Noir.

It includes seven drum voices: bass drum, snare, tambourine, closed and open hi-hat, cymbal and metal beat. It uses hybrid sound generation: digital noise with spectrum animation, injected into analogue circuits. The analogue generation part is fully discrete, using inductor coils instead of op-amps, giving a raw and powerful sound. Thanks to this special design Black_Noir will sound good in every setting.

Several CV inputs will let you control various parameters for lively drum sounds.

On top of that, the module has an on-board effect processor with eight effects: hall, shimmer, room, plate, spring reverb types, tap and tape delay types as well as a new freezer effect with additional auxiliary input and firmware update over audio.

With this module you will be able to create drums that have character! It will fit all styles of music, from Darkwave to Techno.