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Notes: Complex gate and CV generator designed as a trigger source and modulation tool. Based around four sine wave LFOs that mix together and interact to create ever-changing patterns.

Supplier's Notes:
In 2009 John Berndt coined and defined the term Relabi in his essay "Relabi": Patterns of Self-Erasing Pulse, these are his own words: "Relabi, Def.: The experience of a palpably coordinated plurality of events that appears to be cyclical but simultaneously suspends identification of a uniform pattern, preventing a resolved sense of pulse. Relabi therefore seems equally pulsed and unpulsed at the same time. It is an experiential gestalt, a quality of experience, greater than the sum of its parts (it forms a sustained unity in experience, albeit of a new kind)."

He also makes the question: "Why would anyone want this Relabi experience? I maintain that much of what is exciting in musical forms involves an interplay between the setting up and denying of pulse expectations."

Inspired by this idea, ADDAC System developed this module that is both a gate/trigger and cv generator that can be freely used to trigger events or act as a complex modulation source. Four Sine LFOs are internally generated, each has controls for gain, frequency and mute(off). These 4 LFOs are then mixed together to generate what Berndt named the "Relabi Wave" this "wave" becomes a complex bipolar CV source. This i5v bipolar "wave" can be monitored on the 2 dedicated leds and is also available at its own Output.

Make sure to check the User's Guide for indepth description, working behaviour and diagrams.

Tech Specs:
10HP
4cm deep
100mA +12V
40mA -12V

Notes: This is a Quad Channel Switcher.

Among many other possibilities it allows to:

Turn any 4x4 step sequencer into a 16 step sequencer.
Scramble sequences with diferent clock division settings.
Route 1 audio or voltage signal to 4 diferent destinations.
Switch between 4 audio or voltage signals

MECHANICAL:
Format: Eurorack
Width: 8 HP
Depth: 3.5 cm

ELECTRICAL:
Max current: +80mA/-40mA
Bus Board Cable: 8 × 2 IDC (Doepfer style) connector.

Notes: The ADDAC221 is a standard midi controller that allows CV inputs, converting CV variations to MIDI Control Change Messages. This allows interaction with your favourite standalone synthesisers and softwares through simple plug-and-play midi control.

A dedicated software permits the user to store up to 9 different presets, where the CC values of each channel can be configured as wished.

This way the user can preset his favourite synths to control filters, envelopes and whatnot from CC messages coming from the module CV inputs.

Ships with 2 stereo jack to din5 midi cables.

Notes: With the ADDAC401 Envelope Follower you'll be able to use the volume of any sound source to control your synthesis.

This envelope follower has an interesting twist: besides outputting the volume information through a regular CV output, it also sports 8 independent gate outputs, triggered by the corresponding levels of the VU meter.

You can also control the offset on the gated outputs, either by CV or by steps through a special dedicated gate input.

Input Level and Decay controls allow you to achieve good envelope follower amplitude reaction.

Envelope Gain and Offset allows to set the envelope CV output to any desired CV range.

Monitor Leds for both the CV output and for the digital detection circuit.

Mechanical:
- Format: Eurorack
- Width: 8 HP
- Depth: 4.5 cm

Control Voltage I/O:
. CV output: i10v
. Gate input: 0 - 5v (threshold: 2.5v)
. Gate outputs: 0 - 5v

Electrical:
. Max current: 110mA +12v & 20mA on -12V
. Bus Board Cable: 8 × 2 IDC (Doepfer style) connector

Notes: Here's our first Voltage-Controlled Variable Filter, inspired by the original MS-20 filter.

This module features:

Two independent filters, a High-Pass and a Low-Pass with dedicated audio inputs and outputs.

Besides individual outputs the HP and LP are also sent to a voltage-controlled Mix between the HP and LP filters.

Both Cutoff and Resonance are voltage-controlled with dedicated cv attenuator pots.

Switch for selecting between normal cutoff behaviour and an adjustable Smooth circuit to simulate a vactrol behaviour for cutoff control.

Switch for setting filters Filters in Parallel (independent) or Series (HP > LP).

Inspired by the Oscar synthesizer we added a Coupling switch to tie the HP Cutoff control to the LP Cutoff control, in this case the LP cutoff controls act as an offset from HP setting.

Three position switch selects different resonance clipping paths: diodes / no clipping / leds.

Both filters features a post Distortion/Fuzz circuit that adds extra harmonics adds an even deeper growl or extra gritiness to it.

All audio outputs (HP, Mix, LP) feature a switch for choosing phase output, allowing additive or subtractive mixes.

Three Leds monitor the amplitude of the three outputs (HP, Mix, LP).

Notes: The new ADDAC System filter, inspired by the original WASP Filter.

Mechanical:
- Format: Eurorack
- Width: 8 HP
- Depth: 3 cm

Electrical:
- Max current: +12V 60mA, -12V 30mA.
- Bus Board Cable: 8 × 2 IDC (Doepfer style) connector.

Included:
- black screws
- black fibre washers

Notes: ADDAC711 is a dual channel Isolated DI box and is all about keeping the sound coming into your Modular free from any undesired noisy interferences, making sure that what you're getting from your inputs is what your external hardware is actually producing. It provides galvanic electrical isolation between the Modular system and external sources preventing impedance mismatch and ground loop induced hum. ADDAC's 711 circuit is designed around a unity 1:1 type Low-cost Audio Transformer operating in the 20 Hz to 20 KHz range, this impedance matching transformer provides two fully balanced outputs (via XLR connectors).

There are two independent channels on the module with:
Audio Output
Signal overload warning led
LIFT/FLOAT/GND toggle switch
Gain control
XLR Input

The LIFT/FLOAT/GND 3-way switch lets you choose between lift, ground or floating ground. In the LIFT position (left) the module circuit will be "lifted" to ground through a 100R resistor and a 10nF capacitor. In the FLOAT position (middle) Ground will not be shared leaving ins and outs grounds completely apart from each other fully isolating both signals.
In the GND position Ground will be shared between inputs and outputs, here no isolation is used. Any of these three positions may be the best form of avoiding ground loops or any other undesired interference occurring between your modular and the external hardware. Try out which one of these options will work best in any given situation.

The importance of using Audio Transformers

Applying a transformer balanced input isolation has lots of advantages over other less expensive ways for dealing with ground loop issues. This method provides the chance to set a very simple and cleancircuit in which the signal transfer process develops smoothly and humming free. The transformer is a device that performs both signal balancing and high-to-low (or vice-versa) impedance conversion, while rejecting straggled DC voltage and Radio Frequency Interference from signal passing through a magnetic bridge. In a transformer, two (or more) coils (called windings) of insulated wire wound around a magnetic metal core allow for its input(s) and output(s) not to be physically connected together. When an AC signal passes through the input winding (the primary), a perfectly related AC signal appears on the output winding (the secondary). This way, by the fact that signal flows via inductive coupling between the two windings of the transformer, this module presents a most accurate electrical isolation between its input and output. A same number of windings on each coil guarantees that there's no gain loss when audio signal passes from the primary to the secondary windings. Furthermore, since these two windings are insulated from each other, the transformer will electrically isolate ADDAC711 from any other device, preventing hum problems coming from an outsider ground. Being a low-cost transformer the frequency response curve is not completely linear, still the -0.2dB
attenuation at 50Hz feels negligible.

Notes: Most musicians use their feet as an extension of their playing, either pushing piano pedals, sustain pedals, guitar pedals.

However, feet have been underrated while using modulars. In the past ADDAC released a series of modules using sustain and expression pedals for triggering or controlling signals to help breaking the ice. While these are small and still useful for simple uses, ADDAC wanted to create something more specific this time.

This new solution features 5 footswitches and 5 inputs for external expression pedals with independent controls for each.

The aim was to save HP rack space and so created an external floor pedal with all the footswitches and controls, keeping the module HP to the minimum possible featuring only the 10 outputs and the connector to the external floor pedal.

There are many expression pedals in the market and although the most common one is the TRS pedal there are 2 other standards: RTS and TS.

All five ADDAC311 inputs expect TRS pedals, if you're looking into buying one choose a TRS pedal.

If you already have other pedals channel 4 features jumpers that can be switched in order to be used with a RTS pedal.

Channel 5 features a jumper that can be switched in order to be used with a TS pedal.

External expression pedals are required for their outputs to work.

External expression pedals are not included

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


Complex gate and CV generator designed as a trigger source and modulation tool. Based around four sine wave LFOs that mix together and interact to create ever-changing patterns.

Supplier's Notes:
In 2009 John Berndt coined and defined the term Relabi in his essay "Relabi": Patterns of Self-Erasing Pulse, these are his own words: "Relabi, Def.: The experience of a palpably coordinated plurality of events that appears to be cyclical but simultaneously suspends identification of a uniform pattern, preventing a resolved sense of pulse. Relabi therefore seems equally pulsed and unpulsed at the same time. It is an experiential gestalt, a quality of experience, greater than the sum of its parts (it forms a sustained unity in experience, albeit of a new kind)."

He also makes the question: "Why would anyone want this Relabi experience? I maintain that much of what is exciting in musical forms involves an interplay between the setting up and denying of pulse expectations."

Inspired by this idea, ADDAC System developed this module that is both a gate/trigger and cv generator that can be freely used to trigger events or act as a complex modulation source. Four Sine LFOs are internally generated, each has controls for gain, frequency and mute(off). These 4 LFOs are then mixed together to generate what Berndt named the "Relabi Wave" this "wave" becomes a complex bipolar CV source. This i5v bipolar "wave" can be monitored on the 2 dedicated leds and is also available at its own Output.

Make sure to check the User's Guide for indepth description, working behaviour and diagrams.

Tech Specs:
10HP
4cm deep
100mA +12V
40mA -12V

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


This is Version 2 of this module, updated in order to be skiff friendly.

With the ADDAC102 FM Radio you'll be able to tune-in FM radio. Besides the ability of station broadcasts as sound generators for your synthesis, you can also have a lot of fun with the fact that its a great noise generator- the static picks up all kinds of great electromagnetic interference.

It provides controls like tune, volume and seek (all of them controllable through CV input) and there's two outputs for stereo sound.

Notes: Inspired by the legendary Moog CP3 mixer, the 713 tweaks the old-school discrete circuits into three stereo inputs and one mono channel, summing to stereo with adjustable feedback and clipping to add character.

Supplier's Notes:
ADDAC713 is the stereo version of ADDAC System's 703 Discrete Mixer.

Inspired by Moog's CP3 mixer, this is a fully discrete analogue mixer and it's not, by any means, your standard breakfast mixer, although it can behave like one.

This is a wolf in sheep's clothing. Despite its harmless looks there's a dark snarly soul behind that panel that wants to take your sounds into a realm of gritty gnarly growls.

This new version was initially thought of as a percussion mixer, with mono inputs and panning, to allow placing percussive voices in the stereo field, while keeping channel 4 in mono for low end sources like a kick drum or Bass. In the development process ADDAC System slightly changed this initial idea, adding stereo inputs for the first 3 channels, but still kept the 4th channel in mono.

All four [GAIN] controls go to extreme levels, the first 3channels also feature [PAN] controls. Feedback is used to overdrive the whole mix. As the control is turned clockwise the sound will be clipped harder until it goes completely off, this happens as feedback is increased the audio bias reference also moves up, at extreme levels it offsets the whole signal upwards until it completely goes above the top rail clipping the whole signal hence the resulting gate effect.

The [MASTER OUTPUT] sets the overall output gain of the mixer, the two leds monitor the audio output signal. The Soft clipping switch engages an anti-click circuit which adds a low pass before the output, the switch allows 3 states: Soft low pass / Off / Hard low pass.

Features:

Three channels with stereo inputs, gain and pan knob
One channel with mono input and gainknob
Feedback/gate knob
Master output volume knob
Soft clipping switch
Two Led Monitors for Left and Right channels

Tech Specs:

8HP
4cm deep
80mA +12V
80mA -12V

Notes: A fresh twist on a simple 303-style acid synth, featuring a triangle/sawtooth/square wave VCO, multi-mode resonant filter, simple AD envelope and a VCA which can be overdriven. Excellent value.

Supplier's Notes:
ADDAC started this module with the idea of developing a complex drum source however, somewhere along the process, it was clear how much better it performed as a synth voice and this lucky accident was embraced.

It features a VCO with a [FREQUENCY] and [FINE TUNE] knob plus a dedicated CV Input and Attenuator knob (tunable over 4 octaves).

The VCO waveform output is achieved by selecting either a Triangle or Saw through a switch. the selected waveform can then be mixed/balanced against the square wave. The resulting mix is then sent to the Filter.

The Filter features a [CUTOFF] and [RESO] resonance knob plus a Cutoff CV Input and Attenuverter knob.

A 3 position switch is used to select the filter type: Highpass, Bandpass or Lowpass.

The resulting output is then sent to the VCA.

The VCA features an Input with [INPUT GAIN] knob which at maximum can amplify the incoming signal by a factor of 2.

This is a very important control, it accepts any signal Trigger, Gate or CV. Whatever input is plugged in the signal is then fed through an AD with a very short attack and controllable decay through the [VCA DECAY] knob plus the CV Input and Attenuverter knob. The resulting slewed signal is then used to control the VCA gain.

This signal is also sent to the CV OUTPUT as well as the LED monitor.

The Accent input adds to the Input signal creating a different amplitude output.


The CV OUTPUT is normalled to the Frequency and Cutoff inputs.

Tech Specs:
9HP
4cm deep
80mA +12V
80mA -12V

The [INPUT GAIN] knob

Usually Attack/Decay envelopes have a maximum voltage of +5v, no matter if the input gate is +5v or above the AD will clip at +5v. In this case, this clipping method was not used, and instead ADDAC allowed the incoming voltage to determine the maximum AD voltage, meaning that if a +5v gate is present then the AD maximum voltage will be +5v but if a gate of +10v is sent then the AD maximum voltage will be +10v.
This also means that with higher input voltages the decay, although falling at the same speed, will be longer than with lower voltages as it has a longer range to go back to 0v.

As previously mentioned, The [INPUT GAIN] knob can amplify the incoming input by a factor of 2, allowing to use a standard +5v gate or envelope and being able to make the resultant AD go up to +10v.

The AD signal is responsible for opening the VCA. Up to +5v the VCA will open to unity gain above this value the VCA will start to amplify and eventually saturate and distort. This saturation will add harmonics to the signal which will change its gentle timbrical nature to a more unique and peculiar timbre that will make the module shine in Acid contexts.

Adding high levels of Resonance or even filter self oscillation in combination with high VCA saturation will create even more harmonics that ADDAC highly encourage the user to explore.