Search dance music

Notes: Module A-124 is a special 12dB multimode filter using the "strange" filter circuit of the "EDP Wasp" (an analog synthesizer with black/yellow case built end of the seventies, manufactured by the UK company "Electronic Dream Plant" with Chris Huggett und Adrian Wagner). This design "abuses" digital inverters as analog operational amplifiers leading to distortions and other "dirty" effects that generate the specific sound of this filter. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self-oscillation in contrast to most of the other filters of the A-100 system.

Inputs: Audio In, CV In (2x)
Outputs: Bandpass Out, Low/Highpass Mix-Out
Controls: Audio and CV attenuator, Frequency, Resonance, LP/HP Mix

The function and operation of this module is very similar to the module SEM VCF A-106-5. But the sound of both filters is very different! The only functional difference is the position of the sockets and controls, and the function of the controls CV2 (A-124: normal attenuator, A-106-5: polarizer).

- 3U Eurorack module, 8HP wide, 45mm deep
- Current draw 30mA

Notes: Dual 1 x 3 buffered mult (one audio or cv signal in with multiple buffered outputs).

The output of the first mult is normalled to the input of the second mult to create a 1×6 buffered mult

Notes: Module A-151 (Quad Sequential Switch) is like an electronic four-position rotary switch.

It includes trigger and reset inputs, four in / outputs, and a common out / input. Each time a pulse is received at the trigger input socket, the common out / input is connected to the next in / output. After the fourth in / output, the next trigger makes it step back to the first again, and so on. A positive pulse at the reset input switches the out / input immediately back to the first in / output (see Fig. 1). Voltages in the range -8V...+8V at the O/I resp. I/O sockets can be processed by the module.

Four LEDs indicate the active in / output (i.e. the on that is connected to the out / input at any particular time).

Notes: The Rene music synthesizer module is a powerful three-dimensional prism of composition. It is the world's only 3D Cartesian Music Sequencer. Named for the French philosopher & mathematician Rene Descartes, it uses the Cartesian coordinate system to unlock the analogue step sequencer from the shackles of linearity. The original Rene was a one-channel, two-dimensional Cartesian sequencer with limited memory, this new Rene is a three-channel, three-dimensional Cartesian sequencer with memory for up to 64 complete States. Considering the multiple channels and FUN programming options per multiple axis, Rene has become an n-dimensional matrix or tesseract of synthesizer sequencing.

Notes: 'Tangle Quartet' is a high quality quad linear voltage controlled amplifier (VCA) providing individual level control of 4 signal inputs with both individual outputs and a combined 'mix' output (for non patched outputs) . Control signal inputs and associated attenuation controls allow for voltage control of signal levels. Control inputs are normalised to 5v thus providing manual mix control in the absence of control signals.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~80ma
Size: 8 HP
Depth: 32mm (including power header)

Notes: Module A-119 (External Input / Envelope Follower) is designed to allow external audio signals to be integrated into the System A-100. It comprises a pre-amp, envelope follower, and comparator.

The pre-amp has two inputs: an unbalanced input for line level signals, with a gain factor of from 0 to 20, and a balanced input with a gain factor of from 0 to 500, for insertion of low level signals, for instance from a microphone or electric guitar.

The Envelope Follower reads the signal level of the input, and puts out a proportional voltage as an envelope at its own output.

The comparator generates a gate signal whenever the input goes above an adjustable trigger threshold.

Three LED's help you keep track of overload, the envelope, and the gate signal.

Notes: Eight channels of audio and CV sampling with real-time editing and processing. Does basic sampling well but quickly gets creative and weird.

Supplier's notes:
The 'Squid Salmpler' is a Eurorack 8 channel audio & CV sampler. It is designed for immediate real time sampling, editing and mangling within a modular context.

Taking influence from early hardware samplers, The Squid Salmple focuses on usability and instinctive operation, incorporating a proven Pamela's Workout style user interface for minimal screen dependence and a fun, hands on experience.

With support for sampling and playback for both audio and CV, as well as CV control of all parameters, on-the-fly bank loading and saving to USB, The Squid Salmple brings a unique take on old school sampling into the modular realm.

The Squid Salmple comes with a USB Stick containing approximately 90 banks of original carefully curated royalty free samples. This includes a wide range of sounds from classic drum machines and weird synths to field recordings and CV modulations. Banks are provided by both ALM and some of our favourite artists and friends including Mumdance, Solid Blake, Russell Haswell, Lauren Flax, Dave Burraston (NYZ), Sue Zuki, Dungeon Acid, Sasha Lewis and Andrew Duff.

Notes: The Quad VCA is a compact and feature packed module that is sure to find its way it almost all of your patches. In addition to being used for standard VCA duties it can also be used as a mixer and signal booster.

Features:

- Manual LEVEL control per VCA which is convenient when using the module as a mixer or for biasing when CV modulating the VCA with a bipolar LFO.
- Dedicated CV attenuators with dual colour LEDs for monitoring bipolar CV signals.
- Continuously adjustable response from linear to exponential per VCA.
- Each CV input is normalled to the adjacent one for cascaded control.
- Each output is normalled to the mix input of the adjacent one which allows you to use adjacent sets as submixes or the fourth output can be used as a master mix output when none of the other outputs are patched.
- Each VCA has a boost switch that increases the output level by approximately +6dB (double).

Notes: 3xMIA is a 6-channel attenuverting mixer/offset/scale/polarizer.

3 blocks of 2-channel attenuverting mixers, using dual concentric pots. Each channel can be switched to mix with the subsequent channel, allowing for 2-2-2, 4-2, 6 mix configurations.

With nothing plugged into an input, an offset is normalled to that channel. The inner knobs control the A inputs, while the outer knobs control the B inputs.

DC coupled, so it can be used for audio, CV, or both at the same time.

80 mA +12V
80 mA -12V
35 mm Depth
6 HP wide

Notes: The WoggleBug music synthesizer module is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. It is a continuation of the "smooth" and "stepped" fluctuating random voltage sources pioneered by Don Buchla within the Model 265 "Source of Uncertainty," expanding it to include the other-worldly Woggle CVs (stepped voltages with decaying sinusoids edges). The Wogglebug is a very musical random voltage generator where it is possible to synchronize all random signal to a Master Clock. Guaranteed to unleash your synthesizer's ID MONSTER!

Features:
Complete Complex Random Voltage system, no external modules necessary
Two VCOs, Phase Lock Loop, Lag Processor, Clock, Burst Generator and Sample & Hold
Generates 7 Random Signals simultaneously: Smooth VCO, Woggle VCO, Ring Mod, Stepped, Smooth, Woggle, Burst
Generates voltage controlled Master Clock
External inputs for S&H (Heart IN) and Ring-Mod (Influence)
Disturb button adds performance element
Wonderful for modulating the Morphagene and DPO

Specifications:
Width: 10hp
Max Depth (incl. power cable): 32mm
Power: 50mA@ +12V; 40mA @ -12V

Notes: A compact Voltage Controlled Oscillator designed for generating SINE waves, Variable wave-SHAPEs, SUB-Octaves, Oscillator SYNC and Linear FM in the analog domain.

The Sub-Timbral Oscillator is the more subtle and melodic friend to the DPO's complex harmonic lattice.

Notes: 'O/A/x2' is a dual channel attenuverter with each channel also including a bipolar voltage offset and LED monitoring. The module is primarily intended for fine grain flexible 'editing' of control signals (i.e changing the phase, level and DC offset of an LFO signal) but also has uses with audio signals such as attenuation, inversion and mixing.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~50ma
Size: 4 HP
Depth: 32mm (including power header)

Notes: Zadar is a powerful, four-channel envelope, modulation, and transient generator, in a compact yet very complete, feature-rich package. It is capable of synthesising a vast palette of envelope shapes starting from hundreds of shapes stored in the memory. These starting shapes are not mere wavetables, but flexible vectors that can be stretched (from a fraction of a millisecond to half an hour), flipped, warped, distorted, delayed, shuffled, repeated, and amplitude modulated in real time. A set of freely assignable CV inputs allows for external control of most parameters. Each channel can work independently or combined with other channels within one of the chaining and looping algorithms.

Operating Zadar is quick and immediate, thanks to its accessible interface and crisp OLED display. The main screen displays all parameters together with the currently selected shape. Entering the simple 3-page menu is needed only for advanced settings.

Notes: USB socket for charging/powering peripheral devices.

This tiny but handy module connects the USB A connector to the +5V bus on the Intellijel TPS series powered busboards. Allowing 1A or more of current to be supplied to USB devices such as lamps, phone chargers, and usb powered musical devices.

It connects to the bus via supplied two-pin cable.

*Compatible with the TPS30 MAX and TPS80 busboards. TPS30MINI board requires an adapter.

Notes: Module A-160-2 is an enhanced version of the standard clock divider A-160. The module is a frequency divider for clock/trigger/gate signals, designed to be a source of lower frequencies, particularly for rhythm uses. The Clock input will take any digital signal from, eg. LFO, MIDI sync, or the gate from a MIDI-CV interface. At the outputs, you have access to three sets of seven different sub-divided clock signals, from half the clock frequency down to 1/128. The low/high levels of the output signals are 0V and about +10V.

The A-160-2 also has a reset input. Whenever a reset signal is sensed, all outputs are set to certain levels which depend upon the selected mode.

These are the most important features of the module:

Three different sets of dividing factors, selected by a three-position switch at the front panel:
- Power of two: 2, 4, 8, 16, 32, 64, 128
- Prime numbers: 2, 3, 5, 7, 11, 13, 17
- Integer: 2, 3, 4, 5, 6, 7, 8

Two output modes, selected by a two-position switch at the front panel:
- Gate mode: outputs act like the outputs of typical binary dividers
- Trigger mode: in this mode the outputs are AND-wired with the clock signal (i.e. the clock pulsewidth affects the pulsewidth of the outputs)
- Clock edge type selected by a jumper on the pc board:
- Positive: the rising edge of the clock signal triggers the state change of the outputs
- Negative: the falling edge of the clock signal triggers the state change of the outputs

Reset behaviour by two jumpers on the pc board:
- Level triggered: the level at the Reset input triggers the Reset
- Edge triggered: the edge of the signal at the Reset input triggers the Reset
- Positive: a high level (> 2.5V) or the rising edge at the Reset input triggers the Reset
- Negative: a low level (< 1 V) or the falling edge at the Reset input triggers the Reset

Output polarity selected by a jumper on the pc board:
- Positive: non-inverted outputs
- Negative: all seven outputs are inverted

Width: 4HP / 20mm
Depth: 35mm (Measured from the rear side of the front panel)
Current: +12V: +50mA, -12V: -0mA

Notes: The module is built around high quality VCA chips from THAT Corp, as well as low noise opamps. It offers clickless muting and equal loudness panning. The distinct feature is that voltage control is dynamically compressed should it yield clipping when pushed too hard. Also, in both modes the attenuators offer full closing of the corresponding channel, regardless of being controlled by the CV, or not. The VCAs fully open (0dB gain) at CV=8V in Env mode and CV=5V in LFO mode. All the input and output signal levels are Eurorack levels.

Multiple Praga units can be chained thanks to dedicated headers on the back. The mixed stereo sum of each unit in the chain is added to the mixing bus of all units downstream.

A dedicated Hrad expander will offer master volume control, gate inputs for channels muting/unmuting, headphone amplifier, and voltage control over aux sends.

Notes: A-138s is a simple but useful 4-in-2 mixing tool. It has four inputs available. Each input is equipped with an attenuator (Level) and a panning control that is used to distribute the signal to the left and right output. Beyond stereo mixing it is equally suited to create variable parallel routings. For example: Any of the four inputs may be routed in variable intensity to feed two filters.

You may regard the A-138s as a smaller version of the A-138m Matrix Mixer.

Inputs and outputs are DC coupled, i.e. the module can be used for the mixing of control signals too.

- 3U Eurorack module, 8 HP wide, 30 mm in depth
- Power consumption: 10 mA at +12 V and 10 mA at -12 V

Notes: Erica Pico INPUT module is just what you need to interface your modular system with external synths or even your mp3 player or mobile phone.

It boosts external signal to modular synth signal level.

With the Pico Input, line signals from, for example, a synthesizer, drum-computer, audio interface or smartphone can be raised to modular level. The module delivers up to 40 dB of gain. Thanks to its two channels, users can comfortably process mono as well as stereo material.

The Pico Input comes equipped with two signal paths. Each signal path features an audio input, a volume potentiometer and an output. Up to 40 dB of amplification are available. Using jumpers on the circuit board, it is possible to dampen the maximum gain to 20 dB. The module's first input is a stereo jack, meaning the user can connect a smartphone or tablet without any adapter cables. In this case, incoming signals are distributed internally to both channels.

Notes: The 'Quaid Megaslope' is a five stage function generator or modulator which operates in one of 3 modes; a multistage 'CZ' or 'Juno' style complex envelope, a super flexible LFO and a step sequencer with per step programmable slew or slides.

Each mode produces a varying output voltage moving from point to point across a set number of chained together stages. Each stage features a destination level, an overall rate or time to reach its destination level and a variable slope for the output path to take. As well as direct control, every stage feature voltage control of both level and rate. There are both unipolar and bipolar voltage outputs together with triggers emitted for the end of each stage and the end of a full cycle.

The Quaid Megaslope is designed to be fun, flexible and intuitive to use.

Notes: Freaky stereo digital delay from the Eurorack gods at Make Noise. Typically creative stuff, packed full of interesting features for creating complex echoes, modulating sounds and generating loops.

Supplier notes:
The Mimeophon music synthesiser module is a stereo, multi-zone colour audio repeater by Make Noise and soundhack, coded by Tom Erbe.

The Mimeophon (from Greek mimeo (repeat/copy) and phon (sound)) is a modern take on various historical sound copying, echo and repeating devices. It allows for Stereo modulations of Time, Space and Timbre of Mono or Stereo sound sources. The Mimeophon is capable of modulating and morphing time scales of repeated sound from micro-sound to note to phrase length while also colouring and spatializing the repeats.

Notes: This is a simple 1U module designed to allow the monitoring of a system using headphones. However, if your cat isn't easily scared, the headphone jack doubles as a TRS stereo line level output. Simply connect the signal that you want to monitor to the 1/8? jacks, plug in your headphones, and adjust the volume as desired.

Notes: Sometimes your ears are not enough and you really need to see the sounds and control voltages you are generating. Zeroscope's two channel design lets you display and compare both control voltages and audio. It's a good old fashioned sci-fi light show!

The Zeroscope 1U is an adaptation of the excellent 3U Zeroscope by VPME.DE.

Three Modes Packed Into 1U:

- Scope: Standard graphical display, with time displayed on the X-axis and voltage displayed on the Y-axis.
- X-Y: Alternate graphical display with CH 1 driving the X-axis and CH 2 driving the Y-axis.
- Tune: Alphanumerical tuning display, which you can configure to show either Hz values or note names.

The Scope displays have adjustable display offset for each channel and an adjustable trigger threshold, while the tuner has options for reference pitch and average update speed.
Ins & Outs

The inputs are DC coupled and accept signals between -10V and +10V. The Signal on the input is normalled to the output below; this allows you to monitor or tune a signal without a mult or re-patching.

Notes: The Row Power 25 is a clean, regulated, and protected power supply module for Eurorack systems. It requires a barrel-style power brick (15V - 20V DC) and supplies power to modules via flying bus cables, direct connection, and/or bus boards.

The Row Power 25 provides 25W of power for any Eurorack modules (typically 4-10 modules*):

+12V @ 1.4A maximum, 1.0A recommended
-12V @ 0.8A maximum, 0.5A recommended
+5V @ 1.0A maximum, 0.8A recommended

*number of modules can vary depending on each module's power consumption.

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying-bus cables or the Bus Stick.

Multiple Row Power modules can be powered from a single power brick by daisy-chaining with an inexpensive barrel cable. The Row Power 25 can also be daisy-chained to Pods. Each Row Power and Pod will be independently regulated and protected for ultra-low cross-talk between rows.

Notes: The mmMidi is a simple & compact MIDI to CV interface for your Eurorack synthesiser. It translates both MIDI clock and 2 Channels of MIDI note, velocity and gate information to corresponding voltage control signals. The mmMidi is quick to set up and requires minimal configuration.

Notes: Glitchy business with this digital module based on the sound of scratched CDs, buggy software and failing hardware. Stereo in and out with up to five minutes sampling time.

Supplier's Notes:
Data Bender is a circuit bent digital audio buffer. It is inspired by the ways in which audio equipment can fail. The sounds of skipping CDs, software bugs, and defective tape machine playback are all accessible. The audio buffer can hold up to five minutes of stereo audio, providing a sonic canvas capable of infinite surprises and discovery.

Notes: Compact take on the Bitbox sampler, also offered as the larger Mk2 version. Touchscreen-based design allowing up to eight stereo samples, recording directly or loaded from SD card.

Supplier notes:
Bitbox micro provides Eurorack sampling for smaller racks and smaller budgets. In only 18 HP of rack space you can get a touch screen based sampler with support for 8 stereo sample pads. Now you can record samples directly into the module or load them from the microSD card. Trigger your samples via CV or MIDI, then apply effects and mix the outputs. Save your configurations to multiple presets for later reuse.

Sample Playback

Play up to 24 stereo polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger stereo samples streaming directly from the microSD card
Configure 8 stereo 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
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
Resample the master output without patching
Automate recording of a multi-sample bank via MIDI and CV
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
Use the 8 inputs the way you want: assignments include a stereo audio input, up to 8 gate inputs, up to 8 CV inputs and 1 clock input.
Route the audio from each pad out to one of 3 stereo audio outputs or one of 6 mono audio outputs
Listen to all of the pad outputs combined on the master stereo output

External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
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 2? diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Refine 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
Inputs and outputs are DC coupled so you can record and play out CV signals

Notes: This small utility is the pedal's lover best friend, it allows 2 diferent chains of pedals to be independently connected to your synth.

The Send channels attenuate the synth level to instrument level.

The Return channels amplify the signal from instrument to synth level.

Specs:
- Width: 4 HP
- Depth: 3 cm
- Max current: 10mA

Notes: Nicely thought out four-voice sample playback module from Parisian innovators Squarp. Load up a microSD card with samples (up to 2600 kits), then trigger and process. Neat.

** Firmware update- February 2024 ***

Thanks to a major rework of the OS, this upgrade includes an overall better sound quality and an improved latency.

Moreover, the effects Freeze and Bitcrusher have been redesigned, and the parameters Start and Sample Length are now exponential to facilitate the fine-editing of your samples.

Supplier's Notes:

Rample waves system

Eurorack 4-voice sample player & audio processor

Versatile sample machine

From percussive drum-machine kits to synth samples, breakbeats to sound FX, backing tracks to hour-long audio music, Rample can play up to 4 .wav files on independent audio outputs :

These samples are stored inside the provided SD card, and organized as kits, from A00 to Z99... allowing up to 2600 banks of 4 voices, with on-the-fly loading! The SD card is preloaded with tons of samples, and we made it very easy to import your own kits.

Thanks to the DC coupled audio outputs, it's also possible to play CV waveforms.

Effects rack

Each voice has its own "rack" of effects, and all audio effects can be enabled at the same time, allowing you to manipulate your samples in real time, from a gentle lowpass to massive destruction!

pitch - a great sounding pitch engine, based on a 6-pole interpolator, which ranges from -1 octave to +1 octave.

bits - two different bitcrushing algorithms, based on sample rate and resolution reduction. It produces distortion and warms the audio signal.

filter - a low resonance filter, DJ-style, cutting off the high frequencies or the low frequencies.

freeze - sample and loop a fraction of the played waveform, creating a glitching effect.

levels - decrease the gain or drive the signal.

It's also possible to edit 'advanced parameters' like the start point, sample length, attack/decay and run mode, and create mute groups without breaking a sweat.

Finally, thanks to the 4 CV inputs, any of the effects (or advanced parameters) can be assigned to create amazing modulations!

Multi-layer sampling

One of the key feature is the ability to "multi-sample" your kits, multiplying Rample's potential. Each voice supports up to 12 samples, can be played randomly or in a controlled fashion. It's a great way to add complexity and variations, to create organic/acoustic sounding drums, or simply to increase the number of samples per kit (up to 48).

As an example, Squarp are providing a multi-layered drum kit, with 12 different recordings of a kick, 12 different recordings of a snare, etc. Sequencing them randomly leads to a more natural drum playing.

Another kind of multi-layered acoustic drum kit is also provided, where each drum is recorded with 12 levels of velocity. Controlling the layer to be played leads to intricate, convoluted drums programming.

Of course, it's very easy to create your own multi-layered kit, and you can use this method to perform multiple synth chords, sound glitches, voices, breakbeats, ...

CV/Gate and Midi interface

Rample is designed to be the perfect rhythmic companion of your eurorack system thanks to its Gate (trig samples) and CV (modulate samples) connectivity.

You can also use it as a standalone midi machine, without using the CV/Gate connectivity: the midi in port allows you to trig & control all samples parameters + effects values at the same time. Each Rample comes with a 'stereo jack to midi DIN' and 'stereo jack to jack' adapters, easing the chaining of multiple modules in order to create an 8-voice, 12-voice, 16-voice (or more) midi drum machine!

SD card preloaded with 200+ kits from artists and sound designers, covering a large range of audio samples

Notes: The Ultimate Eurorack Utility Module (and a whole lot more!)

The DATA is a digital platform for testing, measurement, and signal generation in Eurorack modular synthesis systems. It is a modular tool kit, with functions applicable to any system and style.

Use the DATA's scope to view the interactions between your control voltages and audio signals, allowing you to master your modules by understanding their voltage ranges, control shapes, and parameter responses. Use the DATA's dual waveform generator to dial in a precisely scaled LFO for CV control, or use the waveform's frequency "note mode" to effortlessly make dyads (two note chords). Use the DATA's clock program as a master clock or to divide or multiply an incoming clock signal, sending four different clock outs to gate modules directly or as control to sequencers.

The possibilities of the DATA are basically unlimited; with the included microSD you can update the DATA's firmware and we can continue to refine and create new programs.

Notes: C4RBN is a 4/2-pole state variable filter with input saturation, output wavefolding and more. It offers a wide range of characters, from nice and clean filter sounds to screaming, squeaky, sounds.

An innovative input saturation circuit and the output wavefolder of WMD's classic SYNCHRODYNE filter bring great sonic flexibility.

Features:

3 independent 2 pole outputs for High Pass, Low Pass, and Bandpass
Inverting Attenuator (attenuverter) for FM allows for positive and negative CV control over the cutoff frequency
Independent 4 Pole output with switchable frequency response
Input Saturation with 3 switchable levels and CV input for additional fine control
PING circuit generates a fast decay envelope emulating the response of a vactrol
Output wavefolder for extra bite and screaming character
Resonance with self oscillation
Temperature compensated 1V/Oct tracking.
Performance focused control scheme allows for on-the-fly changes of filter types with intention

Power consumption: 92mA at +12V and 82mA at -12V

Depth: 38mm

HP : 4

Notes: Row Power is a clean, regulated, and protected power solution for Eurorack systems. Row Power 45 provides enough power for two to three typical Eurorack rows (typically up to about 312HP):
+12V @ 2.0A maximum, 1.5A recommended
-12V @ 1.4A maximum, 1.2A recommended
+5V @ 1.5A maximum, 1.2A recommended

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying bus cables or the Bus Stick. For custom power systems, the Row Power 45 has a set of easily soldered holes for using large gauge wire or MTA156 connectors to connect to distribution bus boards.

Multiple Row Power modules can be powered from a single power brick by daisy-chaining with an inexpensive barrel cable. The Row Power 45 can also be daisy-chained to 4ms Company's Pod enclosures. Each power supply is independently regulated and protected for ultra-low cross-talk between rows/pods.

The Row Power 45 is compatible with the 4ms Row Power Shield. This device (sold separately) attaches to the back of the Row Power 45 and monitors the amount of current being drawn, as well as the voltages of the power rails. The information is sent over Bluetooth to be displayed on a phone or tablet.

Electrical and Mechanical Specifications

Module Size:
4 HP Eurorack format module

Power Output:
Maximum average load under normal conditions: +12V @ 2.0A, -12V @ 1.4A, +5V @ 1.5A
Maximum average load under any condition: +12V @ 1.5A, -12V @ 1.2A, +5V @ 1.2A
Powered by laptop-style DC power supply: 2.1mm barrel, positive center, 15V-20V.

Included with the Row Power 45:
16-to-16 pin power cable
2 M3 Knurlie screws

Notes: Another update for WMD's clever dual VCA, this time a little bigger to give more control. Digital control of CV and attenuation gives lots of creative options. Third time's a charm.

Supplier's Notes:
WMD have done several designs of this circuit over the years, the first one had no knobs, the second was too small, the MKIII is finally how this circuit should be packaged. This module does some really cool stuff and is super useful in any system.

The Digital VCA lets signal through like a normal VCA, but the CV and attenuation level is controlled digitally. This lets us do things like wait until there is a zero crossing to change the amplitude, resulting in clickless amplitude changes.

The Trigger mode causes the VCA to only update when a trigger is received. The addition of a noise circuit for each side let us do a very quick and easy sample and hold that never droops. With no input, 5V is normaled to the attenuator, so you get a 0-5V sample and hold. In Bipolar mode, you can get -5 to +5V.

Both sides have bipolar VCA mode (polarizer), which lets them invert the signal when negative CV comes in. Also known as ring modulation. With the zero crossing detector, this can produce some super wild wave shapes.

Features

Dual VCA Design
Unipolar or Bipolar Operation
DC Coupled Analogue Signal Path
Low Distortion / Low Noise
VCA Closes Completely
Zero Crossing Detector Mode
Trigger Mode
Two Independent Noise Sources
8 bit CV resolution
Great for Fast Envelopes and Sine Bass Sounds

Specifications

Power: +65mA, -45mA
Width: 8HP
Depth: 35mm with cables
Height: Eurorack 3U (128.5mm)
Board Height Behind Panel: 112mm
CV/Signal Input Impedance: 100k
Output Impedance: 1k
UPD in 3.3V Threshold Schmitt Trigger
ZCD produces 15us 5V pulse
5V CV to fully open VCA
Linear VCA response
20Vpp signal handling

Notes: 'Beast's Chalkboard' is dual channel stepped voltage source and adder for your eurorack modular synthesizer system. It primarily is intended as a dual octave switcher for VCO's but has many other uses including sequence transposition, FM ratio creation, buffered CV distribution and VCO calibration.

Technical Specifications:

Supply: +/-12V (Reverse voltage & polyfuse protection)
Current Draw: ~30ma
Size: 6 HP
Depth: 22mm (including power header)
Offset Error: +/- 10mV

Notes: The 'S.B.G' is a compact utility module intended for the interfacing of guitar effect pedals with your eurorack modular system.

It provides both attenuation and amplification of audio signals for level matching together with a crossfade control to conveniently adjust the wet/dry mix of a processed signal. The module also offers regulation of outgoing CV signals for safer use of pedal expression inputs.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~30ma
Size: 4 HP
Depth: 22mm (including power header)

Notes: The CP909 is the TR-909 clap sound analog generator in Eurorack format. This is yet another low-cost analog drum generator from a legendary drum machine in your modular synthesizer, expanding your Tiptop Audio modular drum machine even further.

The CP909 is an exact reproduction of the original analog circuit and, with the addition of just one extra knob, "trashing" the frequency of the internal noise generator, we have added greatly to the spectrum of sounds that can be generated - all that without compromising the signature sound of the TR-909 clap.

The CP909 clap effect is made by a special triple-saw envelope generator that controls the gain of a VCA. The sound source feeding into the VCA is made by a quasi-random logic based noise generator; some might call it "digital noise" though this term might be misleading in today's world of microcontrollers and sound samples. What really makes the noise generator is a ring of logic gates, so primitive, so BO's, and that's the sound of the 909 Clap!

The CP909 includes a high-powered output gain stage capable of producing hot signals. On the inputs, we have designed a pulse-shaper circuit so you can trigger the CP909 with trigger/gate signals from step sequencers, clock dividers, or any other pulse/clock sources. This eliminates the need to shape pulses sent to the module and ensures the same stable sound at peak power, regardless of your pulse source. Based on the architecture of the 909, the Accent input is versatile and able to take in both CV and Gate signals for continuously changing dynamics. All these unique features make integrating this legendary sound generator into your modular synth easy, unleashing the power of real analog drums.

Notes: Full-featured triangle core VCO/LFO

The Dixie II+ is a larger variant of the classic Dixie II. Using the same great triangle core oscillator, it adds a number of features to make it even more versatile with only a modest increase in size. The Dixie II+ makes a great primary oscillator for a modular system, or a great companion the Rubicon.

Notes: Each of the two sections of the module is capable of performing the analog multiplication of two signals (A and B) and add an offset (C). It can also act as a dual voltage controlled attenuverter, dual ring modulator, dual VCA or four channel mixer (see block diagram below).

The B inputs are routed to an attenuverter that multiplies the signal between -2 to 2, while the offset inputs (C) route through a unity gain attenuverter (multiplies the signal between -1 and 1).

The output of first section is routed to the output of the second (when the first's output is unused), so the second output can act as master to achieve (A1*B1+C1) + (A2*B2+C2) or (A1 + C1) + (A2 + C2) - a 4 channel mixer.

The through-zero (four-quadrant) multipliers in the A*B+C allow for true Ring Modulation. To achieve this, simply connect two waveforms to the A and B inputs.

Notes: A-180-9 is another simple but useful tool. It can be used to connect up to 14 signals between different cases by means of standard network cables (RJ45). These cables are available all over world smoothly in different lengths and colours. From the factory two black network cables with 0.5 m length are enclosed.

The upper network connector is wired to the eight sockets 1-8, the lower to the six sockets A-F. That way it's possible to pre-patch different cases and connect signals, that are required in all cases (e.g. clock, start/stop, master CV) by means of one or two cables only instead of 14 individual patch cables. When only eight signals are required only the upper network connector is required and the sockets 1-8 are used. When more than eight signals have to be patched both network connectors have to be used. It's also possible to wire the upper and lower network to different cases (i.e. signals 1-8 to external case #1 and signals A-F to external case#2).

The module is fully passive (no power supply required) and simply wires the 14 sockets to 14 pins of the network connectors.

The A-180-9 comes in pairs for combining two modular systems.

Notes: Module A-147-2 is the successor of the VCLFO A-147 but offers much more features than the predecessor. The module is made of these sub-units:

- VCLFO: voltage controlled low frequency oscillator
- VCA: voltage controlled amplifier, switchable to voltage controlled polarizer
- VC delay unit: voltage controlled linear attack envelope (only one parameter: attack) for delayed LFO operation in combination with the VCA (e.g. delayed vibrato/tremolo)

LFO: The voltage controlled LFO has the waveforms Triangle, Sine, Sawtooth and Rectangle available and features a Reset/Sync input. Triangle/Sine and Rectangle are displayed by means of dual-colour LEDs (probably red/green), Sawtooth has a unicolor LED available (probably blue). The output levels are about -4V...+4V for Triangle, Sine and Rectangle. The Sawtooth level is about 0...+8V.

The CV control can be switched to attenuator or polarizer ("CV Mode" switch). In polarizer mode the CV inputs affects the frequency in the reverse manner when the CV control is left from the centre position. In the centre position CV has no effect and right from the centre the control works like a normal attenuator. The frequency range (without external CV) is from about 0,005 Hz (i.e. about 3 minutes per period) to 200 Hz (with external CV max. frequency about 1kHz). In addition a ultra-low mode can be activated by means of an internal jumper. When the ultra-low jumper is set a fixed voltage is connected to the switching contact of the "LFO CV" socket. In polarizer mode of the CV control that way extremely low frequencies (up to one hour period and more) are possible. For this a jumper has to be installed on the pin header JP6. In the factory a dummy jumper is installed on the pin header JP7 "Dummy". JP7 has no function and is used only for "parking" of the jumper. Simply remove the jumper from JP7 and plug it on JP6. JP6 is located behind the CV control.

VCA: This is a linear VCA that can be switched to "normal" VCA (i.e. kind of a voltage controlled attenuator) or voltage controlled polarizer ("VCA Mode" switch). In the "normal" VCA mode amplification +1 is achieved with about +5V control voltage. In polarizer mode the amplification ranges from about -0.5 (i.e. inverted signal with about 50% level) with 0V CV to +0.5 (i.e. non-inverted signal with about 50% level) with +5V CV. With about +2.5V CV the signal is suppressed. Details about the functioning of a voltage controlled polarizer can be found in the description of the module A-133. In this mode the VCA can be treated also a DC coupled ring modulator (similar to A-114).

The VCA of the A-147-2 has three sockets available: "In" (signal input), "Out" (signal output) and "CV" (control voltage input).

The Triangle Output of the LFO is normalled to the VCA signal input by means of the switching contact of the "VCA In" socket. If another LFO waveform (or any other signal) should be processed by the VCA the corresponding signal has to be patched to the "VCA In" socket. The VCA can be used also independently from the LFO and the Delay CV. In this case the VCA sockets In, Out and CV have to be patched accordingly. The VCA can be used also as waveshaper for the LFO signals (e.g. by patching VCA In and VCA CV to different LFO signals, if necessary via attenuator A-183-1 or offset generator/attenuator A-183-2).

Attack/Delay: The third sub-unit of the module is a simple, voltage controlled envelope generator that has only the parameter "Delay" (or Attack) available. This unit generates a linear increasing voltage that starts from 0V after each Delay Reset until it reaches about +5V. Then the voltage remains at +5V until the next Delay Reset occurs. The inclination or gradient is controlled by the manual Delay control and the Delay control voltage ("Delay CV" input). The waveform is linear, the control scale is exponential. The output voltage is displayed by a green LED and available at the "Delay Out" socket.

The manual Delay control ranges - without external "Delay CV" - from about 5ms (fully CW) up to 2 minutes (fully CCW). By means of an external voltage applied to the "Delay CV" socket this range can be extended. A rising CV shortens the delay time (behaviour like a VCO)!

The Delay output voltage ranges from about 0V to +5V. The rising edge of the gate, clock or trigger signal applied to the "Delay Reset" sockets resets the Delay output voltage to 0 V.

"Delay Out" is normalled to the VCA CV input by means of the switching contact of the "VCA CV" socket and consequently controls the Triangle level provided that no other patch is made. A typical example is the usage of a Gate signal (e.g. from a USB/Midi-to-CV/Gate interface) as Delay Reset. That way a delayed vibrato or tremolo can be realized if the VCA output is patched to the frequency CV input of a VCO (or VCF), or the CV input of a VCA.

Notes: A-138s is a simple but useful 4-in-2 mixing tool. It has four inputs available. Each input is equipped with an attenuator (Level) and a panning control that is used to distribute the signal to the left and right output. Beyond stereo mixing it is equally suited to create variable parallel routings. For example: Any of the four inputs may be routed in variable intensity to feed two filters.

You may regard the A-138s as a smaller version of the A-138m Matrix Mixer.

Inputs and outputs are DC coupled, i.e. the module can be used for the mixing of control signals too.

- 3U Eurorack module, 8 HP wide, 30 mm in depth
- Power consumption: 10 mA at +12 V and 10 mA at -12 V

Notes: Module A-148 (Dual S&H) has two identical sample & hold modules, designed to produce 'staircase' voltages. The signal present at the sample input is sampled at a rate set by the signal at the trigger input, and held at that voltage at the S&H output.

The exact shape of the staircase depends on the sort of waveform at the sample input: NOISE or RANDOM signals produce random patterns; an LFO produces rising or falling staircase patterns.

Two LEDs for each S&H indicate the voltage (positive or negative) of the sampled signal.

Notes: Mimetic Digitalis is a 10HP step sequencer optimized for live use. MD includes four individually editable CV outputs and a trigger out. Each step can be manually programmed or use MD to live record CV sequences using the encoder. The zero button mutes the CV at a step and shred randomizes the voltage. Save and load up to 16 patterns. Edit a pattern and use undo to return to the unedited version.

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

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

Notes: The Stereo Triggered Sampler can record high quality stereo files, while simultaneously playing two different stereo files. A maximum of 600 samples can be loaded from the removable/swappable microSD card, in a variety of formats up to 96kHz/32-bit/stereo WAV. All sample parameters (1V/oct pitch, sample file selection, length, and start position) are CV controllable.

600 Samples:
A maximum of 600 samples can be loaded at once, arranged into banks of 10 samples each. Samples and banks can be re-arranged on the fly using the simple on-board Edit features. Newly recorded samples can be instantly played back and re-pitched, reversed, chopped up, etc... the result of which can even be bounced down and re-recorded to as a new sample! Sample files are limited to 4GB each, which is over 6 hours at 44k/16b/stereo.

Two Stereo Playback Channels:
Each playback channel has a knob and CV jack for Sample File selection, as well as a Start Position knob and CV jack for controlling where in the sample playback will begin. The Length knob and CV jack determine how much of the sample is played back: from tiny grains, to percussive hits, to longer loops... or just the entire file. These are powerful tools for re-arranging a sample, joining multiple samples, and creating dynamically re-sized loops within a larger sample. Combined with the Play Trigger jack and the 1V/oct jack, the STS can be two complete multi-timbral pitch-tracked stereo voices!
There's also a Reverse button and jack for backwards playback, and an End Out jack for synchronizing loops, or cascading sample playback with other events.

Looping and Sync:
Looping is easy: just hold the PLAY button down for two seconds to toggle loop or one-shot. The loop timing clock will output from the End Out jack. Or, send a clock into the Play Trig jack to sync the loop to external timing.

Stereo Recording:
Whether you patched 47 modules to create the ultimate percussive blast, or you want to capture your four hour ambient performance, recording high-quality .wav files on the STS is simple. Just hit the REC button or fire a trigger and a new stereo .wav file will be created on the SD card. Do as many takes as you need: the STS never deletes your files. Re-ordering or re-arranging samples into banks is easy, even without a computer.
You can even fill a bank with 10 different variations and immediately use them for playback.
By default the STS records at 44.1kHz/16-bit, with an option for 24-bit (a future update may increase the sample rate to 96kHz)

Easy sample loading:
Using a computer is completely optional with the STS, since samples can be recorded directly to the module and placed into the bank of your choosing. But for users with large existing sample banks, the intuitive automatic bank loading features make dragging and dropping your entire sample library a snap. You never have to rename your files again!

Notes: Killer physical modelling module collab from two of the biggest names in their respective fields of hardware and software. Generates a huge range of percussion instruments plus synths and bass tones.

Supplier's notes:
Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds - both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.

Plonk does this by breaking sound creation into two distinct elements - the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it's percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.

Plonk provides numerous parameters that let you shape, mould and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object - real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.

Best of all, the sounds created by Plonk are not static - any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!

Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk's built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.

Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems - physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.

Notes: Module A-140-2 contains two ADSR type envelope generators behind a front panel with 8 HP only.

Each ADSR provides these controls and in/outputs:

- LED (displays the envelope output)
- A: manual Attack control
- D: manual Decay control
- S: manual Sustain control
- R: manual Release control
- Gate Input
- Retrigger Input
- CVT Input with attenuator (CVT = CV Time)
- Envelope Output 1
- Envelope Output 2

The output voltage range for each envelope is 0 - 10V. The time range of Attack/Decay/Release is about 1ms to 30s.

By means of internal jumpers one can select which time parameters are controlled by the CVT input (e.g. D only or D+R or A+D+R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question).

Socket CVT can be normalled to an internal fixed voltage (i.e. the switching contact is connected to an internal fixed voltage). That way it's possible to change all time parameters simultaneously by means of the CVT control.

Another jumper is used to set output 2 to normal or inverted envelope.

And another jumper is used for the normalling of Gate 2 to Gate 1 (i.e. ADSR#2 is also triggered by Gate 1).

Two more jumpers are used for the optional bus access to the gate signal of the bus for each ADSR. Changing the positions of the mentioned jumpers allows to modify the factory settings.

Notes: Module A-151 (Quad Sequential Switch) is like an electronic four-position rotary switch.

It includes trigger and reset inputs, four in/outputs, and a common out/input. Each time a pulse is received at the trigger input socket, the common out/input is connected to the next in/output. After the fourth in/output, the next trigger makes it step back to the first again, and so on. A positive pulse at the reset input switches the out/input immediately back to the first in/output. Voltages in the range -8V...+8V at the O/I resp. I/O sockets can be processed by the module.

Four LED's indicate the active in/output (ie. the one that is connected to the out/input at any particular time).

Notes: Great for generating random voltages from white noise, arpeggios from sawtooth waves, and downsampling audio signals.

Notes: The 'MCO' is a compact digital oscillator. It features a main 'morphing' wavetable output, an additional copy of this output with overlaid variable pulse width segments (ala Alpha Juno style saw wave pwm) and a sub square wave output an octave down to the main output. The waveform and pulse segment width and be both directly and voltage controlled. The pulse segment distribution can also be voltage controlled via the 'type' input.

Expect an early 90s slightly crunchy digital type sound (ala Ensoniq, Kawaii KX synths) rather than something striving for perfect analog emulation.

Notes: The 'HPO' is an affordable super slim and skiff friendly no frills stereo headphone driver output for your modular synthesiser. Includes a volume control and ability to double up a mono signal into stereo. A great use for that left over 2hp in a skiff or larger system.

Give loved ones, friends and acquaintances a break from your musical 'genius', the HPO offers a solitary cell for focused creativity impregnable from undeserving non-believers.