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Notes: The VCZIII voltage controlled oscillator modules are Feedback's latest creation and are based on the VCOs of one of the most revered analogue instruments, the famous British pin matrix synth released in 1969.

The VCZIII series VCO is a result of the collaboration of Feedback modules and CMS-LAB and is a modern re-creation of those temperamental, organic and beautiful sounding VCOs from 1969 but with enhancements and adaptations to the Eurorack needs of 21st century.

There are two type of VCOs, VCZIII A based on VCO1 with variable shape SINE & SAW waveforms, VCZIII B based on VCO2 & VCO3 with variable TRIANGLE & PULSE waveforms.

Also, each VCO comes in two versions, one with normal fine tune potentiometers and one with precision multiturn potentiometer.

THIS VERSION IS WITH BOURNS MULTITURN FINE TUNE POTENTIOMETER.

Tech specs:

- 12HP width
- 35mm depth behind front panel including the power connector
- standard 10 pin euro power +12V / -12V
- power consumption +12V 50mA , -12V 30mA

Notes: The VCZIII voltage controlled oscillator modules are our latest creation and are based on the VCOs of one of the most revered analogue instruments, the famous British pin matrix synth released in 1969.

The VCZIII series VCO is a result of the collaboration of Feedback modules and CMS-LAB and is a modern re-creation of those temperamental, organic and beautiful sounding VCOs from 1969 but with enhancements and adaptations to the Eurorack needs of 21st century.

There are two type of VCOs, VCZIII A based on VCO1 with variable shape SINE & SAW waveforms, VCZIII B based on VCO2 & VCO3 with variable TRIANGLE & PULSE waveforms.

Also, each VCO comes in two versions, one with normal fine tune potentiometers and one with precision multiturn potentiometer.

THIS VERSION IS WITH BOURNS MULTITURN FINE TUNE POTENTIOMETER.

Tech specs:

- 12HP width
- 35mm depth behind front panel including the power connector
- standard 10 pin euro power +12V / -12V
- power consumption +12V 50mA , -12V 30mA

Notes: qTone is a module that precisely transforms any kind of voltages into musical notes. Take the LFO, a Random source, or the Sequencer outputs, send them through the quantizer to your oscillator or synth voice, and enjoy perfectly tuned melodies.

It has a bank of 16 user-defined scales that can be easily edited, and automatically saved into memory. qTone saves every change into EEPROM so you can be sure to get back to the last state after power on.

Both channels can work independently with their own scale each, or with a common scale as well. Aside from the Scale, it is possible to set Glide, Offset, and Transpose parameters. The Glide parameter performs a smooth portamento between quantized notes. Offset shifts an input CV up or down, which works as an offset before quantizing, while the Transpose parameter shifts a scale after quantizing by semitones.

The 2 CV inputs are freely routable to any parameter in the CV menu. qTone works with unipolar or bipolar signals, in the range from -5 to +5 volts.

Technical details

6 hp
45 mA +12V
22mA -12V
0 mA 5V
42 mm deep

CV input voltage ranges: +5-5v, 0v+5v
CV output voltage ranges: +5-5v, 0v+5v

Notes: Messor is an analogue stereo compressor with lots of tricks up its sleeve, in only 8HP.

From squashing drums, sidechaining kicks and sculpting transients, to glueing a mix together, it's a very versatile dynamics manager.

At its core it's a VCA based feed-forward compressor with a low noise signal path. The magic is in the internal sidechain that shapes the gain reduction envelope. This starts with a a switchable high-pass / low-pass filter, before going into a precision envelope follower, controlled by familiar parameters: the attack, release, threshold, ratio and makeup gain.

The ratio can go past limiting and into over-compression, which can completely reshape transients, a great tool for sound design.

Being modular, of course there are CV inputs for Attack, Release and the side-chain Filter cutoff. The Gain CV controls the makeup gain, but also doubles as a Stereo VCA with the Gain knob turned fully CCW.

The gain reduction envelope is also available as an output, for turning filters or other VCA's into compressors for example, or as a standalone envelope follower.

There's a bypass switch, and a Warm mode, that can bring in a bit of additional saturation and compression in the form of analog tube simulation circuitry.

Lastly there's the possibility to insert an external sidechain, for that classic kick sidechain compression.

Dimensions
8 HP
25 mm deep

Current Draw
45 mA +12V
26 mA -12V

Notes: Punch MG is a unique module with VCA-DECAY & Mute GROUP designed for Eurorack systems.

This module has been specially crafted to generate dynamic percussive sounds while also offering the capability to manage multiple signals simultaneously through its innovative mute group feature.

Punch MG provides a versatile platform for crafting dynamic percussive sounds. With its mute group feature, it allows you to handle numerous signals concurrently.

The manual will guide you through the various features and functions of Punch MG, enabling you to explore its full potential.

Key Features:

Dynamic Sound Generation: Punch MG is engineered to generate dynamic percussive sounds with finesse, offering a range of creative possibilities.

Mute Group Interaction and Signal Patterning: Utilize the mute group feature to enable interactions between signals that share the same group.

This feature enables signal muting and amplitude limitation when multiple signals are triggered simultaneously. The amplitude and decay time of each signal are influenced by others in the same group. This characteristic can lead to captivating pattern variations when focusing on specific channels.

Expandable Capability: By linking two modules, you can expand the effect of the mute group to accommodate up to eight signals, fostering intricate interactions and captivating sonic landscapes.

AM Sound Creation: Connect audio rate signals to the level input to explore the creation of AM (Amplitude Modulation) sounds, further extending the sound design possibilities.

Envelope outs: Each envelope's polarity can be inverted using dedicated switches on the front panel, enabling you to achieve effects like side-chain compression and ducking. Moreover, the mute group circuit's influence extends to the envelope signal output, providing intriguing modulation capabilities that add a unique layer of creative expression to your sonic endeavours.

16 HP
Power consumption 180mA@+12V, 64mA@-12V

Notes: Punch MG is a unique module with VCA-DECAY & Mute GROUP designed for Eurorack systems.

This module has been specially crafted to generate dynamic percussive sounds while also offering the capability to manage multiple signals simultaneously through its innovative mute group feature.

Punch MG provides a versatile platform for crafting dynamic percussive sounds. With its mute group feature, it allows you to handle numerous signals concurrently.

The manual will guide you through the various features and functions of Punch MG, enabling you to explore its full potential.

Key Features:

Dynamic Sound Generation: Punch MG is engineered to generate dynamic percussive sounds with finesse, offering a range of creative possibilities.

Mute Group Interaction and Signal Patterning: Utilize the mute group feature to enable interactions between signals that share the same group.

This feature enables signal muting and amplitude limitation when multiple signals are triggered simultaneously. The amplitude and decay time of each signal are influenced by others in the same group. This characteristic can lead to captivating pattern variations when focusing on specific channels.

Expandable Capability: By linking two modules, you can expand the effect of the mute group to accommodate up to eight signals, fostering intricate interactions and captivating sonic landscapes.

AM Sound Creation: Connect audio rate signals to the level input to explore the creation of AM (Amplitude Modulation) sounds, further extending the sound design possibilities.

Envelope outs: Each envelope's polarity can be inverted using dedicated switches on the front panel, enabling you to achieve effects like side-chain compression and ducking. Moreover, the mute group circuit's influence extends to the envelope signal output, providing intriguing modulation capabilities that add a unique layer of creative expression to your sonic endeavours.

16 HP
Power consumption 180mA@+12V, 64mA@-12V

Notes: The basis of the module is a version of the transistor ladder with low-end compensation at resonance, to which Machineroom have added aggressive Overload and linear VCA. Thanks to three audio inputs, FILTH can work with polyphonic patches, if you add Trilobite (or another triple osc) and ADSR to it, you will get a paraphonic synthesizer. 2 VCA inputs in the classic case allow you to use loudness envelope and voltage offset (for example, velocity) at the same time, but there are many more options for their application.

Works in LP/HP and 12/24 db modes

In the 24db mode, the filter self-oscillates and can act as a sine generator with perfect pitch tracking in the range of 5 octaves.

Despite the name, without overload, the module can be used as a vanilla filter, but its brutal version is generally more preferrable.

Based on "transistor ladder" design of Minimoog 204D with a cut-off slope of -24 db/octave as in various Moog synthesisers.

10HP
* skiff-friendly (25mm depth)
* 28 mA +12V
* 21 mA -12V
* 0 mA +5V
hand-built in Kyiv, Ukraine

Notes: MachineRoom 204D Dual VCF is a dual voltage-controlled low-pass filter, which filters out the higher parts of the sound spectrum and lets lower frequencies pass through.

Based on the "transistor ladder" design of Minimoog 204D with a cut-off slope of -24 db/octave as in various Moog synthesisers. Resonance (or Emphasis) is adjustable all the way up to self-oscillation with V/Oct tracking up to 4 octaves.

Filter has separate controls for both sections, but can be used for stereo operations as well.

4 cv inputs (2 with attenuators) allows complex cut off modulation
Skiff-friendly
25 mm deep
12HP
Power consumption: 120 mA +12V, 15mA -12V, 0 mA 5V
Hand-built in Kyiv, Ukraine

Notes: LOCUTUS is designed to interface Assimil8or with MIDI instruments, controllers, and sequencers to provide multichannel modulation and new polyphonic possibilities.

LOCUTUS includes a special attached cable to connect to the Assimil8or CPU behind the panel.

LOCUTUS is 6 HP wide and 25mm deep.

MIDI sources connected to LOCUTUS’ MIDI IN port can be used to modulate Assimil8or parameters using velocity, channel pressure, and MIDI CC (Continuous Controller) messages, select presets using MIDI Program Change (PC) messages, and/or optionally trigger Assimil8or channels with MIDI notes using user-selectable assignment modes. MIDI Setups can be configured with assignment modes including Dynamic, which intelligently cycles through Assimil8or’s channels to easily create polyphonic patches, Multi assignment modes ideal for playing multitimbral Assimil8or patches with MIDI sequencers, SP-1200 modes designed especially for triggering Assimil8or with SP-1200’s MIDI output, and more.

Locutus’ MIDI OUT port can be used to optionally transmit program messages when presets are changed and/or to send MIDI CC data based on the analog control voltages patched to Assimil8or’s 24 CV inputs. Using the new CV-to-MIDI options, Assimil8or and Locutus can be configured to control and modulate MIDI equipment using a eurorack modular system.

Notes: 'Pamela's PRO Workout' is a compact programmable clocked modulation source for your Eurorack modular system. It provides 8 highly editable outputs producing various control voltage signals correlated and synced to a BPM based master clock.

Each output can provide everything from simple clocked triggers, complex rhythmic waveforms, quantised melodic patterns to random chaos with direct and assignable CV control over numerous parameters. These features together with a quick and easy to use interface provide almost limitless synced modulation possibilities in a tiny space.

Building on the original 'Pamela's Workout' & 'Pamela's NEW Workout' the evolved 'PRO' Pam maintains the precursor's form factor and intuitive workflow but improves and adds many new features with upgraded hardware, more CV inputs, a new full colour hi res display and rewritten software adding many new enhancements like micro grid timings and cross output modulations.

Through optional expander modules more CV input and outputs can be added with support for external non euro equipment through Midi and Din Sync outputs. Please enjoy your next generation PRO workout!

Size: 8HP
Power: +12v 60ma / -12v 10ma
Depth: 32mm (approx with power header)
Outputs: 0-5v buffered low impedance. 12 bit res. 3.8khz max update freq.
Inputs: CV 0v-5v / Clock, Run - rising edge 700mV min.

Notes: The Dual Stereo Gate (DXG) music synthesizer module is a Dual Stereo Low Pass Gate and Mixer. It follows in the footsteps of the QMMG, Optomix, RxMx, DynaMix, and LxD. Unlike its predecessors, the DXG is specifically oriented around mixing stereo signals, making it an important addition to any system containing modules like XPO, QPAS, Morphagene, Mimeophon, and other stereo modules by Make Noise or others.

Unique to the DXG is a new low pass gate circuit that does not use vactrols. This circuit is 100% analogue and its response was arrived at after many months tailoring it to meet or exceed the expectations that have been set by all the vactrol low pass gates that Make Noise has created over the years.

In the past, Make Noise produced the Dynamix module and Dynamics circuit in the 0-COAST, both of which are vactrolless LPGs; however, the DXG is a completely new approach which better implements the gentle single pole filtering of a low pass gate, while also emulating the slow decay and memory of the vactrol based low pass gate. This new circuit makes possible the consistency of response necessary for versatile stereo use, while also keeping the module small and affordable so that it can be a key part of just about any modular system.

As on all of Make Noise's low pass gates, the DXG's Control parameter is used to set both the amplitude and the frequency content of the sound that passes through it. The control parameter tends to open faster than it closes, imparting a subtle decay phase onto any envelope shape that is used to modulate it.

Unlike previous low pass gates made by Make Noise, all the DXG's inputs and outputs are stereo. Each set of inputs is normalled so that the left input can be used for a mono signal, sending a copy to both left and right outputs. The Auxiliary inputs are also a stereo pair with mono normalization. These normalizations allow for the DXG to be used as a simple three channel stereo mixer, with one or two of the channels additionally being used for dynamics control and note event generation. The Aux inputs can be used to chain together larger decentralized mixes using additional DXG modules, or X-PAN, Optomix, modDemix etc.

Features

- Make Noise's first Stereo Low Pass Gate

- Vactrol-free design for classic Low Pass Gate sounds, but with the balance and consistency needed for true Stereo

- Fully Stereo i/o for easy integration into a Stereo-equipped modular synthesizer

- All Left inputs normalled for easy use with Mono signals

- STRIKE Input allows use of Gate signal to trigger Low Pass Gate circuit, creating "plucking" or "pinging" sound from any Gate

- Summing stage with Stereo AUXiliary IN allows for chaining of multiple units, creating larger mixes

- Part of a decentralized mix console integrated throughout the system along with X-PAN, Optomix, XOH, etc.

- Pairs well with XPO, QPAS, Morphagene, Mimeophon, Spectraphon etc.

Width: 8hp
Power:
74mA @ +12V
86mA @ -12V
Module Depth (incl power cable): 43mm

Notes: The MCFx2 is ALM's state variable 'MCF' filter made double. It features 2 identical classic analog 3 pole state variable filter cores each with Low, High and Band Pass (or Notch) outputs. Direct and voltage control is provided for both filter cut offs and resonance. Switches allow the filters to function as one, with the 'Feed' switch internally routing audio from one filter to the other in series and the 'Link' switch linking the cut off controls for both filter cores. MCFx2 expands on the great sounding MCF filter to offer both serial and parallel functionality for stereo operation, dual peak, tighter slopes and other complex filtering set ups.

FREQUENCY CONTROLS
Sets the base frequency for the filter cut offs. The v/oct and frequency inputs are added to these.

RESONANCE CONTROL
Sets the level of resonant peaks atop the cut off frequencies. The resonance can get particularly aggressive going into self oscillation with the control past 12 o'clock.

OUTPUTS
Each filter output is 3 pole with an 18dB/oct slope.
Low - low pass filter outputs. Passes frequencies below the cut off.
High - high pass filter outputs. Passes frequencies above the cut off.
BP/Notch - band pass or notch filter outputs. Jumpers on the rear of the module select one or the other for each filter.
Passes frequencies within (BP) or outside (Notch) a narrow region around cut off frequency.

LINK BUTTON
Links the left cut off to parallel control both filters. The right controls will now set the max range of the right core. Both filters will track together when the right cut off is fully clockwise.

FEED BUTTON
Routes the output of the left filter core to the input of the right (unless patched), with the desired output filter type selected via jumper at the rear of the module.

FREQ INPUTS AND ATTENUATORS
Control voltage inputs here are combined with knob offsets to set the final cut off. Attenuversion control allows for both attenuation and inversion of the CV. Expects approx. -5V - 5V input.

RES INPUTS AND ATTENUATORS
Attenuated control voltage inputs here are combined with knob offsets to set the final resonance.
Expects approx. -5V - 5V input.

AUDIO INPUT 'In'
Signal inputs to the filter cores for processing.
Input sources may need to be attenuated, filter will drive from hotter input levels.
The Left input is normalised to the right (unless 'Feed' is enabled).

Notes: The MFX is a compact 6HP Eurorack stereo digital audio multi effects processor.

It offers 14 different full featured effects programs plus a number of metering utilities.
Inspired by ALM's favourite classic hardware effects processors, the MFX incorporates DSP technologies from the dawn of digital effects in the 70s to the present day. This combines with ALM character and uniqueness to form a highly useful, fun and practical Eurorack effects module.

Reshape sounds with the distortion and dynamics engines. Bend time, space and pitch with multiple feature rich reverb and delay engines. Modulate signals with the flexible panner, frequency shifter, and range of ensemble effects. Fracture sounds with the one of a kind granular and glitch engines. Check signals and tune oscillators with various utilities.

The MFX user interface is designed to be familiar, quick and easy to use. Each program contains a wide range of controllable parameters both directly editable or freely assigned to CV or clocked control. Additionally, each program includes factory presets as well as the ability to store and recall user presets. All states are preserved across power cycles.

Effect Program List

Digi-PCM Echo
Feature rich digital delay taking inspiration from early prime time rack delay units with added modern features.

Tape-Tech Echo
Tape style delay with a digital pitch shifter bolted on.

Crumbular Echo
More experimental granular style echo.

Ursa Minor Echoverb
Emulation of the classic Ursa Major 'Space station' providing more delays and reverb type effects.

Pocket PL8 Reverb
Emulation of very early digital style reverbs with a dense metallic sound.

Almicon Reverb
Emulation of 80s studio style reverb great for bright rooms and vast synthetic spaces.

Quaidra Reverb
Emulation of a popular 90s rack reverb. Excels at creating airy, atmospheric reverbs.

TY-50 Compressor
Flexible modern compressor great for adding punch, smoothing transients or as a clean mix bus compressor.

Transient Shaper
Fast acting dynamics processor for reshaping the attack and release envelope of any sound.

TH-30 Distortion
A versatile distortion program with distortion types ranging from analog style saturation to intense digital wavefolding.

2051 Bit Corrupter
Real-time audio buffer designed to imitate malfunctioning digital audio equipment.

Modulating Panner
Clock-syncable mono or stereo auto-pan with an additional scan mode that cross fades between 2 input signals. Use for VCA, Panner, crossfader, tremolo type effects.

Ring + Freq Modulator
Pair of classic modulation effects in stereo, tailored towards otherworldly and dissonant sounds.

Ensembles Ensemble
Simulation of classic chorus and ensemble effects. An added digital pitch shifter takes the effect beyond traditional chorus circuits.

Utilities
Simple oscilloscope and VCO tuner.

Technical Specifications

Supply: +12V 50mA Max / -12v 15mA
Size: 6 HP
Depth: 32mm
16 Bit / 44.1Khz Stereo processing

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: The successor to Dinky's Taiko, Tyso Daiko is a 12-bit dual digital drum voice, with built-in analogue tilt EQ and wavefolder, plus extensive CV control. Intuitive, powerful and versatile.

Supplier's Notes:
The 'Tyso Daiko' is a dual 12-bit digital wavetable drum voice with full voltage control and an analogue EQ output path.

The twin voices are independently triggered and output, but share pitch, envelope and other parameters of a swept wavetable oscillator. One voice is output through a voltage controlled analogue tilt EQ emphasising upper or lower frequencies.

The other voice is output through a digital wavefolder which adds increasing timbral complexity (to noise).

Both voices respond independently to an accent input and the first voice is able to be 'choked' . A surface control allows for fine control of additional transients from a click to a slow attack. Full voltage control including a V/Oct pitch input makes the Daiko an expressive and wide ranging drum module with extremely wide pallet of sounds with lots of modulation possibilities.

The Daiko succeeds the original Dinky with the same spirit but much improved control, new features and new wavetables.

Technical Specifications

Supply: +12V 70mA Max / -12v 35mA
Size: 14 HP
Depth: 32mm

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: Gorgeous stereo implementation of the classic frequency shifter sound, moving from tonal harmonics to atonal disharmony effortlessly. Separate outputs for down and up shifts, plus plenty of CV control.

Supplier's Notes:
Koszalin is a full stereo frequency shifter with two inputs and four outputs. If offers simultaneous exponential and linear through-zero control of the amount of frequency shift in 3 carefully scaled ranges (up to +/- 5kHz). Frequency shifting results in linear translation of signal spectrum producing all kinds of atonal sounds. It should not be confused with frequency scaling, also known as pitch shifting. Several stereo feedback topologies are offered with additional density control besides feedback depth, which results in spectacular stereo barberpole effects.

Through-zero modulation allows for using Koszalin's input as an FM operator. Koszalin is a digital module with a DSP behind an analog interface.

Main features:

full stereo frequency shifting
3 shift ranges: +/- 50Hz / 500Hz / 5kHz
exponential and linear through-zero inputs
internal feedback under voltage control.
10HP
12V: 140mA / -12V: 30mA

Notes: The 'MEGA-TANG' is a 4-channel linear VCA and stereo mixer providing per input control over level, effect send, pan and muting. Designed for live use in mind with a simple & compact layout, the 'MEGA-TANG' builds on the clean and transparent sounding Tangle Quartet VCA by adding a stereo mix output, effect sends (mono send with a stereo return) which pair great with the MFX, manual panning, soft mute buttons with LED indicators and an expansion port for future expandability.

Individual VCA outputs are available which remove the channel from the main mix (useful for cueing and monitoring). All signals are Euro level and bar the effects return, DC coupled for CV use as well as audio.

Technical Specifications

Power: +12V 125ma -12V 125ma
Size: 16HP
Depth: 32mm
Attenuation: approx -70db

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: Upgraded Pro version of the outstanding FX Aid multi-effects module. 200 onboard stereo effects, customisable via an online app, with added CV inputs and even more physical controls. Superb.

Supplier's Notes:
FX AID Pro:

OLED screen shows current effect's number, name and its three parameters

200 onboard effects which can be arranged in any order via the online editor https://fxaid.app/pro

Instant switching of the effects or seek then activate option

Stereo input level control

SRR input can also be routed to parameters 1-3 or effect selection

Advanced internal lfo which can be routed to the Sample Rate, parameters 1-3 or effect selection

Manual control of the Sample Rate with one click for default position

10 user storable presets with handy indicator lines for each stored parameter

Screensaver with 1, 10, 30, 60 minutes options

Easy update by playing wav file, level indicator for proper volumes matching

Notes: Performance-focussed four-channel attenuverter and offset module, with built-in voltage generator for 0-5v or i5v voltages. Simple but effective.

Supplier's Notes:
Lapsus Os is a four channel attenuator/attenuverter and offset. Designed with performance in mind, each channel can be set to either attenuate or attenuate/invert an incoming signal, adjust offset of an incoming signal, or with nothing patched to its input, generate a 0-5v or i5v offset. Switches on the back of the module invert the fader behavior, allowing for the module to be mounted in either direction, for further customization and ease of use.

Etymology
Lapsus -- from latin lapsus : 'sliding' Os -- from latin os 'bones'
"Translation: Dancing Corpse"

Interface

Faders 1-4: The main controls of LO. The LEDs in the faders show the CV that is being passed through. When in attenuverter mode, the LED will be off at 0, allowing each fader to easily be set near 0.

Offset inputs 1-4 (+): Sending a signal to these inputs adds an offset to the input, controlled by the fader and the mode switch.

Outputs: Each channel has a pair of identical outputs. If nothing is sent to either input of a channel, an offset will be generated and output here, useful for controlling parameters on other modules with a single fader.

Uni/Bi Switches 1-4: In the Unipolar position (left), the corresponding channel attenuates the input signal. In the Bipolar position (right), the upper half of the corresponding channel fader attenuates the input signal, the lower half of the fader inverts and attenuates the signal.

Attenuating/attenuverting inputs 1-4 (x): Sending a signal to these inputs attenuates/attenuverts the signal, depending on the position of the channel fader and switch.

Rear-board switches: Below, in red. Inverts the corresponding channel, allowing for creative mounting in either direction. Note that each channel must be switched independently to fully reverse the functionality.

Patch Tutorial

Patch 1: Set a channel switch to the left position and patch the outputs to CV inputs on another module (for instance, Loquelic Iteritas). The fader becomes an easy-to-use controller for those parameters. Patch the rest of the LO channels to other parameters in your system to create an expressive and intuitive interface.

Patch 2: Patch a CV signal (such as an LFO) into the attenuverting input of a channel. Set the channel switch to the right position, and patch the output to a bipolar CV input in your system. Tweak the fader to attenuvert and dial in the perfect amount of modulation on the fly.

Patch 3: In a case with four voices route each LO channel to the decay control for each voice. Use for centralized control over voicing.

Size: 10HP Eurorack
Depth .8 Inches
Power 2x5 Eurorack
+12 mA 60 mA
-12 mA 50 mA

Inputs: i10v
Outputs (without voltage applied):
Unipolar: 0-5v
Bipolar: i5v

Notes: Bucket brigade delay gets pushed into exciting creative territory with this beauty from Joranalogue. Precise analogue delay with loads of character, capable of simple chorus and flanger or more exotic Karplus-Strong synthesis and comb filtering.

Supplier's Notes:
While digital audio processors are often plagued by latency issues, analogue circuits are known for their instant response. But what if you want to delay a signal on purpose, without the use of tape or digital memory? Enter the bucket brigade delay (BBD) line: a series of capacitor 'buckets', which pass the incoming signal along at a high rate in order to delay it.

Delay 1 is a fully analogue BBD-based delay module with a multitude of features geared towards modern musical use. An integrated temperature-compensated, high-frequency voltage controlled oscillator (VCO) provides the 'clock' signal necessary to drive the delay line within 1 to 50 ms.

By increasing the drive frequency to over 20 kHz, the classic 'BBD clock whine' problem is solved, while still providing a wide range in delay time. Classic chorus, flanger and echo effects are easily achieved using the dry/wet blend, feedback and damping parameters.

To greatly reduce distortion and noise, Delay 1 includes a newly developed control circuit. The improved fidelity is maintained at a multitude of signal levels by an integrated high-performance compander, while maintaining signal dynamics.

The module's 'split phase' topology provides two different dry/wet mixes, which may be used to convert mono signals to stereo, for complementary comb filtering and more.

Delay 1 also allows you to experiment with Karplus-Strong synthesis, an exciting technique to create string and percussion type sounds. This is made easy by an integrated noise transient generator, driven by the 'pluck' input, and by the clock VCO's 1 volt per octave response.

By re-engineering the classic analogue delay line, Delay 1 brings the unique magic of BBDs into the contemporary electronic musician's arsenal.

Analogue bucket brigade delay line.
Integrated temperature-stable high-frequency BBD clock VCO with fine and coarse tuning.
Split-phase topology with additive and subtractive dry/wet blend outputs.
Blend, feedback and damping (feedback filter) parameters. Positive or negative feedback with low or high pass filtering.
High-performance BBD drive circuitry and transparent compander chain ensure optimal signal fidelity.
Dedicated pluck trigger input for Karplus-Strong synthesis.
High-frequency BBD clock input and output to synchronise multiple delay lines.
Impedance-compensated outputs with dual-colour LEDs.
Trim potentiometer accessible from the front panel.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium.

12 HP | +12: 125 mA, -12: 95 mA

Notes: A unique analogue take on granular synthesis, inspired by Yannis Xenakis, the Grainity pairs a granular filter with a multimode filter to create new textures and harmonics.

Supplier's Notes:
The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analog domain and goes through analog circuits from in to out.
The digital processor does not convert or generate audio signals; it is there to control the analog circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.
Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.
The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V

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: The WaveSwarm is a waveform animator and all analogue dual channel device.

Each channel simulates up to six VCO's beating in unison with a different beat frequency between each animation. The fixed beat frequencies are generated by twelve onboard LFO's, and the front panel pots control the level of each of the six animators, along with the level of the dry signal to the final mix. In addition to independent channel inputs and outputs it also has an A+B output, which sums the outputs of the two channels, creating an effect similar to twelve VCO's in unison! This is possible because channel B uses slightly different beat frequencies to channel A, they are not identical.

The input waveform can be saw, triangle, sine or wavetable/complex waveforms, in fact most waveforms with the exception of square or PWM waves will give some form of animation.

A soft clip circuit is built in so that at higher signal levels the signal magnitude is limited by rounding the top and bottom of the waveforms, thus slightly softening the sound. There are soft clip LED indicators for both channels.

It can produce huge, fat drones or supersaw type waveforms from a single sawtooth or triangle wave input.

Notes: This new device is a powerful new CV controlled effects unit for your electronic music setup and pairs extremely well with the KOMA Field Kit.

- Looper
- Frequency Shifter
- Sample Rate Reducer/Bitcrusher
- Digital Delay
- Analogue Spring Reverb
- 4 Channel VCA Mixer
- 4 Step Mini Sequencer
- Envelope Generator

All of this, combined with the new 4 Channel CV Interface which allows you to route four CV signals throughout the device, means an incredible control over sound and timbre and a great addition to your mobile performance rig.

The Field Kit FX is built up from 7 separate functional blocks all focused on mangling and changing incoming audio and CV signals. They are designed to operate together as a coherent addition to our Field Kit Electroacoustic Workstation or alternatively together with other pieces of music electronics with the ability to use control voltage signals.

Notes: Sometimes real precision is required with pitch control voltages - this module features a super accurate "Cal" output, which is accurate to <1mV over 20V, translates to one cent over 20 octaves! It is ideal for calibrating the scaling of VCO's, indeed we have been using our own version of this circuit to calibrate our own MiniMod VCO's for the last three years.

As well as being a precision voltage source it is also a very accurate voltage adder, it has two channels (A & B) and both full volts (octaves) or 1/12th volt increments (notes) can be either added to or subtracted from the incoming signal. Perfect for adding a voltage offset to the output of a sequencer or it can be used to add switchable octaves to a VCO which only has course and fine tunes controls.

It also has a "mix" output, which allows either A channel on its own, or with the three way toggle switch channel B can either be added to, or subtracted from channel B, and this is in addition to the addition and subtraction per channel mentioned earlier.

Dimensions: 10HP wide, 26mm Deep

Notes: Mission Control

All the essentials to control and sync your Eurorack modular from your computer, iPhone/iPad, or hardware MIDI device. No menu diving or configuration scripts, just two buttons. Get crazy with external modulation and sequencers, or just sync your rack's clock from the rest of your MIDI bus.

Bridge Your System

The uMIDI provides all the essentials to control and sync your Eurorack modular from your computer, iPhone/iPad, or hardware MIDI device with a minimum of fuss. No menu diving or configuration scripts, just two buttons. The connectivity, features, and compact size allows the integration of your modular system with the rest of your studio while not taking up too much space in your case.

The upper clock section features a dedicated 16th note clock output ideal for synchronizing a Eurorack sequencer like the Metropolis. A second clock output with selectable divisions can be used when different sync events are needed. The run and reset outputs can be used to reset your Eurorack sequencers in tandem with any external sequencer or DAW.

The lower half of the uMIDI gives you everything you need to control a single-voice synth via MIDI. Just connect either a USB or DIN MIDI cable to the module, LEARN a channel, and start playing.

As of firmware revision 1.11 the uMIDI supports configuration of some internal parameters via a browser-based configuration utility. Currently the utility is only compatible with Google Chrome.

Features

High speed ARM processor for low latency & jitter.
DIN or USB MIDI input.
Two clock outputs, one with selectable divisions.
Sequencer sync via run and reset outputs.
Precision 0 - 10 V note pitch output with pitch bend & portamento CC support.
Gate and trigger outputs for envelope triggering.
Mod wheel and continuous controller outputs for additional modulation.
Firmware updates and configuration over USB.

Specifications

Width: 6HP
Depth: 40mm
Power: 3mA @ -12V, 47mA @ 12V

Notes: Two independent Contour Envelope Generators in a single 12hp wide Eurorack module. These are very accurate replicas of the Model D contour generators, with identical circuitry and component values running on the correct +9.3V and -10v supply voltages of the original; so they exactly replicate the original envelope response along with all of it eccentricities. Extra features include manual trigger buttons and envelope status LED's.

The contour generators played a larger part in the sound of the Model D than many people realise. There are two factors that make them unique, firstly the exponential slope when is used in conjunction with the (near) linear slope of the original VCA which is responsible for the famous Model D "punch". Secondly, the re-trigger behaviour is quite unique, multiple retriggering increases the output level so that either the volume increases incrementally, or the filter opens incrementally with each extra key press.

AJH Synth have added independent Decay switches for each individual Contour Generator rather than the shared switch on the original synthesiser, these switches change the Contour response from AD (switch up) to ADSD mode (switch down).

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: This is a brand new build of a JakPlugg designed Pachinko, which is a micro version of Mutable Instruments Marbles. It retains all of the functionality of the original but takes up less space (12HP) than the original Marbles (18HP).

The module is fully assembled, tested, and calibrated. The calibration is done with a 6.5 digit multimeter, itself recently calibrated, to ensure you get the highest accuracy from your module.

The panel is a custom black After Later Audio panel that offers metallic gold accents.

The module comes with a power cable and a 1 year warranty.

Notes: The Ensemble Oscillator is a unified polyphonic voice of sixteen complex oscillators combining additive, FM, phase-distortion and wavefolding synthesis techniques in new unorthodox ways. By quantizing the oscillators to scales or series of harmonics, the Ensemble Oscillator allows you to explore the sonic boundary between musical chords and rich evolving textures. Easily create a wide variety of sounds ranging from aggregates of pure sine waves to pulsar synthesis or pristine harmonic tones and lush wide chords to rich dirty drones and rumbling glitches. Custom scales can quickly be "learned" and saved using a CV keyboard or by manually entering notes with the controls.

The Ensemble Oscillator is designed by Matthias Puech and 4ms Company.

Electrical and Mechanical Specifications:

16HP Eurorack format module
0.98" (25mm) maximum depth (including power cable)
10-pin to 16-pin Eurorack power header

Power consumption:
+12V: 114mA maximum
-12V: 45mA maximum
+5V: 0mA (not used)

Audio outputs
Frequency range: 0Hz (DC) - 20kHz
Typical amplitude: 10Vpp
Maximum amplitude: 18.5Vpp
1V/oct inputs (Root and Pitch)
Voltage range: -2V to +6V (8 octave range)
Factory calibrated to 1.00V/oct
Per-jack user-calibration allows from 0.7V/oct to 1.3V/oct
CV inputs (other than 1V/oct)
Voltage range: -5V to +5V

Gate inputs:
Trigger threshold: 2.5V
User memory (non-volatile)
Scale slots: 30
Shift feature settings
1V/oct calibration settings

Notes: Third-party clone of the open-source Mutable Instruments Plaits oscillator/sound source. All the same functionality in a compact 8hp format with full-size knobs for the key functions.

Supplier's Notes:
Functionally identical clone of the Mutable Instruments Plaits. Beehive strikes a nice balance between size, reducing 12hp down to 8hp, and playability by offering full size knobs for the four main functions. Beehive also retains the same depth of the original module at 25mm. This module uses After Later's new aluminum knobs which have a nice non-slip texture and allow for more finger space over the standard 1900H Davies knobs.

Notes: Ornament & Crime for 1U Intellijel format

This is functionally identical to the 3U version, just re-oriented to fit in 1U racks. Ornament & Crime is designed by mxmxmx.

The apps currently available in Ornament & Crime:

CopierMaschine is an enhanced version of the original quantising digital emulation of a four stage analogue shift register (ASR).

Harrington 1200 provides basic neo-Riemannian Tonnetz transformations of triadic chords, triggered by the digital (gate/trigger) inputs.

Automatonnetz combines Tonnetz transforms with a "vector" sequencer - it can be both a chord sequencer and a melody sequencer, but not of the usual kind.

Quantermain is a quad pitch quantiser for external voltages, with editable scales; it can do clocked (trigger-driven) quantising, or continuous quantising, with a latency of under 100 microseconds; it also features quad Turing Machines, May-Verhulst logistic maps or byte beats as optional, semi-random, internally generated CV sources.

Meta-Q is a dual-channel quantiser, similar to Quantermain, but also offering scale and note mask sequencing.

Quadraturia is a wavetable quadrature LFO, based on the "Easter egg" in the Mutable Instruments Frames module.

Low-rents is a dual Lorenz and Rossler (strange attractor) modulation generator, partially based on the "Easter egg" in the Mutable Instruments Streams module.

Piqued is a quad voltage-controlled envelope generator, based on envelope generator code from the Mutable Instruments Peaks module, but extending it with voltage control, additional envelope types, including re-triggering (looping) envelopes, additional segment shapes, adjustable trigger delays, and a unique Euclidean "trigger filter" which turns the app into a Euclidean rhythm generator which can output envelopes, not just gate or trigger pulses.

Sequins is a dual-channel step sequencer offering 4 "tracks" of up to 16 steps each; tracks can themselves be sequenced.

Dialectic Ping Pong is a quad bouncing ball envelope generator, based on a hidden mode of the Mutable Instruments Peaks module.

Viznutcracker, sweet! is a quad "byte beat" equation generator, which can be used as an audio source to generate curious but often interesting 8-bit noises and tunes, or which can be clocked by an external source to produce "byte beat" control voltage sequences. "Byte beats" were first described in 2011 by viznut (aka Ville-Matias Heikkila).

Acid Curds is both a chord quantiser (sometimes called a "harmonic quantiser" for external pitch voltages), and a chord progression sequencer.

References is an utility app that outputs specific reference voltages on each channel to help tune or calibrate VCOs and other modules. It also includes a high-precision frequency meter and note tuner, a high-precision BPM (beats per minute) tempo meter, and a closed-loop calibration mode.

Width: 30hp
12V: 85mA
-12V: 10mA

Notes: 32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analog Dry/Wet control with dedicated CV input. High quality stereo signal pass. Separate modulation inputs for all three effect parameters plus Sample Rate Reducer (SRR) input - changes internal clock. Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other effects in any order.

Reflashing procedure is quite easy: playing 40 sec long "wav" file of line level amplitude to SRR input.

Reflashing mode: hold both buttons for 10 sec.

Please note the reverse CV operation of the Dry/Wet control: positive CV crossfades from Wet to Dry, and negative CV crossfades from Dry to Wet.

By default it runs on 32.77 kHz and, this sample rate can be decreased down to 150 Hz or brought up to 48 kHz via SRR input.

80 mA +12V
30 mA -12V
45 mm deep

Notes: More great value from TipTop's Eurorack reissues of classic Buchla modules. Noise sources, random voltages, sample-and-hold and integrator (slew) provide a range of modulation and processing options.

Supplier's Notes:
Offering tonnes of opportunity for creating unique instances of controlled randomness, TipTop Audio's Buchla Model 266t Source of Uncertainty is a recreation of the classic random voltage generator and sculpting module. Bringing back a classic set of Buchla's 200-series modules, the 266t recreates six different tools in one classic interface for all of the Eurorack community to bask in. The 266t divides into two sections of generation and modification, featuring two different processors and four generator types with one producing three flavours of analogue noise, labelled flat, -3dB/oct, and +3dB/oct.

The fluctuating random voltages section features two individual smooth voltage generators for adding wiggles and warbles to your modules, each controlled by a rate parameter with CV inputs for modulation. Right below is the quantized random voltage, offering a stepped random output that randomly decides voltage based upon one of two equations corresponding to a value called "n". Depending on the output, you can tune your range to a set amount of possibilities with n+1 output being more localized to the 5V range and the 2^n output having equal opportunity across all 10 volts. The final generator labelled stored random voltage produces two outputs of stepped voltage with an equally distributed random voltage output as well as a selectable bell distribution output that centres its options based on the probability control.

Looking at the processing section, the top-right sample and hold section is actually a track and hold processor, tracking the cv input and changing only at the next high input on the pulse in. The resulting CV output additionally has two alternate outputs that base off alternative pulse counts, and the pulse output alternatives similarly alternate each pulse count. The final section of the 266t lies in the integrator, featuring a simple yet very handy smoothing processor by determining the time it takes to reach from one CV value to the next. With all this versatility to work amongst many modules or even self-patch for related modulation, the Buchla Model 266t Source of Uncertainty will certainly make any modular system lively.

Specifications:

Size: 24 HP
Depth: 25mm
Power: +12V 150mA / -12V 100mA

Notes: This is a new build of a Monsoon, which is a variation of Mutable Instruments Clouds with separate CV and controls for the 4 "blend" functions. The 4 LEDs on the sliders indicate incoming control voltage for the 4 main parameters. The button which was used to select blend parameters now simply switches what the 4 LEDs display (audio input monitoring or monitoring the 4 blend amounts.) Parasites 2.01 firmware is loaded by default. Alternative firmware can be loaded by request.

The module is fully assembled, tested, and calibrated. Eurorack power cable is included.

Width: 12HP
Depth: 22mm
Height: 3U
Power Consumption: +12V:120mA -12V:10mA

Notes: Part performance mixer, part utility module, with 4 channels of VCA, summed to a stereo output, Tannhauser Gates is AFA's first stereo module.

Based loosely on the Buchla 100 series Gates, each channel boasts a discrete VCA with a rich overdrive sound, stereo panning, a tilt EQ and an easily accessible mute switch. Each channel can be used individually as a mono track or all four can be summed down to the stereo output. The four channels have an individual CV input, or they can all be controlled via the master CV input. The Tannhauser Gates also hosts the capability for a stereo send and return path, expanding your sonic arsenal to other processing modules.

Tannhauser Gates is designed with future expansion in mind. Adding up to three more Tannhauser Gates modules, it is possible to build a performance mixer system of up to 16 channels, all summed to a single output module. The back side of the module is equipped with a number of expansion headers.

Power consumption: 146mA at +12 V and 94mA at -12 V
Depth: 34mm
HP : 20

Notes: A 22hp version of Mutable Instruments Elements. It is functionally equivalent and therefore runs all firmware options and having identical sound characteristics. This version is great compromise between the tight spacing of Atom and full size original, which is a bit large.

Width: 22hp
12V: 130mA
-12V: 10mA

Module power connector can be connected either way on the module side.

Notes: A multi-purpose module designed to combine noise and modulation sources, slew, sample-and-hold, envelope following and more. Extremely versatile way to add randomness and controlled movement to patches.

Supplier's Notes:
Flurry collects and connects a number of practical modular synthesis tools, focused on clocks, noises, and randomness to create a module that is rife with opportunities for exploration and experimentation. Equally capable as a synthesis source, modulator, clock, or signal modifier; It is bound to find a way to bring new life and dimensions to your synth patches.

Core Functions:

A clock and random pulse source with adjustable and modulatable rate
Accurate pink and white noise sources
Analogue sample & hold and track & hold circuits with very low droop
Analogue slew with adjustable slew time and edge selection (rising edge, falling edge, or both)
Envelope follower
16 noise synthesis algorithms, each with 2 parameters.

One of Flurry's more interesting aspects is its collection of digital noises, which provide a wealth of interesting noises, suitable for either audio or modulation purposes. Each noise type has its own pair of unique parameters to further dial in the desired characteristics, with the primary parameter under CV control.

Most people consider noise to be "undesirable," and product developers expend great effort to design circuits that minimize noise. So why make a module designed specifically to create noise?

Indeed, unwanted noise is undesirable. But not all noise is unwanted. Synthesizing the sound of wind or waves are a couple of the more obvious uses for a noise generator, but the possibilities go far beyond. The crack of a snare hit; the breathiness of a flute sound; an added sizzle to a resonant pad - all are within the sonic domain of noise.

But noise has many other benefits beyond simply being heard. Noise happens to make a wonderful modulator. When noise is used to modulate a filter's cutoff frequency, or an oscillator's pitch or pulse width, then all sorts of raspy, buzzy, gritty timbres are obtained.

Noise is also a key ingredient in sample & hold circuits - a technique most commonly used to generate stepped, random voltages. The circuit works by sampling an input signal's voltage each time you send it a clock pulse, and holding that voltage until the next clock pulse. So, naturally, Flurry also contains the requisite clocking tools! Two of the most common destinations for the S&H output are a filter's cutoff frequency (creating stepped, clocked timbral changes), and oscillator pitch (which produces random notes at clocked intervals).
Of course, you might not always want your voltages to change so abruptly at each clock pulse. Maybe you'd prefer they wobble about gradually and with more grace? To do that, you need a slew circuit, and once again Flurry has you covered - allowing you to select not just the slew time, but also whether the slew is applied to rising voltages, falling voltages, or both. A flick of the switch, and that Slew circuit becomes an envelope follower, enabling Flurry to generate envelopes from input signals (syncing to drum hits are a common use).

With all these features, plus the ability to create random pulses, clock to external pulses, and perform more esoteric track & hold duties, Flurry is a noise lover's toolbox.

Width: 8HP
Depth: 34mm
Power: 116mA @ +12V 30mA @ -12V

Notes: Part of Xaoc's range of modular mixing tools, the Bohumin 1966 is a commander module for Ostrawa stereo mixer modules, adding a second stereo aux bus, voltage control and manual attenuators with clickless mutes

Supplier's notes:
Bohumin [bo'xumin] is an expander for Xoac Deives' Ostrawa full stereo mixer module. By connecting to Bohumin, Ostrawa gains a second full stereo AUX bus with voltage control over the amount of the effect on each channel. Bohumin features manual attenuators for stereo returns of both AUX A and AUX B, as well as four gate inputs for automated clickless muting of each stereo input channel. Please note that Bohumin is not compatible with Ostrawa's sister module Praga. Similarly, Praga's expander Hrad cannot be connected to Ostrawa. However it is possible to chain any combination of Ostrawas and Pragas, and each of them may have its corresponding expander attached.

Technical details

10hp, skiff friendly
Power drawn from Ostrawa: +50mA/-40mA

Notes: The SoundForce Chorus 6 is 16HP Juno style BDD chorus with plenty of CV inputs. It is using the Xvive MN3009 and the same audio path as the original circuit. It can do the classic Juno I, II and I+II modes. I+II modes are available from both the Juno 6 and Juno 60, each in mono (as the original) or stereo, giving you 4 I+II options. But the manual and external modes can take the module away from sweet and pretty sound territories right into weird and noisy soundscapes.

Some tech-talk:

A chorus effect is created by mixing a dry signal with a delayed signal. The delay time is modulated by an LFO to create more movement. To create some stereo width, the left and right modulation are 180 degrees out of phase. Exactly like the chorus in the Juno 6/60/106, the delay is made with MN3009 BBD chips. Also as in the original design, filters are added both before and after the BBD chips in an attempt to hide some of the artefacts of this very crude IC.

To get the audio "moving" through the chain of MOSFETs in the BBDs, driver signals are needed. This used to be done with the MN3101 BBD driver chip. Unlike the MN3009, there is no clone available of this ancient IC and this was a chance to add some modernity to the design. The drivers were replaced by a modern STM32 micro-controller along some extra ICs to convert the 3.3V logic to the negative voltage needed by the MN3009.

In order to recreate a genuine Juno-type modulation, the BBD driver signals of my Juno-106 were sampled over a few periods. Using the timer peripherals of the STM32, a replica of the BBD driver signals can be sent out to the MN3009's. Although the driver signals only follow a very basic triangle LFO shape and could have been generated using direct synthesis in the firmware, this method gives an exact copy of the original driver signals including all the potential imperfections.

Implementing a digital programmable chip also allows a digital-style interface with tactile switches and LEDs as in the original Juno interface. The last used mode is saved and loaded when the module powers on. The CV inputs (with the exception of the MIX CV) are acquired by the STM32 ADC and can modulate the BBD driver signals based on parameters in the firmware.

Features:

The SoundForce Chorus 6 has 4 main modes: I, II, I+II, MAN for manual and EXT for external. I and II are the classic Juno modes available in the Juno 6/60/106. Press both I and II to enter the I+II mode. While holding down I and II, press the OFF button to cycle through the 4 I+II options:

- Juno 60 mono - 1hz - 8% depth
- Juno 60 stereo - 1hz - 8% depth
- Juno 6 mono - 8hz - 25% depth
- Juno 6 stereo - 8hz - 25% depth

In I, II and I+II, only the mix controls can influence the sound, all the other parameters are fixed and CV inputs are not active.

Mix control:

Using the slide pot (fader) or the CV input, the mix between the dry input signal and the BBD delays output can be set. The orignal Juno balance is reached when the slide pot is in the middle (without CV connected). The mix control is a VCA-based crossfader and is 100% analog which means it can withstand really high audio rate frequency modulation.

MAN mode:

The manual mode gives you the opportunity to control every parameter of the chorus and gives you acces to the LFO that modulates the BBD delay times. Here is what you can tweak:
- time slide pot: sets the start delay time
- rate slide pot and CV input : sets the frequency of the delay time modulation
- depth slide pot and CV input: sets the depth of modulation around the start time
- mix slide pot and CV input: see above
- LFO wave: selection of different waveforms to modulate the delay time
- range: selection of 3 different frequency ranges for the LFO (S: 30Hz to 500Hz | M: 1Hz to 100Hz | L: 0.016Hz/1min to 10Hz)

In manual mode, the EXT IN CV input can be used to change the LFO wave, range or add additional modulation of the delay start time.

EXT mode:

In external mode, the BBD delay times can be modulated using an external signal through the EXT IN cv input. Plug in a CV source from your eurorack case into the EXT IN, set manually the starting delay time using the time slider and use the EXT ATT slide pot to attenuated the incoming CV signal (equivalent to setting the depth). In external mode, the depth/rate sliders and CV inputs are not active.

Stereo inputs:

The Chorus 6 can be used with either mono or stereo input signals. When the right channel is unconnected, the left channel is sent to the right jack so it can be used with mono signals. When using both inputs, each input signal is going through its own BBD delay line.

BBD delay time range:

The Chorus 6 gives you in the MAN and EXT modes a delay range that it is about doubled compared to the I/II modes. The original Juno chorus was using only a very limited range of the BBD chip and really stayed in the sweet spot. Extending to the full spectrum of the MN3009 yields pretty horrible high pitch noise at audio rate modulation, so the range has been limited to a usable section. When you apply high frequency modulation with great amount of depth, the delay time will be pushed in the extremities of its time range and quite nasty artifacts will appear in the form of squeaks and whines. Please note this is a characteristic of the BBD. If you want to reduce those artifacts, reduce the depth of modulation. On the other hand, if you are looking to add characteristic and vibe to the sound, audio rate modulation and plenty of depth will help you to get there.

Input levels:

Both Eurorack and Line level signals can be used as input for the Chorus. A small slide switch between the 2 PCBs can switch between Euro and Line. In Euro levels, the input signal is attenuated to an healthy level that is well below the BBD distortion point. Some headroom is also needed as the chorus is a sum of the input signal and the modulated delayed signals. For that reason, when the chorus is turned off the output attenuation is about 50% of the input level. When the chorus is on, the resulting output amplitude is similar to the input level. Line levels are also accepted by the module when the switch is on Line. Please note that Line levels input will be amplified to the Eurorack levels range at the output of the module. So the output levels are Eurorack in both Euro or Line input ranges.

Specifications:
16HP
Depth: 38mm (including power connector)
Power: +12V 76mA, -12V 35mA

Notes: Six segment generator. Looping or one shot envelope generator. Chainable, so it can be expanded to link multiple units.

An exact hardware replica of the Mutable Instruments Stages.

Dimensions
14 HP
25 mm deep

Current Draw
80 mA +12V
20 mA -12V
0 mA 5V

Notes: A characteristically unique take on mixing from Buchla, with six mono inputs and a built-in mic/guitar pre-amp. Each channel can be cued to a monitor mix, while the first and last channels also include voltage-controlled panning.

Supplier's Notes:
The Tiptop 207t is a modern reimagining of the classic Don Buchla 207 Mixer/Preamplifier from the 1970s 200 Series. This stereo mixer comes with a built-in preamp that allows you to boost external instruments and microphones, making it a versatile tool for any modular setup. The 207t also features a six-channel mixer with a variety of signal routing options, including the ability to route channels to the monitor and L&R signal outputs, with per-channel control over loudness and panning.

Each channel has a Mon switch that sends the channel's signal to the monitor outputs, which are always full-volume and summed to mono, making it useful for basic monitoring applications or rudimentary mixing. The Prog switch sends the signal to the L&R signal outputs, with loudness controlled by the Level Adjustment slider and panning determined by the Channel Assignment knobs. The first and sixth channels offer voltage control of panning; these channels are hard-panned when no CV is applied.

The preamp section features a 1/4" input and multiple gain settings, making it suitable for use with external line level instruments, electric guitars, or dynamic microphones. The continuous amplification control provides added flexibility for your audio needs. Finally, the Expansion In is a stereo input that sums to the left and right main outputs, which is great for chaining multiple 207t modules or adding another stereo source at the final output.

While the 207t's functionality may be simple, it is an essential part of any 200t system, serving as the glue that holds everything together. The Tiptop 207t is a fantastic mixer/preamp option that delivers quality sound and reliable performance.

Buchla 207t Features

Mixer/preamp module based on Don Buchla's original 207 design
Six-channel mixer with per-channel level control and panning
Voltage-controllable panning on channels 1 and 6
Manual panning on channels 2-4
Program switches can act as channel mutes for main outputs
Mon switches route signal (in mono) to Monitor output
Expansion input useful for stereo chaining and more
Re-designed preamp for high audio fidelity
Preamp suitable for use with external instruments, electric guitars, dynamic microphones, and more

Eurorack module
28hp wide