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Notes: Miggs is a passive utility module consisting of an attenuator and signal multiple. All sections are normalled together to reduce the amount of cables needed to enact common utility patching scenarios. It is best used to distribute control voltages to a small system's oscillator bank, or to construct complicated feedback networks in audio processing patches.

2 x5 multiple (normalled together as 1x9)
Passive attenuator works in both directions (normalled to multiple input) - Consumes no current and takes a minimum of space.

Notes: There is almost no modular system without at least one filter-module. You can look at them as the stars within the giant Eurorack-jungle. twinVCFilter is such a star as well. A dual filter module with flexible routing and excellent audio properties. It covers a huge range of different applications without the slightest effort.

Features and Routing:

Each filter section of twinVCFilter works as low- or highpass-filter with a slope of 12 dB/octave or as bandpass-filter with 6 db/octave. Signals can be directed in three ways through the module:

- Serial: The incoming signal passes both filter sections in a row.
- Dual: The filter sections act completely separated of each other. As if they were two individual filter modules.
- Parallel: The incoming signal passes both filters at the same time.

With these routings you can i.e. generate bandpasses or notches with variable slopes and different resonance settings or doubling the filter's slope. These are the more obvious combinations but there is a lot more to discover.

The convenient link-feature allows to couple cutoff- and resonance of both filter sections for straightforward stereo use in dual mode.

Mix section:

The flexible signal-routing is supplemented by the mix-section. Here you can crossfade both filter sections manually or by control voltages. Seamless movements from low- to highpass-filter, is as easy as crossfading from half to doubled slope. Of course you can mix two completely individual signals or toggle between them by using a rectangle-LFO-modulation.

Resonance:

Resonance is a key factor in the context of sound-shaping and sound-generation using a filter. Therefore we carefully trimmed twinVCFilter's resonance to be as musically and stable as possible. You can apply subtle frequency-dependent emphasis to signals and tear them up to self-oscillation. The latter generates a solid sine-wave which is an excellent base for percussive sounds. Possible cross-modulations significantly enhance the sound-generator features. By the way: If you are missing a vibrato-LFO in a patch, twinVCFilter can do the job.

twinVCFilter offers a huge set of features to form impressive soundscapes. It can take subtle influence to signals or massively truncate frequencies. It leaves nothing to be desired. Despite, for those who need additional possibilities we especially designed the tVCF-Extension module.

Notes: twinVCFilter is a versatile filter module itself. But there are times when you need some additional features like a notch-filter. In this case tVCF-Extension is your friend.

Individual Filter Outputs:

tVCF-Extension has got individual outputs for each filter type of twinVCFilter's filter-sections and even adds notch outputs. You can use all outputs at the same time.

Polarizers:

As you might know, twinVCFilter already has two CV-inputs per filter section. We thought that might not be enough for complex patches, so tVCF-Extension has additional CV-inputs to modulate the cutoff-frequencies. Each with a dedicated polarizer for attenuating and inverting incoming voltages.
With these you will get new modulation possibilities like controlling both cutoff-frequencies at the same time in parallel or contrary.

To get even more out of the module you can separate the polarizer section from the cutoff-frequencies and use them independently of twinVCFilter. They also can generate a voltage on their own.

tVCF-Extension is an elegant and even slim way to extend the vast possibilities of twinVCFilter.

Notes: Audio-oscillators are probably the most widespread modules in Eurorack-systems. They are fundamental for generating synthetic sounds, tonal as well as percussive ones.

Oscillator-circuits are used in our VERMONA synthesizers, we know how to design them. But instead of copy and paste, we reworked many aspects when adapting our circuits for modular purpose. What is great for closed systems might not always be perfect for modular systems.

All that development work resulted in uniCYCLE: compact, high-performant and stable.

Simple interface and quality without compromises:

When designing an audio-oscillator we took great care to make it suitable for musical context. Beside excellent sound quality this also means rock-solid tuning stability. uniCYCLE more than fulfils these requirements. It easily covers a huge tuning-range while strictly following the 1-volt-per-octave-convention.

With one knob you can master uniCYCLE's frequencies in three different modes. TUNE either controls the low-frequency or audio range or adds respectively subtracts, exactly one octave. In this calibrated mode it provides a dead-zone around its centre-position. Thus it's easy to access all three octaves without the need of a centre-click.

With only 10 HP in width, uniCYCLE offers all the common features that you might expect: inputs for hard- and soft-sync as well as exponential and linear frequency modulation.

Even more than standard waves:

uniCYCLE offers six waveform outputs. Beside the classic sawtooth, triangle and square it generates sine, even and a special sawtooth with doubled frequency. PWM is not only available for square. Even - a shape the only has even-numbered harmonics - can be transformed to a sine-like wave whereas the doubled saw turns into half-pitched triangles.

uniCYCLE is a strong base for each Eurorack-system. At least one should be in every case.

Notes: You never can have enough modules that influence levels - be it for audio signals or control voltages.

quadroPOL is a four-channel polarizer module. It can attenuate any incoming signal, in-phase or out of phase. One of its most special features is the way each channel's level control works. Instead of having one dedicated zero-point, it has a "dead zone" where the input signal will be completely suppressed. Thus, you will easily find the off-position, even without a centre-click, while, at the same time you'll be able to create extremely sensitive level increases.

Further outstanding features are:

- A channel's output signal will optionally be forwarded to the next one, which allows the use of quadroPOL as a mixer-module. This way you can sum up to four signals.
- The module can be controlled via control voltages. Beside manually setting the level you can use each channel as VCA. You never can have enough VCAs in a modular system, can you?
- quadroPOL's circuits work with a four-quadrant-multiplier. This means the module is a ringmodulator without compromises - sorry - four ringmodulators.

Do you have 10 HP unused rack-space left in your Eurorack-system? You should consider getting a quadroPOL module. It is so versatile that it's hard to live without one, once you've gotten your hands on one of it.

Notes: Switch is a voltage controlled signal router that is great for audio and CV signals. With four inputs and one output, it is ideal for dynamically moving between four disparate elements. The active channel can be selected manually, or with CV, allowing for versatile and esoteric results. Whether creating unique modulation patterns or entirely new audio splices, Switch will take your patching to the next stage.

Notes: Unity is a dual unity mixer with two sets of three inputs. Its versatile normalling behaviour allows it to function as a six-to-one mixer, or two three-to-one mixers. Three modes of operation provide ideal behaviour for audio, control voltage, or both.

Averaging Mode allows the user to mix audio signals without losing their relative loudness. Unity Mode is great for mixing control signals in situations where you want to add vibrato to a sequence, or create a chaotic modulation source out of LFOs and envelopes. Split Mode sets each channel to a different mode, allowing for mixing CV on one channel and audio on the other. Unite your system with Unity.

Notes: AVert is a dual attenuverter. Each channel offers the ability to attenuate and invert any input signal. The signal present at channel one is normalled to channel 2, allowing for two unique output signals from a single input. Get Inverted.

Notes: The main purpose of the ACL Audio Interface module is to interface modular synthesizer systems with professional audio recording and stage equipment.
The combination of studio quality signal path, flexible routing possibilities and a headphone amplifier, capable of driving both high and low impedance headphones with low distortion, makes the connection between these different environments effortless and sonically transparent.
The ACL Audio Interface offers balanced to unbalanced and unbalanced to balanced stereo lines with level controls. The stereo signal from the auxiliary input, also with level control, can be optionally routed to and mixed together either with balanced to unbalanced, or unbalanced to balanced line signals, or can be muted. The headphone ampli fier can also get its signal from one or the other line after the level control and mixing stage, or can be muted. Since the amplifier is AC coupled only at the input, but not at the output, there is an on-board DC protection circuit included. In case the headphone ampli fier is driven into clipping, the protection can also be tripped. The module has a soft start function and one overload indicator for every line.

Features

One DC coupled electronically balanced input to unbalanced output stereo line with LEVEL control, can vary from full attenuation to unity voltage gain (0 dB).
One AC coupled unbalanced input to electronically balanced output stereo line with LEVEL control, can vary from full attenuation to voltage gain of two (+6 dB).
One routable AC coupled auxiliary stereo input with mute function and LEVEL control, can vary from full attenuation to voltage gain of two (+6 dB).
One routable AC coupled stereo headphone ampli fier with VOLUME control, can vary from full attenuation to voltage gain of two (+6 dB).
DC and clipping protection circuit for the headphone ampli fier, switches off headphone output if DC at the output exceeds i50 mV and/or in case of hard clipping.
Two overload indicators - one for every stereo line, calibrated to turn on when the audio levels at the outputs exceed 4,5 Vpp

Dimensions
14 HP
40 mm deep

Current Draw
110 mA +12V
120 mA -12V

Notes: The Dual State Variable VCF consists of two multimode filters with high-pass, band-pass, notch and low-pass outputs. The circuits feature an edge steepness of -12 dB per octave. Routing options allow serial or parallel connection. Thanks to normalizations and a total of three cutoff potentiometers, stereo material can be processed as comfortably as mono signals.

Furthermore, a well-known feature from the Oberheim SEM synthesizer was implemented in the Dual State Variable VCF: The notch characteristic can be weighted more to the high-pass or low-pass side.

The resonance sounds extraordinarily rich and wet, even high values never sound all too harsh. While self-oscillating, the filters can be played like sine oscillators. By modulating both circuits in opposite direction, users are able to achieve interesting stereo effects.

Notes: The ACL M/S Matrix module is able to deconstruct a conventional stereo signal, consisting of a left and a right channel, into its mid and side signals. The other way round it can convert a M/S stereo signal to L/R stereo.

For that reason the module has four bi-directional sockets which carry the left, right, mid and side signals and are either inputs or outputs, depending on the mode of conversion.

When you play with the individual levels of left and right, classic panning happens. Something different happens with M/S: A change of the Side signal's level will change the stereo width while changing the Mid signal's amplitude will make the centre more or less present but the side signal will remain unchanged!

For instance turning up the S signal from zero to max will continuously convert a centre mono signal into a wide stereo signal.

The module offers individual level control for each stereo channel which can be controlled with potentiometers and voltages

Besides the aforementioned different compression of mid and side you might as well process stereophonic reverb and change the stereo width of the reverb tail.

Notes: The ACL Variable Sync VCO is a precise, excellent sounding VCO, providing five simultaneous waveforms, a VC variable-sync feature, deep linear FM and more, and all with precise tracking and low temperature drift. There are any number of treasured components in our modular system, and it's a thankless task to rank them, but anything that generates audio deserves a place at the head table. Out of respect for this honoured status, we've tried to do some particularly cool things with our Variable Sync VCO, and push it to some uncommon extremes.

First thing's first though: These oscillators sound great, with exactly the kind of classic raw vintage synthesiser tone you'd wish for. The sound is derived from one ramp core oscillator, with several waveshaper subcircuits, allowing saw, inverted saw, triangle, sine, and rectangle. And since we only like randomness and unexpected results on our terms, exclusively at times of our choosing, consistent tuning is the name of the game.

There's more to life than tone and tuning accuracy, so additionally, when synced to another VCO, the degree of synchronisation (i.e. soft-sync, hard-sync) can be set manually by knob, or by an external CV. In other words, this lets you morph between soft- to hard-sync. Which is pretty nice. There are many fun results to be had here. For example, you can modulate the Sync Threshold to create a variety of effects, such as 'pulse trains' or crazily stuttered waves, for a weird, bizarre, and wonderful world of sci-fi sound. Used in conjunction with frequency modulation, this can introduce fascinating harmonics to otherwise harmonic-free sine waves.

Plus, we don't want to show off, but the linear FM modulation amount is quite huge for this type of VCO. And the input for linear frequency modulation is AC coupled (enabling very high modulation amounts with minimal drift off the center pitch) and configured like differentiator.

If all this is going over your head, it essentially means minimal detuning is introduced. The VCO features low, middle, and high modes, which, together with the 10 turn precision Tune pot, results in a very convenient on-the-fly ay of tuning the module. The frequency can be modulated exponentially from two CV inputs.

There is so much more to say about the Variable Sync VCO, and we invite you to check out the PDF manual for more details, but VCOs should be judged as much on their sound as their features, so we also urge you to listen to some of the audio demos to hear it in action.

Width 16 HP

Current Draw:

40 mA +12V
35 mA -12V
0 mA 5V

Installation depth:

22 mm deep

Notes: Our Voltage Controlled Panning Amplifier is unlike many of our modules in that it actually sounds more complex than it is, as opposed to the other way around. But that doesn't mean it's not powerful!

It is designed, quite simply, to dynamically position audio signals in the stereo field. It can operate on either stereo or dual mono signals (in effect, turning the module into two standalone VCAs), and can accept two simultaneous independent CV controls in either configuration.

At first glance, there may seem to be an awful lot of inputs, outputs, and knobs for such a simple purpose as panning, but they allow a number of creative possibilities. And you probably won't be surprised to hear that we backed it all up with a secret weapon (more on that in a minute).

Feature-wise, the module has two exponential response VCAs, each with a manual or CV gain control and input level attenuators. You can pan these two signals manually or using CV (with a dedicated knob to control the amount of CV panning control). In addition, the CV1 and IN 1 signals are normalised* to CV2 and IN 2 (allowing, for example, simple mono-to-stereo panning effects without additional signal splitting/doubling). Finally, once you have achieved the stereo perfect balance, both channels' gain can be simultaneously adjusted with a single pot (or CV), preserving the relative levels of both.

Naturally, there are many potential uses for this module, including even some not confined to stereo processing (simultaneous gain processing of two different audio signals using one CV control, for example). Panning is what it's really about, though, and so a more conventional use example might involve applying fast panning modulation. With this in mind, our secret weapon ensures that neither manual nor CV panning causes a level drop in the centre of the stereo image.

Correcting for this 'pan-power-law' is far from standard in such modules, but ensures the perceived volume of a panned signal will not change, even if panned hard left or right. This has an especially noticeable effect when the panorama is modulated. It goes without saying, as with all of our modules, the VC Panning Amplifier is designed for low distortion, low CV feedthrough, and low noise, and features overload indicators, ensuring that any extremely intense signals running through the modules are entirely intentional!

*Automatically patched on the circuit board, unless alternative sources are manually patched in.

Current Draw:

85 mA +12V
40 mA -12V
0 mA 5V

Installation depth:

22 mm deep

Notes: Our Gate Mix is a high quality four audio signal mixer with CV/Gate muting, ideal for stacking up super uber patches, cascading other mixers, and, you won't be astonished to read, much much more! A mixer with benefits, you might say. But first let's follow some audio signals through to see how everything flows.

Incoming audio is received via four mono inputs, each of which can be switched on and off manually, or by a CV or gate signal. And because the only thing nature loves more than well specified equipment is childish humor, we made sure each input also has its own large knob (an attenuator, to be precise).

Next, these four inputs are summed into two grouped pairs (1+2 and 3+4), each representing the sum of, you guessed it, inputs 1+2 and 3+4. These two groups are then further mixed into the main mono output signal.

Individual outputs are provided for both of the groups and the main output, all of which sit to the right of an auxiliary input. This simple but elegant configuration allows a number of possibilities, such as sending a signal from the groups to an external effects device and then using the AUX input for the effects return. Or the AUX may be used to receive the signal from another mixer, allowing you to cascade as many as you like. Or you might just want a fifth input for emergencies. And those subgroup outputs also mean it can even operate as a simple but high quality two stereo channel mixer: Channel One's left and right would go into inputs 1 and 3, Channel Two's left and right to inputs 2 and 4, and the sub groups would thus provide the mixed stereo output (1+2 = left, 3+4 = right).

The sound quality throughout Gate Mix is, as with all of our equipment, second to none, and great attention was paid to the switches. Thanks to slew-ramping (essentially a very fast fade in/out), switching a channel on or off (whether with the manual switch or with CV/gate) will never result in unpleasant clicks, allowing real time modulated gating fun - anything from simply switching channels on or off to avoid unwanted noise in quiet sections, right up to full-on choppy gating. Furthermore, the muting can be set to be triggered by high control signals or low control signals for added flexibility. Finally, LEDs for each channel let you know when audio is able to pass through.

We've already given some practical use examples, so rest assured, we won't patronise you by listing all the other cool and useful things our Gate Mix mixer brings to your modular system. That said, stacking up monophonic VCOs to create up to five note polyphony, or summing percussion and bass modules, would not be out of place on such a list! Okay, sorry, we won't list any more...

Width 12 HP

Current Draw:

36 mA +12V
23 mA -12V
0 mA 5V

Installation depth:

22 mm deep

Notes: The VCF ladder design consists of 4 stages, providing a buffered output for each of the 4 stages separately in order to get a 6dB, 12dB, 18dB and 24dB/octave -sloped filter outputs individually. (The outputs at different stages then could be mixed together using a polarizing mixer to achieve different filter slopes and even different bandpass behaviors.) The cutoff frequency of the VCF can be controlled manually using the knob named CUTOFF and by 3 independent external control voltages, connected to the input jacks named „1V/OCT", „CV1" and/or „CV2", while „CV1" and „CV2" inputs get an attenuator each (Knobs named „CV1" and „CV2").

The VCF's resonance can be controlled manually and by an external CV connected to the RESONANCE input and attenuverted by the knob named RESONANCE CV. When resonance is turned up fully, self oscillation will occur, enabling use of the VCF as a voltage controlled quadrature VCO since each stage output signal is phase shifted by 90- to the previous stage. Resonance is provided by feeding back the output of the last stage to the input of the 1st stage. A switch called Q LIN switches between 3 different feedback settings, affecting the frequency linearity of the feedback path: In a very classic design of a lowpass adder VCF, the lower frequencies are damped more than higher frequencies, generating a loss of self oscillation at low cutoff frequencies. This behavior can be achieved by switching Q LIN to LOW or MID, assigning 2 different cutoff frequencies of high pass filter in the feedback loop of the filter. By switching Q LIN to HI the cutoff frequency of that high pass filter is lower than 1 Hz, enabling self oscillation even down to the LFO range of frequencies. The cutoff frequency is temperature stabilized and shows good tracking with 1V/Oct. to up to 5 octaves.

3 audio signals can be connected, being summed together to one signal in order to enter the VCF. When approaching 8V PP, the ladder will start to saturate, creating a awesome creamy and compressed sound, which will bend and evolve more and more to a very strongly saturated and distorted sound, the further the ladder gets overdriven by the signal. In many ladder designs, the lower frequencies gets more attenuated (bass loss), when increasing resonance, approximating a bandpass behaviour at very high resonance settings.
We added a knob called BASS BOOST for restoring the low frequencies and boosting them at high resonance settings. That way you can make very bombastic bass sounds, since the sound might get higher resonance settings and still keep
it's bass fundament.

When not overdriven by input audio signals, the overall distortion of the fully discrete audio signal circuitry is quite low due to the use of low distortion discrete buffers, enabling a very clean sine wave when self-oscillating no too strongly, unlike some other designs. The use of matched components made it possible to keep the CV-feedthrough quite low.

Dimensions
18 HP
22 mm deep

Current Draw
65 mA +12V
65 mA -12V

Notes: Full-blooded distortion - Pit Viper is a solid state overdrive for hard-boiled musicians. The circuit can generate clean, beefy signal boosts. However, its true strengths lie in aggressively screaming distortions with a tangible character.

Pit Viper comes equipped with the following control elements:

- Toxicity: Gain potentiometer - Please turn up for heavy distortion.
- Hiss: Tone knob - Turn clockwise to cut the treble.
- Venom: Volume potentiometer
- Fear: Three-stage soft clipping switch - Activates normal soft clipping or a more tube-like version with less treble.
- Malice: Three-stage hard clipping switch - Activates beefy hard clipping or a spongier version with less treble.
- Blend: Dry / Wet potentiometer
- Bite: CV input plus attenuator to cut the high frequency range. Without a cable plugged in, the knob can be used for adjusting the treble manually.
- Saturation: CV input plus attenuator and on/off switch to influence gain and saturation.
- Filter: CV input plus attenuator and on/off switch to control the Viper's VCF circuit.

Via a jumper on the circuit board, users can choose between several filter types:

- Passive clipped low pass
- Unbuffered high pass
- Buffered high pass
- Buffered low pass

Furthermore, there is a trim potentiometer on the circuit board, which can be used to adjust the gain.

PLEASE NOTE: Any scratches on the front panel are part of the Pit Viper's design.

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

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

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

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

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

Notes: This module adds two more stereo channels with two sets of inputs each to your WMD Performance Mixer - 8 more inputs in just 10 HP!

Can be muted with Mutes expander, and includes CV over Gain, Pan, and Aux Level.

More than 30dB of gain over each channel lets you use external sources such as consumer audio equipment, not just modular signals.

Notes: PM Db25 is a proprietary expand module for the WMD Performance Mixer that allows for direct access to each output, balanced, including channels expand and the main outs. Connect a Db25 snake to your choice of connector on the other end and record each individual out without destruction from the faders or mutes. Reference the stereo recording while making final edits in your DAW or tape machine.

Notes: Euclid is a rhythmic pattern generator based on ideas originally presented by Euclid, the Greek mathematician. The Euclidean algorithm can be adapted to create rhythms by taking the total number of active steps in a sequence, and then distributing them across the entirety of the pattern.

This creates cyclical rhythms that are immediately musical and can be used for everything from EDM to IDM. Bring your patches full circle with Euclid.

Notes: Arp is a gate-driven arpeggiator with a multitude of chord types and playback modes. Voltage control over both root note and chord type allow for sequencing any combination of chords in any key imaginable.

With the rate of the arpeggio and reset capability in your own hands, you're free to create dynamic rhythmic melodies from your favorite chords. Take your tonality for a ride with Arp.

Gate-driven arpeggiator
Multitude of chord types, including triads and sevenths
Unique playback modes, including random and pendulum
V/oct tracking on Root CV input
Depth: 45mm

Specifications

Width: 2HP
Depth: 42mm
Power: +12V: 40mA, -12V: 7mA

Notes: This module was designed with a very specific purpose in mind. Born out of a need to find the space in between tones; to achieve pulsing; wider droning; wanting to be able to fit the power of many oscillators into a little package.

It isn't a crazy CV laden feature monster. But it doesn't need to be. It does what it is asked to do over and over and again.

This has a very different sound than a squarewave based multi-oscillator. The Dronebank breathes and moves. Create chords, gate the tones, filter them, ring modulate.

Use it as an FM source, combine it with delay, let it hypnotize you. Most importantly, make music with it. Or use it for mind control experiments.

Notes: Erica Synths Pico SEQ is a mighty, performance oriented 16 step CV and Gate sequencer packed with virtually all possible features you might expect from a sequencer just in 3HP!

Features
Electable sequence length - up to 16 steps
Quantized CV output - 9 different scales
Adjustable Gate length for each step
Step off and step merge function
Slide function on selected steps
Transpose function
Random play function (within a scale)
5 play modes
Sequence memory (16 sequences with all settings)
Despite the small size it's easy to program and most importantly - up to 16 patterns can be saved in memory and instantly recalled.

With Pico Series we challenged ourselves - can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can.

Technical specification:

CV output: 0-+8V (8 octaves)
Gate length: 0-100% (adjustable for each step)
Power consumption: +55mA, -4mA
Module width: 3HP
Module depth: 35mm

Notes: Erica Pico Quant is advanced CV quantizer with some unique features - quarter tone accuracy and the web-based interface for creating user generated scales.

- 8 preset scales
- Web based interface for user generated and extra preset scales
- Microtonal quarter tone scales
- Adjustable tolerance
- Adjustable CV glide between notes
- Clocked and independent quantization

Dimensions
3 HP
35 mm deep

Current Draw
25 mA +12V
6 mA -12V

Notes: Erica Synths Pico Trigger module provides a master clock for the Pico System and it generates up to 16 step patterns of 4 triggers, simple clock divider patterns, and more advanced polyrhythmic patterns of different step length for triggering drums.

Features
Selectable internal clock or external clock
Clock output
Polyrhytmic patterns
Adjustable shuffle
4 trigger outputs
8 pattern memory
Web-based pattern design interface
Pattern upload via CLK input
You can design your patterns in a custom web interface and then upload them to the module via CLK in 3,5mm jack.

To access Pico Trigger paterns web designer click here

To access Windows desktop software for pattern designing click here

To access Mac desktop software for pattern designing click here

With Pico Series we challenged ourselves - can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can.

Technical specification:

Clock rate: 20BPM - 420BPM
Trigger amplitude: 5V
Trigger duration: 10ms
Power consumption: +20mA, -5mA
Module width: 3HP
Module depth: 35mm

Notes: Erica Pico VCF1, is a younger brother of Erica Black Polivoks VCF, designed on the similar topology using rare Russian op amps. As result you get a filter great for acid bass lines, screaming resonance sweeps and deep wobbles.

Features:
- Lowpass and bandpass modes
- Self oscillation
- Rare russian opamps used
- Input protection against overvoltage

Dimensions
3 HP
35 mm deep

Current Draw
12 mA +12V
11 mA -12V

Notes: Erica Pico RND is combined LFO/random source module.

It generates sine LFO waves, white noise, S&H CV and some interesting stuff - random triggers and pulse wave with random duty circle; basically, everything, you need, to bring some uncertainty in your modular setup.

The Pico RND comes equipped with five outputs, they emit the following signals:

- Sine waves
- Pulse waves with varying width
- Random triggers
- Sample and hold material
- White noise

The speed of LFO and S&H circuit can be edited using the module's potentiometer (Range: 0.1 Hz to 20 Hz). For synchronizing the Pico RND with other gear, a clock input was implemented.

Notes: Erica Synths Pico Modulator combines Envelope Generator and VCA in one module and it has straightforward controls for live performances.

Features
Selectable AD or ASR modes
Selectable lin or log envelope shapes
Loop mode without Gate in
Envelope output
Gate in and output signal control LEDs
With Pico Series we challenged ourselves - can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can.

Technical specification:

Attack time: 0-4" (8" in loop mode)
Decay/Release time: 0-4" (8" in loop mode)
EG amplitude: 0V - 10V
VCA attenuation level (0V CV In): -80dB
VCA gain: 1
Power consumption: +28mA, -5mA
Module width: 3HP
Module depth: 35mm

Notes: Pico DSP is a small brother of the popular stereo effects processor Black Hole DSP. It contains eight algorithms, in detail four delays, two types of reverb, Leslie speaker emulation and an Overdrive/Bitcrusher. Each effect is editable in two parameters. One of them can be modulated using the CV input. Pico DSP features clear, high-resolution sound. Alongside the established standards, it is also possible to generate lots of freaky special effects.

Notes: Erica Synths Pico OUTPUT module is just what you need to monitor your music on headphones and have standardized connection to mixing desks.

Features

Stereo input
High quality headphones amplifier
3,5mm headphones output jack
Headphones volume control
3,5mm stereo line output jack
The 3,5mm stereo output jack in this module allows you to connect the Pico System directly to virtually any speaker system or line input. Even in your car!

With Pico Series we challenged ourselves - can we make ANY superior functionality synth module 3HP wide and affordable? Yes, we can.

Technical specification:

Input level: 10Vptp
Power consumption: +20mA, -7mA
Module width: 3HP
Module depth: 35mm

Notes: CLK is a 4HP triple clock generator that outputs three synchronised clocks. It comprises of a master clock and two dual function multiplier/dividers. Turn clockwise to multiply, anti-clockwise to divide. The outputs are always perfectly synchronised. Use it to feed several trigger sequencers or to generate instant 'four on the floor' style patterns.

The top knob sets the master clock, ranging from 40 to 200 BPM. The top jack outputs the master clock as 16th notes.

The middle and bottom knobs either multiply or divide the master clock, depending on whether the knob is turned clockwise (multiplication) or anti-clockwise (division) from the centre position. At 12 o'clock they output the same clock as the master, that is to say they multiply/divide by 1.

The middle knob values are 1 in the centre, then 2, 3, 4, 6, or 8 times as you move away from 12 o'clock.

The bottom knob outputs 1, 2, 4, 8, 12 or 24 times multiplication or division.

Notes: The V-Shape is two modules in one, a wave twister and a distortion/wavefolding module. Both sections of the module are all analogue in design, and both can be used independently, or they can be normalised together in series, so that a waveform can be twisted first and then distorted and wavefolded.

The wave twister can take (for example) a saw tooth waveform as an input and shape it, under manual or external voltage control, through to being a triangle waveform and on to being a ramp waveform, and produces a sound similar to PWM for sawtooths. It will also work with symmetrical waveforms such as triangle and sine waves, again producing PWM like tones.

It can produce a wave twisting effect from most waveforms (with the exception of square waves), whether they are symmetrical or asymmetric. Under many conditions the transfer function is not perfect, so different harmonics may be generated too. The offset control allows a bias to be added to the incoming waveform, either to bias it correctly around zero or offset it for more distortion and harmonics.

The second part of the V-Shape module is a distortion unit, with selectable Soft or Hard Clipping, and the clipping amount can be varied either by a front panel control or an external control voltage with the "Distort" control. The distortion offset control adds or subtracts a bias voltage to the CV signal, to give an extended range of control. There is also a single stage, switchable wavefolder, which can be used with either soft or hard clipped waveforms.

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

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

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

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

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

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

Notes: Burst is a Pingable Trigger Burst generator with distribution, probability and time division control. It will create multiplications of your triggers, leading to doubles, triplets, quintuplets and true polyrhythms for your modular system.

The module allows you to add voltage controlled redrums and dynamic ratcheting effects for your patches. In addition, Burst works like a regular clock source and trigger for other modules via its Tempo and End of Cycle outputs.

Notes: Kickall is a 6HP compact synth voice that features everything needed to make a big fat Kick sound. A stable VCO that tracks V/Oct, a couple of VCAs, envelopes for volume and pitch and an aggressive waveshaper.

The module has been designed with a kick synthesis patch in mind.

The audio path consists of a sinewave oscillator that passes across a Square Waveshaper and two VCA's. The first VCA is for the Volume envelope. The second VCA is dedicated to general volume. Thanks to his CV input, it is possible o apply accents or affects the dynamics of notes. Feeding this input with audio generates a basic AM operation expanding the sonic range of the module.

In the control path, KickAll has two envelope circuits to modulate the first VCA oscillator's pitch. Both envelopes are fired at the same time manually or via dedicated trigger input.

Through its Tune input, KickAll tracks eight octaves with high accuracy. Plug your favourite sequencer or CV source to create patterns out of the kick range, or feed it with an audio signal, for frequency modulation Fx.

Specs

Current needs: +12V: 26mA, -12V: 12mA
Width: 6 HP
Depth: 20mm, (28mm DIY) including power connector
Aluminium, heat-treated front panel.
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: The DTA is a low-cost, yet high quality VCA made by Manhattan Analog. The circuit was designed as a back end for monophonic synthesiser voices. If clean sound doesn't feel right in a particular moment, you can add a decent amount of dirt using the module's drive stage.

The DTA features a signal input, followed by a VCA. The circuit's volume can be adjusted manually and via CV inputs. One of the control voltage channels comes equipped with an attenuator. Thanks to an adjustable drive stage, the sound character can be varied from clean to crisp and dirty.

Notes: The 4Vox is a quad wavetable oscillator with up to four voices per VCO, resulting in a maximum of 16 voices at four individual outputs. With the MIDI In, the module can be played both with CVs and directly via MIDI, which also allows for modulating some additional parameters. There are 39 memory locations for wavetables and 32 for all global parameters of the VCOs.

The parameters of a wavetable can be controlled by CVs and by MIDI. For instance, you can morph through a wavetable with a CV, a MIDI controller or manually with the potentiometer. The range of waves within a wavetable can be selected by minimum and maximum values individually per voice which allows for creating more complex morphs.

Further controllable parameters are Detune, Semitone, Octave, Chord, Portamento, Amplitude and Amp Move (90 degrees phase shifted volume modulation of a VCO's 4 voices). Min and max values can be selected for those parameters as well. Via MIDI it's possible to control further parameters (notes, chords, pitch bend, patch selection and wavetable selection).

The VCOs can be played analogue (frequency by Pitch CV input), monophonic via MIDI or 4-voice polyphonic via MIDI.

The VCO can be used as a voltage controllable LFO with 3 modes: loop, one shot and gates. The SYNC input is used to trigger/reset the LFO. In one shot mode the LFO can be used as a trigger delay, too (SYNC = trigger in, GATE = trigger output, PITCH = delay time).

Each VCO has an analogue 1V/octave input including a fine tune control (+/-1 semitone) and pitch control (approx. 10 octaves), two freely assignable CV inputs, two freely assignable potentiometers, a trigger input for Sync/LFO-reset as well as a Gate and VCO/LFO output

The display can show a graphic of the selected waveforms.

All global parameters and also the VCO's settings can be named and saved as a non-volatile patch by the user. 32 memory locations are available.

Notes: The QUAD CV RECORDER is a four-track cv recorder/looper that lets you record and play back voltage changes from various sources in 16-bit resolution allowing for smooth progressions even at very slow playback speed.
The recording time can extend to an hour depending on your synchronization and it's easily possible to do punch in/out recordings during performance.
You can sync the module via clock or MIDI.

The QUAD CV RECORDER features 4 independent tracks for recording and playing back control voltages i.e. analog sequences, envelopes or controller movements from external sources and/or movements of the rotary knobs ( pots ) on the front panel.
Control voltages can be recorded in either range -5V/+5V or 0/+9V, individually adjustable per track. All recordings and settings are automatically saved and will be readily available the next time you turn on your modular system.
ZOOM is a two stage fine adjust function of the control ruler.
When recording movements of a pot you can use the ZOOM function during playback to 'zoom' into the current position of the knob ( in this case the position in the recording time ).
A smaller segment of the recording will then be mapped to the rotation range of the knob, giving you a finer control over this portion of the recording.
The start and end positions of a recording can be changed at any time as well as the playback speed.
Smoothing algorithms eliminate the so-called 'stair-step effect' and ensure smooth playback even at very slow speeds.
You can play back each track either by hand, pressing the respective PLAY button or using Gate or MIDI start/stop.
Playback modes are LOOP, SINGLE, GATE ( while Gate is on ) and SCAN which lets you move freely through the recording, forwards or backwards ( controlled by an external LFO for instance ) or jump to random points in recording time.
Each track can be synced separately by clock trigger or MIDI clock.
The QUAD CV RECORDER recognizes the clock (ticks per bar) automatically.
It is possible to make a one hour long recording on each track with a MIDI clock of 96 ticks per bar.
The settings HARD/SOFT provide different degrees of smoothing of synchronization.
The LINK button allows for simplified multitrack recording:
ALL combines all 4 tracks controlled through track 1, DUAL combines the track pairs 1+2 and 3+4 which might be handy for use with controllers that generate voltage pairs, like joysticks etc.
Future software updates can be easily performed via MIDI sysex dump.
A MIDI adapter is provided with the unit.

Dimensions
14 HP
42 mm deep

Current Draw
160 mA +12V
50 mA -12V
0 mA 5V

Notes: The Multifunction Discrete VCO rips up the rulebook to deliver a unique and powerful sound. Its completely new multi-waveform and syncable sub-oscillator design provides super-phat layered sounds and de-tuned voices.
Width 26 HP

We are proud to present one of our most original modules yet. Designing a module can be like starting a track - you might have something specific in mind, but before you know it you have made something entirely new, with no connection to the original idea.

And that's pretty much how we came up with the Multifunction Discrete VCO: we set out to emulate a classic VCO, began experimenting, followed our noses, and ended up making something completely different.

And, we think, better!

No substitute

At its core, the Multifunction Discrete VCO combines a massive single sawtooth core with a strong sub oscillator, both with individual waveshapers. This sub oscillator is, to the best of our knowledge, unique, as it's not a separate oscillator, but rather a frequency divider (always one octave down).

This approach has a few excellent consequences. First, it means the sub oscillator is always in phase. Next, it means that it can supply all the same waveforms as the regular oscillator, not just the simple pulse you are used to in a conventional sub oscillator. Finally, it can be modulated in exactly the same way as the main waveform (not separately, of course, although the sub oscillators can be processed individually).

Mix and match 10 simultaneous waveforms

There's much more to it than that, though: separate outputs provide simultaneous access to all the resulting waveforms - saw, inverted saw, PW rectangle, triangle, and sine - for both the oscillator and sub oscillator. So you can mix and match any combination, or all of them, simultaneously!

Naturally, we spared no effort or expense to bring you the finest quality components, from the inside to the outside, with the rugged build you'd expect from a tank... or an ACL module! All signal paths are fully discrete, right up to the outputs.

But as we claimed from the outset, this is much more than a mere classic VCO.

Beating and detuning and syncing... oh my!

For example, if you play with the linear detune, it's possible to create awesome 'beating' effects when layering two or more VCOs. In conventional designs, the beating will speed up or slow down according to pitch, but in our design the beating remains the same, even when playing the sound across many octaves.

In other words, this direct relation between the linear detune and VCO response makes it possible to have the same beating frequency at every pitch, for a uniquely atmospheric, rich, and alive sound.

Moreover, if you play the VCO in LFO mode, the module enables control of the speed in the same way as in VCO mode, even allowing very long lasting sweeps.

Another strong feature is the huge range of syncing capabilities: adjust the sync amount manually, or use CV to glide from no sync to sync, surfing through variable degrees of soft to hard sync.

The core can sync to all repeatable waveforms that approximately exceed 1 VPP, and you can choose between falling and rising edge sync, to hold the proper phase relationship between the syncing and the synced wave or generate phase offset of 180 degrees.

For more percussive and bass patches, the Gate input can be used to reset the VCO core at the beginning of every note, ensuring every attack sounds equal and systematic at each time the notes are played. The Gate input can also be used as hard-sync input as well, even at the same time as the Sync input.

There are also powerful sound-shaping modulation options. For example, you can also modulate both the oscillator and sub oscillator rectangle wave pulse widths through their separate PWM inputs and controls. On top of this, you also have the possibility to choose between different PWM "carrier" waves to change the PWM-behaviour: Rising and Falling Sawtooth will create a heavily detuned unsymmetrical PWM sound, while Triangle will create a very musical sounding symmetrical PWM.

Built by experimenting, for experimenting.

We've just scratched the surface of this imaginative module. We followed our instincts when designing it, and that's exactly what you will do when using it too. Sounds speak louder than words, so we invite you to try it out for yourself or check out the demo below.

3U Eurorack module, 26 HP wide, compatible with Skiff cases.

Current Draw:

98 mA +12V
104 mA -12V
0 mA 5V
Installation depth:

22 mm deep

Notes: The Falistri is a fully analogue multi-purpose movement manager designed to generate and edit voltages to easily accomplish any patch.

The module can be divided into two big parts: in the upper two-thirds of the panel take place two specular function generators, while the lower third is composed of a dual cascaded frequency divider, a linear slew limiter, and a four-quadrant multiplier.

Key features:

Two Function Generators: Envelopes, LFOs, Oscillators
Adjust the Shape Without Changing the Time
Exclusive Shapes per Stage
Trig Buttons: Play Those Envelopes!
Three Play Modes (Voltage-Selectable)
Interacting Functions: Quadrature Mode
All the Outputs, Everywhere
Cascaded Frequency Dividers
Four-Quadrant Multiplier
Linear Slew Limiter

Size 18 HP
Depth 38 mm

Current draw
170 mA @ +12 V
170 mA @ -12 V

Notes: Erica Synths Sequential Switch CV Expander turns the Sequential Switch into a powerful CV/Gate sequencer, it connects to the Sequential Switch via ribbon cable supplied with a module.

CV Expander doesn't require a power supply, it draws power from the Sequential Switch. Refer to the picture below on how to connect both modules! Sequential Switch CV Expander is connected to the Sequential Switch via IN/OUT jack switching lugs, which means that if you patch something into IN/OUT jack, the relevant input gets disconnected from the CV Expander. If you use SS with CV Expander connected to sequence sound sources, make sure, you skip all steps that are not used (no patch cables connected)! If you do not do that, the DC from the CV Expander will get into the audio path and you will hear an undesired click.

Notes: Erica Synths MIDI to Clock V2 is an essential module if you wish to sync your modular system to MIDI devices.

What sets Erica Synths MIDI <-> Clock module apart from others is that it works BOTH WAYS - it derives analogue clock from MIDI messages AND you can flip a switch and turn incoming analogue clock to MIDI clock and sync your MIDI devices to your modular. For more versatility the module can be used with several incoming clock PPQs, plus, divisions and multiplications of incoming clock are available straight away.

Notes: Erica Synths MIDI to Trigger module lets you control your drum modules and trigger events on your modular from any MIDI sequencer!

If you want to use a MIDI sequencer to trigger events on your modular synthesizer (e.g. using the hexinverter.net Mutant drums range or Tiptop Audio classical drum modules or envelope generators to control VCAs), Erica Synths MIDI to Trigger module is just what you need, it converts ANY MIDI notes to eight 10ms Trigger signals.

When designing the module, Erica Synths put usability as priority; it will take you seconds to program the module. It works with any MIDI sequencer & controller so there is no need to change MIDI controller settings, instead, you reprogram the module.

Notes: Erica Synths Black MIDI-CV is a compact, highly accurate and easy to use duophonic MIDI interface.

This module emulates classic monophonic and duophonic synth behaviour, it can also be configured for use in two independent MIDI channels. Bonus features - MIDI clock output and analogue glide circuit on both channels.

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, we did not economise on the module width, we put design and usability first. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

Notes: Erica Synths Bass Drum is developed in collaboration with the French company e-licktronick and it's our take on analogue bass drum circuits adapted for modular systems. Massive, punchy sound, Accent & CV control over key parameters of the module make it distinctively expressive in live performances.

Features
Pitch
Tune
Tune Depth controls
CV control with attenuators over Pitch, Decay and Drive
Manual trigger
Accent for better expression

Dimensions
14 HP
30 mm deep

Current Draw
60 mA +12V
30 mA -12V

Notes: Erica Synths Toms is developed in collaboration with the French company e-licktronick and it's our take on analogue toms circuits adapted for modular systems. Massive, punchy sound, Accent and Tone CV make it distinctively expressive in studio and live performances.

Features
Low, Mid and High Tom in one module
Pitch and decay controls
Pitch CV control with attenuator
Manual trigger
Accent for better expression

Specifications
Decay range: 370ms - 955ms
Audio output level: -5...+5V
CV level (full span): -5 - +5V
Accent CV level: 10V
Trigger level: 5V
Trigger time: 1ms
Power consumption: 83mA@+12V, 76mA@-12V
Module width: 16HP
Module depth: 50mm

Notes: Hi-Hats D is Erica Synths take on classical digital hi-hats. Instead of using an integrated circuit DAC chip Hi-Hats D are using 6-bit discrete DAC for that unmistakable crunchy sound. For amplitude shaping samples are passed trough AS3330 based VCA and are controlled with an analog envelope generator for versatile and snappy sound. Extra feature is Open Hi-Hat looping - when it's on, a certain part of the sample is looped while the envelope decay is on, thus creating distinct, delay-like effect.

Features
Discrete DAC
Analog VCA and EG
Tune and Decay controls
CV control with an attenuators over Tune and Decay
VCA response control
Open HiHat looping
Manual trigger
Accent for better expression

Erica Synths Drum Sequencer has connectors for internal Trigger and Accent connections to Erica synths Drum modules. The connections are made via six wire ribbon cables with 2x3 connectors (similar to Eurorack PSU connectors), and you can save some patch cables if you have a lot of Erica Synths Drum modules. Internal connections will work only with Erica Synths modules and no other manufacturer module will support this functionality. If you have Erica Synths Drum Sequencer and other Erica Synths Drum modules and want to use internal connections, select "Hi-Hats D with internal connectors" option. If you do not want to use internal connections, select cheaper "Hi-Hats D without internal connectors" option.

Technical specifications
Audio output level: -5...+5V
CV level (full span): -5 - +5V
Accent CV level: 10V
Tigger level: 5V
Tigger time: 1ms
Power consumption: 56mA @ + 12V, 35mA @ -12V
Module width: 10HP
Module depth: 45mm

Notes: Erica Synths Drum Mixer Lite is compact version of Drum Mixer. It features extended headroom and a dedicated drum compressor of unique design keeps each drum sound clearly distinguishable and add power to the final mix. Bonus feature - effects send output allows to apply external effects to the signals on the first three inputs. LEDs next to each input give visual feedback on the signal level.

Features:
6 inputs
Built in vactrol based drum compressor with Amount and Decay control
Three inputs assignable to main or aux send outputs
Main and Aux Send outputs
Signal level indicator LEDs

Mixer gain: -+6dB
Power consumption: 59mA@+12V, 36mA@-12V
Module width: 10HP
Module depth: 35 mm

Notes: To add some space to your compositions and nuances in sound design Erica Synths Dual FX module brings you two identical sections of 8 custom effects with two adjustable and CV controllable parameters.
Dual FX combines two Spin FV-1 chips in one module, each filled with eight custom effect programs with two adjustable and CV controlled parameters per effect and analogue dry/wet circuit. All parameter settings can be saved with the effect and recalled instantly during the performance. Also the output of the first FX section is normalised to the second input so creating huge layers of effects is easy.

FX:

Mono delay
Stereo delay
Hi-pass delay
Big reverb
Saturated reverb
Stalker reverb
Ripper
Dual pitch shifter

Technical specs:

Audio output level: -5...+5V
CV level (full span): -5...+5V
Power consumption: 118mA@+12V, 61mA@-12V
Module width: 10HP
Module depth: 45mm

Notes: Module A-102 is a reproduction of the legendary low pass filter design that uses diodes in the filter stage as frequency controlling elements - resulting in "strange" resonance behaviour and frequency response, as resonance and frequency are not independent from another.

As for the rest, the A-102 is identical to the A-120 Moog low pass filter, the A-103 (18dB TB303 Filter) i.e. the same controls, inputs and outputs. Only the filter sound is different:

- Manual control of filter frequency
- 3 CV inputs (CV1, CV2, CV3), 2 of them with attenuator (CV2, CV3)
- Input level control
- Resonance control up to self-oscillation (depends upon the frequency setting for the A-102)