Back catalogue: Studio Equipment

Notes: The Flame FM Kosmos is a full-featured 4-voice polyphonic FM synthesizer with integrated multi-effects unit. With 6 operators per voice and 32 selectable FM algorithms, it offers a wide range of sounds from classic FM tones to complex modulations. Each operator has a loopable ADSR envelope for detailed sound shaping.

It also allows morphing between two sound variations (A and B) and real-time control of effects. The integrated multi-effects processor includes stereo chorus, MIDI-syncable delay and reverb. Intuitive operation is paramount, with 8 knobs and easily accessible menus for all key parameters.

The module supports both analogue CV signals and MIDI control, making it extremely versatile. With 128 preset sounds and 128 memory slots, there is plenty of room to store and recall your own sounds.

Power consumption: 120-140mA at +12V and 60-70mA at -12V
Depth: 30mm
22 HP

Notes: FLAME "TAKT" rhythm sequencer.

"TAKT" is a compact 30HP Eurorack sequencer module for playing or programming trig- ger/gate/velocity rhythm sequences.

The sequencer has 8 tracks with trigger/gate outputs, 8 velocity/modulation CV outputs and full MIDI functionality. The CV track can also be used independently as a modulation track. Live sequencing in looper mode is possible in two ways: SHOTS for playing "note repeats" or quantized triggering via keys or sensors.

Four tracks can be triggered simultaneously with four external distance sensors. These sensors are just 2HP slim modules that can be rack mounted at desired locations. These are connected directly to the module with narrow and sufficiently long ribbon cables, which also supplies the sensors with the necessary operating voltage. The 4 sensors and the connection cables are included in the scope of delivery. The sensors generate trig- gers/gates and can be switched live as a set between tracks 1-4 and 5-8 (e.g. via foots- witch).

Four syncable LFOs with VCOs for amplitude adjustment are also provided. The LFOs are equipped with many interesting functions. This includes 26 different waveforms, phase, amplitude, speed and output voltage. This can be unipolar or bipolar (0..+5v or +/- 5v) and additionally attenuated by AMP (amplitude) with built-in VCA. This means that the LFO outputs can also be adapted to modules that do not have an input attenuator.

Patterns can be switched live and are each up to 4 bars long. 4 patterns plus a fill pat- tern are saved as a scene. 50 scenes can be permanently stored in the module. This means that 250 patterns are available in total.

Additional inputs and outputs for controls are available. There are 4 CV inputs to be defi- ned by the user, as well as 2 programmable analog clock outputs. On the front there are MIDI input and output as 3.5mm TRS sockets. Firmware updates can be done via MIDI- SYSEX.

HP : 30

Notes: ***B-STOCK: Without original box, item shows small amount of damage but in perfect working order***


FLAME "TAKT" rhythm sequencer.

"TAKT" is a compact 30HP Eurorack sequencer module for playing or programming trig- ger/gate/velocity rhythm sequences.

The sequencer has 8 tracks with trigger/gate outputs, 8 velocity/modulation CV outputs and full MIDI functionality. The CV track can also be used independently as a modulation track. Live sequencing in looper mode is possible in two ways: SHOTS for playing "note repeats" or quantized triggering via keys or sensors.

Four tracks can be triggered simultaneously with four external distance sensors. These sensors are just 2HP slim modules that can be rack mounted at desired locations. These are connected directly to the module with narrow and sufficiently long ribbon cables, which also supplies the sensors with the necessary operating voltage. The 4 sensors and the connection cables are included in the scope of delivery. The sensors generate trig- gers/gates and can be switched live as a set between tracks 1-4 and 5-8 (e.g. via foots- witch).

Four syncable LFOs with VCOs for amplitude adjustment are also provided. The LFOs are equipped with many interesting functions. This includes 26 different waveforms, phase, amplitude, speed and output voltage. This can be unipolar or bipolar (0..+5v or +/- 5v) and additionally attenuated by AMP (amplitude) with built-in VCA. This means that the LFO outputs can also be adapted to modules that do not have an input attenuator.

Patterns can be switched live and are each up to 4 bars long. 4 patterns plus a fill pat- tern are saved as a scene. 50 scenes can be permanently stored in the module. This means that 250 patterns are available in total.

Additional inputs and outputs for controls are available. There are 4 CV inputs to be defi- ned by the user, as well as 2 programmable analog clock outputs. On the front there are MIDI input and output as 3.5mm TRS sockets. Firmware updates can be done via MIDI- SYSEX.

HP : 30

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


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: The Futureretro Transfer is a 12hp analogue filter featuring 16 different types of fully controllable filters with CV inputs, a voltage controlled amplifier, and an input overdrive. While the included 4 types of commonly used low pass filters, and the 12 specially crafted unique filters were specifically engineered to be the perfect sonic pairing with our Trax and Transient models, the Transfer also functions perfectly with any modular setup.

3 larger control pots give immediate and easy access to cutoff, input drive, and resonance control with the three smaller attenuators/attenuverters control input from the type CV, cutoff CV, and resonance CV input jacks. A VCA (voltage controlled amplifier) jack is conveniently placed at the bottom row along with standard input and output jacks.

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: Really neat stuff from Hexinverter. Designed with synth sounds and drum processing in mind, the Hot Glue is a unique twist on a four-channel mixer, helping to integrate effects and voltage-controlled distortion alongside built-in bus compression.

Supplier's Notes:
The Mutant Hot Glue is a versatile bus mixer for analogue effects chain design. The included analogue compressor offers series or parallel compression and a sidechain input, making it particularly well suited to drum processing. The voltage controlled distortion is based on ideas borrowed from the guitar pedals responsible for a lot of yesterday's acid style techno sounds, but improved over the guitar equivalents, and made specifically for synthesizer and drum processing. The distortion can be used in its default position, normalized to the effects send, or like every other part of the module, broken out and used elsewhere in your modular system.

Features

4 Channel Mixer with Effects Send

4 input channels, each with their own level and effects send control
Channel A mixer bypass switch and dedicated output for easy sidechain compression
Channel B is dual input, but shares level/send controls (for dual output modules, like the Mutant Hihats)
Channel C+D summed output
Main mixer output normalized to compressor input

Hi-Fidelity Analogue Compressor

Soft-knee compressor based on the same family of premium audio ICs used in some 500 Series studio gear
Dedicated threshold and compression ratio controls
Gain control dials in up to +40dB of compressor make-up gain
Compressor sidechain input for creating pumping effects
LED indicator actively displays the amount of compressor gain reduction

Voltage Controlled Analogue Distortion

A classic distortion topology reborn for modular analogue synthesizers and drum processing
In/Outputs are conveniently normalized to the module's send and return jacks
Blend control lets you adjust the mix of distorted and clean input signal
Fast responding CV input allows for complex modulation patterns and even modulating with audio signals

By default, the 4 channel mixer's output conveniently feeds into the compressor's input, giving access to easy New York style parallel compression by way of the compressor blend control. The dedicated output and mixer bypass switch for channel A allow you to use it as a sidechain source for the compressor. An effects send and return allow you to create complex effects routings within your modular system. With the number of excellent DSP and other effects modules on the market today, this makes it easy to combine modules to great effect, all within the eurorack modular domain.

Redesigned by Erica Synths in close collaboration with Hexinverter. Minor alterations were made in mechanical assembly and digital controls to address Erica synths manufacturing routines and chip shortages, but the analogue signal path is 100% identical to the original version.

In September 2022 Stacy Gaudreau - the founder of Hexinverter Electronique, announced closing down the operations. Following their announcement, Erica Synths in cooperation with Hexinverter Electronique saw a way for their incredible and truly unique music instruments to keep on inspiring musicians and finding a home in countless studios to come.
The effort and innovation incorporated in Hexinverter Electronique eurorack modules are far too great to prematurely become history. Erica Synths will take over the manufacturing, sales, and support of several Hexinverter Electronique modules. While retaining all functionality of Hexinverter Electronique modules, Erica Synths redesigned the hardware of modules and will provide support for reissue modules only.

Technical specifications

Width: 24HP | Depth: 30mm
Current draw: +70mA, -70mA @ 12V

Notes: A unique analogue percussion module, based on principles from the legendary 909 twisted into new sonic territory. Capable of everything from classic kicks and snares to more experimental hits and complex VCO effects.

Supplier's Notes:
A machine is born

The Machine began as a quest to create a rich-sounding eurorack snare drum synthesis module to complement the existing Mutant Drums. The project quickly became too large and costly to justify the module being capable only of snare drum sounds. So, the decision was made to learn from the architecture of the TR-909's snare and kick circuits, in order to develop a module capable of generating multiple forms of analogue percussion, and various other effects.

Like the other Mutant Drums, the Machine has its roots in classic analogue percussion synthesis. Even though it can create totally alien sounds, it still has the capability to deliver those classic 909 house snares and kicks if you want them. There are no microcontrollers in the Machine. The signals and waveforms are all generated by discrete components and ICs, for a distinctly analogue sound, and user experience.

Features

Microcontroller-free analogue percussion synthesis engine
Unique Inverter Core oscillators form the MEMBRANE. Each analogue oscillator has three waveforms to select from
Capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres
Modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion
The SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres
Both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility
13 control voltage and audio inputs, for a fully modular drum experience
7 audio and CV/gate outputs for maximum integration with other modules
Dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion
Waveform scanning feature generates complex timbres from analog waveforms
The MEMBRANE's waveforms can be scanned through automatically by the wavescanner's voltage controlled clock generator, or an external clock or VCO can be used
SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output
The ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal

Technical specifications

Width: 29HP | Depth: 30mm
Current draw: +139mA, -115mA @ 12V

Notes: Incredibly powerful two-channel filter module capable of much more than just filtering. State-variable digital filters with built-in VCAs designed to overdrive beautifully. Sounds great.

Supplier's notes:
BIONIC LESTER MARK III is a 2-channel 2-pole state-variable digital filter with an unusual amount of good sonic character. The filter mode is continuously variable under manual or CV control, smoothly fading from lowpass to bandpass to highpass to notch to allpass with a single motion. The resonance stops just short of self-oscillation. A digital VCA controls the amplitude and the distortion of the input signal pre-filter. The filters have independent inputs and outputs, and an additional Mix output with balance control. The filter design was initially inspired by the best of late-1990s "virtual analog" filters and has gone far beyond.

The audio input controls have dual behavior. When the control (or CV input) is turned from zero position to the center, it operates as a simple gain control for that input. When turned past the center position towards the maximum, the signal will begin to soft-clip, adding hard clipping as the maximum is approached. This smooth and subtle distortion adds violence to otherwise unremarkable input material, generating additional harmonic content for the filter to process. The digital VCA that controls the gain and distortion functions is aware of the input signal's zero crossing, eliminating "clicking" noises when the gain is modulated.

Each filter section has three CV inputs. The first is a high-speed input hardwired to the filter's cutoff frequency, appropriate for snappy envelopes and slow moving voltages alike. The other two inputs (one with attenuverter control) are freely assignable to any of the filter parameters (cutoff, resonance, mode, gain), storable in a preset. The Mark III preset system stores eight fully programmed panel setups, instantly recalling everything under the harshest demands of performance. The Morph mode allows smooth fading between all of these presets.

Activate Filter B's LINK control for patch-free routing of the filter's control or audio signal. You can achieve dual-peak resonance, cable-free series routing, cascaded 4-pole filtering (with two stages of distortion), and full stereo using only one set of filter controls. The input normalization, LINK settings, and parallel mix output further reduce cable clutter while rapidly patching an elaborate signal flow.

The controls are arranged for maximum tweakability and minimum cable interference, with metal-shaft potentiometers attached to the panel on the large knobs. The Mark III OLED display displays the cutoff frequency in Hertz, resonance amount, and filter type morph. The CV inputs process all input voltages between -10 to +10 volts. Panel size is 15HP.

Notes: Complex digital oscillator with unison detune, programmable 3x4 modulation matrix mixer and external input. Intricate arrangements of phase distortion, thru-zero frequency modulation, and complex oscillation are instantly morphable and recallable through a voltage-controlled preset manager. Suitable for genre-targeted sequenced basslines, synthesis of stone, glass, and steel tones, and simulation of the acoustic properties of industrial machinery.

The Hertz Donut Mark III's main oscillator shapes its timbre by distorting the phase of a waveform lookup ramp, offering a linear growth of brass overtones from a simple sine wave whilst performing with exceptional clarity under heavy frequency modulation. The simulated resonance peak familiar to enthusiasts of phase distortion is also present and continuously controllable. The beloved "fractal" distortion from previous iterations of Hertz Donut is simultaneously available. The three waveform parameters operate in a modeless timbre space fully morphable under preset and shared manual/CV control, exhibiting stunning spectral evolutions that are intensified through the module's internal modulation bus. The fold knob is assignable to control one of the three parameters at a time, with the CV input also assignable to any of the three.

Two sinusoidal modulation operators are mixed to four modulation destinations with an external audio input. The operators may be locked to several precise frequency ratios of the main oscillator, or set to be otherwise subordinate. The three sources may modulate each other's frequencies, or the amount of phase or fractal distortion. A plethora of control voltage inputs allow full control of the patch, reacting within a +/- 10V range. The first operator has a calibrated 1v/oct control voltage input and fine tune control, for use as an independent oscillator augmented by the modulation bus. The modulation mix is placed under the influence of a master control, so that a single knob and CV input control the degree of modulation in the entire module. Each sound that you design will have a unique and intense behavior of this modulation control.

The preset manager stores 8 entire panel/menu states for instant recall under manual or voltage control. The control can also cause the creation of elegantly randomized preset data. The preset manager can be placed into a morphing mode where it assumes control of the various parameters, smoothly fading between entire panel states and generating very complicated sounds that are not easily described.

The unison detune function mixes in a nearly identical copy of the sound with slightly offset frequency, or optionally in octave or fifth intervals. The Hertz Donut operates at 96khz for a minimum of sampling byproducts, able to consistently and competently generate ornate digital beauty and jagged swaths of sonic mayhem. The auxiliary output presents the output of one or both modulation operators, also with optional unison applied. The nearby mix output is an analog sum of the Main and Aux outputs, facilitating parallel FM algorithm construction. Perfect, genuine, complete, crystalline, pure.

Specs:

Main oscillator with resonant, phase, and fractal distortions (CV and manual knob destinations selectable)
8 octave tuned CV response (1V/octave)
2x sinusoidal modulation operators with frequency interval lock or free operation
External thru-zero FM input
4x3 modulation matrix mixer with master amount control
128x32 OLED display providing realtime note, frequency, and modulation information, as well as menu access to deep settings
All parameters may be placed under control of morphing preset manager with 8 onboard presets (nonvolatile)
96 kHz sampling rate

Notes: Kermit is a 4-channel programmable supermodulator with morphing wavetable generator and internal modulation matrix. Four channels operate as LFOs, audio rate oscillators (with 1v/octave response on two channels), 1-shot envelopes, random voltage generators, or sample-and-holds, all responding to manual control, external control voltages, or synchronization to the module's master tap tempo clock. Designed for maximum patching power in small systems, Kermit carries an unmatched functionality-per-HP factor with an easily readable display that shows parameters in their real-world units.

The module has a 16-bit DAC to accurately render subtle changes of voltage at extremely low frequencies. The oscillator mode is best suited for bass frequencies, and the waveform "character" modes restrict the morph behavior or degenerate the audio to a minimum of 8 bits with limited horizontal resolution, like the Konami SCC chip used with the MSX computer. The tap tempo facility features an input jack and a manual button. The tempo is shown on the OLED display in BPM. The relevant units (hertz, seconds, volts, etc) or selected waveform of each channel are contextually shown on the display as the user programs the module.

List of operating modes per channel:

LFO (1 volt/octave)
LFO (with reset)
Tap tempo LFO
Audio oscillator
Audio oscillator (unison)
Code scan
1-shot envelope
Gated repeat envelope
Tap tempo envelope
Smooth random
Stepped random
Tap tempo stepped random
Sample-and-hold
Track-and-hold
Tap Tempo sample-and-hold

Three parameters on each channel can be modulated: frequency, amplitude, or waveform. Both external CV input and internal cross modulation are programmable with hotkeys. For example: assign the output of Channel B to morph the waveform of Channel A by holding the Channel B button while turning the Channel A Waveform knob. All channels have manual control of frequency (coarse and fine), phase, wave bank, waveform morph, and amplitude. Channels A and B have full controls, C and D have single knob controls with deep parameters accessible by hotkey combinations. Still deeper functions are accessible through the Mark III menu system.

Kermit has a microSD card slot for loading custom waveforms, like its big brother Piston Honda. The SD card accepts one .WAV file in WaveEdit format (free software editor) containing 64 waveforms, also compatible with several other Eurorack modules. When loaded into Kermit, the waveforms are organized into 8 banks of 8 waveforms each. Each oscillator can select any of the 8 banks, and the 8 constituent waves can be smoothly morphed from one to another.

The Mark III morphing preset manager is in full effect on Kermit. The discrete preset mode quickly and reliably recalls all parameters in response to triggers or CV, accessing the true power of the module as detailed, carefully programmed settings are effortlessly loaded and changed. The morphing mode causes delightfully unexpected variations of the basis preset.

Insert a master clock signal and you're ready to go. Kermit is a reliable provider of endless rhythmically coherent modulation voltages and a reasonably competent "voice module" providing most common synthesis functions on each channel with an internal modulation matrix.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Cylonix and Intellijel have collaborated to bring you a very sophisticated and deeply complex Wavetable VCO. At the core of this module is very powerful FPGA board that he has pushed to the absolute max of its capabilities and crammed full of features. We wanted to create a module that really worked well in the modular context so there are a lot of modulation and control possibilities.

CHORDS
Oscillator 1 can be operated in a CHORD mode, which runs 8 copies of the oscillator in parallel with adjustable detuning, leading to very fat, rich waveforms. The oscillators have extensive modulation capabilities including audio rate (98KHz) Frequency and Phase Modulation (FM and PM) via external sources. Nonlinear combination processes allow the outputs of the two oscillators to interact to generate complex timbres and sonic textures.
There are 64 user selectable chords.

WAVEFOLDER
The SHAPESHIFTER module also includes the analog wave folder circuitry from
module to add analog warmth and metallic rasps to the digital oscillator output.
External signals can also be patched in.

PRESETS
The module includes a sophisticated preset mode where panel settings can be stored. There are 12 user-programmable preset slots and another 52 volatile slots that can be used as a scratchpad. These scratchpad slots are initialized to interesting presets on module powerup. The capabilities of the preset mode is not limited to mere passive storage of settings, however. In this mode the user can also step through, or sequence, the settings, either in order or randomly in response to pulses input to the external sync input. This gives the user the ability to generate complex sequences of sounds. The preset mode also allows the user to morph between the current panel settings and a preset providing a very powerful real-time performance tool.

SYNC
8 Different sync modes: HARD, SOFT, REV, HOLD, BUMP, 2=1, 1=2, OFF
with the ability to internally sync to a sub oscillator

PULSE
User selectable modes for the PULSE output: OR, AND, XOR, GLCH, +OSC1, EOC, +OSC2, -OSC2

MOD A modes: (audio rate modulation)
COMBO IN, SHAPE IN, PHASEMOD, VOCODER

MOD B options (all with CV control)

-Combo modes for OSC1 and OSC2:
NORMAL, RING, MIN, PONG, INLV, AND, XOR, GLCH
-Waveform TILT
-Chord mode overdrive
-Delay depth and FB
-Percussive mode decay time

Notes: This is the third generation of Intellijel's much loved Korgasmatron filter designed in collaboration with David G. Dixon. The Morgasmatron features two completely independent six-mode filters (labelled "A" and "B") - each with its own mode-select knob, input, output, cutoff, resonance, Q-drive and gain control. Each filter has a pair of CV inputs (one with a built-in attenuator and the other with a built-in attenuverter) for modulating cut-off, and another CV input for modulating resonance. Both filters self-oscillate at maximum Q, and produce pitched sine waves that track the two separate 1V/OCT inputs.

You can use the two filters independently of one another, or you can use them together (in either a series or parallel connection) and smoothly crossfade between them using either the XFADE knob or the XFADE CV input and built-in attenuverter. You can flip the DRY switches to instantly bypass either or both filters; invert the phase of Filter B; or overdrive Filter A by switching on the new Overdrive circuit. A MIX output provides (as you might suspect) a mixed output of the two filters.

Notes: The most complex modulator is you. The Planar 2 puts macro control over six outputs - including a quad panning mixer - into your hands with a buttery smooth joystick. Record up to 30 seconds of your own movements, stretch it or mangle it with scan mode, use a trigger for playback, or just loop it - synced or not. Add yourself to your patch.

With its smoothly responsive precision joystick, Planar 2 facilitates hands-on vector control of two entirely independent sets of outputs (quadrants A-D, and axis X/Y), plus the ability to capture and playback your gestures. Recording your joystick movements enables the creation of organic and complex envelopes, wild and wobbly LFOs, or extended sonic evolutions. It mixes, morphs, routes and pans audio inputs; triggers gates; outputs control voltages and is itself, CV-controllable. Planar 2 puts the 'joy' back in 'joystick,' and the 'fun' back in 'function generator.' Its multitasking and tactile interface makes it a flexible and unique control device, no matter what your musical genre.

Notes: Super-versatile quad envelope generator and LFO source from the Vancouver Eurorack brand. All CV controllable and with tons of shaping options.

Supplier's notes:
The Intellijel Quadrax consists of four independent, CV-controllable channels, each of which can be configured to perform any one of the following functions:

- An AD (Attack, Decay) envelope
- An AHR (Attack, Hold, Release) envelope
- A cycling envelope (resulting in a unipolar LFO)
- A pulse burst generator (Finite repeated functions that ascend or descend in amplitude)
- A morphing, bipolar beat syncable LFO

The envelopes all feature a continuously variable response curve, ranging from logarithmic through linear to exponential, and each stage can be as snappy as 0.3 ms to as lengthy as 20 seconds.

When set to Burst mode, the channel generates a rising or falling burst of pulses, with full control over the length of the pulse burst, the number and shape of the bursts within it, and whether the bursts increase or decrease in amplitude over the burst.

AD, AHR, Cycling and Burst modes all feature a user-selectable maximum output level of either 5V or 10V.

LFO mode offers control over the frequency and waveshape, while providing a unique morphing feature that creates numerous variations of the selected waveshape. LFOs can be either free-running or beat-synchronized using the channel's TRIG input.

Channels can be chained together to create complex multi-stage envelopes, with each channel triggered by the previous channel's trigger input, end-of-rise, or end-of-fall. This enables multiple function generators to fire simultaneously, or it enables the creation of complex multi-stage envelopes by allowing the linked function to fire either at the end of the previous function's rise time, or at the end of its fall time.

Four freely-assignable, step-attenuverted CV inputs are capable of modulating any or all of the various parameters across all four channels using the built-in CV matrix, and built-in attenuversion for each assignment.

Quadrax remembers its current state (Mode and CV assignments, channel links, etc) and retains that state even if power is removed, meaning Quadrax will always turn on in exactly the same state as you last left it.

Notes: Multi-model stereo delay with reverb, featuring tape, bucket brigade and crossfading digital models, plus saturation, filters, internal modulation plus tons of CV control. Vibey as hell.

Supplier's Notes:
It's all gone a bit wobbly

Intellijel's design goal for Sealegs was to create the warmest, most musical and organic delay module possible - something that would sweeten and enhance any audio one chose to feed into it. As such, great care has gone into modelling the most distinctive and desirable sonic characteristics of three different types of delay circuits: Tape; Bucket Brigade, and Crossfading Digital.

A plethora of onboard controls enable you to dial in exactly the sound you want; synced or un-synced delays times (for both left and right channels); a built-in modulator with seven morphing waveshapes, a Wow & Flutter emulation, and an envelope follower; plus dedicated low- and high-pass filters; built-in hiss & crackle noises; per-model colour controls; a spacious reverb; and a re-configurable signal flow through the unit. In addition, attenuverted modulation inputs abound - ensuring the delay ebbs and flows with your musical needs.

Features
Three Unique delay models with per-model "Color", modulation behaviour, and saturation/limiting
Three Stereo configurations (PONG, L/R, Time/Width)
Built-in modulator with multiple, morphing wave shapes
Lush, routable 1970s-inspired reverb
Noise control to introduce hiss and crackle.
Highpass and lowpass filters for filtered repeats
Input drive with level trim
Per-model Freeze functionality for holding the delay contents and looping
Delay times up to 6 sec (L channel) and 8 sec (R channel, Width adds 33% to Time)
9 CV inputs (with attenuverters)
Stable external clock syncing (or tap tempo)
96 kHz, 32-bit stereo floating point processing

Size: 20HP
Depth: 29mm
Power: 116mA @ +12V 10mA @ -12V

Notes: Expander module for the Tetrapad, Intellijel's multi-dimensional performance touch controller. Adds huge functionality, allowing you to sequence parameters and create complex modulation.

Supllier notes:
Tete is the long awaited and highly anticipated expander for the Tetrapad.

Some of the key features:

Three primary modes: VOLTAGES, NOTES and COMBO.

VOLTAGES mode:

Up to 16 voltage storage locations (grid) with 8 voltages stored at each location.

You have the choice to record and playback your recall of these locations in a looper style (just play freely and spend arbitrary amount of time at any location) or as a clocked sequence (SH-101 style). Additionally you can traverse the matrix using the X and Y CV inputs to get Cartesian style sequencing.

There is also variable slew that allows you to morph/glide between the values.

NOTES mode:

You can create sequences or loops in chord, scales or keyboard mode. The isomorphic keyboard grid can vary from 4 notes to 12 notes max. There are real-time performance looping, transposition and inversion capabilities via the CV inputs and dedicated loop button. In sequencer mode each step can be a tie, rest, or gate with size 25/50/75%. Basically we have created a way to very quickly and intuitively make chord sequences that are very musical and easy to manipulate. It is difficult to summarize in words but we will be sure to create some videos to demonstrate how easy and fun this is to play with. It definitely represents something unique in the landscape of Eurorack sequencers.

COMBO mode:

In this mode you can loop record your performance on any combination of the following functions:

fader, bipolar fader, drum hit, switch or LFO. Kind of like Elektron style parameter locking but all of the motions is recorded continuously instead of just in slices. Instantly turn a simple patch into a highly animated and complex beast.

With all of the above mentioned loop recording modes you can very easily overdub since the Tetrapad detects pressure/pressing. In combo mode you can erase individual channels.

All modes allow for internal or external clocking and configurable syncing.

All of the modes have special XYZ CV modulation assignments and make use of the dedicated CV outputs.

For example, in Looper mode one of the CV outputs generates a continuous ramp that represents the position in the loop. This can be used with devices like the Planar 2 in Interpolation mode to sync the recorded patterns together no matter what tempo.

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

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

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

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

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

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

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

Notes: ROSA is a multi-mode crossfader, scanner, and switcher that allows seamless morphing between up to four inputs and outputs. With its three operating modes (Scan, Wave, and Pass), you can easily shape and route signals to fit any patch.

A quick overview:

Scan Mode: Morph between up to four inputs with adjustable curves using the KNEE control.
Wave Mode: Independently control the four VCAs for complex dynamic changes.
Pass Mode: Route a single input (or mix multiple inputs) to up to four outputs, perfect for quadraphonic setups or parallel processing.
Infinite Analogue Potentiometer: For smooth, continuous transitions.
Global SHUT Control: CV-controlled mute for immediate silence.

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: Any signal can be expressed in terms of a few parameters: frequency, phase, amplitude and timbre. It is through modulation of these aspects that synthesists create electronic sound. With Generate 3, it is now possible to create a signal and control all its parameters by through-zero modulation within a single 12 HP wide module.

Everything starts with the exceptionally precise triangle-core voltage controlled oscillator (VCO) at the module’s heart. Through-zero linear frequency modulation (FM) enables rich yet pitch-stable FM sounds, by allowing the oscillator to run backwards into ‘negative frequencies’.

The resultant triangle wave is then processed by the through-zero phase modulator, providing a total phase shift range of 900°. Phase modulation offers an interesting alternative for FM, as it enables deep FM-type tones without actually changing the oscillation frequency.

The timbre of a signal is determined by its harmonic content. This full set of harmonics can be grouped into three main parts: the fundamental, even and odd harmonics. Generate 3’s harmonics generator separates out these three timbral ‘channels’. By adjusting their relative amplitudes, a vast array of different waveforms can be created, including but not limited to the classic sine, saw and square waves.

While the amplitudes can be adjusted manually, each timbral channel supports through-zero amplitude modulation, also known as balanced or ring modulation. When audio-frequency modulation signals are applied, the harmonics become ‘split’, enriching the spectrum.

In addition to all the usual analogue synthesis techniques, the extensive set of modulation options makes Generate 3 especially suited for exploring multiphonic synthesis: a monophonic source creating a complex timbre, much like throat singing, yet by electronic means.

Notes: A multi-VCA module on steroids, the Morph 4 is designed as a modulation hub for an entire Eurorack system, capable of working in coutnless different ways. Proper versatile business.

Supplier's Notes:
Modulation is the core concept of modular synthesis: parameters changing over time, adding movement and musical interest to what would otherwise be merely static sounds. Being able to control the amplitude of signals throughout a patch is therefore essential, and one can never have too many voltage controlled amplifiers (VCAs).

Designed as a fully-featured modulation hub for Eurorack synthesisers, Morph 4 takes the basic concept of the multi-VCA module to the next level.

Four linear amplitude modulators are controlled by a master 'morph' parameter. The response of each modulator to this parameter is completely variable, both manually and under voltage control, and can be overridden if desired. Each response is triangular, with the 'position' parameter setting the maximum point along the morph axis, while 'span' determines the width of the triangle's base.

In addition to separate signal inputs and outputs, a variety of combined outputs is available as well: A+B, C+D, add (unity gain) and averaging mixes, and instantaneous minimum and maximum. Input normalisation makes it easy to send the same signal to multiple modulators, while output and modulator response LEDs provide essential visual feedback.

The combination of master control, fully flexible modulators and multiple combined outputs creates a module truly embodying the spirit of 'patch programmable' modular synthesis. Use Morph 4 as a voltage controlled mixer, dual crossfader, dual panner, interpolating scanner, interpolating distributor, quad VCA, quadraphonic controller, slope modifier, rectifier, complex waveshaper or something in between any of those- the choice is yours.

Notes: Clever sequential signal processing from Joranalogue, capable of a range of functions including toggling signal muter/attenuator, clock divider, rotating shift register or programmable voltage bank.

Supplier's Notes:
Sequencers, sequential switches, counters, analogue shift registers... Modular synthesisers provide a wealth of creative sequential functions for controlling and processing signals. Choosing which of these to include in a system can be a bewildering task.

Except when you don't have to choose. Step 8 represents a new type of modular building block: a sequential tracking/sampling register, which can be configured to provide any of these functions, and many more.

At its heart lies an analogue 1-to-8 signal switch feeding an octet of high-stability track/sample-and-hold stages. Each of these has its own analogue output with an attenuation slider, in addition to a gate output. LEDs visualise the status of each stage in real time. The switch can be controlled sequentially using the built-in 8-step counter, or addressed directly by an analogue control voltage (CV).

Numerous advanced circuit techniques are used to avoid the issues that often plague analogue switching and memory modules. The result: totally transparent signal paths with low noise, distortion and voltage 'droop', yet high bandwidth and precision.

Add to this the ability to 'mute' the inactive stages, pause the counter, reset it, change its direction or even shift the stages on each step, and the possibilities quickly become near-endless. A scanning output takes things even further, particularly making sequencer or addressed voltage source use easy and intuitive.

For those who are feeling adventurous, there are always more applications to try: configurable voltage mapper, hocketing controller, clock divider, graphic waveshaper, multi-output analogue downsampler... Discover a new world of sequential synthesis with Step 8.

16 HP
+12: 110 mA, -12: 45 mA

Notes: The Haible VC Resonator is an evolution of Jurgen Haible's Resonator which was inspired by the Polymoog Resonator. As Jurgen stated: The Polymoog, an early polyphonic synthesizer, featured a 3-band "Resonator" section that allows Formant-Filtering in addition to its dynamic Filters. Such a Resonator is a very useful feature for analogue synthesizers. Each of the three (now overlapping) filter bands has a control for frequency, signal gain, and emphasis (resonance). The VC Resonator now not only adds VC control for each band, but also extends the ranges whithin which each frequency band can be set - adjacent bands can now overlap or even cross over, for instance the LOW and MED bands can now be set (or moved!) so that the LOW center frequency is higher than the MED frequency.

Jurgen's original Resonator (like the Polymoog) had a switch to select one of 3 basic modes, i.e. only one mode could be used at a time. The Haible VC Resonator now provids the same 3 modes as separate outputs so they can be used simultanously, e.g. for further processing like crossfading.

Some details of the Haible VC Resonator:

Evolution of Jurgen Haible's design
Added Voltage Control for Filter bands
Extended range of each band (overlapping)
Three separate outputs
Burr-Brown op-amps and high-end VCAs
Eurorack (3U) format, 18 hp
Skiff-friendly: < 30mm deep
Power: appr. 60mA @ +12V and 60mA @ -12V

Notes: Mûmack is built from a temperature-stabilized analog source producing the three classic waveforms: triangle, saw, rectangle. This basic signal can be altered or enriched in several ways, which can be combined with each other, and associated with one VCA per mode.

Peak Compressor:
In the central position the signal is not modified. Turning the potentiometer to the right or to the left will compress the signal positively or negatively. It is this signal that will then feed Usual, Mûm and Hack. An LFO is dedicated to the compressor, controllable in speed and amplitude. A CV input with attenuator can also control the compressor.

USUAL:
The three waveforms are freely mixable, a CV input and a potentiometer can change the shape of the rectangle wave (PWM). The compressor intervening upstream, it can strongly influence the final form and the amplitude of USUAL. This produces complex analog waveforms, moving in time with the LFO or the CV input. The linear potentiometer makes it possible to mix the signal with the others, and to dose the volume of the direct output. The rotary potentiometer acts as an attenuator for the VCA input.

MÛM:
The Waveform potentiometer move the waveform of Mûm continuously from a attenuated triangle to a more pronounced triangle, then to a sinusoid and finally to a square wave. An LFO allows you to add a vibrato adjustable in speed and amplitude. The linear potentiometer makes it possible to mix the signal with the others, and to dose the volume of the direct output. The rotary potentiometer acts as an attenuator for the VCA input.

HACK:
Mûm's signal is taken up in a Wavefolder + compressor. Depending on the settings of the Peak compressor, and the three LFOs, we obtain complex, moving, organic waveforms. Again the linear potentiometer allows to mix the signal with the others, and to adjust the volume of the direct output. The rotary potentiometer acts as an attenuator for the VCA input.

ALL:
The three channel (Usual, Mûm, Hack) are mixed and brought together in a single output. The output volume is adjustable and a CV input with attenuator works like a VCA.

MIXER & VCA
The voltages produced by Mûmack, as is the case with many analog VCOs, can be high. The mixer allows them to be attenuated if necessary. Each of the three channels, and the product of the three, can be controlled by the VCA, with attenuator. The VCA is designed to add distortion at high values. The mixer is exponential for more subtle adjustments in low values.

Dimensions
30 HP
40 mm deep

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

Notes: *** Firmware 2.32 Update- August 2024 ***

Automatic Backup

All settings are saved when the module is turned off.

Skippy then restarts directly with these same active settings. However, it is possible to revert to the default configuration at startup with the NEW function or even return to the "factory settings" by pressing buttons 2 and 4 simultaneously at startup.

New Patterns in JAZZY

New patterns are regularly added to JAZZY, based on customer requests.

New "polystep"

Input Clock is added to the two existing clocks "poly" and "matrix".

It acts as a clock divider within the limits of time division possibilities (for example, the Gaussian function will always act progressively based on an average clock, as with the "poly" clock). Thus, it falls between "poly", which produces an average of the received beats (and for example, will not account for small variations like external swing), and "matrix", which strictly applies the received beats identically to all tracks.

"Polystep" will strictly use the beats from track 1 and adapt the timing of the other tracks according to their parameters.

The "polystep" and "matrix" clocks are only useful if you want to control Skippy with an external clock. Leave it on "poly" for internal use or to use Skippy's clock as the Master for your system (in fact, Skippy performs best in the GAUSS and POLYR functions with this clock selected).

New TILES

Kaona have added the following divisions: 2/1, 3/1, 3/2, 4/3.

New ROLL Function

Beats can now be divided by two (2 "gates" instead of one) or by three (3 "gates" instead of one).

It is possible to choose a "roll" randomly: "1/??" and "2/??" add respectively 1 or 2 extra beats, randomly. You can also choose to add these "rolls" every 2, 3, 4, 6, 8, 12, or 16 "steps". It is also possible to add a "roll" with each screen rotation. To synchronize the start of "rolls" on all tracks, use the Reset function (or with Skippy Live), otherwise, each "roll" starts when the option is set (for example, to avoid setting "rolls" per turn all at the same time).

The beat times of the "rolls" depend on the duration of each gate. It is therefore recommended to take a slightly longer gate for the effect to start being noticeable (from 60-70 and up).

The new "proportional gate" function is also taken into account (thus divided by 2 or by 3).

New Proportional GATE

The function that allows choosing the gate length for each track has been extended.

It is now possible to choose it in proportion to the existing time between two beats. This can be very useful for melodic sequences (with Zazou for example).

You can thus alternate between quarter notes and half notes, or eighth notes and whole notes, etc.

Each of Skippy's four tracks can have a different setting, including with variable time functions (GAUSS, POLYR...), which promises infinite explorations.

Access proportional gates by turning the encoder in GATE mode to the left: instead of stopping at 10 as in the previous version, the percentage of active gate time is displayed. You can choose the percentage in steps of 10, from 10% to 90%.

Description:

Skippy is a matrix and non-matrix polyrhythmic sequencer (linear and logarithmic) which offers four completely independent tracks with a very simple interface: one button per track, one function per screen, no sub-menus.

Possible saving of 64 configurations.

Internal connection with expander module (coming soon) and with Zazou, generative composition module (coming end of 2023).

Functions per track

- BPM (10 to 400)
- Number of steps (1 to 64)
- Linear or log
- Random function
- Chaotic function
- Direction: clockwise, counterclockwise, ping-pong, pause
- Number of steps before the start of the sequence
- Number of steps before the end of the sequence
- Gate duration

Specific algorithms

- Euclidean (Bjorklund)
- Matrix Patterns
- microtiming patterns
- matrix rotation

Clock

- External clock input or Reset
- Clock output
- 1/1, 1/4, etc.

Menus

- BPM
- STEP
- BEGIN
- END
- GATES
- PROBA
- CHAOS
- WAY
- SWING
- GAUSS
- EUCLID
- TILES
- POLYR
- JAZZY
- SPIN
- PAUSE
- RESET
- SYS: save, load, new, clk/rst, clk

Tech Specs

Width: 10 HP
Depth: 32 mm

Current Draw:
+12 V 0 mA
-12 V 0 mA

Notes: An unusual but enticing form of generative music in Eurorack, Kaona's Zazou module offers MIDI or CV sequencing based on a series of algorithms, allowing you to define parameters and generate melodies and patterns of up to four tracks.

Supplier's Notes:
Zazou is a generative music module based on numerous configurable algorithms. It acts as both an accompanist capable of syncing to a regular sequence and an improviser within a given framework. Its function is to produce notes: no sound comes directly from Zazou, as it's intended to be connected to one or more synthesizers or other Eurorack modules.

It features both a multitimbral MIDI output and Eurorack-compatible CV outputs.

To generate notes, Zazou requires "gate" signals to trigger each note. Therefore, it follows the rhythm imposed by a sequencer or any generator producing gate output. It pairs ideally with Skippy, Kaona's algorithmic rhythm generator.

Zazou produces music based on the equal temperament scale and follows the note division corresponding to keyboard instruments (piano, organ, etc.). Thus, in Zazou, as in a piano, a C sharp corresponds to a D flat.

Zazou produces notes on four independent channels that can nevertheless be tuned together.

Interface

Seven CV inputs:
One gate per channel: red, yellow, green, blue

One "Reset" input: realigns the tracks, resets the sequence, interrupts all MIDI notes currently playing.

One "Change" input: allows external sequence control.

One "Play/Stop" input: stops (or restarts) all produced notes and pauses the current sequence. This input also measures an external beat to determine the quarter note value (BPM) that Zazou will use (this value can also be set manually). The input can be a clock (set to one beat per quarter note) or a sequencer.

Seven buttons:
One per channel, matching its colour: they function differently depending on the displayed screen. (Selection, Pause, or Manual Gate).

One Play/Stop button: stops or starts all tracks simultaneously.

One "Change" button: manually advances the sequence.

One "Reset" button: realigns the tracks, resets the sequence, interrupts all MIDI notes currently playing.

Three encoders:
Their functions vary depending on the displayed screens.

One MIDI output:
The output is in TRS format. It's possible to choose between cable A or B using a switch on the back of the card.

Twelve CV outputs:
Four "gate" outputs: mirror the input signals but add ornamentation notes.

Four CV outputs: export velocity (selectable between 5V or 8V).

Four Note outputs: in 1V/octave format, across 10 octaves.

Basic Functions
All functions are identical for each channel but can be synchronized according to your composition criteria.

Root Note: determines the key each track plays in.

Scale: constrains Zazou to adhere to a given scale (22 scales available).

Sequence: dictates that the composition follows a given sequence.

Algorithm: allows the selection of melodic behaviour.

Sequences
It's possible to instruct Zazou to follow a sequence track by track, but it's often more musical to let the four tracks follow a single sequence. For example, you can choose the common II-V-I progression or the circle of fifths, but also use less common sequences. The sequence behaviour can be customized by selecting the number of notes in the sequence, passing notes, alternating major and minor chords, etc.

Algorithms
The algorithms determine the note behaviour for each track.

It's possible to freely mix algorithms track by track, choose the same algorithm for all tracks, or the same algorithm for all tracks but with different behaviours.

Depending on the chosen parameters, they will generate more or less repetitive, varied, or complex melodies. Even though each note depends on an external gate, some algorithms additionally produce ornamentation notes like triplets or appoggiaturas.

Random:
Allows for completely random and unpredictable operation. However, one can influence how randomness occurs by changing event frequency or velocity, for example.

Walkingbass:
Walkingbass precisely follows the sequence in a classic Jazz walking bass manner, with one quarter note per beat. Numerous forms are offered, and it's possible to enrich the progression with ornaments or emphasize strong or weak beats, for example.

Arpeggiator:
Several types of arpeggios are available, and it's possible to choose direction (including random), chords used, ornaments, and their frequency, etc.

Intervals:
Starting from a reference note chosen within the scale, Zazou will traverse a selected number of octaves and notes according to a given interval.

Serial:
Zazou will generate note sequences respecting the rules and principles of serial music. All theoretical parameters are available to practice the specific genre of dodecaphonic composition (inverse sequence, retrogrades, etc.).

Cantor:
The Cantor set starts with a segment (the complete range of available notes) and repetitively divides it, eliminating central segments. This creates a more or less detailed repetitive pattern depending on the chosen parameters.

Fibonacci:
The Fibonacci sequence is used to calculate note heights within a scale starting from a chosen note and modifying it according to selected Fibonacci numbers. Interval modulation allows staying within a playable range while exploring rhythmic and melodic patterns generated by the sequence.

Sierpinski:
The approach divides an octave into three equal parts (triads) and selects two for repetition, imitating how the Sierpinski Triangle is drawn by removing the central triangle and repeating the process on the remaining triangles. This divides the musical space according to the specified depth and plays notes based on this division, simulating the repetitive structure of the Sierpinski Triangle.

Mandelbrot:
The Mandelbrot set is one of the most famous fractal objects. Zazou maps this set into a musical representation to offer unique and varied sound structures. Since calculations are done in real-time, parameters can vary the melody's behaviour infinitely.

Julia:
Like the Mandelbrot set, the Julia set offers fertile ground for musical experimentation, with opportunities to explore fractal complexity through sound. Julia sets are defined in the complex plane and produce complex fractal patterns. Here too, real-time calculations allow parameters to vary the melody's behaviour infinitely.

System Functions
It is possible to choose a corresponding MIDI port for each track. Depending on your setup, you can use Zazou in polyphonic mode (same MIDI number), multitimbral mode (one port per channel), or multichannel mode (multiple synthesizers).

The quarter note duration (BPM) can be adjusted manually or automatically (clock signal, sequencer, etc.).

For all algorithms, you can choose the note duration proportionally to the quarter note value or match this duration to the incoming "gate" duration for each track. Thus, it is possible to play very dynamically with a variety of connected instruments as long as they provide a "gate" signal.

The velocity value can be selected within the range of 0V -> 5V or 0V -> 8V depending on your modular equipment.

Zazou operates across 10 octaves, in MIDI or CV (1V/oct) for modular use. However, it is possible to limit the number of octaves, either to accommodate synthesizers that poorly support very high notes or to limit the voltage in a modular environment.

Two settings allow adjustment of the overall pitch and fine interval between notes (only for modular use).

Saving
The internal SD card allows you to save, within its capacity limit, either track parameters (and load them for another track, for example), sequence parameters, or the entire composition.

Technical Specifications
18 HP

Depth: 32 mm

Power consumption:
+12 V 200 mA
-12 V 0 mA
+5 V 0 mA

Supplied with power cable and Knurlies.

Notes: The world's favorite CV to Midi chord generator, now available in black.

Chord Pilot is an algorythmic chord generator that lets you create chords by defining their size and shape, instead of by their name. So forget about major, minor Dorian 7th augmented add 9ths, Chord Pilot lets you tweak your way to musical nirvana. You can store up to 196 original chords and fire them at will using the 8 buttons, CV control or MIDI.

Connect it up to any MIDI synth or a Poly Cinematic or a Pianophonic and let Chord Pilot navigate you through a musical journey of inspiring arpeggios, orbiting chord sequences and stunning polyphonic spreads of up to 8 notes at once.

Notes: Another clever one from Knobula, this chord-based sequencer/arpeggiator adds versatile harmonic options to your creative process. Pair it with the Poly Cinematic module for best results.

Supplier's Notes:
Generate extraordinary chords without using a keyboard.

Chord Pilot introduces a whole new take on the task of chord creation and performance offering 192 chord memories, a strummer, an arpeggiator and an 8 step chord progression sequencer, all in one compact 12hp package.

Knobula have thrown away the music theory rule book and instead offer a module that encourages the curious mind to discover alternative musical pathways, whether for generative patches or for EDM riffs.

To generate a new chord, Chord Pilot uses a series of controls that alter the width and spread of 'fingers' over a virtual keyboard before conforming them into a variety of musical moods from the pure and harmonious to the terrifying and cacaphonic.

Like all Knobula products, Chord Pilot has been designed primarily with performance in mind, to inpsire by experimentation, to lose yourself in the moment, and to occassionaly generate impossibly hard to play super chords.

With the ability to store and transfer chords in sets of eight, Chord Pilot makes a great companion module for Poly Cinematic, but it is equally at home serving any poly synth with a midi input.

Discover Chord Pilot, your guide, navigator and explorer to a whole new universe of musical harmony, and beyond.

Notes: A clever combo of kick drum synthesis, sidechain compression and digital reverb, Kickain allows you to generate rhythm tracks and work on your stereo mix simultaneously. Clever approach to mixdowns in Eurorack.

Supplier's Notes:
Introducing Kickain. The perfect pairing of a 909 inspired kick drum and side chain compressor. Designed to work in tandem as a single easy to control module, Kickain will revolutionise your side chain workflow, making it a breeze to tame the very heartbeat of your music, intelligently managing low frequency artefacts and removing any clashing frequencies or overlapping transients. The end result will leave you speechless, producing a cleaner, tighter mastering standard mix featuring the most powerful kick drum on the planet.

Spectral Compression

As well as the regular side chain effect of ducking the volume around the kick drum, Kickain also features two spectral compressor modes that intelligently eq the incoming mix to fit around the triggered drum sound, adjusting it continuously 1000s of times a second. The effect has to be heard to be believed, optimising the loudness of your kick without any intrusive 'pumping' on the overall mix. Tracks sound tighter and richer in the bottom end, whilst the kick is always punching through.

Tune to the Room

As with all Knobula products our focus is on performance, so we've given you the essential controls you need to design a kick that fits your tune, your room or your sound system without diving into menus or clicking encoders. The controls allow you to quickly create kicks for a whole host of genres and tempos as well as protect your ears and speakers. And if that's not enough there is a Send/Return option for further processing.

Reverb

Featuring 24bit stereo digital reverb, linked to the decay envelope, you can add subtle room effects or big 10 second bass drops at the twist of a single knob.

Dimensions:
12 HP
32 mm deep

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

Notes: Part of Knobula's excellent polyphonic Eurorack range, the Monumatic is an eight-voice poly/monophonic synth module with 16 oscillator modes, covering everything from virtual analogue to cutting-edge tone generation algorithms.

Supplier's Notes:
Monumatic is a fully polyphonic 8-voice synthesiser and a monophonic synthesiser packed into a compact 12HP module.

It features16 selectable oscillator modes to provide a diverse range of both classic and futuristic tone generation using exclusively virtual analog algorithms. These include; Roland super-saw, Polymoog vox humana, Casio phase distortion, Solina string synth, percussive drawbar organs , "noisy cassette" strings, pulse width modulation and some gnarly asymmetric sync oscillators, all modelled without samples and each one of these customisable using the Detune control and each providing the foundation for further signal processing though the filter and effects sections.

6 powerful filter types are provided, including a vocal vowel filter, a 24db/oct Butterworth low pass filter, a dual peak notch filter and a phase shifter, each of which features an overdrive setting.

Like its sibling module Poly Cinematic, Monumatic is designed to be simple to use yet versatile, offering minimal controls to access a wealth of sounds, avoiding the need to scroll through 1000s of complex presets.

Monumatic supports full analog control of every parameter, with two instantly assignable CV inputs, as well as dedicated CV inputs for Gate, V/Oct and Filter cutoff, with additional digital control using comprehensive Midi CC and MPE implementation. An altogether unparalleled potential for expansion and integration into the eurorack universe.

As well as full midi capability, the 8 built-in chord presets can be custom programmed to provide polyphonic stabs and pads and using a single CV/Gate input, arpeggios can be layered polyphonically or "plucked" using long release times. The mono/poly function allows the Monumatic to switch between a fully capable poly synth or a mono synth at the touch of a button.

In polyphonic mode Monumatic introduces an advanced micro-tuning system to modular synthesis, it can replicate the organic drift of vintage analogue oscillators or it can apply realtime tuning temperaments to enhance harmonic authenticity using 'just' intonation, this parameter can even be assigned to CV control.

Notes: Combining the power of multi-oscillator wavetable synthesis with the percussive detail of sampled sounds, Pianophonic is a powerful hybrid synth engine featuring 8 voices of polyphony. Not limited to Piano sounds, the voice architecture of Pianophonic is extremely versatile and easy to use with the essential controls laid bare on the front panel, and the most significant CV inputs and outputs provided for full integration within eurorack patches.

Taking its inspiration from the wavetable/sampler keyboards of the 90s, Pianophonic revisits a lean and mean approach to digital sound creation but instead with 24bit 48Khz quality and fingertip control of the parameters that really matter.

With a built in SD card and an online re-synthesise utility, allowing users to create their own sound banks, the possibilities for sound exploration are limitless.

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: A spin-off from the brilliantly experimental Strega synth, the Bruxa module offers a different type of 'Time/Filter Experiment' designed to warp and twist sounds from other modules. Excellent creative stuff.

Supplier's Notes:
Check Make Noise's website for content and pictures!

The Bruxa music synthesiser module is an audio alchemical experiment. Spill your sound into time, and let it decay through the filters to hear the results.

Bruxa is a collaboration between Make Noise and Alessandro Cortini. Inspired by Cortini's music and sonic experimentations, Bruxa embodies the seen and unseen, the sign and magic, the alchemy of sound. It is a new evolution of Tony and Alessandro's original prototype circuits which eventually became the Strega's Time/Filter Experiment. It is a multi-tap delay line with over a dozen unique feedback paths and multiple filters within those feedback paths aligned to allow for accumulation of noise, saturation and signal degradation.

While Strega is a complete synthesiser in a tabletop form factor, Bruxa is a Eurorack module designed to be used as one part of a Eurorack modular synthesiser. You will discover a number of differences in layout, signals, and sound. Living inside the Eurorack modular system, Bruxa encourages you to patch your own sound and modulation sources, yielding results surprisingly distinct from Strega.

Echoverb signal processor which shares origins with Strega
Well tuned to work nicely in a Eurorack modular system
All analogue dry signal path blended with digital/ analogue hybrid signal processor
Analog CV inputs with wide range capable of audio rate modulation
Time control with massive, smoothly variable range
Linear FM input with attenuator allows for fluttering of Time
Absorb and Filter controls dramatically shape the echo tone and reflections
New unique CV outputs for use in self-patching or mutual patching with other modules
Pairs well with DPO, STO, MATHS, Prss Pnt, modDemix and more!

Specs:

Width: 18hp
Max Depth (incl. power cable): 48mm

Power:
140mA @ +12V
90mA @ -12V

Notes: A true legend of modular synthesis, Make Noise's Maths is arguably the definitive Eurorack function generator. Based on analogue computing circuits, Maths draws on Buchla-style techniques to offer countless ways of generating and processing modulation signals.

Supplier's Notes:
The MATHS music synthesizer module is an analogue computer designed for musical purposes. Amongst other things, it will allow you to:

Features

Generate a variety of linear, logarithmic, or exponential triggered or continuous functions

Integrate an incoming signal

With no signal applied, generate a variety of linear, logarithmic, or exponential functions

Add, subtract and OR up to 4 signals

Generate analogue signals from digital information (Gate / Clock)

Generate digital information (Gate / Clock) from analog signals

Delay digital (Gate / Clock) information

If the above list reads like science rather than music, here is the translation:

Voltage Controlled Envelope or LFO as slow as 25 minutes and as fast as 1khz

Apply Lag, Slew or Portamento to control voltages

Change the depth of modulation and modulate backwards!

Combine up to 4 control signals to create more complex modulations

Musical Events such as Ramping up or Down in Tempo, on command

Initiating Musical events upon sensing motion in the system

Musical note division and / or Flam

Perfect for modulating the DPO and just about anything else

Specifications
Width: 20hp
Max Depth
(incl. power cable): 32mm

Power:
60mA@ +12V
50mA @ -12V

Notes: The MATHS music synthesizer module is an analogue computer designed for musical purposes. Amongst other things, it will allow you to:

Features

Generate a variety of linear, logarithmic, or exponential triggered or continuous functions

Integrate an incoming signal

With no signal applied, generate a variety of linear, logarithmic, or exponential functions

Add, subtract and OR up to 4 signals

Generate analogue signals from digital information (Gate / Clock)

Generate digital information (Gate / Clock) from analogue signals

Delay digital (Gate / Clock) information

If the above list reads like science rather than music, here is the translation:

Voltage Controlled Envelope or LFO as slow as 25 minutes and as fast as 1khz

Apply Lag, Slew or Portamento to control voltages

Change the depth of modulation and modulate backwards!

Combine up to 4 control signals to create more complex modulations

Musical Events such as Ramping up or Down in Tempo, on command

Initiating Musical events upon sensing motion in the system

Musical note division and / or Flam

Perfect for modulating the DPO and just about anything else

Page for Classic version of MATHS

Specifications

Width: 20hp
Max Depth
(incl. power cable): 32mm
Power:
60mA@ +12V
50mA @ -12V

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

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

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

Notes: A typically clever approach to modulation from Make Noise, the MultiMod takes a control signal and modifies it into eight related outputs, adjustable by phase and timing. Hugely versatile.

Supplier's Notes:
With MultiMod...from one control signal, we create many.

In a modular synthesiser, it is easy to create complex results via complex means - patching an elaborate network of independent control signals, for example. This can be very powerful but also cumbersome to set up, and potentially difficult to control in a meaningful way. MultiMod represents a new approach: it takes a single control signal and copies it 8 times, not unlike a simple mult, except that it allows you to modify those copies by weighted adjustment of their relative phase and speed. The result is modulation that is related to the source, but not identical at each destination.

Phase sets the spacing of the signal copies in time, weighted by channel, with each progressive channel getting more out of phase from the original signal and from each other. Spread allows for varispeeding the copies by different amounts, with each getting progressively faster or slower than the original Signal. Time determines the range of time captured at the input and therefore also the depth of modulation across copies of the input signal when Phase and Spread are manipulated. MultiMod also includes Tempo, Hold, and Reset features, and a variety of Read Shapes for temporal rearrangement of input signals.

When the input is not patched, MultiMod generates an LFO that is copied eight times and manipulated in the same ways.

MultiMod is built with the latest DSP hardware which offers eight high resolution outputs, with signal input and output ranges approaching the upper limits of the analogue eurorack modular system. All I/O is capable of a 20V range at +/-10V, greatly exceeding the typical 0-5V CV input ranges on typical digital modules.

Specifications

Width: 10hp
Max depth (incl power cable): 39mm

Power:
195mA @+12V
10mA @-12V

Notes: The Quad Peak Animation System music synthesizer module combines the auditory enveloping of stereo spaced peaks with the animation of two or more peaks in a single channel dancing around each other or engaging in primitive vocalizations. QPAS is Quad Core, containing four identical state variable filter cores with a control system powerful enough to guide them in stereo multi-peak operation, but simple enough to encourage system integration rather than domination.

Features:

Quad Core Stereo Analogue
Multi-Peak with clean resonance
Fast response encourages deep FM
Radiate spaces stereo image and animates associated channel
High Q settings are under damped, excitable, and ring by gate or trigger
2 !!ii modulation inputs aid patch exploration
Stereo VCA, pre-filter with gain
Mono to Stereo, Stereo to Mono, Mono to Mono and Stereo to Stereo operations
Smile Pass filter response unique to QPAS
Low Pass, Band Pass, High Pass and Smile Pass outputs simultaneously available

Specifications:

Width: 18hp
Max Depth
(incl. power cable): 45mm
Power:
166mA @ +12V
190mA @ -12V

Notes: ***B-STOCK: Without original box, product in perfect working order***


Rene is the world's only Cartesian Sequencer for music synthesizers.

Named for the French philosopher & mathematician Rene Descartes, it uses his Cartesian coordinate system to unlock the analog step sequencer from the shackles of linearity.

Notes: The XPO or Stereo Prismatic Oscillator music synthesizer module is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.

The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic »

Features:

Stereo Analog VCO with eleven simultaneous outputs (five mono outs and three stereo pairs)
Modulate Timbre via Stereo Pulse-Width Modulation, Stereo Vari-Timbre, and Stereo Wavefolding
Sine, Triangle, Sawtooth, Spike, and SUB mono outs
Unique Mono versions of all Stereo Waveforms via Left output normalizations
Modulate Left and Right channels together or separately thanks to normalization and attenuverters
Center parameter adds additional timbre control to both sides of Vari-Timbre and Wavefolded outputs
Linear FM Bus features voltage-control over FM depth and a normalization of SUB to FM input for easy GROWL
Hard SYNC circuit
Two 1v/oct inputs for transposition, melody stacking, or richest FM
Expo FM input with attenuverter
Designed to pair well with QPAS, Mimeophon, and X-PAN

Specifications:

Width: 18hp
Max Depth
(incl. power cable): 45mm
Power:
145mA @ +12V
135mA @ -12V

Notes: Saturation is a sound designer's best friend. As applying saturation to a sound can make it sound warm, rich and defined. But without any other processing the opposite can happen; making the sound harsh, destroyed and undefined. An often used technique in music production is to saturate specific parts of the spectrum, adding harmonics to enrich the sound but not lose its original quality.

Wyvern takes this technique and makes it a creative sound design tool. When deconstructed Wyvern is built out of a specific chain: Filter EQ, Saturation, VCA, Dual Filter, Dry/Wet Balance. Different combinations of these stages can be used for a variety of sound design and patch situations. And it is all in stereo, so you can apply it to your final mix and stereo signals with ease too!

The Filter EQ stage has a high-shelf, low-shelf and bell curve to boost or diminish parts of the spectrum. When the gain is set to a minimum the EQ curves turn into low-pass, high-pass and notch respectively. A Resonance control puts emphasis on a certain frequency, or it can be used to make Wyvern scream. This is then sent to a Saturation stage. The Drive control sets the amount of Saturation of one of the three

Saturation types

Soft clipping puts more emphasis on the third harmonic and compresses the sound.

Hard clipping puts emphasis on odd harmonics. Finally an Allpass distortion adds phase shifts and distortion. The Saturation stage also has a level control which can be used to decrease the gain after saturation is applied and can function as a unipolar VCA. The Saturation stage is also accompanied with a clip indicator led and a boost switch to scale input signal correctly or simply add more or less harmonics.

The Post-Saturation stage is a high-pass and low-pass combo. Allowing you to select a frequency band from the previous stages. Along with a balance control to adjust the balance between the dry and wet signal.

Whether you are looking to destroy your sound or go for subtle analogue warmth; Wyvern has got you covered. Even when not used for saturation alone. It can be a Stereo Tone Controller, EQ, Filter, VCA and Phaser, all and anything in between. Making it a very fun and powerful sound design tool!

Features

- Filter EQ with Low-shelf, High-shelf, Bell, Low-pass, High-pass and Notch curves.
- Resonance to add emphasis on a frequency or to make it scream.
- Soft clipping, Hard clipping and Allpass distortion for a variety of flavors.
- Boost switch and clip indicator led to set Saturation scale.
- Level and VCA to adjust level while Saturation amount remains the same.
- High-pass and Low-pass combo to select a part of the spectrum.
- Dry/wet control to dial in the right amount of processed signal.
- Gain with increased and adjustable center detent position.
- V/oct tracking with temperature compensation.

165mA @ +12V // 150mA @ -12V

Notes: Stereo version of the HUE module, the CLRS does what it says on the tin, adding colour via effects including filtering, overdrive, sample rate and bit depth reduction, plus one-knob compression and CV modulation of parameters.

Supplier's Notes:
C Introducing the CLRS (pronounced colours) module by Modbap, a powerful 10HP reimagining of the HUE eurorack module, now expanded to stereo.

At the core of CLRS is a versatile DJ-style filter, equipped with a single large top-centre knob that controls both the high pass and low pass filters. With the low pass to the left and the high pass to the right, effortlessly sculpting your sound in the stereo field becomes second nature. Find the ideal frequency balance and bring your audio creations to life with a seamless and harmonious blend.

Experience a transformative sonic journey with the Drive effect. From subtle saturation to edgy distortion, CLRS's Drive empowers you to sculpt the ideal sonic character that complements your creative vision. It adds warmth, character, and texture, taking your sound to harmonically rich territories.
The newly added stereo width control enables precise adjustments to the stereo field, providing greater control over the spatial aspects of your audio.

The Lofi effect on CLRS is a powerful feature that introduces a lo-fi or low-fidelity aesthetic to your audio. By reducing the sample rate, the "Lofi" knob emulates the characteristics of lower-quality audio recordings or older digital devices. This reduction in sample rate produces a vintage, degraded, or "lo-fi" sound, perfect for creating a nostalgic or retro vibe in your recordings.

The Bit Depth knob decreases the bit depth. This introduces a sort of aliasing sound and distortion, adding to the lo-fi character of the audio. The result is a gritty, distorted, or "bit-crushed" sound reminiscent of older digital devices or low-quality audio formats.
The Lofi CV input affects the combination of sample rate reduction and bit depth, opening up a range of possibilities to explore vintage recordings, nostalgia, and unique audio textures.

The "Mag" effect, short for "Magnet," combines the characteristics of tape saturation and tape distortion into a single control knob. Adjusting the "Mag" knob introduces a magnetic-like effect to the audio signal, emulating the warmth, saturation, and subtle distortion associated with analogue tape recordings. This feature allows you to add vintage and analogue-style tonal qualities to your audio, bringing warmth and depth to digital recordings or achieving a vintage vibe. The "Mag" effect can also introduce light tape distortion, adding a touch of grit, character, and a slight edge to the sound, imparting a vintage or lo-fi aesthetic.

CLRS offers an intuitive one-knob compressor, effortlessly controlling your audio dynamics. Elevate your mix to a professional level with depth and balance. The newly integrated 3-way switch for ratio control provides the freedom to choose between light, medium, and heavy compression settings. Also included in this expanded Compressor is a 'Duck' input which simulates side chain compressions allowing you to send LFOs, envelopes and the like to control the side chaining. Whether you seek gentle levelling or impactful squashing, CLRS's compressor adapts to your musical needs.

In addition, CLRS features CV inputs for modulation of the filter, drive, mag, and lo-fi effects. This allows for dynamic and expressive control over your sound, adding an extra layer of creativity to your music production.

Whether you're using CLRS in a Eurorack modular system or in your groovebox signal chain, it seamlessly integrates into your setup, providing you with a versatile and powerful tool for end-of-chain audio processing. Its CV inputs for modulation of the filter, drive, mag, and lo-fi effects add an extra layer of expressiveness and creativity to your music production, allowing you to dynamically shape and transform your sound.

Experience the flexibility of audio processing with CLRS and unlock a world of sonic possibilities for your Eurorack or groovebox setup. From side chain compression and shaping frequencies to adding warmth, character, and vintage vibes, CLRS is the ultimate companion for taking your music to new heights.

Features

Audio processing effect
DJ Style Filter (HP and LP)
Tape Saturation (mag), Drive, and Lofi effects
One knob compressor with switchable ratio
Ducking input
Width Control - stereo field widening parameter
CV inputs for Filter, Mag, Drive, Lofi.
Stereo input and output

Tech Specs

Width: 10HP
Depth: 24 mm
Power: 110mA +12V, 8mA -12V

Notes: Per4mer is a quad performance effects eurorack module designed with live performance, studio use, and sound design in mind. Includes 4 performance effects (Delay, Reverb, Glitch & Tape Stop) and 2 audio processing effects (color and compressor with side chain).

Per4mer is a 14hp eurorack formatted quad performance effects unit. Inspired by time-honored DJ effects processing boxes, Per4mer allows for a hands-on and CV / Gate controlled eurorack effects performance interaction. Whether momentarily engaging or latching FX, Per4mer offers an unrivaled and fun experience.

The basic principle of Per4mer is to feed in an audio input and to trigger on-the-fly effects, bringing DJ style live improvisation to a modular environment. Effects can be triggered simultaneously or individually where an inspiring effect palette combines to generate unique creative beats and melodies.

Per4mer includes 4 performance effects (Delay, Reverb, Glitch, Tape Stop) and 2 processing effects (Color processor & Compressor). Each of the 4 performance effects has its own set of 4 parameters controlled by the 4 knobs or CV inputs. Effects can be used simultaneously or individually allowing for a vast variety of creative effects combinations.

The Color processor allows for engaging any of the 8 coloration presets - Classic (12bit), LoFi (8 Bit), Saturation, WaxWax2, LP Filter, HP Filter, White Noise with wet/dry control. Combine any one of these color presets with the onboard Compressor and Side-Chain input to instantly transform any audio signal's mood and vibe.

Features
4 no-click 24mm mini arcade buttons (life cycle rated at 10 million button presses)
4 knobs to control 4 parameters per effect
4 performance effects (Delay, Reverb, Glitch & Tape Stop)
AR envelop per performance effect
2 processing effects (Color and Compressor)
8 fixed color presets (Classic (12bit), LoFi (8 Bit), Saturation, Wax, Wax2, LP Filter, HP Filter, White Noise) with wet/dry control
Compressor with controls for Make-up Gain, Threshold, Ratio, Attack, and Release.
Side-chain input with Side-chain detection (via side-chain input, clock input, or tap tempo)
Clock input
Tap tempo
CV targeting (target specific effects with CV inputs)
CV control over knobs
Gate inputs to trigger the arcade buttons
Stereo input and output

Tech Specs
Width: 14HP
Depth: 30mm
Power: 50mA +12V, 50mA -12V
Built on the ElectroSmith Daisy platform

Notes: Highly sought-after utility tool that always sells out quickly. Full colour display gives visualisation as an oscilloscope, spectral analyser, spectograph, tuner and more. Waveform and clock generator options too.

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

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

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

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

Notes: The Morphor Ensemble is an 8-voice fully analogue chorus effect module. The module can truly upgrade any input audio into a sound with body. Transform your creations into warm and full sounds as if a whole orchestra is playing them.

Morphor Ensemble features extensive control over your effect with number of voices selection, CV-able spread, two full-featured LFOs and control over the amount of dry-add signal. This way it is possible to create a wide range of effects, from subtle broadening or humanisation of your sound up to pitch-bending craziness.

The module features a true analogue audio path based on eight BBD devices, known for their authentic and warm timbre. In summary, the Morphor Ensemble is a high-end, flexible chorus module for every analogue lover.

Weight: 167 g
Dimensions: 128.5 × 60.6 × 40 mm
Width: 12 HP

Notes: Quasar brings 3D spatial audio to the Eurorack world. It is a two-channel audio mixer that uses binaural algorithms. You can seamlessly move sounds around your head, dynamically change the angle, height and distance in real time.

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

Main functions
2 mono inputs
Stereo output (two single jacks + headphone stereo jack)
2 CV inputs
24Bit 48kHz inputs and outputs, 32Bit internal signal processing
Dynamic 3D positioning in three dimensions (height, angle, distance)
Room reverb can be applied for better localization
Internal LFOs with flexible routing
External CVs can be flexibly routed to all parameters, multiple destinations per CV, individual intensity
Different 3D transfer functions to choose from
Two large endless encoders with aluminum knobs, RGB LED rings for setting and displaying parameters
OLED display for navigation and to show which parameter the encoders are currently controlling
Flat menu structure, no deep dives neccessary
" User presets can be flexibly created and recalled
" Potentiometers for volume control of the three positions Quasar 1, Quasar 2 and Center

Quasar creates a 3D sound image by binaural audio processing. Two positions named Quasar 1 and Quasar 2 are available, which you can virtually place and move at any angle, height and distance around your head. Room reverb can be added as a further aid to distance perception. The audio signals at input 1 and input 2 can be flexibly routed to either or both positions via an internal matrix mixer. The coordinates of the positions can be set manually or be modulated by internal LFOs or external CVs. For example, you can have sounds orbiting around you, coming from above or below, front or back, and moving toward or away from you. Likewise, a centre position is available as a routing destination that leaves the signal without sonic processing to create a dry/wet mix.

Quasar features two CV inputs which can be flexibly routed to any target inside the module. In fact, each CV can have up to four different targets, which enables a very flexible design of auditory 3D-scenes.

Internal LFOs can be used to add dynamic movement and to create spectacular three-dimensional scenes. There are a variety of standard and advanced waveforms that can be routed to the position coordinates. LFOs can also be triggered and reset by external CVs.

Quasar can add some reverb to the signal. While not being a reverberation module in the first place, Quasar's reverb can improve distance estimation, but also be used to create impressing ambient stereo soundscapes.

All inputs also have digital high and low pass filters, so you can decide which frequency bands go to which position. However, in addition to Quasar 1 or Quasar 2, you can also route the audio to the center position. The center position takes the input signal and distributes it equally to the left and right ears without further processing. For example, you can route the low frequencies to the center position and have the higher frequencies distributed to the outer positions Quasar 1 and Quasar 2. That way, the bass stays centered and mono-compatibility is preserved.

As soon as a three-dimensional virtual scene has been created, it can be saved to the module's preset list. That way, scenes can be recalled at any time. Quasar also features some factory presets as a starting point and to show off the module's capabilities.

The module works best with headphones, as the algorithm basically mimics the shape of the head and the pinnae, which are responsible for our directional hearing. But even if you play the sound through speakers, you will hear a significant difference from classic panning.

As spatial hearing is a psychoacoustic effect that everybody perceives in a slightly different way, Quasar offers several transfer functions for different ear types to choose from. This way, the intensity of the 3D effect can be adjusted to personal needs and fits with the processed audio signal.
With its large aluminum knobs, LED rings, rubber potentiometers and mechanically solid components, Quasar is fun to use and invites creative work.

Notes: Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Ataraxic Iteritas Alia

Proudly digital oscillator inspired by the last millennium on a swappable oscillator platform

Ataraxic Iteritas Alia is a voltage-controlled and proudly digital oscillator based roughly on the original Ataraxic Translatron. Now brought to the Alia platform and beefed up with a suboscillator and performable hold button, it's back and ready to make some killer basslines or glitchy madness. Sound starts with waveshaped bit tables that are amplitude modulated, folded, and distorted by the CV-controllable front panel controls. Ataraxic is ripe for sound design and exploration: a wide range of bright, digital timbres are readily available, and tuning below audio rates creates wonderfully unexpected textures. Guaranteed to make the fax machine jealous.

AIA is available on our 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Universal drum synthesizer with roots in the analog world on a swappable oscillator platform

Basimilus Iteritas Alia is a parameterized digital drum voice with its roots in the analogue world. At its heart, the BIA is a simple six-oscillator additive and FM synthesizer with waveform, harmonic spread, and envelope controls. An adjustable noise oscillator and an extreme take on a wavefolder round out its synthesis abilities. Its straightforward controls make sound design fun and performable: create sub-shaking kicks, snares, hats, and unique drum hits with just a few tweaks.

BIA is a classic percussion module but you'll be blown away by how much more it can do. Use it for leads, basslines, or build a whole drum kit with some external CV. Plus, the envelope output means you can use the BIA for shaping and modulating other parts of your patch.

Basimilus Iteritas Alia is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal to check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm