Tags: Filter module

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

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

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

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

Notes: Belgrad is an all-analogue voltage controlled filter module which - on par with our other modules - brings something new to the table. While it can be used as a traditional VCF for "academic" subtractive synthesis, we guarantee countless hours of exciting timbral explorations thanks to its unique character, flexibility, and features. The most prominent feature is that it offers a multitude of frequency responses with two resonant peaks.

- Eurorack synth compatible
- 14HP, skiff friendly
- Current draw: +45mA / -42mA
- Reverse power protection

Notes: The Spectral Multiband Resonator from 4ms Company is an innovative resonant filter which can process audio like a classic filter bank, ring like a marimba when plucked/struck, vocode, re-mix tracks, harmonize, output spectral data, quantize audio to scales, and much more...
A gorgeous ring of colored lights displays the frequency of each filter, as well as the levels and current scale selection(s).

At a glance, the SMR works like a normal six-band graphic EQ: six frequency band-pass filters are mixed together using sliders. Resonance/Q is variable, which changes the "ringy-ness" or width of the bands.

But here's where comparison stops. The frequency of each channel is treated like a note in a scale, and the six bands form a chord. Spin the Rotate knob and the "notes" circle around the scale, rotating back to the bottom once they've reached the top. Adjust Spread and the distance (interval) between each note changes. Triggers for up/down motion, CV inputs for sequencing and scale selection allow for flexible control with external modules. Morph, which automatically cross-fades between frequencies, together with variable Slew allows rhythmic clocks drive the SMR as a variable-speed evolving resonant filter.

At maximum Resonance/Q, the SMR can be struck like a gong or marimba by inputting clocks or triggers. The frequency of each channel is quantized to a scale: beautiful chords, ethereal tones and eerie ambiance flows easily. With lower resonance, the SMR can pull out particular frequency bands, and sweep these across the spectrum.

Two 1V/octave Frequency jacks allow for tracking even and/or odd bands and creating floating melodies over evolving chord bases, or complex percussive membrane sounds.

Save your settings into one of six storage banks, and recall on the fly. On startup, the SMR instantly jumps to the last saved settings. The color scheme of the lights can be adjusted, so if you prefer all white lights on your modular, you can have that (or all red, or rainbows, pastels, etc..)!

Advanced features:
- Program your own scale. The frequency of each of the 20 notes can be assigned by setting the octave, the semi-tone, and coarse and fine micro-tone. Up to 11 scales can be saved permanently in the user bank
- Adjust color scheme of the LEDs. Pick a pre-programmed color scheme or create your own using the sliders to set Red/Green/Blue values. Custom color schemes can be saved permanently
- Save your settings in one of six parameter banks. Note position, scale and bank selection, Q value, Lock settings and color scheme can be saved and recalled on the fly. On startup, the SMR loads settings from the last saved bank.
- Optional alternative filter type for a more exponential decay when plucked and different timbral qualities. Freq jacks no longer track 1V/oct in this mode.
- Slider LEDs can be assigned to display level for each channel (combination of slider position and CV on the jack), or clipping for each channel.

Notes: Module A-106-5 is a 12dB multimode filter that is based on the filter circuit of the Oberheim SEM module.

The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates.

The module does not feature self-oscillation in contrast to most of the other filters of the A-100 system.

The module generates a distorted audio signal if the level control is set to about 50% (i.e. centre position) or more with A-100 standard signals like VCOs.

Notes: The Intellijel/Cylonix RAINMAKER eurorack-format module provides a high-quality (96KHz sampling rate with 32-bit internal processing) stereo rhythmic delay and stereo comb resonator effect.

The stereo rhythm delay has 16 taps, each with its own resonant 2nd-order filter and granular pitch shifter. The filters have independently adjustable resonance and cutoff frequency, and can be set to either lowpass, bandpass, highpass or bypass operation. The filters are also capable of self-oscillation, enabling modal synthesis techniques. The granular pitch shifters have a range of 15 semitones up or 16 semitones down. Each tap can repeat at a rate value set in tap#'s in order to create regenerating echo effects. The feedback signal has a lowpass/highpass tone control and its own pitch shifter. The tap delay times can range from 0.1 millisecond up to a maximum of 20 seconds. The overall delay times can be set with the rotary encoder, the tap tempo button, or synced to an external clock.

The stereo comb resonator section has 64 time-delayed taps which are summed together. This produces a deep comb filter or resonating effect. At large comb sizes (long time delays) a multiple echo effect is produced. The density of the resonator can be varied from 2 to 64 taps. The tap with the longest delay time is fed back to the input. High feedback levels, with short comb sizes, produce "Karplus-Strong" types of plucked string sounds. The relative timing of the 64 taps are set according to one of 16 different preset patterns, which provide different resonator timbres or echo rhythms. The comb size can be set either with the rotary encoder, an external clock or through a transposable 1v/oct input voltage.

The Rainmaker module has extensive voltage control capabilities. Direct voltage control is available for the delay feedback level and tone, the global pitch shift for all delay taps, the comb resonator size, and comb feedback level. There are two assignable modulation inputs, which can be assigned to different parameters in each preset. A trigger input with assignable functionality can trigger built-in types of noise bursts, freeze the delay buffer, reverse the delay, randomize parameters, mute taps, and much more.

Notes: Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption:
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions:
16 HP
26 mm deep with power ribbon cable connected.

Notes: nRings

This is a new build of a micro version of Rings from Mutable Instruments. MicroRings, also called NanoRings, retains all the same functionality as a full-size Rings module.

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

These modules use tall bushing potentiometers to offer a more stable feel.

Notes: Module A-196 contains a so-called phase locked loop (PLL). The basic PLL system is shown in the sketch at the bottom of this page. A PLL consists of three parts: voltage-controlled oscillator (VCO), phase comparator (PC), and low-pass filter (LPF). All parts are normally connected to form a closed-loop frequency-feedback system.

This is how a PLL works: The output of the internal VCO (linear CV control, rectangle output) is compared with an external signal (e.g. the rectangle output of a A-110 VCO) in the so-called phase comparator (PC). The output of the phase comparator is a digital signal (low/high/tristate) that indicates if the frequency resp. phase difference of the two input signals is negative, zero or positive. The output of the phase comparator is processed by a low pass filter (LPF) to generate a smooth voltage that is used to control the frequency of the internal VCO. The 3 units VCO, PC and LPF form a feedback loop that works like this: The control voltage (output of the LPF) increases as long as the external frequency is higher than the frequency of the internal VCO und stops increasing when both frequencies become identical. The control voltage decreases as long as the external frequency is lower than the frequency of the internal VCO und stops decreasing when both frequencies become identical.

But there are some stumbling blocks: Different types of phase comparators with advantages and disadvantages can be made. Some phase comparators e.g. even lock at harmonics, i.e. if the two frequencies to be compared are integer multiples. But for some applications this can be used to create interesting effects. The A-196 contains 3 different types of phase comparators: PC1 is a simple exclusive OR, that even locks at harmonics. PC2 is a so-called RS flipflop and PC3 a more complex digital memory network. The user can select one of the three phase comparators with a 3-position switch. When PC2 is used a LED displays the "locked" state, i.e. when the frequency of the internal VCO is identical to the external frequency.

Special attention has to be directed to the frequency of the LPF. To obtain a smooth control voltage for the VCO the frequency of the LPF has to be much smaller than the lowest frequency of the internal or external audio signal. Otherwise the frequency of the internal VCO will jitter or wobble around the correct frequency. But for special effects this frequency jitter can be used intentionally. Example: frequencies in the range 50Hz...1kHz have to be processed with the PLL. Therefore the frequency of the LPF has to be about 10Hz or even less. Such a low frequency of the LPF causes a noticeable slew of the internal VCO. When the frequency of the external signal jumps e.g. between 500Hz and 1kHz it takes about 0.1 second until the internal VCO reaches the new frequency (like portamento). So one has to find a compromise between frequency jitter and portamento. But these remarks are valid only for the "ideal" working PLL. As the A-196 is used in a musical environment the "problems" and disadvantages with jitter and slew time lead to additional musical applications like portamento effects, wobbling frequencies or harmonic locking according to the type of frequency comparator and time constant of the PLL low pass filter. Instead of the internal manually controlled low pass filter the voltage controlled slew limiter A-171 can be used to obtain voltage control of this parameter. Normal audio filters (e.g. A-120, A-121) cannot be used for this job as the minimum frequency is to high (down to a few Hz or even less necessary) and the signal has to be DC coupled due to the low frequencies. Audio filters are normally AC coupled.

Another very important application of a PLL is frequency multiplication in combination with an external frequency divider. For this the output of the PLL-VCO is processed through an external frequency divider (e.g. A-163, A-160, A-161, A-115) before it is fed to In1 of the phase comparator. In this case the frequency of the PLL-VCO will be a multiple of the master frequency. E.g. if the A-163 is used and adjusted to dividing factor 5 the frequency of the PLL-VCO will be 5 times the frequency of the master VCO. Consequently, frequency division (A-163) leads to frequency multiplication with the PLL circuit. In combination with the PLL low pass frequency several effects can be realized (frequency multiplication with portamento or wobbling). The frequency multiplication can even be used to drive a graphic VCO. If your graphic VCO e.g. has 8 steps (e.g. A-155) and you use a frequency divider with factor 8 in the PLL feedback the output of the graphic VCO has the same frequency as the master VCO. Another application is the generation of pseudo-harmonics (not real harmonics as only rectangle waves are available) or clock generation for switched-capacitor filters.

Notes: 'MUM M8' is an 8hp Eurorack low pass filter building on the filter design used in the classic Akai S950 12 bit sampler with the addition of resonance, voltage control, clipped saturation and a dedicated VCA.

The low pass filter gives the recognisable super smooth vacuum like tone sucking sound which works magic on complex sources. The addition of clipped overdrive and intentionally aggressive self-oscillating resonance compliment the smooth filter core by juxtaposing it into more wasp like territory with acidic squeals and a more gritty sound.
Mum M8 features dual voltage control with attenuation (and inversion) of filter cut off and voltage control of resonance together with dual audio inputs - one of which includes a VCA to with the capability to aid overdriving signals into the filter core.

The filter core is a 6th Order Butterworth switched capacitor type design featuring an analog core but controlled by a high speed digital clock. This produces the characteristic smooth sounding filter but, as with the original S950, has a relatively high minimum cut off as to avoid 'clock bleed' into the filter output from the digital control. This minimum cut of point (and introduction of bleed if required) can be controlled via trimmers on the rear of the module (see calibration chapter). It is not unusual for there still to be some low-level artefacts from the clock present, particularly during filter sweeps - these add to the filters character.

The motivation for the module came from discussing filters in classic samplers with the artist Jack Adams - aka Mumdance. Jack suggested investigating the S950's filter well known as for it use in classic use in early jungle and hardcore. From that point onward Jack provided inspiration, help and feedback in the development of the filter. Big up Mumdance.

Notes: A seriously versatile filter here, much more than meets the eye. Stereo, state-variable, multi-mode design gives you huge control over frequency response and stereo image.

Supplier's Notes:
Zagrzeb is a stereo multimode 4-pole (24dB/oct) state variable voltage-controlled filter (SV VCF). It offers five distinct frequency responses, three of which are available simultaneously. Spread control allows for animation of the stereo image by moving the left and right filter cutoff frequencies in opposite directions. Zagrzeb is designed to sound smooth and clean unless it is overdriven with a hot signal- however, it does not lack character! We believe it will be appreciated by fans of old Japanese synthesizers, but bear in mind that Zagrzeb is not a clone of any existing design. The four-pole state variable structure is a new development and offers unique sonic characteristics. While Zagrzeb is designed for filtering stereo signals (e.g. samples or stereo oscillators like Xaoc Devices Odessa), it can easily handle mono signals and is capable of creating a faux stereo pair thanks to a special phase shifting network at the input.

Dimensions:
8 HP

Current Draw:
70 mA +12V
60 mA -12V
0 mA 5V

Notes: Versatile stereo digital filter based on Endorphin's Grand Terminal module. CV-controlled cutoff, resonance and separate high-pass filter. Simple but effective.

Supplier notes:
The Squawk Dirty To Me is a stereo filter with voltage controlled resonance. It features eight filter modes and zero-delay feedback.

- Simple and effective 6hp stereo VCF
- 8 filter modes available with meta CV scanning, famous zero-delay feedback Grand Terminal filters
- Additional hi-pass filter in series quickly cuts the boomy low end

Notes: The Gemini 2412 is a creamy, extremely fat sounding dual filter based on vintage Oberheim SEM circuits. In addition to high-pass, band-pass and low-pass, there is the infamous variable filter type, which allows you to blend between several characteristics. Thanks to its dual concept, serial and parallel modes of operation and an ingenious modulation system, the Gemini 2412 should not only be able to achieve classic, extremely bulbous results, but also wafting stereo effects and lively formant sounds.

Notes: The Polaris is a 4-stage cascaded OTA filter designed by David Dixon. It builds on the lineage of the Dr. Octature and Atlantis filters, but with a totally revised core and resonance control. Along with dedicated LP, HP and BP outputs it features a configurable MULTI output capable of an unprecedented 27 different filter modes.

With drive turned down the Polaris is capable of buttery smooth filtering, and the cutoff control range has been fine-tuned for playability. With the drive dialled up and the new asymmetric multi distortion circuit engaged it creates a more aggressive sound. Not content to be just a filter, the Polaris's AP phaser mode combined with frequency modulation can be used to achieve a phaser effect.

With so much versatility in a modest size, the Polaris is an ideal filter for a starter system and an excellent addition to the tonal palette of a larger modular.

Notes: After Later's redesigned take on the classic Mutable Instruments Rings module offers all the distinctive resonant synth sounds you'd expect, from strings to percussion. Great value.

Supplier notes:
This is an exact hardware replica of the Mutable Instruments Rings module.

Notes: Module A-103 is a voltage controlled low pass filter with 18dB/octave slope. The circuit is based on a modified transistor ladder (Moog ladder) and is a reproduction of the legendary TB303 filter.

As for the rest the A-103 is identical to the A-120 Moog low pass filter (same controls, inputs/outputs) only the filter sound is different.

Notes: A typically comprehensive approach to noise sources from Befaco, featuring five different circuits plus two analogue multimode filters and plenty of CV controls for sculpting the output.

Supplier's Notes:
Noise plethora has three different noise generators:

The first two are identical and are composed of digital algorithms followed by a 12dB analog multimode filter.
Each program has two variables (Named X and Y) addressed by two manual controls and two associated control voltage INs.
Ships with an extensive (and expanding) algorithms library: textures, wave clusters, harsh noises, and glitches.

Generator C has three simultaneous outputs:

White. Flat Response Classic white noise.
Gritty. Granulous texture noise, with voltage-controlled grit quantity.
Filtered. Is the White or Gritty noise followed by a 24dB multimode VCF.

A total of 5 different noise sources in one module!

Dimensions:

14 HP
25 mm deep

Current Draw
110 mA +12V
67 mA -12V
0 mA 5V

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: Revised take on the excellent Benjolin dual oscillator and filter from Rob Hordijk, featuring the 'rungler' stepped CV generator and extensive output options.

Supplier's Notes:
Benjolin V2 - Rob Hordijk's latest revision of the classic Benjolin. The core of the Benjolin continues to be two oscillators, the rungler (stepped CV generator), and a multimode filter.

This latest revision adds:

Reworked oscillator and filter sections

All levels are adjusted to eurorack standards

Two different steps modes (8/16 and 127)

Double and single clock rate

Externally clockable

External filter input with blend control

Notes: MMF is an analogue, multimode filter with a 12dB per octave slope. Its sonic character swings all the way from classic low pass to squelchy acid lines. Simultaneous outputs of low pass, high pass, and band pass filter types are provided allowing for many variations of the input signal. Whether you're looking for smooth and creamy, or resonant and wild, MMF can go there.

Notes: Three-band isolator with stereo inputs and outputs, splitting the signal into highs, mids and lows then allowing you to control level and frequency via CV for some clever sound sculpting and modulation.

Supplier's Notes:
Katowice is a stereo variable-band isolator that allows the user to manipulate a selected range of frequencies. It is the first module in a series of upcoming Xaoc Devices products designed specifically for processing stereo signals.

Katowice splits the stereo input signal into three bands: low, middle, and high. While the knobs and CV inputs define the center frequency and bandwidth of the mid band, the low and high bands are automatically adjusted so that the sum of all three is a complete signal. All three bands are passed through high quality VCAs and their stereo outputs are available separately for further processing. A stereo mixdown signal is also available.

Katowice may be used as a crossover network, a parametric EQ, DJ-style kill filter, or other band-selective applications, including multiband compression and stereo enhancement.

TECHNICAL DETAILS:
Eurorack synth compatible
10hp, skiff friendly
Current draw: +100mA / -100mA
Reverse power protection

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

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

Dimensions
3 HP
35 mm deep

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

Notes: A Low Pass Gate (LPG) can be a low pass filter, a VCA or a combination of both. This means both the harmonic content and volume can be controlled simultaneously which resembles the behaviour of many instruments: the louder, the more harmonics.

The A-101-2's mode of operation is set with a switch: left position is low pass, right is VCA and the combo mode is in the centre. Alternatively, you can activate the modes with gate signals which is the reason for two gate inputs; this is very interesting in combination with clock dividers or trigger sequencers.

- Gate 1 high & gate 2 low = low pass mode
- Gate 1 low & gate 2 high = VCA mode
- Both Gate 1 & 2 high = combo mode

The A-101-2 has an aggressive sound, compared to other LPGs and its resonance goes up to self-oscillation which not many LPGs offer. The oscillation is rather dirty and far from being a sine wave.

3U Eurorack module, 8HP wide, 50mm deep.

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

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

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

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

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

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

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

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

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

Notes: The hands-on control of hardware meets the versatility of software. Bridging the gap between Eurorack and VCV Rack, the MetaModule includes over 160 built-in modules plus access to over 200 third-party options.

Supplier's Notes:
The MetaModule puts real knobs and jacks on virtual software modules. Step back from the computer and make music with hardware, while keeping the flexibility and expandability of software.

The MetaModule comes with over 160 built-in modules from 4ms Company, Befaco, HetrickCV, NonlinearCircuits, and Scanner Darkly, plus clones of popular classics such as the Mutable Instruments eurorack modules, fun physical modeling algorithms, and lots of handy utilities.

All of the included modules are also available on the computer using the free program VCV Rack. Whether you make patches on VCV Rack and transfer them to the MetaModule, or if you just create patches directly on the MetaModule, there are plenty of creative modules to inspire new ways to make music.

MetaModule Plugins

If the 160+ built-in module aren't enough, you can load more modules as plugins. Already there are over 200 modules in third-party plugins from Bogaudio, Valley, ChowDSP, NANO Modular, and the list is growing. 4ms have an SDK available to make it easy for VCV Rack plugin developers to convert their plugin to a MetaModule plugin. 4ms' licensing terms are non-restrictive: developers are welcome to distribute their plugin in any way they wish, commercially or not.

Mapping Knobs and Jacks

The MetaModule has 12 knobs that can be mapped to virtual knobs. Each knob can be mapped to up eight virtual knobs, and each mapping can have a different range and offset. You also can save a group of mappings as a Knob Set and switch between Knob Sets with the encoder. You also can map the 8 inputs and 8 outputs to virtual module jacks. Also, the MetaModule is a USB MIDI host, so you also can map MIDI CC, note, gate, and other parameters to knobs and jacks.

Expanders

There are lots of ways to customize your MetaModule. A Wifi expander allows you to wirelessly transfer patches from your computer. Add eight more knobs with the Knob expander, or buttons with the Button expander. A CV/Audio expander adds more high-resolution inputs and outputs, and the Gate In/Out expander adds not only gate jacks but also TRS MIDI and I2C.

Under the Hood

There are six CV/Audio inputs, two gate inputs, and six CV/Audio outputs. The CV/Audio jacks are all 24-bit, 48kHz DC-coupled, -10V to +10V. A USB-C jack accepts MIDI devices and thumb drives. Patches and plugins can be loaded via a USB drive or microSD Card, and internal flash memory lets you save patches you always want to come back to.

The processor is more advanced than anything 4ms has used in the past, and is among the most powerful processors found in Eurorack. Startup time and latency are blazingly fast.

Modules

160 built-in modules
Over 200 3rd-party module plugins available so far, and the ecosystem is growing
Create patches using VCV Rack or directly on MetaModule

Patches

Patches are loaded from microSD Card, USB drive, or via the Wifi expander
Patches can be optionally saved onto internal flash memory
Create patches using VCV Rack or directly on MetaModule
Patches can be given a name and description

Mappings

Map each physical knob to up to 8 virtual knobs
Set range and offset for each mapping, including inverted control
Knob mappings are grouped into Knob Sets, and changing Knob Sets can be done quickly without menu-diving
Map physical jacks to virtual jacks, seamlessly making splits/mults
Add or edit modules, cables, and mappings in real-time while the patch is playing
Create alias names for mappings like "Kick Drum Level"

Interface

Simple, intuitive graphical interface lets you zoom in on details, or zoom out to get a big picture
Patch View displays the patch as faceplates and cables, with knobs, buttons, and lights animating in real-time
Knob Set View simplifies the display, showing only the mapped knobs for the current Knob Set
Module View shows just one module and lists the names of each jack, knob, and control legibly
Mapping View lets you adjust details of a knob mapping
Adjust styles and visual preferences to your liking
Save, rename, duplicate, and delete patches
Firmware updater and plugin loader read from microSD Card or USB drive

Hardware

12 Knobs
8 CV/Audio outputs, 24-bit 48kHz, -10V to +10V, DC-coupled
6 CV/Audio inputs, 24-bit 48kHz, -10V to +10V, DC-coupled
2 Gate inputs
USB-C jack: MIDI Host or MSC (External drive) Host
microSD Card slot
Internal Flash RAM for additional patch storage
Dual-core 800MHz Cortex-A7 plus Cortex-M4 co-processor
512MB DDR3 533MHz RAM
Bare-metal operation for fast startup and low latency

26hp

Notes: Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions
16 HP
26 mm deep with power ribbon cable connected.

Notes: Popple is an 8hp multimode stereo filter based on the Mutable Instruments Ripples V1 filter section. Popple maintains the buttery smoothness of Ripples filter while giving you two separate audio paths. The audio paths share a resonance, control, a frequency cutoff control, resonance CV input, and a v/oct cutoff CV input. Each channel then has it’s own cutoff CV input with attenuverters (which are normalled to a 2.5V signal).

Popple will also self-oscillate at high resonance settings, when coupled with the v/oct CV control, it can also act as a dual sine wave oscillator.

Notes: Add external feedback loops, tilt filters and more to the Timiszoara effects module with this versatile expander. A must-have for Timiszoara owners.

Supplier's Notes:
Deva is an expander for Xaoc Devices' Timiszoara multi-fx module designed for creative exploration of the dirty/nasty side of signal processing. Deva opens up the Timiszoara programs you've come to love with some unexpected twists and turns along the way. The analog side features two external feedback loops (for the left and right channel) with tilt filters adjustable via sliders with two additional switches for choosing positive or negative feedback (for each channel). The third slider controls the DAC clock - from overclocking by a factor of two down to 16-times slower, so you can go from chipmunk to hardcore teeth gnashing of underclocked goodness. A switch allows for turning the clock control off for normal/regular operation. All features have inputs for external CV.

Technical details

Eurorack synth compatible
8hp, skiff friendly
Power drawn from Timiszoara: +60mA/ -50mA
Reverse power protection

Notes: The Tiptop Audio Buchla Model 296t is a 16 band spectral resonator & vocoder based on the original Buchla 296.

The 296 was first introduced in 1978 and very few were ever made. Making a module of such complexity at a time when electronic schematics were drawn with pencils, with 48 filters that were most likely hand-calculated is just incredible.

The 70's were a great era of exploration and proof of audio electronics scientific theories, but for Don Buchla it seems like it was always something beyond theory.

The 296 might at first look like an equalizer, but Don Buchla had totally different ideas for it. He managed to pack into it a 16-band analogue modular spectral processor, a cross-band vocoder, plus a massive amount of patch points to work with his synthesizer system.

Notes: FONT is a massive sounding liquid filter- designed to bring you powerful basslines, tons of FM modulation and a clean resonance over your audio path.

It features two simultaneous outputs:
2-pole Low Pass
2-pole Band Pass

It can also work as a sine oscillator, tracking 1V/OCT when the resonance is at its maximum level.

FONT can be used to make basslines, acid patterns thanks to its organic and musically sounding resonance.

Ping it to produce percussion sounds such as, bongos, congas or toms.

Applying a pitch envelope, it really shines as a kick-drum machine!

22 mA +12V
25 mA -12V
0 mA 5V
15 mm deep
O 4.60 (10 Votes) Average Rating

Notes: Module A-108 is a completely new voltage-controlled low pass filter based on the well-known transistor ladder (Moog ladder). The module has internally an 8-stage low pass filter with different slopes available: 6, 12, 18, 24, 30, 36, 42 and 48 dB per octave. In addition, it features a band pass output (i.e. band pass with transistor ladder). In the factory, the 4 low pass outputs of the A-108 are internally connected to the filter stages 6, 12, 24 and 48dB.

Resonance (Emphasis or Q) can be adjusted manually right up to self-oscillation, in which case the filter will behave like a sine wave oscillator. The A-108 features an external feedback input that enables the insertion of additional modules into the feedback path (e.g. VCA for voltage-controlled resonance or phaser/frequency shifter for phase/frequency shifting effects). The socket is normalized and internally connected to the 48dB low pass output if no cable is inserted into the feedback socket.

The frequency can be adjusted manually, or by voltage control. Three CV inputs (CV1, CV2, CV3) are available. CV2 and CV3 are equipped with attenuators.

The filter audio input is very sensitive so that distortion - if desired - is possible even with normal A-100 levels (e.g. VCO output). Self-oscillation will break off at high distortion levels as the internal feedback signal is drown out by the distorted audio signal. This feature may intentionally be used to create new sounds.

In combination with the Voltage Controlled Mixer A-135 and the Morphing Controller A-144 a filter with voltage-controlled slope can be realized (i.e. controlling the slope from 6dB to 48dB via CV).

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

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

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

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

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

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

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

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

What is the Grainity

Granular?

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

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

Technology wise ...

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

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

What the Grainity is not

Technology wise ...

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

Sound wise ...

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

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

Dimensions
10 HP
21 mm deep

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

Notes: Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.

Notes: This is an exact hardware replica of the Mutable Instruments Blades module.

This model uses the original "hard-to-find" opamps, but After Later have substituted V2164M with AS2164D. All of After Later's products use AS2164D and there should be no measurable change in behaviour.

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

Features and Routing:

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

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

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

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

Mix section:

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

Resonance:

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

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

Notes: Eight independent fixed-frequency filter bands combine with linear VCAs to create massive sonic potential. VCAs also double as envelope followers, with a CV output per band.

Supplier's Notes:

The ADDAC601 Analog Filterbank will have you shaping the spectrum of your sound "tout de suite".

With its 8 fixed frequencies, this very special filterbank has two additional features that you won't find anywhere else. Each of the 8 band volumes can be controlled through a linear high performance VCA, which adds great dynamics and new abilities to the art of filtering. Additionally this module also doubles as an envelope follower, with a dedicated CV output per band.

It features numerous output options: you can select between individual bands, the full processed sound, a wet/dry signal and even choose between odd or even frequencies.

Plus you can add up to two different signals, which are mixed internally by the ADDAC601 inputs.

- Format: Eurorack
- Width: 20 HP
- Depth: 5.5 cm

Control Voltage I/O:
- CV inputs: i 5v
- CV outputs: 0 - 10v

Electrical:
. Compatible with +-12v and +-15v power supplies
. Max current: +340mA/-350mA
. Bus Board Cable: 8 × 2 IDC (Doepfer style) connector

Notes: Really nice stuff here. The filter circuit from ADDAC's 4 Voice Cluster module gets reimagined as a multi-mode stereo or dual mono filter module. A lot of filter action in just 6hp.

Supplier's Notes:

While developing the ADDAC105 4 Voice Cluster module, a new multimode filter to place after the summing mix stage- and the results were so postitive that it was released as a dedicated filter.

To make it more interesting, the circuitry was duplicated, to be able to use it in a stereo signal path.

To make it more versatile, a switch was added to set the working mode from Stereo to Dual Mono where both filters can be used independently.

In Stereo Mode the Left Cutoff is used to control the Right Cutoff.
In this case the Right Cutoff Knob and CV Input are simply bypassed and will have no impact on the Right Channel operation.
This allows immediate sync of both filter frequencies when the Stereo position is engaged.
Optionally there's a jumper in it's back that, when placed, connects the Right Controls back to the Right CV control allowing the possibility to control the offset of the Right Channel Cutoff.

Resonance is independent on both Modes and still has to be set manually to match both channels.

Both the Audio and CV inputs are normalled from the Left into the Right channels.
As standard plugging any input to the Right channels removes this connection.

Tech Specs:
6HP
4 cm deep
70mA +12V
70mA -12V

Notes: Excellent value here. Analogue filterbanks tend to be pricy affairs but Erica's Resonant FB gives you all that creative control of dynamic equalisation with the convenience of digital control.

Supplier's Notes:
The Graphic Resonant Filterbank (FB) is a ten-band analogue filterbank with digital control over each bands' boost or cut. Each band can be controlled individually via CV or manually, while complex control configurations turn the filterbank into an unconventional multimode filter and even an instrument in its own right when played with various resonance settings. The Expander module (works exclusively with the Graphic Resonant Filterbank and is available separately) provides hands-on adjustment of boost and cut for all bands.

Specifications:

Audio signal amplitude: 10Vptp
Bandpass filter frequencies: 29Hz,61Hz,115Hz,218Hz,411Hz,777Hz, 1,5kHz, 2,8kHz, 5,2kHz,11kHz +-10%
CV input amplitude (configurable): -10V - +10V
Number of presets: 128
Panel width: 20HP
Module depth: 30mm
Power consumption (with EXP): 138(145)mA@+12V,50mA@-12V

Notes: A-101-6 is a new filter module that uses so-called opto FET's to control the filter frequency. Opto FET's are very similar to Vactrols, but use light dependent field effect transistors (FET's) instead of light dependent resistors (LDR's). An opto FET is a combination of a light-dependent FET and an LED, both put into a small light-proof case. The advantage, compared to vactrols, is a much faster response of opto FET's compared to LDR's - this allows much faster attack/decay times and even FM effects.

The variable resistors corresponds to the opto FET. The brightness of the Opto FET LED's, and consequently the filter frequency, can be adjusted manually (Frequ. control) and controlled by means of an external control voltage (CV) with attenuator. The LED at the front panel reflects the LED brightness inside the opto FET's.

The type of filter is chosen by jumpers on the PC board (factory setting: low pass). The type of filter determined by the jumpers positions can be marked by means of a water-resistant felt pen at the front panel.

The resonance is controlled by the Feedback control up to self-oscillation. By means of a trimming potentiometer the maximal feedback can be adjusted. High feedback values can be used mainly in the all-pass mode to obtain very extreme self-oscillation sounds. Even an external feedback signal can be used instead of the internal feedback connection (FB In socket). Whenever the filter type is changed by means of the jumpers the trimming potentiometer for the maximal feedback has to be re-adjusted.

The Mix control is used to pan between the original signal (CCW position) and the effect signal (CW position). In filter mode (LP/HP) this control is usually set fully CW. In the all-pass modes one obtains phasing sounds at centre position or "pure" all-pass sound in fully CW position.

Notes: Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:
QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Notes: The BF-22 VCF is a dual Hi/Low-pass filter inspired by the Sallen-Key filter from the early MS-20.

DISCLAIMER: This filter brings to your modular system the character of early MS-20 sound: Kick-ass-rocking-dirty screams! It inherited not only it's amazing sound, also MS-20 noise floor. If noise floor is an issue for you, this might not be your filter.

Features:

Dual-channel Sallen-Key Filter. Inspired by the early MS-20
High and Lowpass operation.
Two CV inputs per channel with a dedicated atenuverter for the first one.
CV controlled resonance.
The first channel can be linked to the second one with the "Link" switch.

Specifications:

Current needs: +12V: 40mA, -12V: 20mA
Width: 17 HP
Depth: 30mm (including power connector)
Aluminiun, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: TouellSkouarn Strakal Brulu is a handmade distortion and fuzz module. The great sound is due to the new-old-stock east-German germanium transistors.

Very characteristic for the module's sound if the feedback that is coupled to the feedback. The more fuzz, the more feedback - the Strakal Brulu 2 can get pretty nasty and it screams a lot at high fuzz settings and low input level. The fuzz amount can be voltage controlled, with an inverse attenuator. Input and output levels can also be set separately.

Notes: CR-78 inspired 7-voice hybrid drum generator module with filter & effects

7 drum voices in the analogue kit: bass drum, snare, tambourine, closed and open hi-hats, metal beat and cymbal;
Hybrid sound generation: band-limited digital noise with spectrum animation, injected into analogue circuits
Full discrete analogue generation part, using inductor coils instead of op-amps
On-board effect processor with drum-oriented 8 effects with additional auxiliary input and firmware update over audio same as in Queen of Pentacles / Milky Way / Grand Terminal
Drums that have character: fit all styles of music - specifically tuned for darkwave and techno
Separate analogue outputs and isolator-style resonance filter for main mix outputs

Power consumption:
240 mA +12V
75 mA -12V
0 mA 5V

Dimensions:
30 HP
18 mm deep

Notes: HN VCF is a state variable filter having 12 db Low Pass, 12 dB High Pass, 6 dB Band Pass plus 18 db Low Pass marked as "LP!", because it has extra drive. All three parameters: "Freq", "Resonance" and "Drive" have dual knobs with outer knobs controlling bipolar CV amount. These affected CVs are then shown by the relative green/blue LEDs.

The possibility to have CV over "Resonance" and "Drives" makes it a very capable 6 HP filter.

"LP!" output has 6 dB steeper slope (18 dB) compared to ordinary 12 dB "LP" output. Plus it has much more drive.

Dimensions
6 HP
35 mm deep

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

Notes: The Low Fat is a new 2hp Eurorack module by AJH Synth, it's a High Pass filter, with frequency control by either manual pot, and/or external CV with attenuator. It's intended to compliment other filters, particularly low pass VCF modules, in practical tasks such as removing excessive low frequencies, for example when the bass is swamping a mix. It can be switched between 6dB (1 pole) response and 12dB (2 pole) response.

By patching a CV signal to the FCV input it can be voltage-controlled and used musically as with any other VCF. When used in conjunction with a LP filter it forms a fully customisable band pass filter, allowing the range of passbands to be cherry-picked. Feeding in a 1V/Oct pitch CV and setting the FCV pot to a suitable level allows it to track an incoming pitch CV, so the amount of High Pass filtering remains constant as the pitch of the incoming VCOs traverse up and down the frequency range. This can be particularly useful in creating percussive sounds, such as snares and hats, but also on sequenced bass lines. Since it is only 2HP it's a great way to occupy one of those frustrating gaps in your eurorack modular case with something that is deceptively useful, and adds another dimension to the classic bass monster that is the Transistor Ladder Filter.

Dimensions:
2 HP
26 mm deep

Current Draw:
9 mA +12V
12 mA -12V
0 mA 5V

Notes: Module A-124-2 is a special 12dB multimode filter using the "strange" filter circuit of the "EDP Wasp" (an analog synthesizer with black/yellow case built end of the seventies, manufactured by the UK company "Electronic Dream Plant").

The A-124-2 is the Slim Line version, which is only 4hp wide.

This design "abuses" digital inverters as analog operational amplifiers leading to distortions and other "dirty" effects that generate the specific sound of this filter. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self oscillation in contrast to most of the other filters of the A-100 system.

Dimensions:
4 HP
20 mm deep

Notes: Tiptop Audio's Z-DSP is a cartridge-based open source digital sound processing and effects generating platform for your modular synthesizer. Lush audio processing, greater stereo depth and a unique set of digital synthesis is what the Z-DSP is all about.

The Z-DSP has a stereo digital sound processor with 24-bit sampling, 15kHz of bandwidth, voltage-controlled parameters of stereo feedback, program switching, DSP parameters, equal power crossfading dry/wet mixing, as well as sequential program control switching and a clear display - all in Eurorack format. A dedicated clocking input for the DSP chip does wonders to passing sound by bending the algorithms in an unexpected way, a hardware technique computer plugins can't do and is unique to the Z-DSP.

In a recent update, the Z-DSP (NS) got an all new design of its analogue circuitry, contributing to a lower noise signal path, clearer sound of the entire frequency range, lower distortion and better immunity to noise emitted by other modules sharing the same power supply. A new analogue dry/wet circuit has been implemented to remove the 3db gain drop when the mix knob passes through the centre of the dial making the use of this function more practical in a live application. A reverse polarity protection has been added as well. The new front-panel matches Tiptop's colourful design, and a single printed circuit board and surface mount technology improve reliability during production and use. The powerful Z-DSP engine remains the same as the original Z-DSP module and all cards are compatible across both versions.