Back catalogue: Studio Equipment

Notes: The 2HP Buff Mult is a precision buffered multiple, perfect for your 1V/O sources. An LED on each channel indicates positive or negative incoming voltage: red is positive, green is negative. Channel one cascades into channel two, giving you up to 7 outputs.

Features:

Two Channels:
Channel one is 1 to 3
Channel two is 1 to 4
Cascaded input: CH 1 > CH 2
LED voltage indicator on each input

Specifications:

Current draw:
+12V: 15mA
-12V: 15mA
Depth: 22mm
Width: 2HP

Notes: The Five Amp is a throwback to SynthRotek's original 5A Power Supply with some upgrades. It uses a quality 12V power brick for the +12V power regulation instead of a +12V converter. The plus side of doing it this way is that whatever amperage the -12V and +5V rails are not using can be used by the +12V rail, which always draws the most of the three.

Five Amp comes in three different power configurations. It is recommend that you select an option based upon your -12V rail draw. For a rule of thumb, Red (with red LEDs) will power a single row of 84 or 104HP, Green will power two rows of 104HP, and Blue will power three to four rows of 104HP.

Notes: The Octave Fuzz is SynthRotek's take on the classic 70's SuperFuzz circuit, made into a Eurorack module, which has improved on some aspects of the original as well, including an increased output.

Two distinct voices like the original: switchable between scooped midrange and massive midrange bump.

Aggressive: It will sound massive and in-your-face like no other circuit can. This is for sonic explorers and heavy music only. In short, it's not useful for EVERYTHING, but the things it DOES do it excels at. Sounds especially killer for keyboard and bass sounds.

Tuned to give a subtle distorted waveform one octave up via wavefolding (see the video to view this on an oscilloscope). (Completed modules come pre-tuned; there are calibration instructions at the end of the assembly instructions for the kits)

This circuit has been optimized for Eurorack. You can find a guitar pedal version here.

Current Draw:
32mA @ +12v
24mA @ -12v
0mA @ +5v

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


OBEY is a dual-function module: one half envelope follower and one half attenuverter / offset generator.

Envelope Follower:
The OBEY takes an audio or CV signal and uses it to trigger an envelope or gate for use in a Eurorack system. It is designed to work with a wide variety of input levels: plug a Eurorack module, passive microphone, piezo, guitar, drum machine, Game Boy into your Eurorack system.

Attenuverter / Offset Generator:
Attenuvert your voltage sources up to two times in the positive or negative! The offset generator provides up to 5 volts in the positive or negative.

Specifications:
Module width: 4HP
Module depth: 48mm
Current draw:
+12V: 25mA
-12V: 18mA

Notes: Test your modules safely without reaching into your case! The TST has two keyed 16-pin headers on the front of the module so you can plug and unplug quickly and easily. Two 16-pin plugs are included to shield the power pins when the module is not in use. It also has LEDs to indicate the power status on each rail.

Please note: Use this module at your own risk. You will be exposing electricity to the front of your modular system. Be careful not to dangle patch-cables, etc. on the exposed pins. This may damage modules and your power supply. Be smart and safe!

Features and Specifications:
Two 16-pin connectors and plugs on the front side of the module
LED indicator for each rail
Module width: 3HP
Module depth: 5mm
Current draw:
+12V: 1mA
-12V: 1mA
+5V: 1mA
Includes keyed power cable, 2.5mm and 3mm screws

Notes: 2ENV is a dual attack - decay envelope; it can be switched between full sustain (the output remains at full level as long as the GATE input is on) and zero sustain (for percussive envelopes). Another switch (SLOW/FAST) allows selecting the time range.

For manual triggering there is a button for each envelope.

CV control: Both attack and decay time can be CV controlled; the CV "multiplies" the time by 1...approx. 8 times.

Notes: A dual LFO with different waveforms and triangle-sawtooth blending.
The 2LFO module has two LFO units with different features and generates modulation voltages mostly below the audio range. This module offers

RATE knobs for controlling the frequency
SLOW / FAST switch for two frequency ranges; with FAST the rate can go into the lower audio range
SHAPE knob for the first LFO, blends from rising sawtooth to triangle to falling sawtooth
Triangle / Sawtooth switch for the second LFO; changes the waveform of the output
PULSEWIDTH knob for the second LFO, this sets the pulsewidth of the according output
control LEDs for the output waveforms
PWM input for modulation of the squarewave pulsewidth of the second LFO

Notes: The 2OSC/d module contains two 1V/octave hybrid oscillators. Each of them features:

- One frequency knob plus a range switch +2 octaves
- CV input (1V / octave)
- PWM input
- SYNC input
- Sawtooth/Square/Sub-octave output

The pulsewith knob controls either the pulsewidth of the first oscillator (with the second one having a fixed pulsewidth), or via a switch the second oscillator is also controlled by the pulsewidth knob. Both oscillators can be pulsewidth-modulated independently by their PWM inputs.

The module is designed as a hybrid digital/analogue module; the oscillator frequencies are determined digitally and are therefore quite stable and have a good tracking; the output wavefom itself is created analogue. It's a new idea/concept that I have implemented here; the design causes the waveform to get a bit gritty at higher frequencies (but not "digital noise") - it's the character of this thing!

Notes: 4I/O offers four minijack sockets that are connected to the AE sockets for connecting external audio sources, CV's and Eurorack modules. Sockets 1 and 3 are stereo sockets; if a stereo cable is inserted here the signal is available on sockets 1/2 and 3/4. With mono cables the four sockets can be used independently.

All sockets have an overvoltage protection (as AE modular is limited to 5V) and can be switched between audio and DC/CV signals.

Notes: The classic ADSR envelope with CV control for all parameters

The ADSR module offers the classic four-stage envelope (Attack, Decay, Sustain, Release) that is not only loopable (patch the end output into gate input) but also accepts CV control over each of the stages! For the time values (A, D, R) the value set by the knob can be increased to five times the duration by the corresponding CV value. For the Sustain value the knob and CV value are simply added.

Notes: The CVSHIFTER module is the AE version of the well-known analogue shift register modules that are around in the modular world since a long time. It works like this: The CV input is sampled with each trigger input signal and this CV is sent to the CV 1 output; at the same time, all CV outputs 1-4 are shifted by one.

Compared to the "classic" circuits, this module is digital based and therefore doesn't suffer from drift as some analogue ASRs and S&Hs do. The result is, that you can e.g. control the pitch of up to four oscillators which is a first step into polyphony.

The CVSHIFTER module offers three modes:

Classic: Each trigger shifts the CV outs by one position, the new CV goes to output CV 1
Cycle: Each trigger sends the CV to the next output channel, restarting at out 1; additionally a gate signal at the according output.
Random: The CVs are sent in random order to one of the four outputs, plus a gate at the according output.

Notes: The DIODEFILTER is an adaption of the well-known diode ladder filter that became most popular by Roland's TB-303 bassline. And here it is for the AE modular!

Notes: DRONX is a special mixer designed especially for the DRONE38 module; if has 6 input channels (so you can connect two DRONE38 modules) and offers some sound processing capabilities: A tone control with bass and treble control, a distortion, and finally a dual delay with different algorithms. Two insert points allow to add up to two more audio effects to the internal signal chain. Together with the DRONE38 module(s) you get a quite nice drone synth for dense, dark soundscapes.

Of course, it can be used with any other sound sources!

Notes: A stereo headphone amplifier for AE modular.

It has separate left/right inputs; via a switch it can be set to mono operation (only left input is used). One common volume control for both outputs.

Two headphones can be attached via 3.5mm stereo minijack sockets.

Notes: The MIXCONSOLE XLROUT module is an extension of the MIXCONSOLE and makes the master outputs available as two balanced XLR sockets.

The module is connected via a small internal connection cable to the right of the MIXCONSOLE or as neighbour of the MIXCONSOLE JACKOUT module.

Notes: A multi-mode divider for clock and audio signals.

It can be used either for dividing clock signals (e.g. from an LFO, BEATDIVIDER) for rhythmical purposes but also for audio signals - in this case you get subharmonics / lower octaves squarewaves at the outputs, which can be mixed or used separately.

The module has eight outputs which - depending on the selected division mode - provide different division factors of the input signal:

Beat: musical/rhythmical clocks are generated as 1/1, 1/2, 1/4... 1/16 and triplets
Binary: the outputs work as binary counter (same as the predecessor module DIVIDER)
Decimal: The outputs have decimal divisions of the input, meaning half, third, quarter, fifth... of the input clock
Prime: The outputs use the prime numbers as division factors
Fibonacci: The outputs use the numbers of the fibonacci row as division factors

The reset input resets all output signals; in case of audio signals this can get quite unique, ringmodulator-like sounds.

The Shift knob shifts/rotates the outputs; usually, the fastest output is on output 1, but with shift the entire output pattern is shifted so the fastest output can be set to any position 1...8.

Notes: The famous MS 20 filter for AE modular!

This adaptation of the filter used first in Korg's MS-20 synth for AE modular offers control knobs for cutoff frequency, resonance and CV attenuator. Two signal inputs for different signal levels control the "drive" of the module. Compared to the wasp filter this filter has a significant self resonance and also a very quick response to changes in the cutoff frequency.

The filter type is switchable between lowpass and highpass (LP/HP switch).

Notes: Stereo effects processing for Tangible's affordable AE modular system. Offers a total of 15 digital effect programs with CV control over three parameters each. Can run in Eurorack via an optional adaptor frame.

Supplier notes:
The MULTIFX module offers 15 different stereo audio FX programs, a wide variety from common FX like reverb and delay to unique effects like Ring Crusher or Glitch delay. Also a nice shimmer effect is onboard.

Each program has 3 parameters that can be adjusted and additionally be CV-controlled.

With a switch the sample rate can be reduced to half the normal rate, resulting in doubling the effect times (with reverb, delay...) and introducing a nice portion of aliasing.

It is based on the FV-1 DSP chip that is well-known from other FX-modules in the Eurorack world; the MULTIFX module offers the 7 factory programs of the chip plus 8 new and unique ones created by Tangible Waves.

Notes: The PHASER module runs the signal through a chain of all pass filters, which brings a very distinctive sound when the filter stages are modulated. Well known is this sound by many pieces of electronic music in the 70's and 80's; especially with the SOLINA as audio source you get this unique spacey sound known from these days. With a switch you can select 4 or 8 stages; more stages make the modulation more deep and intense.

The module has a low-frequency LFO onboard, an external modulation CV can be used also as modulation source.

Notes: Connect two AE cases with RACKLINK!

The RACKLINK is a module for connecting two AE cases; the kit contains of 2 identical modules and a connector cable (length 50 cm). The modules are placed in both cases and are connected by the cable.

By this, you get the following:

The second case is powered by the first one

All bus lines (CV, GATE, CONTROL, MIDI clock/start/stop) are connected to the second case

Additionally, there are 8 connections that can be freely used; so it is not necessary to have connections between two cases. E.g. the second rack can run a patch for a drone sound, the output is then sent via Racklink line 1 to the first rack and here patched to a mixer, via line 2 the second rack can receive a modulation signal from the first one. The lines are bi-directional!

Notes: SOLINA, an emulation of the 70ies string machines!

The SOLINA module is based on th excellen work of Jan Ostman, who has developed a very good digital based emuation of the sound of the string synths that were popular in the music of the 70ies and 80ies, like ARP Solina (who gave this module it's name), Logan String and others.

Their unique sound is based on several, minor detuned sawtooth oscillators and an ensemble effect.

This module produces chords, which can be shaped in different ways, like selecting the base scale (minor, major), adding the 7th or a bass note and different variations of the chord. The sound can be shaped with a variable oscilator spread/detune, adding a phaser/ensemble and a tone knob for choosing the overall character between bass focused to only higher parts of the sound.

Notes: Unique, vintage reverb sound.

The SPRINGREVERB module brings the unique sound of this quite old (introduced in the 60's) technique for creating reverbs to the AE modular.

The reverb works by sending the audio signal to a set of 3 springs; at the other end of the springs the sound is picked up by a transducer, converting the mechanical movement of the springs back into an electrical signal. When the audio signal arrives at the end of the springs, the waves are reflected several times; these reflections create the reverb sound.

The spring "tank" (a metal box containing the springs and transducers, size approx. 24 x 9 x 3.5 cm) is connected externally by a cable.

The product contains all components: The module itself, the spring tank and the connection cable.

Note: The sound of a spring reverb is quite unique and has a strong vintage character; if you are looking for a more "clean", natural sounding reverb please take a look at the MULTIFX module.

Notes: With the STOMP-IO module, you can integrate guitar effect pedals and similar devices into your AE modular system! For output (send) and input (return) return there is a mono minijack socket; two minijack to 1/4" socket adapters are included as effect pedals usually work with the latter ones. Send and return levels can be controlled with separate knobs.

Notes: Each of the three USB-A sockets on the USBPOWER module can be used to charge your mobile phone, connect a USB lamp or supply power to any other USB device. Furthermore, the output socket provides +5V and ground to supply e.g. DIY circuits on a breadboard.

Please note: This is only a power source via USB sockets; no USB data communication is possible here.

Includes additional USB lamp!

Notes: This module is best if you need an oscillator for primary musical / melodic use.? It offers:



- two CV inputs 1V/octave

- Modulation input with Level-knob, switchable to frequency or pulsewidth

- PWM input

- Coarse / Fine knob for frequency

- Pulsewidth knob for square wave

- Square / Triangle / Sawtooth output

Notes: XMIX is a swiss knife for signal mixing and attenuating, offering four(!) mixers and two attenuators in a 1U module. It is designed especially with very small AE systems in mind.

You get:

A three channel mixer "A" with knobs
a passive mixer "B" with four channels
two four-channel mixers "C" and "D" with full level / one-third-level inputs
two attenuators with seven different attenuation levels

All mixers can be used / switched for audio and CV signals.

Notes: The module was named Kuzmin Filter in the past as a tribute to the developer of the Polivoks, Vladimir Kuzmin. For certain reasons, the module will now be called GRUNGE Filter (due to the sound), with the circuitry remaining unchanged.

The Polivoks was a Russian synth that was produced between 1982 and 1990.This module is the AE version of the filter that gave the Polivoks a unique, rough sound.

Beyond the basic design, this filter offers some additional features:

Two different resonance characteristics, hard and soft
An FM function, that adds the input signal to the modulation of the filter
An optional overdrive for the output, making the sound even more rough and untamed.

Notes: Designed with versatility in mind, MapVolt is a dual-channel Universal Voltage Processor built for flexibility in handling audio and CV signals.

With only 6hp, Mapvolt is a multipurpose tool for voltage-controlled scaling, inverting, offsetting, subtracting, and mixing functions.

Each channel of MapVolt can operate in either Polarizer or Attenuator mode, allowing manual control via knobs or CV signals. In Polarizer mode, it functions as a Voltage Controlled Attenuator-Inverter, granting control over signal level and polarity. Additionally, it can be used as a Four-Quadrant Multiplier or Ring Modulator for audio signals, with the processor input serving as the carrier signal and the polarizer's CV input acting as the modulator.

In Attenuator mode, MapVolt operates as a VCA, providing control over signal levels. Its VCA CV input range of +5/-5 makes it well-suited for amplitude modulation (AM) with other +/-5V waveforms.

MapVolt is equipped with dedicated Voltage Offset knobs for each channel, which can be controlled via CV. If no input is patched into the Processor input channel, the Voltage Offset knobs can be used as Offset Generators.

With its dedicated mixing stage, MapVolt enables the combination of both channels into a shared output. Furthermore, if one of the processor channels is inverted, it allows for the subtraction of one signal from the other.

Dimensions
6 HP
33 mm deep

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

Notes: The OpticTone is a combination of a 12dB multi-mode Vactrol Filter and a Vactrol Voltage Controlled Amplifier.

It is a completely original circuit inspired by the singular nature of Vactrols and their fluid and natural character.

The Filter section provides the three fundamental filter types: Lowpass, Bandpass and Highpass.

A Resonance knob with voltage control input is available for improved modulation flexibility. The feedback knob interacts with the Resonance path, tempering it from creamy resonance to wacky self-oscillation.

Filter and VCA run in parallel, both are controlled by the Freq/Amp knob and it's associated voltage-control input. The combination of both signals can be crossfaded with a dedicated knob.

The Freq/Amp is also controlled with direct touch control on the panel via the 3 lines below the knob.

The filter frequency control can be inverted by the Inv Freq switch, providing the possibility to change the filter direction. This feature allows the filter to "close" when the VCA is "opening" or the other way around.

The Ping input allows to generate the well known vactrol filter percussive sounds if a gate or trigger signal is provided. The Ping frequency if controlled by the Freq/Amp knob, ranging from low kicks drums to high pitch bongos.

There is also a Drive knob to take care of your saturation needs. The Overdrive range is wide, from soft textural clipping to heavy distortion.

All voltage controlled inputs have an attenuator-inverter knob.

Features:

Vatrol based 12dB multi-mode Voltage Controlled Filter: Lowpass, Bandpass and Highpass.
Vactrol Based Voltage Controlled Amplifier.
Crossfade between VCF and VCA section.
Voltage controlled Resonance.
Ping Input for percussive sounds generation.
Cutoff Frequency polarity inversion switch. Doesn't change VCA polarity
Overdrive and Feedback controls.
Attenuator/inverter knobs on all voltage controlled inputs
Touch control over Frequency and Amplitude.


Specs:

Width: 10HP
Depth: 33mm
Power consumption: 55mA +12 / 55mA -12
Eurorack Format
Doepfer power connection

Notes: SkipLog, a probability processor with sequence capturing and looping features, along a range of other versatile functions waiting to be explored.

SkipLog is a 3-channel rhythmic probability processor designed for inventive rhythmic exploration in modular setups. Introduce unpredictable rhythmic possibilitis to your creative flow.
SkipLog's basic operation is simple: when a trigger or gate is received at one of its three channels' inputs, the same channel’s Probability knob allows you to control the likelihood of these triggers or gates reaching the output. This inputs are internally connected .

SkipLog continuously captures the binary outcomes of its use, storing them for potential sequences. Activate the Loop function to break from pattern creation and loop the recorded sequences. Individual Loop Length knobs for each channel allow adjustment of the loop sizefrom 1 to 16 or 32 steps (as selected on the back), providing evolving rhythmic patterns.

To fine-tune your arrangement, SkipLog introduces functions like Mute for real-time channel silencing, Inv for signal inversion, and Choke for establishing channel priorities. Lastly, the G/T (Gate/Trigger) Mode enables users to specify whether the channel output is a gate or a trigger.

Dimensions
8 HP
33 mm deep

Current Draw
100 mA +12V
22 mA -12V

Notes: VastWave is a complex analogue Oscillator with advanced waveshaping capabilities that invites new textural and harmonic exploration beyond subtractive synthesis principles.

Crossfading between harmonically rich folded waveforms and waveforms with Odd/Even harmonics, the VastWave waveshaper expands on the Principal Oscillator heritage, bringing an additional set of waveforms with Odd and Even harmonics and a pulse waveform derived from the Waveshaper's Final output stage.

Furthermore the linear FM input has a dedicated VCA for external FM amplitude modulation and an on board linear Glide delivers a more musical approach to this classic feature.

Features:

Voltage controlled complex waveshaping.
Triangle core.
FM input with voltage controlled amplitude for FM amplitude modulation.
On board linear Glide.
Voltage controlled Pulse-width modulation for Pulse and Final Pls waveforms.
Modern temperature and tuning stability.
High Frequency (VCO) or Low Frequency (LFO) operation.
External Timbre input with sine wave normalization if no external source is patched.
Attenuator/inverter knobs on all voltage controlled inputs.
Inverted or double Sawthooth waveform (selectable by jumper).


Specs:

Width: 16HP
Depth: 33mm
Power consumption: ###mA +12 / ###mA -12
Eurorack Format
Doepfer power connection

Notes: Dual AB Switch

The A/B Switch selects between A and B and the middle position of the switch is a "mute", works with any kind of signal (cv or audio) and is bidirectional.

This is an utility module that was made for switching stereo signals, but other uses are possible:

Select between 2 stereo sources.

Select between 2 stereo destinations.

Bypass control for mono signal processing.

Routing control for a single signal.

Panel is reversible so it can be mounted with the switches on the right or left.

This module does not draw any power.
Size: 8 HP
12 mm deep

Notes: Dual tidal modulator with max, min & mix outs

FranKinksTides is a 18hp dual Tides (based on the Swirls pcb layout) with the max/min circuit from Kinks and some switches for sync, quadrature, pll and fm operation . It can be a double/complex oscillator, a dual function generator or any combination of oscillator, Lfo and Envelope generator with lots of cv control plus some interesting cross-modulation and sync features.

Some improvements in version 1.2:

-Mix output is now buffered, no signal bleeding on single outs.
-Mix pot controls also the balance of the signals sent to the max/min circuit.
-Uni/bi switch now also determines the signal sent to FM1.
-Clock/sync switch has now a center OFF position, no need of plugging a dummy cable in the Clock1 when using Sheeps firmware to avoid ultra fast sound bank changes.
small improvements for DIY:
-Bigger font size on the pcb.
-Parts renumbered for easy DIY.

Original design by Emilie Gillet
Available assembled and DIY (pcb+panel)
+12v
-12v

Notes: Gate Expander for Sweet Sixteen mkII.

This is an expander, brings 8 gate inputs for the Sweet Sixteen mkII.

The panel is reversible, so jacks & buttons can be in the left or right side.

The orientation of the 10 pin ribbon cable is marked by the 'do not plug power here!' legend on the PCB, so it could be with the red stripe facing that in both GESS and Sweet Sixteen mkII modules.

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


Gate Expander for Sweet Sixteen mkII.

This is an expander, brings 8 gate inputs for the Sweet Sixteen mkII.

The panel is reversible, so jacks & buttons can be in the left or right side.

The orientation of the 10 pin ribbon cable is marked by the 'do not plug power here!' legend on the PCB, so it could be with the red stripe facing that in both GESS and Sweet Sixteen mkII modules.

Notes: 16 trigger ins to play up to 4096 wav files from a micoSD card

Nutella is a eurorack conversion module for the Sparkfun Tsunami Super Wav Trigger.
Features:
-16 trigger in & buttons to play audio files.
-MicroSD card to store up to 4096 wav files in 44.1kHz 16bit.
-32 voices polyphony in mono and 18 in stereo.
-Low latency (8ms typically)
-8 audio outs (modular level)
-Midi in (velocity sensitive, supports MIDI Note-On, Note-Of, Pitch Bend and Program Changes messages, as well as Controller messages for real-time control of sustain, attack and release times and volume.
-Ability to play multiple audio stems in sample-locked sync.
-Can be used as a Wav player and Midi-to-Trigger converter at the same time.
-Trigger ins (and so buttons) can be assigned to various functions (normal, next, previous, random, pause, resume, stop, volume up, volume down, trigger bank up, trigger bank down, synced set, midi bank up, midi bank down)
-Easy configurable by an optional ".ini" file stored in the microSD card, a Tsunami Configurator utility (Windows, Mac and Linux versions available), makes it easy to set options and generate this file.
-Super easy firmware update system via microSD card, no external programmer needed.

30 mA +12V
15 mA -12V
200 mA 5V

Notes: This is a 4 mono channels expansion. Several of these modules can be added to provide more channels. Every channel features:
- Mono input
- Vactrol Gate (plug a CV into the GATE IN to modulate the volume of a channel, just like a classic VCA. When nothing is plugged in the GATE IN, the gate is normalled to fully open)
-SEND A control (switchable PRE/POST, in PRE mode the signal is present regardless to the channel volume control but only if the channel switch is in ON position)
-SEND B control (post-fader)
-PAN control (only affects the master bus)
-VOLUME control (affects the master, cue and POST sends, does not affect PRE-fader send)
-ON/OFF/CUE switch: ON - channel is routed to the master bus
OFF - channel is muted
CUE - channel is routed to the cue bus

13 mA +12V
8 mA -12V

Notes: This is a 4 stereo channels expansion. Several of this modules can be added to get more stereo channels. Every channel features:
Stereo input (L works as mono in)
SEND A control (switchable PRE/POST, in PRE mode the signal is present regardless to the ON/OFF/CUE switch position and channel volume control)
SEND B control (post-fader)
PAN control (only affects the master bus)
VOLUME control (affects the master, cue and POST sends)
ON/OFF/CUE switch: ON- channel is routed to the master bus
OFF- channel is muted
CUE- channel is routed to the cue bus

15 mA +12V
15 mA -12V

Notes: A whole lot of module for the money. Eight-track trigger sequencing with built-in drum synth, sample player and MIDI. Amazing value for studio use or live performance.

Supplier's Notes:
Trigger sequencer with audio and midi

TUKRA is an 8 track eurorack trigger sequencer with drum synth, sample player and midi.

This module can be an 'all in one' solution for drums, but also has great integration capabilities with other gear (eurorack modules, drum boxes, DAWs, midi devices and midi surface controllers).

There are no submenus, all functions and views are accessible all the time.

Brief overview:
- Up to 64 steps per pattern, 64 patterns, 64 parts and 16 songs per project. 64 projects in the microSD card.
- Play mode, clock divider, length & choke settings independent per track & pattern.
- Step value (can be used for modulation, to define the midi velocity, midi note & drum synth pitch or sample selection).

Ins & outs:
- 8 trigger/gate, clock & reset outputs. Clock & reset inputs.
- 4 CV inputs with offset potentiometers (so they're manual controls when no CV is plugged in).
- Audio L & R out (6 additional ones with the expander for independent track output).
- Front panel midi TRS in & out, and USB host for midi controllers.

Midi and audio:
- Midi note and channel configurable per track & song, midi note and velocity can be set by the step value.
- Drum synth, noise with envelope and 'one shot' sample player (factory and user banks) per track.
- Flexible sample selection (each track can play up to 128 samples).
- Mixer with volume, balance, reverb, bit crusher, filter cutoff, resonance and type (smoothly crossfades LP - BP - HP).

Modulation:
- CV & assignable midi CC plus 8 internal LFOs, 3 stepped random sources and step value.
- Modulation matrix for almost all parameters.

Rhythm variation:
- Probability for step, gate and roll.
- Euclidean Rhythm Generator.
- 'Ramifications' generative tool.
- Live view with solo, mute, fill, roll, invert pattern, reverse play direction and rotate.

Time:
- High precision clock source and low latency.
- External sync (via trigger, midi TRS or USB).
- Triplets and swing (aka 'shuffle'), triplet and swing can be generated from a straight clock input or midi clock.
- Micro grid edit, each step has 6 micro steps (24 ppq).
- Half and double tempo functions.

Notes: ART QUAD QUANTIZER is a four channel CV to ART Quantizer to play ART oscillators from CV sequencers, LFOs and anything that outputs CV. This is TipTop#s second ART controller option and is designed for those of us playing ART without a computer or MIDI source. The inputs take in positive, negative, bipolar CV voltages. Scales include Major Minor and the five other modes (Dorian, Lydian, etc). The module is simple to set up with a simple menu and one knob with switch for navigation. The 4th channel can be set to generate Chords and polyphonic note streams for ART Polyphonic oscillators.

Size: 8HP
Depth: 40mm / 1.5"
Power: +12V 38mA / -12V 4mA

Notes: A classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analog polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 105mA / -12V 33mA

Notes: Introducing the BD808, part of our new series of drum modules that brings analog percussion into the modular synth world, instantly turning your system into a self-contained music machine. Its small size, minimalist design, and modern production methods have allowed us to bring the world's most famous bass drum sound generator back at a very low cost. The real thing is here again.

The BD808 is the Roland TR-808's Bass Drum circuit adapted for use in Eurorack format and tuned to sound like a machine that comes fresh off the original 80's assembly line. The adaptation to modular format has allowed us to add some special features like independent Accent levels, a high-powered gain stage, dual-input pulse-shaper, and extended decay - all without compromising the signature sound of the TR-808.

A widely used technique with TR-808 machines is to run the drum sounds through outboard amplifiers to add gain and then pass the sound through just about anything to generate additional harmonics caused by clipping and distortion. In the BD808, we have already included this high-powered output gain stage capable of producing signals up to 20Vpp, extending from the original palette of sounds and allowing you to get an assorted array of harmonized bass drums ranging from sharp attacks to crushed tones using this simple yet effective technique! On the inputs, we have also designed a dual pulse-shaper circuit so you can trigger your BD808 with Trigger/Gate signals from step sequencers, clock dividers, or any other pulse/clock sources. This saves you the need to shape the pulses sent to the module and ensuring the same stable sound at its peak power, regardless of differences in your pulse source.

All these little, but unique, features make integrating this legendary sound generator into your modular easy, unleashing the power of real analog drums and making those speaker cones shake.

Notes: Reverse-engineered from the original machine, our BD909 is an identical recreation of the original all-analog drum circuit of the TR-909. We've added additional controls and synthesis features that turn this classic circuit into a chest-pounding analog bass drum laboratory - all tightly packed into an 8HP module. The BD909 sound differs from our BD808 in that the main sonic energy is centered in the mid to low frequency range (as opposed to the low frequency range of the BD808). This frequency range gives the needed headroom allowing your bass Lines to deeply fill up the low end while the kick drum rides on top - creating a clear and punchy mix.

The BD909 includes all the controls found in the original: Attack, Decay, Tune Decay, Accent and Level. We have gone beyond that and added controls that further increase the palette of sound this circuit is capable of. First off, we've added a tuning control knob for the oscillator and included its own CV input and attenuator that let you tune your 909 kick with your bass lines. Next, we added control knobs for the tuning attack and extending tuning decay - each one affects the other, allowing for very intuitive and interactive sound shaping - this feature opens up numerous "sweet spots", and provides the ability to center the energy peak at different parts of the sound. Finally, we offer additional punch and distortion by giving complete control over the internal waveshaper, which allows you to overload the waveform manually or with voltage control.

Beginning with the classic and pure sound of the 909 kick, these additional functions greatly expand the BD909's flexibility and let it create powerful analog bass drums that range from soft and smooth to punchy and aggressive - and everything in between.

Notes: The Circadian Rhythms is moving modular synthesizer technology another step forward by gluing all the pieces of a system together. Each module or voice can now be programmed to play straight from an intelligent, eight-channel, 512-step master trigger sequencer made for composers looking to make music on the modular. Building on the sequencing concept of step programing multi-channel patterns of musical phrases can be repeated, looped, chained, muted and manipulated on the fly in real-time, and most importantly, all of this is done through a simple, clearly labeled interface. Using an array of multicolor illuminated buttons and innovative grid views provides a highly functional live performance sequencer with a beautiful glowing appearance of the programmed music that will look amazing on stage for both performer and crowd. As a master controller, the heart of the modular synthesizer, Circadian Rhythms generates high precision clock and reset signals for all the other sequencers and devices in the system to align with and can also act as a high precision bridge for DAW synchronization.

Views - Unlike most hardware sequencers that have a single static display of a timeline, Circadian Rhythms offers four different horizontal views of the timeline and two unique vertical views that scale from macro to micro. Switch between viewing 64 steps at once or all 8 channels side by side instantly. Stretch gates over multiple patterns to drive envelopes or use Zoom view to move a single hit back a few milliseconds in time to get the right feel all from the same interface.

LED Grid Built for Quick Access - Built around 72 buttons set as a multi-color illuminated 8x9 array, Circadian Rhythms displays both note data and settings in a clear and precise manner. It takes only one click to switch to vertical view and the grid turns into a set of programming and realtime playing functions like Mutes, Loops, Swing, Fills, Copy and Pate, Grouping, Randomizing, Manual trigger entry drum machine style and many many more. Activate any of those functions with only a button press or two.

Clock - Inside the CR ticks an extremely precise clock with jitter and latency measured in mere microseconds for the ultimate feel of groove. The four modes of clock sync make interfacing with other modules, hardware or software simple. Whether driving a large Eurorack system or synced to a DAW, the groove always remains tight.

SyncBus Technology - The Tiptop Audio designed SyncBus enables the CR to connect to any number of other SyncBus devices with the highest possible level of synchronization. A SyncBus master directly injects its core clock and running status into every connected unit so they work seamlessly as one device. Hook up two CRs to make a 16 channel device or add a Trigger Riot (or three) to the mix for further experimentation. Plus, the connection is done behind the panel so no need to patch anything together.

Under The Hood - When state of the art chip technology, musically driven firmware, and professionally engineered hardware design all come together in one electronic device, the result is a music sequencer with unparalleled specifications. Starting with a powerful, precise sequencing engine that has superb feel for the groove, add internal functions that automatically balance performance and smooth user interface operation, and finish with outstanding low power consumption placing minimal stress on power supplies even at maximum output, Circadian Rhythms has a design focused on the requirements of the most dedicated musicians and composers. Long time pros will immediately feel a machine made for their needs, while the newcomers can instantly dive into next level programming and performance.

Notes: CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

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

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

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

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

Notes: The Fold Processor is a voltage-controlled wave multiplier and sub-octave generator. The circuit is based on a classic diode design that adds odd harmonics by folding the incoming signal, followed by subdivided square waves.

The wave folder creates new waveforms from standard sine, triangle, sawtooth, and square waves and includes a CV input with an attenuator, making it very easy to create beautifully animated folding sounds. Adjustable voltage-controlled Inject alters the bias point creating an even wider palette of sounds.

The subdivide generator squares the fold output generating 4 more sounds spaced one octave apart, each with its own gain knob and mixed to the Subdivide output jack. Mixing the four can create anything from discordant square wave swarms to sweet harmonic oscillator stacks, from a stable square version of the folded wave to freaky PLL-like glitched slides.

Overall results can sound evil at times and sweet at others, a true multi-faced devil.

Size: 12HP
Depth: 31mm
Power: +12V 60ma / -12V 55ma

Notes: Welcome to the Forbidden Planet, an all analog multi-mode filter design influenced by the 1975 Steiner-Parker Synthacon model. Control the Forbidden Planet manually or through CV and take the sound of your Eurorack into new orbits.

Forbidden Planet has three filter input jacks: High Pass, Low Pass and Band Pass. The High Pass section is this module's signature sound - a crisp sharp-cut with no residue, designed to add High Pass filtering capability to Tiptop Audio's wide range of Eurorack modules. Send a throbbing kick drum through the High Pass section and filter out the the rumbling lows while maintaining the pulse of the beat. The Bandpass is clear and useful in isolating a pie-slice-range-of-frequencies while cutting off the low and highs, great for accurate sound design or sculpting audio into that sweet spot. The Low Pass is an airy classic 12db two-pole analog slope ideal for monophonic synth patches and filtering down to the essential low-end bass we all love.

The Forbidden Planet Resonance utilizes an internal feedback path which can sound smooth or aggressive depending on the knob setting. At a low setting, it emphasizes the cutoff harmonics, at middle settings it begins to self oscillate, and towards maximum setting it forms interesting tones and all sorts of chopped grainy bits of self-oscillation perfect for entering into a sci-fi world.

The Forbidden Planet is an impressive multi-mode analogue filter which adds a broader filter spectrum to the Tiptop Audio modular family and unlocks forbidden creative possibilities in a small package.

Size: 8HP
Depth: 30.5mm
Power: +12V 10ma / -12V 10ma

Notes: Introducing the HATS808, part of Tiptop Audio's new series of drum modules that bring analog percussion into the modular synth world, instantly turning your system into a self-contained music machine.

The HATS808 is the TR-808's real, analog closed and open hi-hat circuits adapted for use in Eurorack modular synthesizer format and tested to sound just like it did back in the 80's. Adapting to modular foramt has allowed Tiptop Audio to add some special features for each voice, like independent accent levels, a high-powered gain stage, and a dual-input pulse-shaper. Filter Q and VC-Q knobs were added to the main band-pass filter for additional tuning and to allow you to generate crushed tones and self-oscillation at the knob's max position - all without comprimising the signature sound of the TR-808 hi-hats.

The HATS808 sizzling sound is made using six analog square wave oscillators mixed and processed by band-pass filters. This multi-oscillator design is what give the 808 hi-hat sounds their unique metallic character and akes each HATS808 sound slightlty different from one-another. The original "choke" circuitry that makes it sound so dynamic and tight is fully implemented, just like the original, but can also be disabled if needed, by disconnecting the internal connection between the two hats.

Just like the other drums in this series, the HATS808 high-powered output gain stage allows you to further harmonize the sound using distortion and clipping. On each input, there is a dual pulse-shaper circuit so you can trigger your HATS808 with Trigger/Gate signals from step sequencers, clock dividers or any other pulse/clock sources. This eliminates the need to shape pulses sent to the module and ensures the same stable sound at peak power, regardless of your pulse source. All these unique features make integrating this legendary sound generator into your modular synth easy, unleashing the power of real analog drums.

Notes: MISO is a multipurpose utility module, a laboratory for synthesizing control voltage signals and audio. MISO combines multiple CV tools into one module for making complex CV shapes at the output stage. The name comes from the four main functions available: Mix, Invert, Scale, and Offset.

MISO's 2 sections (1/2 IN and A/B IN) are identical. Each section has two inputs that can be used to Mix signals, Invert polarity/shape, Scale magnitude and Offset voltage. Each function can be used independently or simultaneously with the total shape summed to the mix output.

At the centre of the module is another processor, an accurate smooth linear voltage-controlled crossfader that mixes equally between the outputs of the top and the bottom MISO sections. Feed the MISOs with envelopes, LFOs, Sequences to create new shapes and then crossfade them manually or with CV using the centre section for even further complexity of shapes and animation of control signals. Crossfade between the waveforms of a VCO or audio samples with CV for more motion.

There are an endless number of ways to patch MISO with unexpected and inspiring results. MISO is the kind of module that gives modular synthesizers its incredible replay value, rewarding hours of creative explorations and its experimental and non-traditional mixing.

MISO offers a lot in a small comfortable module that matches Tiptop's system look with clean white faceplate styling. A red/yellow indicator light next to each section makes it easy to see signals and visualize polarity.