All genres charts

Notes: Arkan

Dual Voltage Polarizer

You may have heard this before: "You can never have enough VCAs". A voltage polarizer (also known as a bipolar VCA or a 4-quadrant multiplier) is often viewed as the VCA better suited for CV. As it can be used as a unipolar VCA and it allows you to invert a signal when it is modulated with a negative voltage. Resulting in interesting movements in your modulations.

What sets Arkan apart from other voltage polarizers is the curvature control, a feature usually only seen in unipolar VCAs. By taking a different approach to the classic voltage polarizer circuitry, Malstrom have devised a unique solution that provides a new way to shape your audio and CV. The non-linearity of the polarizer also makes Arkan really good at reaching silence when presented with a 0V CV signal.

At audio rate, Arkan acts as a ring-modulator with four controls to change timbres.

Boosting adds odd harmonics (symmetrical distortion), while offsetting adds even harmonics (asymmetrical distortion). The modulation curve changes ring modulation sharpness, and modulation strength determines the carrier dominance.

Two identical channels with carefully selected features will make Arkan your go-to modulation control hub. Arkan is especially useful for common utility duties such as mixing, scaling, inverting and offsetting. As well as CV modulation, feedback patching, and waveshaping. All this makes Arkan a very versatile tool that will certainly have a place in your patch!

Features (per channel)

- Input attenuation with inverter switch gives you more precision and range, with voltage inversion and quick silencing.
- Bias input with attenuverter control to offset your input signal or mix/invert another signal.
- CV input with curvature control allows you to shape the polarizer and improve its 0V attenuation.
- CV modulation control to fade in the modulator, allowing you to determine the amount of modulation.
- Voltage gain and polarity led indicators showing you exactly what is happening under the radar.
- Output normalled internally and externally (to other Arkans) to easily mix signals.

Additional features

Optional signal boost (x4 / +12dB) via switch on the PCB to increase voltages when needed.
5V or 10V voltage reference selection for bias voltage and CV input range to adjust Arkan to your system.

Dimensions
- 8HP.
- 28mm, Skiff-friendly.

Power consumption
- 90mA @ +12V.
- 85mA @ -12V.

I/O specs

- All inputs DC coupled.
- All inputs handle audio signals.
- All inputs have 100k input impedance. - All inputs have +-10V Input range.
- CV range +-5V or +-10V.
- Bias Voltage range +-5V or +-10V.
- Boost gain x1 or x4.
- All inputs are overvoltage protected.
- Keyed power header.
- Reverse power protection.

Notes: Attenuate and amplify your signals with the Dual Linear VCA. This all-analog dual VCA gives you control over audio and modulation signals with an offset knob per channel and LED level indicators. As the old adage says, you can never have too many VCA's!

Tech Specs:
Width: 14HP
38mm
Front Panel: Intellijel format, Pulp Logic replacement panels available here.

Notes: Clock generation meets waveform manipulation in this analogue harmonic oscillator. Combine with the Tobinski sequencer and/or interpolating scanner modules for the best creative results.

Supplier's Notes:
The Harmonic Timing Generator is a versatile Eurorack module that combines advanced clock generation with harmonic waveform manipulation. Combined with the Tobinski Sequencer, the module is a great tool for rhythmic and sonic creativity in the modular system.

As a reference clock generator, the Harmonic Timing Generator produces a base frequency with analogue multipliers (x1 to x8) to generate complex timing signals. Three selectors provide manual or voltage-controlled frequency switching, offering flexibility for intricate sequencing patterns. An LFO mode enables slower clocking rates, ideal for driving sequencers or generating modulation sources.

When used with the Interpolating Scanner, the sawtooth outputs of the Harmonic Timing Generator are transformed into sine waves. This allows the module to function as a harmonic oscillator at audio rates or as a versatile modulation source in LFO mode. Its dual functionality ensures that it can adapt to a wide range of patching needs, from rhythm generation to rich harmonic exploration.

The Harmonic Timing Generator is a versatile and creative tool, offering rhythmic and harmonic possibilities that complement any modular synthesizer setup. Its integration with other Tobinski modules ensures a cohesive and expansive sonic palette.

Power consumption: 235mA at +12V and 176mA at -12V and 20mA at +5V

Depth: 27mm

18 HP

Notes: Tobinski 8-Channel interpolating scanner with integrated VCAs

This Eurorack module combines an 8-channel interpolating scanner with a powerful array of 8 independent VCAs, providing unparalleled flexibility for dynamic audio and CV routing for creative sound design.

Key Features:

1. Interpolating Scanner

8-Channel Interpolation: Smoothly blend between up to 8 stages with high precision, using either bipolar CV or manual control.

Scan Stage & Width Control: Dedicated controls for selecting active stages and defining the range of the interpolation window.

Multiple Outputs: Individual outputs for odd stages, even stages, and a combined all stages output provide versatile routing options.

2. Integrated VCAs

8 VCAs with CV Control: Each VCA has its own dedicated control voltage input, allowing for intricate amplitude shaping.

Mix Outputs: Summed outputs for odd channels, even channels, and all channels, perfect for mixing duties or creating complex stereo effects.

Subtractive Mixing: Individual VCA outputs are excluded from the mix outputs when patched, allowing for flexible routing and advanced signal processing.
3. Parallel and Flexible Signal Flow

Parallel Input Routing: The 8 inputs feed both the scanner and VCAs simultaneously, making it easy to use the module in multiple roles at once.

Switchable Sliders: 8 high-quality sliders can control input levels to the scanner, the VCAs, or both, adapting to your workflow needs.

Creative Patching Examples:

Stereo Mixer:
Use 2 scanner channels and route their outputs through the odd and even mix outputs to create a dynamic stereo mix.

4-Channel Mixer:
Combine 4 inputs through the VCA sections and use the mix outputs to create a versatile sub-mixer for blending multiple signals.

VCA Control:

Independently use 2 or more VCAs for precise amplitude modulation of separate signals.
All the above options can be implemented simultaneously, making this module an exceptionally powerful tool for complex patches.

Expandable with Tobinski Harmonic Timing Generator (HTG):

This module seamlessly integrates with the Tobinski Harmonic Timing Generator (HTG) via an internal ribbon cable that goes to the switched (normalled) connections of the input jack sockets. The scanner inputs automatically link to the HTG outputs via sine shaping circuitry, enabling the two modules to function as a sinewave harmonic oscillator. This pairing unlocks harmonic interpolation and complex timbre creation, expanding your sonic palette.

Connections:

Inputs:
8 for audio or CV

Outputs:
8 individual VCA outputs

Mix outputs for odd, even, and all channels
Scanner outputs for odd stages, even stages, and all stages

Control Inputs:
Bipolar CV for scan stage and scan width

Dedicated CV inputs for each VCA
Sliders: 8, switchable between scanner, VCAs, or both

Power consumption: 205mA at +12V and 190mA at -12V

Depth: 27mm

18 HP

Notes: For Intellijel's 1U rack format, Mosaic serve up a handy quantiser with a clever built-in arpeggiator, meaning you can generate melodic sequences from within the module.

Supplier's Notes:
Craft melodic sequences out of random voltage, LFOs, and more with the Mosaic Quantizer. Don't have a voltage source? Enter Arpeggiator mode to create a sequence from your current scale or note pattern, and modify it on the fly using the chromatic note interface. Pull musicality out of the unknown with Quantizer!

Tech Specs:
Width: 20HP
Depth: 38mm
Front Panel: Intellijel format, Pulp Logic replacement panels available here.

Notes: ALM's first analogue oscillator is a typically smart design, featuring thru-zero FM, continuously morphing wave shapes, dual subs and voltage-controlled FM index.

Supplier's Notes:
The 'TAZM-O' is an analogue triangle core oscillator featuring through-zero frequency modulation and a collection of some of ALM's favourite features of classic oscillator designs.

It includes a continuous morphing wave/pulse width shape control inspired by the Serge NTO, dual SH-101 style varied pulse sub octave outputs, a voltage controlled FM Index typically found in larger complex oscillators, a built in output level VCA and voltage controlled octave transposition similar to the multipliers found on Akemie's Castle digital FM VCO.

Designed to act as the primary oscillator in your system the 'TAZM-O' offers a wide range of timbral and patch flexibility within a relatively compact 12HP size, making it the perfect fit for any modular system.

Continuous crossfading wave shape with direct and voltage control.
Through-zero FM input with direct and voltage controlled mod index.
Dedicated outputs for sine (or triangle), saw and square sub-1 & sub-2.
Primary output with level VCA.
V/Oct input with approx 8 octave range.
Octave transpose CV input ranging 3 octaves.
Hard Sync input.
LFO mode with bipoler LED indication.
Rear switches for selecting Sub-2 pulse width, and sine/triangle waves.
Skiff friendly with reverse power polarity protection.
Made in England.

Dimensions
12 HP
38 mm deep

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

Notes: 8-input, 8-output sequential/addressable switch with manual, trigger, and CV control, plus three grouping options, multiple switching directions, and randomization.

Vice Virga is an 8-input, 8-output sequential/addressable switch with a plethora of features and extensive patchability. Vice Virga can be configured as a single 8-channel switch, two 4-channel switches, or four 2-channel switches. Equal parts automated patch arranger and performance tool, Vice Virga has loads of switching control options. Whether you want to chain sequencers, swap outputs on an oscillator, remix a trigger pattern, or mix up every connection in a patch just to see what happens, Vice Virga can do it!

Features:

Size and power:
8HP Eurorack
+12v: 40mA
-12v: 20mA
Vice i from Latin for "alternately"

Virga i from Latin for "switch"

"Alternating Switch"

Notes: The Row Power 25 is a clean, regulated, and protected power supply module for Eurorack systems. It requires a barrel-style power brick (15V - 20V DC) and supplies power to modules via flying bus cables, direct connection, and/or bus boards.

The Row Power 25 provides 25W of power for any Eurorack modules (typically 4-10 modules*):

+12V @ 1.4A maximum, 1.0A recommended
-12V @ 0.8A maximum, 0.5A recommended
+5V @ 1.0A maximum, 0.8A recommended

*number of modules can vary depending on each module's power consumption.

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying-bus cables or the Bus Stick.

Multiple Row Power modules can be powered from a single power brick by daisy-chaining with an inexpensive barrel cable. The Row Power 25 can also be daisy-chained to Pods. Each Row Power and Pod will be independently regulated and protected for ultra-low cross-talk between rows.

Notes: Module A-188-9 is a so-called high speed VCO that tracks perfectly to the 1V/oct scale in the frequency range of about 15kHz ... 500 kHz. The main application is the exact drive of BBD modules (A-188-1/2) to generate sounds realized by means of the so-called Karplus-Strong synthesis. But even in cooperation with other modules featuring high speed inputs (e.g. digital noise, delay, frequency divider) the A-188-9 makes sense. In principle the module is made of a precision audio VCO followed by a PLL (phase locked loop) unit that multiplies the frequency of the audio VCO by 32. Thus the module can be used also as an audio VCO as it features the standard waveforms sawtooth, triangle and rectangle with adjustable pulse width.

Controls:
Frq: frequency control (coarse)
CV: attenuator for the frequency control input CV
Fine: frequency control (fine), small control without knob
PW: pulsewidth control for the rectangle output of the audio VCO, in HSVCO mode this control has to be in the range marked "HSVO", small control without knob

Sockets:
1V: frequency control input 1V/oct scale
CV: frequency control input with attenuator CV
socket with rectangle symbol: rectangle output of the audio VCO, the pulse width of this output is adjusted by means of the control PW, output level ~ 7Vpp (~ -3.5V/+3.5V)
socket with sawtooth symbol: sawtooth output of the audio VCO, output level ~ 7Vpp (~ -3.5V ... +3.5V)
socket with triangle symbol: triangle output of the audio VCO, output level ~ 7Vpp (~ -3.5V ... +3.5V)
socket with inverted comb symbol: high speed VCO output, waveform rectangle, output level ~ 5Vpp (~ -2.5V/+2.5V)

Switches:
Range
upper position: audio VCO mode (frequency range of the audio VCO about 15 Hz to 6 kHz, the high speed output is not usable in this mode! )
lower position: High Speed VCO mode (frequency range of the high-speed output about 15 kHz ... 500 kHz, frequency range of the audio VCO about 500 Hz ... 15 kHz), in this mode the audio VCO and the high speed VCO can be used simultaneously

Slew
upper position: medium slew time
centre position: short slew time
lower position: long slew time
Technical Note regarding the Slew parameter:

Besides the audio VCO the module contains a so-called PLL circuit (Phase Locked Loop) and a 1:32 frequency divider. A slew limiter is part of the PLL. It defines how fast the frequency of the PLL follows the frequency of the VCO. The PLL cannot follow the VCO without any delay. Rather one has to find a compromise between the residual ripple of the PLL frequency and the frequency follow rate. That is the job of the slew limiter (works in principle like a glide or portamento unit). For this the module is equipped with a 3-position switch that is used to switch the slew time in 3 ranges. When mostly higher frequencies are used ((~ 100kHz ... 500 kHz) a short slew time can be chosen. When also lower frequencies are required (< 100kHz) a longer slew time may be used to reduce the residual frequency ripple. More details about the working principle of a PLL can be found in the information about module A-196. Module A-188-9 is in principle an A-196 combined with an audio VCO and a 1:32 frequency divider.

Width: 4HP / 20.0 mm
Depth: 45 mm (measured from the rear side of the front panel)
Current: +30 mA (+12V) / -15 mA (-12V)

Notes: Module A-192-2 contains two independent CV/Gate-to-Midi/USB interfaces. For each of the two sub-units these inputs are available:

- Gate Input (min. +5V)
- CVN Input (defines the Midi note number), 1V/octave standard, range 0...+10V (i.e. 10 octaves)
- CVV Input (defines the velocity value assigned to the Midi note message), can be used alternatively for Midi volume (CC#7), range 0...+5V
- CVC Input (free assignable to any Midi control change number), range 0...+5V

For both sub-units a common CV Transpose input is available (1V/octave, range 0...+10V). The voltage applied to this input is added internally to CVN before the Midi note number is generated. It can be used e.g. to transpose two sequences simultaneously by one voltage.

How it works:

Whenever the rising edge of the Gate input is recognized a Midi note on message is generated. The note number corresponds to the sum of the voltages applied to the CVN input and the common CV Transpose Input that is present at the rising edge of the gate signal.

Notes: Reverse-engineered from the original machine, the BD909 is an identical recreation of the original all-analogue drum circuit of the TR-909. Tiptop have 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 the 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. Tiptop have gone beyond that and added controls that further increase the palette of sound this circuit is capable of. First off, a tuning control knob has been added for the oscillator and included its own CV input and attenuator that let you tune the 909 kick with your bass lines. Next, control knobs have been added for the tuning attack and extending tuning decay. Each one affects the other, allowing for intuitive and interactive sound shaping, opening Z8000 up numerous "sweet spots" and provides the ability to center the energy peak at different parts of the sound. Finally, Tiptop have offered 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 analogue bass drums that range from soft and smooth to punchy and aggressive - and everything in between.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 36mm
Power: +12V 34ma / -12V 21ma

Notes: Introducing the CYMBL909, part of Tiptop's new series of drum modules that brings those classic percussion sounds into the modular synth world, instantly turning your system into a self-contained music machine.

CYMBL909 is a dual voice module containing the TR-909's original Crash and Ride circuits adapted for use in Eurorack modular synthesizer format and was designed to sound like a fresh machine coming out of the assembly line back in the 80's. On top of the original, Tiptop have added some great new features that expand the sound palette of what can be produced with these two voice circuits.

The original circuits use a combination of low-fi 6-bit sound samples that pass through a series of analogue elements that provide envelope and filtering to the source sound. The CYMBL909 module adds manual and voltage control of the sample's analogue tuning section creating tones which range from heavy industrial at the low end, to the original crash/ride sound at the mid range, and bright hats-like sounds at the top end. Modulating the tune with an envelope, CV sequencer, or LFO makes interesting sound bending effects, which can be applied either in or out of sync with the triggering of the sounds.

Just like the other drums in this series, the CYMBL909 high-powered output gain stage allows you to further enhance the sound through distortion and clipping. Tiptop have designed a dual pulse-shaper circuit on each gate input so you can trigger your CYMBL909 with trigger/gate signals from step sequencers, clock dividers or any other pulse/clock.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 46mm
Power: +12V 60ma / -12V 40ma

Notes: Erica Pico VC EG is versatile looping AD/ASR envelope generator with voltage control over attack and decay times. It has automatic Trigger/Gate detection, as well as "drone mode" - at full CW setting of the Decay knob, the envelope is full open. In the LOOP mode you can re-trigger envelopes for even more interesting modulations.

Features

AD/ASR envelope
Automatic Trigger/Gate detection
Manual and voltage control over
Attack and Decay time
Manual trigger button
Input protection against over-voltage
Protection against reverse PSU connection
Output amplitude 0V - 10V
Attack time 5ms - 1s
Decay time 5ms - 50s
CV level (Full span) -5V - +5V
Power consumption +17MA, -13MA
Module width 3 HP
Module depth 35 mm

Notes: What do you get when you combine voltage controlled distortion and one of the most infamous bassdrums? Hexinverter took one of the most revered bassdrum synthesis designs of all time - the TR-808 and completely redesigned it for use in a modular analogue synthesiser.

13HP
30mm deep
+55mA, -45mA
Eurorack format module

Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)

Notes: Module A-150-8 contains eight manually/voltage controlled switches. Each of the eight switches has a manual control button (Man.), a control voltage input (CV), a common Out / Input (O/I), and two In / Outputs (I/O1, I/O2). The switches are bi-directional, i.e. they can work in both directions, so can connect one input to either of two outputs, or either of two inputs to one output. Two LEDs show which in / output is active (i.e. which is connected to the common out / input). In addition, the LEDs are used for the programming of the module:

For each unit the operating mode can be selected: Toggle or Level controlled. In Toggle mode the rising edge of the CV input or operating the manual control button changes the state of the switch. In Level mode the switch state is defined by the voltage applied to the CV input (low voltage = I/O1, high voltage = I/O2) or by the state of the manual control button (not pressed = I/O1, pressed = I/O2). The modes are programmed very easily: Operating the Toggle/Level button of the program section displays the current state of each switch with the LEDs: left LED on = Toggle mode, right LED on = Level mode. Operating the manual control button of the switch in question changes the toggle/level mode while the Toggle/Level button of the program section is operated. During the programming patched CV signals may have to be removed as the CV signals would interfere with the manual operating buttons during the programming process.

In addition, it's possible to define master/slave groups. In such a group the upper unit (= master) controls also the state of the following switches provided that they are defined as slaves. Master/slave programming is also very simple: Operating the Master/Slave button of the program section displays the current state of each switch with the LEDs: left LED on = Master, right LED on = Slave.

When all 8 units are defined as master all switches are independent from each other. If for example the sequence is MSSSMSMS the control unit of the first switch also controls the switches 2, 3 and 4. The control unit of switch 5 also controls the switch 6, and the control unit of switch 7 also controls the switch 8. The current states of the slave switches are overwritten by the state of the master switch.

Technical note: To protect the electronic switches in case of an unsuitable patch (e.g. connection of two outputs) a 1k protection resistor is inserted into the O/I line of each switch. If control voltages used for VCOs are switched this may cause a small voltage drop and lead to undesired audible detuning. For this application we recommend to insert a CV buffer between A-150-8 and the VCO(s), e.g. the Buffered Multiple A-180-3 or the Precision Adder A-185-2. Integrating the buffers into the module A-150-8 was not possible because this would ruin the bidirectionality of the switches.

Width: 12 HP / 60.6 mm
Depth: 55 mm (measured from the rear side of the front panel)
Current: +40mA (+12V) / -5mA (-12V)

Notes: The Mutant Rimshot is a fully analogue rimshot and clave generator inspired by the rimshot found in the legendary 909 drum machine; a triple bridged-T oscillator coupled with a state variable filter. The clave sound (not a feature of the original 909 rimshot) is achieved by using just one of the oscillators.

Features

Three oscillator modes

Rimshot HI mode brings classic rimshot sounds
Rimshot LO gives a lower pitch range; try playing with the filter on this setting to get low tom and kickdrum sounds.
CLV (Clave) mode uses just one of the oscillators to give you a brighter, higher percussive sound.
A switch on the back lets you select between original and extended pitch modes. Original mode can give you rimshots exactly modelling that of classic machines (in Hi mode), whereas extended mode gives a wider range of pitch, at the expense of classic accuracy.

Three filter modes

Use the lowpass or highpass filter modes for classic sounding rimshots
Highpass and bandpass can give a wider range of clave and rimshot sounds, as well as completely different percussive elements (especially when turning the resonance up!)
VCF IN lets you blend the clave or rimshot with other sounds. Try adding some filtered noise for a more acoustic sounding rimshot, or for pseudo-snare type sounds.

Novel decay and filter mod controls

The MOD DECAY envelope controls the decay of the VCA envelope
The VCF MOD attenuverter allows you to modulate the filter cutoff with the MOD DECAY envelope
Alternatively, a switch on the back lets you modulate the filter cutoff with the pitch-controlled internal VCO, for filter FM style percussive hits.

Technical specifications

Width: 8HP | Depth: 30mm
Current draw: +45mA, -50mA @ 12V

Notes: Module A-118-2 is the slim version of module A-118-1 and offers essentially the same features as the A-118-1. But the distances between the controls are smaller and rubberized small-sized knobs are used. In return the front panel has 4 HP only which is half the width of the A-118-1. The module is primarily planned for applications where only limited space is available. The functional difference between A-118-1 and A-118-2 is the additional T&H/S&H unit which is not included in the A-118-1.

The module generates the signals white noise, colored noise, continuous random voltage and stepped random voltage (derived from the continuous random voltage by means of a S&H/T&H unit).

The noise signal is generated 100% analog by amplification of the noise of a transistor. White and colored noise are usually used as audio sources. The random voltages are normally used as control voltages (e.g. for filter frequency or any other voltage controlled parameter).
The A-118-2 gives you the ability to mix the relative amounts of Red (low frequency component) and Blue noise (high frequency component) in the colored noise output.

For the continuous random voltage the rate of change (Rate) and amplitude (Level) of the random voltage can be adjusted. The continuous random voltage is derived from the colored noise signal by low pass filtering. Consequently the settings of the controls for the colored noise (Blue, Red) affect the behavior of the random voltage! A dual color LED (red = positive / yellow = negative output voltage) indicates the continuous random voltage.

The continuous random voltage is used as source for the S&H/T&H unit. The type of operation can be set to S&H (sample and hold) or T&H (track and hold). When T&H is chosen the output signal follows the input signal (= continuous random voltage) as long as the Clock input is "high". As soon as the clock signal changes to "low" the last voltage is stored. When S&H is chosen the input signal (= continuous random voltage) is sampled at the rising edge of the Clock signal.

For the Clock signal a "digital" signal (e.g. Clock, Gate, rectangle output of an LFO) is required. It does not work with slowly changing continuous CV signals. Another dual color LED (red = positive / yellow = negative output voltage) indicates the stepped random voltage.

Controls:

Blue: share of the high frequencies in the the colored noise output
Red: share of the low frequencies in the the colored noise output
Rate: rate of change of the continuous random voltage
Level: amplitude of the continuous random voltage
TH/SH: switches between T&H and S&H

Inputs and outputs:

RND: continuous random voltage output (with LED display)
TH/SH: stepped random voltage output (with LED display)
Clk: Clock input of the S&H/T&H unit
C Noise: colored noise output
W Noise: white noise output

Important notes:

After power on it takes a few minutes until the two noise signals and the random signals are generated. The module is not faulty when after power on the signals do not appear immediately!

The S&H/T&H function is realized by pure analog circuitry (electronic switch followed by a holding capacitor and buffer). Consequently the output voltage drifts a bit in the holding state because the capacitor is discharged by parasitic resistors. The drift depends also upon environmental conditions like humidity or temperature.

Dimensions
4 HP
40 mm deep

Current Draw
20 mA +12V
20 mA -12V

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-135-2 is a miniature version of the A-135-1. Behind a front panel with 8 HP only four linear VCAs (voltage controlled amplifiers) and a voltage controlled mixer based on the VCAs are available.

Controls, In/Outputs and Functions of each VCA:

Level (manual control of the VCA amplification), small rubberized knob (L1...L4)

Control voltage input with associated attenuator (CV1...CV4), for the full VCA control range about 0...+5V control voltage are required (attenuator fully clockwise), for higher control voltages the attenuator is used, the attenuators are without knobs, just plastic shafts with white marker

Signal Input

Signal Output

All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. to control the level of LFOs or envelopes)

The signal input is not equipped with an attenuator. But the VCAs can process all signals up to 15Vpp / -7.5...+7.5V without clipping. In case of higher levels an external attenuator is required (e.g. A-183-1).

The available amplification range is 0...1, the maximal amplification is 1 (i.e. it "clips" and remains at 1 even if the control voltage goes beyond the value that corresponds to amplification 1)

Functions of the voltage controlled mixers:

two outputs ("Selected" and "All")

Selected output: the ouput if a VCA is removed from this sum signal when a plug is inserted into the corresponding VCA output.

All output: sum of all VCA outputs, regardless of inserted plugs into the VCA outputs

The maximal amplification is about 0.6 to avoid clipping at the mixer outputs (otherwise the outputs may distort with 15Vpp signals at each signal input and full amplifications)

Special functions of the voltage controlled mixer (selectable by internal jumpers)

Dual Stereo VCA: In this case the control unit of VCA1 (L1 + CV1) affects also VCA3 and the control unit of VCA2 (L2 + CV2) affects also VCA4. The control units of VCA3 (L3 + CV3) and VCA4 (L4 +CV4) are out of operation.

Quad VCA: In this case the control unit of VCA1 (L1 + CV1) affects all four VCAs. The control units of VCA2, VCA3 and VCA4 are out of operation. In this mode the module has the same function as module A-132-2. That's why module A-132-2 will be discontinued.

Normalling of the signal inputs: by means of internal jumpers signal input 1 can be normalled to signal input 2, signal input 2 to signal input 3 and signal input 3 to signal input In 4. That way the same input signal can be distributed to four different channels by means of control voltages (e.g. quadrophonic distribution of audio signals). Suitable control voltage sources are e.g. A-144 (Morphing Controller) or A-143-9 (Quadrature LFO).

Additional technical specification for each VCA (based on the specifications of the VCA circuits CEM3360/AS3360 used in the module):

Crosstalk between VCAs: typ. - 80dB

Signal attenuation at 0V CV: typ. -70dB

Total harmonic distortion: typ. 1%

Control voltage feedthrough: max. 15mV

Width: 8 HP / 40.3 mm
Depth: 45 mm (measured from the rear side of the front panel)
Current: +40mA (+12V) / -40mA (-12V)

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

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

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

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

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

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

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

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

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

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

Notes: Module A-149-4 generates four triggered random voltages which meet the criteria choosen by several controls.

Manual controls for the criteria selection:
Octave range (manual control "Oct."): this parameter defines how many octaves are covered by the random voltages (0 ... +5V, with "Oct." control fully CCW only 0V are generated)
Grid (6 illuminated radio buttons): this parameter defines the grid of the random voltages:
Octaves (Oct)
Octaves + Quin (Quint)
Chords (Major or Minor chords)
Scale (Major or Minor scale)
Semitones
continuous (i.e. stepless)
Minor / Major (2 illuminated radio buttons): this parameter defines in case of chords or scales if they are minor or major. For all other grids this parameter has no meaning
Sixth / Seventh (2 illuminated separate buttons): these parameters defines if the sixth or seventh is added. Valid only if Oct, Quint, Chord or Scale is chosen as grid.

The output voltages follow the 1V/octave standard (i.e. 1/12 V voltage differenc per semitone) with exception of the Continuous mode. The voltages in this mode are totally random and do not follow the 1V/oct standard (i.e. not a multiple of 1/12V).
The generation of a new random voltage at the output (CV Out 1...4) is triggered by the rising edge of the signal applied to the corresponding trigger input (Trig. In 1...4). The trigger inputs are normalled top down. The minimum trigger level is +2.5V, the maximum level is +12V.

Applications:
random polyphonic structures (in combination with the polyphonic modules A-111-4, A-105-4, A-132-8, A-141-4 and e.g. A-157 as trigger source and A-173-1/2 for transposition of the polyphonic structures)
any application that requires several random voltages
four digital pseudo noise signals when higher trigger frequencies are used

Width: 4 HP / 20.0 mm
Depth: 50 mm (measured from the rear side of the front panel)
Current: +50A (+12V) / -10mA (-12V)

Notes: Now slimmed down to 2HP! The '07 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.

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

Notes: Expand your modular synth world with the 2HP Eurorack-compatible Dual Buffered Multiple. This versatile and space-saving module is a must-have for those who want to distribute their signals with precision and flexibility. Whether you want to synchronize multiple oscillators, control filters in parallel signal paths, or create complex modulation setups, our Dual Buffered Multiple gives you the reliability and versatility you need.

Compact design

With its slim 2HP width, this module fits seamlessly into any Eurorack system without taking up valuable space.

Normalized Second Input

The input of the second channel is normalized, which means that a signal is automatically distributed to both channels if only the first input is used. This simplifies simultaneous signal distribution and increases creative freedom without the need to use multiple patch cords.

Dual operation

Equipped with two channels, our Buffered Multiple offers the freedom to distribute signals either as 2x 1->3 or as 1x 1->6 for maximum flexibility. This allows for a wide range of patching options and maximizes the efficiency of your system.

Buffered Outputs

Each output is buffered, which means your signal is amplified without any loss of quality or voltage drop. This is especially important if you want to send precise control signals (such as pitch CV) to multiple targets.

Versatile applications

Whether you want to build complex modulation routings, control multiple synth voices at the same time, or simply distribute a signal across multiple effects modules, this module gives you the flexibility you need.

Content:

Module
Bus cable 16-pin > 10-pin, 30cm
2x Screw M2.5x9 Phillips
2x Screw M3x9 Phillips

Notes: The VCA Matrix from 4ms is a playable 4x4 matrix of 16 VCAs.

Four CV or audio inputs can be routed in any amount/combination to four outputs, using the 16 CV control jacks, Level knobs, and Mute buttons.

Notes: Announcing the Dual Looping Delay from 4ms Company, designed by Gary Hall!

The 4ms Dual Looping Delay (or DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular time-base and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.

What is a "Looping Delay"?
Modern looping devices grew directly from hardware digital delays of the late 70s and early 80s. A looping delay, modelled on units such as the classic Lexicon PCM42, has the very long storage times associated with dedicated looping, but without triggered record and playback functions.

By default, a looping delay records and plays continuously, though recording can be suspended at any time with Infinite Repeat. Sustain of delays and loops is mainly accomplished with regeneration, allowing an organic, evolving approach to sound creation as new material replaces old, more or less gradually. The 4ms Dual Looping Delay also provides advanced clock input and output facilities that allow for locking delayed and looped material with sequencers and rhythm devices of all descriptions.

The 4ms Dual Looping Delay is conceived and designed by Gary Hall. Implemented and manufactured by 4ms Company

Notes: With our MORPHEUS digital filter module, we're finally able to unleash the full power of the 14-pole Z-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

The MORPHEUS Eurorack module includes over 280 filter configurations, what we call Cubes. Each Cube is composed of up to 8 complex filters that you can picture as being at the corners of a three dimensional cube (hence the name). Morpheus gives you the ability to smoothly interpolate between those 8 filters within the cube's three dimensional space.

Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing in one dimension, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.

With the MORPHEUS filter module, you now have simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you've ever heard before. In stereo.

Notes: This module allows you to interface your Eurorack modular system to the pro balanced line level world (+4 dBu). You can send audio out to rack mount/desktop FX units, patch to external line-level instruments like synths and drum machines, interface to a DAW, and much more.

Features:

1 x Eurorack modular level signals to Balanced TRS 1/4? output path
Uses a high quality THATCorp balanced line driver IC
Output path steps a nominal Eurorack level (10 Vpp) down to +4 dBu with up to +6 dB gain.

Notes: This useful module is a Bipolar Mixer, DC voltage source and Linear DC coupled VCA.

- With no input to channel 1 the Input 1 pot becomes a voltage source with a range of +/- 6V.
- The control pot and input for channel 4 can be switched to become an offset control and/or a second CV input for the VCA.
- Input 3 has 2x gain, so it can amplify lower level CV's too.
- All inputs are bipolar, which means that either non-inverted or inverted version of the input signal can be added to the mix depending upon the Input control being turned clockwise (non-inverting) or anti-clockwise (inverted). The 12'o'clock position is zero.

Notes: Noise Random Tools comprises a collection of useful utility blocks that you could use in many of your patches - Clock, Random Pulse, Analog Noise, Sample and Hold, and Slew.

Features:

- Clock and Random pulse source with adjustable rate
- Analog pink and white noise source with very accurate spectrum
- Analog sample / track and hold with very low droop
- Analog slew with adjustable slew rate

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

The last used effect, and presets are always remembered.

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

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

Reflashing mode: hold both buttons for 10 sec.

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

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

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

Notes: VU meter for eurorack.

BLINKS is a VU meter for eurorack with 24 RGB leds per channel, function is pretty easy, it has 2 inputs, one for each led column (no output).

PATT button changes the led pattern ( 6 patterns to choose ).

SENS button changes the input sensitivity, cycling in 7 steps.

Long pressing the PATT button enters the color scheme selection.

Long pressing SENS button enters the brightness adjustment. Most probably you'll prefer the lowest setting.

The module has a 5v regulator in case you don't have 5v in you eurorack PSU. A jumper in the back select if the led board would be powered by the 5v rail or the internal regulator (which works with the +12v rail)

Up to 3 stereo signals can be connected to a buffered input using the rear headers.

Easy DIY with only a few components, the led board is already assembled.

5v not indispensable
+5v: 30 mA (on lowest brightness)
+12v: 4mA (or ~40mA if 5v rail is not used)

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: Updated version of the excellent Bitbox sampler module offers more powerful sound processing and an improved touch screen. Improved effects and mixing with all the same creative power of the original.

Supplier notes:
Bitbox mk2 delivers powerful sampling and mangling for Eurorack. With this module you can add recording, sample playback, clip launching, slicing, granular sounds and musically intelligent looping capabilities to your Eurorack rig. With a 3.5 inch touchscreen, bitbox mk2 makes easy work of selecting, editing, and tweaking your samples. You can stream large samples of up to 4 GB file size straight from the microSD card. Interact with other musical components via CV and MIDI. Tweak your configurations to get them just right, then save them to multiple presets for future reuse. With the new bitbox mk2 hardware, you can now do more with the new more powerful processor.

Sample Playback
Play up to 24 polyphonic notes when your samples fit in the 64 MB of internal memory or up to 8 larger samples streaming directly from the microSD card
Configure 16 sample pads per preset as single or multi-samples, clips, slicers, granular or new recordings
Stream long samples from the microSD card with a max sample size of 4 GB, which can be many hours of audio
Trigger samples with the touch screen, CV gate inputs, or MIDI input
Use MIDI for polyphonic playback of samples or slices
Control how samples start and stop by choosing from one-shot, toggle, and gate launch modes
Tweak playback through a variety of sample parameters, including start position, length, pitch, gain, filter, loop mode, launch quantization, ADSR, Exclusive Grouping, clip synchronization, slice placement and sequencing, grain size, grain spread, grain count, and MIDI note and channel mapping

Record Eurorack level audio straight into the module:

Record samples from a stereo audio input pair
Configure each pad for stereo or mono recording with the option to synchronize the start and stop times to clock inputs
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Store recorded samples as WAV files on the micro SD card then remove the card to transfer them to your computer
Sample Modes
Find creative ways of using your samples with our 5 sample playback modes:

Trigger one shots or launch loops using sample mode
Load a folder of samples into a sample mode pad to improve the quality of the pitch shifting when playing a sample chromatically or to trigger different samples with each note
Play time-synchronized loops with constant pitch time shifting in clip mode
Skip between slices of a WAV using slicer mode
Create rich textures and other worldly sounds with granular mode
Inputs and Outputs
Connect up to 8 CV modulators to control numerous sample parameters
Trigger each of the 16 pads with a dedicated gate input
Record through the dedicated stereo audio input pair
Use CV to keep time through the dedicated clock input
Confidently connect with both TRS MIDI Type A and Type B, no adapter needed
Route the audio from each pad out to one of 2 stereo audio output pairs or any of the corresponding single channels
Inputs and outputs are DC coupled so you can record and play out CV signals

External Control and Synchronization
Playback can be immediate or synchronized to internal clock, TRS clock in, or MIDI clock in and out
Trigger each pad independently through a dedicated gate input
Use MIDI to trigger pads via a note per pad
Play a single or multi-sample pad pitch shifted using MIDI notes or CV
Trigger different sample slices using MIDI notes or CV
Modulate a wide variety of sample parameters through the MIDI input and up to 8 CV signals
Quickly set up MIDI modulation using Learn mode- no need to look up CC numbers
Module Features
Use the 3.5? diagonal touch screen to intuitively explore the features of the module
Get more creative with double the processing power of the original bitbox
Fill out your sound with reverb and delay
Import or export WAV files with your Mac or PC using a microSD card
Save and recall multiple presets
Increase your capacity with larger microSD cards
Select Flipped UI mode to mount the unit with the screen on the bottom and use the screen, knobs, buttons, and CV jacks as you normally would

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

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

List of operating modes per channel:

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

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

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

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

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

Notes: Mult is a 2 input, 6 output signal splitter. Channel 1 is normalled to channel 2 when no cable is present, allowing the user to split an input signal six ways, or two input signals with three outputs each.

Notes: Great for generating random voltages from white noise, arpeggios from sawtooth waves, and downsampling audio signals.

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

7 drum voices in the analog 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 analog circuits
Full discrete analog 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 analog 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: Module A-134-2 contains two identical voltage controlled crossfader units.

Each unit has two voltage controlled amplifiers (VCAs) with opposite control behaviour available. The outputs of the two VCAs are mixed together to obtain a common output. The behaviour of the control voltage inputs can be chosen with an internal jumper:

Symmetrical mode: If the corresponding jumper is not set both VCAs of the crossfader have the same 50% amplification with zero CV. If the applied CV becomes positive the amplification of VCA1 decreases and those of VCA2 increases in the same way. A negative CV has the opposite result. The CV voltage range to obtain the maximum/minimum positions of the crossfader is about -2.5....+2.5V. This mode is useful for bidirectional (i.e. positive and negative) control voltages, for example LFO or joy stick (adjusted to 0V CV in centre position).

Asymmetrical mode: If the corresponding jumper is set VCA2 is fully closed and VCA1 has full 100% amplification with zero CV. If the applied CV becomes positive the amplification of VCA1 decreases and those of VCA2 increases in the same way. The CV voltage range to obtain the maximum/minimum positions of the crossfader is about 0...+5V. A negative CV has no function in this mode. This mode is useful for unidirectional (i.e. only positive) control voltages, for example ADSR, ribbon controller or Theremin control voltage.

The CV input of the upper unit (CV1) is normalled to the CV input of the lower unit (CV2). I.e. if no plug is inserted to CV2 the CV input of the upper unit (CV1) also controls the lower unit.

The second signal input of the upper unit (In1B) is normalled to the first signal input of the lower unit (In2A). I.e. if no plug is inserted into In2A the signal In1B is used as the first signal input of the second unit.

As the inputs and outputs are DC coupled the module can be used for both audio and control voltage signal processing.

Notes: The Listen Four Quarters is a four channel stereo mixer with 1/4" (6.35mm) TRS balanced outputs and 1/8" (3.5mm) headphones output. Two mono channels with Pan knobs and two stereo channels with dual inputs provide optimal compatibility with both stereo and mono signals. The Listen Four Quarters can be daisy-chained to other Listen modules to create a larger mixer with sub-mix outputs.

Notes: The Control Voltage Processor from Verbos Electronics GmbH is a suite of control voltage processing possibilities divided into 3 sections in a slim 18HP package. The lower 2 sections are DC coupled mixers that allow mixing, inverting, offsetting, scaling, multiplying, dividing, crossfading or a combination of these functions. The top section is a voltage controlled slewing processor with independent control of Positive and Negative slew rate, with some unique tricks. The Positive and Negative slew, or Rise and Fall rates if you like, have reversing attenuators. The slopes can be blended from linear to RC curves (starting all slides fast and ending slow, like a proper "East Coast" Portamento) without a change in speed. It can be triggered like an AD envelope and has a Gate out that goes high when the CV out is below 100mV. Of course it can loop by patching the Gate out to the Trigger in. The Bounce control adds a unique flare of overshoot to CV changes, a bit like the effect of stopping a tape reel from turning and then letting it go. The combination of multiple voltage processors offers the user the functions of analogue computer.

Notes: One of the most exciting oscillator modules we've seen in a long time, taking a unique approach to a complex VCO. Based around two thru-zero triangle core oscillators with a wealth of timbre shaping options.

Supplier notes:
Brenso is Frap Tools' primary analog source of articulated waveforms whose degree of entanglement can be precisely set by the musician.

Its concept developed from a reflection on the very meaning of the word 'complex,' which comes from the Latin verb plector, literally meaning 'to braid', or 'to weave.' The purpose of Brenso is to update the usual approach to 'complex oscillator' by offering many threads to be woven together, rather than a pre-defined plait of controls and waveforms: this to improve clarity, manageability and offer more sonic options to the artist.

Brenso consists of three sections: two for sound generation (yellow and green), and one for sound processing (white and red).

The generation sections allow control over the two triangle-core oscillators, which can be modulated from external sources and can modulate each other's frequency too. The frequency modulation can be any combination of exponential and/or linear through zero.

The processing section is composed of a waveshaping section (white) and a last stage of amplitude modulation (red): the first provides further degrees of modulation using two parallel wave-shapers and includes PWM, blends these two with a mixer and everything is passed into a wave folder with symmetry control and a dedicated clock input with shapeable nonlinear behavior.

The result of this is passed into an amplitude modulation section (red) which can be unbalanced (AM) or balanced (RM).

The white section modulations inputs are semi-normalled by a timbre bus, which is semi-normalled to the green sine wave.

Every oscillator has a button that locks its coarse frequency to the current value. From this moment on, every twist of the 'Coarse' knob will be ineffective (but The Fine knob is still available, from small adjustments).

BRENSO's oscillators are exceptionally stable and provide rich harmonic content. This happens thanks to the two thru-zero triangle cores, which guarantee the most playable behavior and the best response to audio-rate modulation.

You won't need to find a sweet spot because BRENSO is calibrated to sound 'as expected' in any setting.

Many controls allow for complex and detailed FM sound shaping. It is possible to set the amount of exponential and linear thru-zero FM independently per each oscillator and control their amount of 'deviation' through two separate knobs or CV inputs.

(The green oscillator can also work at sub-audio rate, and can therefore become a super complex LFO.)

BRENSO's 'complex' signal path is expanded on the front panel and grouped in four 'modulation buses': two for modulating frequencies, one for modulating timbre and one for AM and RM.

The green oscillator is always the semi-normalled modulator, but any other source can be used.

The timbre modulation section has been designed from scratch and offers a versatile blend of two wavefolders, a waveshaper, and a PWM circuit.

A dedicated VCA controls the global amount of modulation to be sent to each modulation section, but the semi-normalization can be broken anytime.

An analog circuit was designed from scratch that, when excited by an external trig, opens the wavefolder above its maximum level and then closes it down with a non-linear slope, whose length can be manually regulated.

This solution can generate percussive tones with a very organic decay.

HP : 30

Notes: Loop is a high fidelity looper with four unique recording modes and an intuitive user interface. It can capture up to five minutes of audio with reverse, and half-speed playback accessible. Each recording can use one of four modes: Sound on Sound, Dub, Replace, and Infinite (i.e. Frippertronics). Whether you're looking for minimal part layering, or full blown ambient soundscapes, Loop will take your patch for a ride.

High fidelity audio - 24-bit, 48kHz with five minutes of recording time
Four recording modes: Sound on sound, Dub, Replace, and Frippertronics
Intuitive interface
Half speed and reverse playback

Tech Specs:
Width: 2HP
Depth: 42mm

Notes: Delta-V is a fully analogue dual-channel function generator, featuring a dedicated VCA and LFO cycle switch for each channel. It packs a great deal of functionality in only 10HP, and will surely find use in almost every patch.

Generate envelopes, slew gates and signals, or run LFOs with precise control over attack and decay times. Using the SHAPE knob, Delta-v can create a wide range of envelopes, from very snappy exponential curves for percussion to logarithmic thumps for bass lines.

If VCA's input is unpatched, the module outputs a regular voltage envelope. When an audio signal is patched into the VCA input, the output signal becomes the audio signal amplified by the envelope.

Sending other envelopes or an LFO to VCA input lets you modulate those modulators, quickly creating complex control voltages that go beyond the usual attack-decay envelope.

Combine this with the SUM output, which sums the two channels, and the attenuverters, which can quickly attenuate or invert the signal, and you have a whole array of signal processing capabilities.

The TRIGGER input fires a Attack-Decay envelope, while the SLEW input will affect the rate of change of the signal.

The trigger for channel 1 and 2 can be linked together, so you can fire two envelopes with one patch cable.

Each channel has an End of Cycle output, (EOC) this outputs a short trigger at the end of each envelope cycle.

The output voltage ranges from -10 to +10 volts, set with handy output attenuverters.

The CYCLE switch starts looping the envelope, creating LFO's that go up to audio rate, and that can also be used as an interesting sound source.

There are many ways to utilise Delta-V.

Challenge yourself to explore new, unconventional territories!


Width: 10HP
Depth: 27MM
Power: +12V 70 MA
Power: -12V 70 MA
Power 5V: 0 MA

Notes: uBurst

This is a new build of the micro version of Mutable Instruments Clouds. The module retains all the functions of the original Clouds, taking up significantly less rack space.

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

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

Notes: Now available in Intellijel's 1U format, the Milky Way is Endorphin.es's stereo effect module, featuring 16 programs: reverbs, delays, chorus, flanger, compressor and more. Versatile.

Supplier's Notes:
Tasty multi-effects module in Intellijel's 1U format. Eight stereo effect programs include meta CV scanning along with Airways and Darkwaves banks borrowed from the Blck_Noir and Grand Terminal modules.

Supplier's Notes:
Milky Way is a stereo FX module already know from the Blck_Noir and the Grand Terminal. It offers 8 types of effects.


simple and effective 6hp stereo FX module
8 types of effects available with meta CV scanning, 2 famous Airways and Darkwaves banks (more banks coming soon)
volume control with VCA
Airways:

Hall Reverb
Shimmer Reverb
Stereo Room Reverb
Plate Reverb
Spring Reverb
Ping-Pong Delay
Tape Echo Delay
Chorus
Darkwaves:

Gated Reverb
Spring Reverb
Ping-Pong Delay
Flanger
Ring Modulator
Overdrive
Compressor
Freezer
Power consumption: 117mA at +12 V and 12mA at -12 V

Depth: 42mm

HP : 22

Notes: Erica Synths Black Mixer is compact, high quality audio mixer with bonus features - mute switch on each input and three buffered outputs. This allows you to add audio signals to your mix instantly and in exactly right level, plus you can send signals to several post-mixer devices simultaneously, for example, split the output signal to LP and HP VCFs and create advanced bandpass and notch filters.

Technical specifications:
Max input level: -10V - +10V
Mixer gain: 1
Power consumption : +8mA, -8mA
Module width: 6HP
Module depth: 25mm

Notes: The Erica Synths Black Ring-Xfade is an extremely versatile module for sound shaping. It consists of two unconventional ringmodulators/waveshapers, a crossfader that works both for audio and CV and a VCA. Unlike conventional ringmodulator that works only with a signal present on both signal and carrier inputs, the Black Ring-Xfade passes through the signal without alteration, if no carrier is present, but low level signals on the carrier input result in unique waveshaping. Add the crossfader between two ringmodulators (or as a separate unit) topped up with the VCA, and you have an amplitude modulation powerplant in 10HP!

Ring1 CV; Ring2 CV
These are the ringmodulator carrier (CV level) level controls. Unlike conventional ringmodulator, this one passes signal unaltered, if RING CV is turned down. With increasing Ring CV level a slight waveshaping turns into proper ringmodulation.

Xfade
This is a manual Crossfade control. This fades smoothly between signals patched into XFADE IN1 and XFADE IN2. The XFADE CV is added to the knob position.

Coupling
Set the Crossfader mode - AC is optimized for use with the audio signals, DC - for control voltages (but it will work fine with audio, as well).

Ring 1; Ring 2
The green LEDs give visual feedback on signal levels, applied to XFADE IN1 and XFADE IN2 respectively.

Vol CV
Select the VCA CV response. A 0-10V setting is intended for use with the envelope generator, a -5V - +5V setting - for nice tremolos with a LFO.

Xfade IN1; Xfade IN2
These are the Crossfader inputs. They are normalled to the Ringmodulator ouputs, so, if nothing is patched here, you can crossfade between two ringmodulated signals.

Xfade CV
This is the Crossfader CV input. The CV is added to the XFADE knob setting.

VOL CV
This is the VCA CV input. The VCA is post-crossfade - it controls the amplitude of a resulting signal after the crossfader. It will also work with low frequency control voltages applied to the XFADE Ins - nice for designing unconventional modulations.

Ring1 Out; Ring2 Out
These are the ringmodulator outputs.

Xfade Out
This is the Crossfader output and the main output of the module.

Ring2 In; Ring2 CV
These are the second Ringmoduator signal and carrier inputs respectively. These two are normalled to the RING1 inputs, and if no signal is patched here, the duplicate the first Ringmodulator. Interesting trick is to set RING CVs at different levels and crossfade between two ringmodulator signals.

Ring1 IN; Ring1 CV
These are the first Ringmoduator signal and carrier inputs respectively.

Fade L; Fade R
The red LEDs indicate the crossfader position.

Xfade CV LVL
This is a crossfade CV level attenuator. By adjusting it you can control a span of fading between inputs.

Specs:
Audio level 10Vptp
CV level (full span) -5V - +5V
Power consumption +38mA, -32mA
Module width 10HP
Module depth 35mm

Notes: Running Order is a two track trigger sequencer. It can be a precise master clock or manipulate incoming clock signal and works great in use as a sub-sequencer/divider in your Eurorack environment.

Zero-jitter clock generation: less than 50 microseconds internal clock jitter
101 style 1/16th note input mode (step/rest) with manual or CV controllable amount of triggers repeats when the active trigger step happens
Euclidean mode enabled for each track where we set Euclidean total steps amount in the circle and then amount of triggers happening in that circle.
Per step trigger probability in 101 mode and global probability in Euclidean mode.
Separate synchronization (reset) inputs, sync for track 1 is normalled to sync track 2
Clock divider for incoming external clock allows to quickly obtain various musical divisions on the fly incl. triplets of course, but more importantly tuplets mode allows you to stretch desired amount of triggers happening into a single bar
Separate mute buttons for each track
8 patterns of triggers sequences stored in the module and recalled on the next power up
Available in 3U / 6HP version

Power consumption:
30 mA +12V
10 mA -12V
0 mA 5V

Dimensions
22 HP
26mm deep with power ribbon cable connected