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Notes: Space-conscious lowpass filter and volume processor.

A combination of VCF + VCA + Mixer that lets you mix three different sound sources, and shape their tone, and levels in a breeze.

The Pony Filter is built around the SSI2144 FATKEYS Chip. Has the elegant sound of the classic transistor filter without the associated distortions, due to Dave Rossum's "improved ladder" topology.

Features

3 Channel Mixer (Out normalized to channel three for feedback)
Temperature-compensated Q and frequency.
Compensated Volume VS Resonance
2 Cuttof CV INs.
CV 1 Selectable routing Cut-Off or Cut-Off+VCA
Voltage controlled Q
Two Segment Peak Meter

Specifications

Four-pole, 24 dB/octave
Current needs: +12V=50mA, -12V=45mA
Width: 6 HP
Depth Assembled Version: 22mm
Depth DIY Kit Version: 40mm
Designed, kits prepared and assembled in Barcelona.

Notes: Neat little interface module to help pad controllers play nicely with Eurorack. Hook up a device like a Launchpad or APC and jam out rhythms with retriggering options, dynamic control and MIDI sync.

Supplier's Notes:
Triggerpad is a dynamic trigger/gate sequencer in eurorack format on only 6hp. A USB MIDI controller with an 8×8 grid like Launchpad or APC is used to display and edit the patterns (see the list of compatible controllers). The user experience is tailored to live performance and detailed composition: dial in simple rhythms or complex polyrhythms, retrigger at audio rate, create dynamic percussions with velocity triggers or use longer pulses to create steppy modulations.

By using USB MIDI controllers that you might already have and maybe not use anymore, we avoid producing more plastic. Give your old gear a second life!

Dimensions & consumption

Width: 6hp
Depth: 39mm
+12V: 120mA (without USB MIDI controller connected)
-12V: 20mA
5V: 0mA
USB MIDI controllers consume up to 150mA on +12V

Connectivity

8 dynamic trigger/gate outputs (0-10V)
USB MIDI Host
Clock in
Clock out
Reset in
Reset out

Compatibility

Launchpad Pro Mk3
Launchpad X
Launchpad Mini Mk3
Launchpad Mini Mk2
Launchpad Pro
Launchpad Mk2
Launchpad S
APC Mini Mk1
APC Mini Mk2

Notes: The "uMM" combines a MIDI merger and two independent THRU distributors in a module that is only 4 HP wide. All sockets on the module are in MIDI TRS-B format.

At the heart of the two-input MIDI merger is a small, powerful ARM processor with plenty of buffer memory. Two MIDI streams are mixed to one output and can also be tapped via an additional second output. Two LEDs signal the operation of the merger: one LED indicates MIDI activity at the inputs, and a second LED warns of too much data at the inputs.

The second group of functions consists of two independent, separate MIDI THRU distributors. The MIDI data at the respective MIDI input can be picked up and distributed at the three THRU outputs. If required, a 1-to-5 distributor can be created from the two units by connecting an output of the left group to the input of the right group.

Features:

4x MIDI IN (TRS-B)
2x MIDI-OUT (TRS-B)
6x MIDI-THRU (TRS-B)
Powered via Doepfer connector

Notes: Advanced generative sequencer featuring mutes per channel and transposition facilities.

Akropoli is an extension and enhancement of our successful Little Melody and High Towers modules, offering the features of both of these modules as well as some of it's own unique features such as mute buttons per channel, manual transpose knob and 1V/oct transpose CV input. Akropoli operates using Frequency Central's proprietary TOOL V2 code, and can count in integers as well as multiples for even more subtle and evolving variations.

Akropoli is a generative sequencer based around clock divisions and a chromatic quantiser, used to create in-the-moment licks and riffs. It is more that the sum of it's parts.

Akropoli's internal operations can be considered as 4 clock dividers patched into a CV mixer via attenuators. The attenuators select notes over a 5 octave range, the clock dividers determine how often those notes are added to the mix. The final output of Akropoli is quantized chromatically for fast set up and continuously pleasing results. Akropoli has an onboard transposition knob, as well as a 1V/oct transposition CV input.

The 4 clock dividers are labelled A, B, C, and D. They all receive clocks from the same source, the divisions may be selected using the presets and the individual division selectors. The clock dividers can be set to count up, down, or to one of a variety of modes that move between counting up and down. For further information on Presets and Modes see the Little Melody User Guide.

Additionally, each clock divider has it's own binary output (either high or low), these 4 outputs can be used to clock/gate/trigger other stuff on other modules to great effect.

Product Specifications

12V draw
50mA

-12V draw
36mA

5V draw
0mA

Depth
35mm

Notes: An ultra-compact 10HP VC filter with bags of personality. Camber can be treated as a subtle, non-intrusive sound design tool, or something much more lively.

Camber is designed to be a fun, tactile filter with a small footprint. It's sound is neutral enough for basic filtering without a fuss, with a much more aggressive tone available using high resonance settings in three-pole mode.

Filter Core

The core of the filter is based on a state variable topology using 2164 VCAs and 1% tolerance integrating capacitors. Resonance and feedback control is provided by the fantastic circuit design originally by Neil Johnson "Voltage Controlled 3-Pole State Variable Filter" recently made available in Sound Semiconductor documentation.

Operation

Camber is switchable between low pass and high pass responses with one pole (6dB) and three pole (18dB) flavours of each. It has full CV control of both cutoff frequency and resonance amount. The input is DC-coupled allowing LFO and CV signals to be routed through the filter. The filter will also act as a simple oscillator producing a clean sinusoidal signal with the resonance control turned *almost fully clockwise, and no signal at the audio input. Dialling in the resonance so that it is just under the point of self-oscillation allows the filter to be "Pinged" by sending gate signals to the audio input. This is useful for tuned percussion sounds and FX.

Specifications

Intellijel 1u format
Width 10HP
Depth 33mm
Power requirements ~40mA +12V/~40mA -12V
Control voltage range 0-8V
Impedance Input 100K / Output 1K

Notes: An ultra-compact 10HP VC filter with bags of personality. Camber can be treated as a subtle, non-intrusive sound design tool, or something much more lively.

Camber is designed to be a fun, tactile filter with a small footprint. It's sound is neutral enough for basic filtering without a fuss, with a much more aggressive tone available using high resonance settings in three-pole mode.

Filter Core

The core of the filter is based on a state variable topology using 2164 VCAs and 1% tolerance integrating capacitors. Resonance and feedback control is provided by the fantastic circuit design originally by Neil Johnson "Voltage Controlled 3-Pole State Variable Filter" recently made available in Sound Semiconductor documentation.

Operation

Camber is switchable between low pass and high pass responses with one pole (6dB) and three pole (18dB) flavours of each. It has full CV control of both cutoff frequency and resonance amount. The input is DC-coupled allowing LFO and CV signals to be routed through the filter. The filter will also act as a simple oscillator producing a clean sinusoidal signal with the resonance control turned *almost fully clockwise, and no signal at the audio input. Dialling in the resonance so that it is just under the point of self-oscillation allows the filter to be "Pinged" by sending gate signals to the audio input. This is useful for tuned percussion sounds and FX.

Specifications

Intellijel 1u format
Width 10HP
Depth 33mm
Power requirements ~40mA +12V/~40mA -12V
Control voltage range 0-8V
Impedance Input 100K / Output 1K

Notes: Lush analogue EQ switchable between tilt and Baxandall high-shelf configurations.

Perform a variety of mixing and sound design duties ranging from subtle brightness and clarity adjustments to low-end rumble removal, boosted low-pass filtering and sweep EQ.

In the default tilt mode, turning the control knob clockwise simultaneously boosts treble and cuts bass. Turning anti-clockwise boosts bass and cuts treble. These boosts and cuts are pivoted around the mid-range. With the control knob at 12 o'clock the frequency response is neutral.

With Baxandall high-shelf mode enabled, turning the control knob clockwise past 12 o'clock introduces and gentle high-shelf EQ weighted around the upper mid-range. Turning the control knob anti-clockwise results in a wide high-shelf cut with subtle bass and mid-range adjustments.

Patching the channels in series allows for radical sound shaping and band-pass responses. Each channel provides up to +/- 8db of low and high-frequency gain control, summing into a low noise output stage. Hot input signals over 15vpp are saturated by active Zener diode clipping.

Features

Precise voltage control of EQ tilt and shelf
Seamless switching between EQ modes
High-quality components used throughout

Specifications

Intellijel 1U format
Width: 18HP
Depth: 32mm
Power requirements: ~60mA +12V/~58mA -12V
Control voltage range: 0-8V
Impedance Input: 100K / Output 1K

Notes: Lush analogue EQ switchable between tilt and Baxandall high-shelf configurations.

Perform a variety of mixing and sound design duties ranging from subtle brightness and clarity adjustments to low-end rumble removal, boosted low-pass filtering and sweep EQ.

In the default tilt mode, turning the control knob clockwise simultaneously boosts treble and cuts bass. Turning anti-clockwise boosts bass and cuts treble. These boosts and cuts are pivoted around the mid-range. With the control knob at 12 o'clock the frequency response is neutral.

With Baxandall high-shelf mode enabled, turning the control knob clockwise past 12 o'clock introduces and gentle high-shelf EQ weighted around the upper mid-range. Turning the control knob anti-clockwise results in a wide high-shelf cut with subtle bass and mid-range adjustments.

Patching the channels in series allows for radical sound shaping and band-pass responses. Each channel provides up to +/- 8db of low and high-frequency gain control, summing into a low noise output stage. Hot input signals over 15vpp are saturated by active Zener diode clipping.

Features

Precise voltage control of EQ tilt and shelf
Seamless switching between EQ modes
High-quality components used throughout

Specifications

Intellijel 1U format
Width 18HP
Depth 32mm
Power requirements ~60mA +12V/~58mA -12V
Control voltage range 0-8V
Impedance Input 100K / Output 1K

Notes: Tilt is the first in Laine's series of core modules, which will take cues from the main product line and strip back the features so both the module width and cost can be shrunk dramatically.

Comprising an 'Ambler' style tilt EQ network similar to the 'Stilts' topology, Tilt allows simultaneous cut and boost of low and high frequencies using a single control.

Tilt control circuits are known for the transparency of their cut and boost curves, coupled with the inherent emphasis gained from cutting one end of the frequency spectrum whilst boosting at the opposite end.

It sounds pretty good on all audio source material but is especially suited to tracking drums, guitar and lead, or manipulating effects sends and returns.

With the control knob at 12o'clock the sound passed is neutral. Turning the control knob clockwise will boost high and cut low frequencies pivoting from a fixed mid-range point. Turning the control anti-clockwise below 12 o clock will in turn boost low frequencies and cut the highs.

In addition to the EQ there is a soft clipping network which will begin to saturate signals over 15 volts peak to peak.

Tilt uses the same high quality OPA op amps, Alpha pots and ENIG PCBs as found in our main product line.

Features

Compact EQ tilt control in 1U
Soft clipping network
High-quality components used throughout

Specifications

Intellijel 1U format
Width 8HP
Depth 28mm
Power requirements ~10mA +12V/~10mA -12V
Impedance Input 100k / Output 1k

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

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

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

Saturation types

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

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

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

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

Features

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

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

Notes: CV Random is a random CV generator with 4 types of randomness and a triggerable sample-and-hold function.

Sliders allow you to set the internal clock tempo (RATE), shape the probability of triggering (PROB), blend old with new values (RND) and set the shape of all four random outputs (SHAPE).

4 different sliders

RATE

Sets the tempo of the internal clock. The CV input below the slider adjusts the clock rate, with 1V/oct calibration when the CV attenuverter is 100%. Upon each clock trigger, the RATE slider light blinks, and there is a chance for the internal random source to generate a new value.

PROB

This probability is set by the PROB slider, and if a new value was generated, the PROB slider light blinks and a pulse is emitted from the TRIG output.

RND

When the internal random source generates a new value, it mixes the previous value with a random value, with an amount specified by the RND slider.

SHAPE

The SHAPE slider sets the shape of all four random outputs. At its lowest position (0%), all outputs immediately jump to the new random value (the target value) when the clock is triggered.

At non-zero positions, the outputs interpolate between the previous and the target value, using a different behaviour for each output.

Internal random clock source

Whenever the clock activates, the RATE slider's light flashes. At the same time, there's a chance that the internal random source will create a new value, depending on the PROB slider's setting.

If it does create a new value, the PROB slider's light flashes too, and a pulse comes out of the TRIG output.

External IN & TRIG inputs

If the TRIG input is patched, the RATE slider is ignored, and the internal clock is only triggered when an external trigger is received. The PROB slider is used to filter this trigger by applying some probability.

Self-modulation

Thanks to a switch in the back of the module, you can normalize the LIN output to the 4 CV inputs and adjust the amount of modulation for each parameter with the attenuverters.

This adds another layer of randomness to your results, enabling more dynamic and unpredictable outcomes.

SHAPE Outputs

The STEP output jumps to the new value in one step at 0% SHAPE, and divides the transition into 16 steps at 100% SHAPE.

The LIN output immediately reaches the new value at 0% SHAPE, and takes the whole clock cycle to do so at 100% SHAPE, staying constant in between.

The EXP output shifts exponentially, becoming linear at 100% SHAPE, with its pace adjusted by the SHAPE slider.

The SMTH output transitions smoothly, with the speed controlled by the SHAPE setting, holding at the target until the cycle ends.

Specifications

Dimensions 10HP - 50×128,5mm
Current 63 mA +12V / 11 mA -12V / 0 mA +5V
Input & Output Signals +/-10V
Impedance Input 10k - Output 10k
Materials PCB and Panel - FR4 1,6mm
Depth 40mm including connectors (Skiff friendly)

Notes: Really nice take on an arpeggiator module here. Four-channel design features editable arpeggio patterns, CV control and transposition. Real-time performance meets customisable melody generation.

Supplier's Notes:
Four-channel arpeggiator with customizable patterns and CV control

Opp Ned is a four-channel arpeggiator designed for creating patterns that can be modified with CV. Opp Ned ships with 12 of Noise Engineering's favourite arps, including tetrads, major, pentatonic major, minor third, and pentatonic minor, but you can edit and save custom arpeggios to twelve memory slots. Recall your custom arpeggios manually or with CV using the Ptn input. If you ever want to restore the factory arps, just head to the Noise Engineering Customer Portal.

The transpose input makes it easy to combine Opp Ned with external sequencers, too!

Arps have never been easier than with Opp Ned.

Features

Size and Power
8HP Eurorack
+12v: 60mA
-12v: 10mA

Opp from Norwegian Opp for "Up"
Ned from Norwegian Ned "down"
"Ups and downs"

What's in the box

Module
Power cable

*** Noise Engineering no longer include screws with newly packaged modules. Bulk screws are available for purchase. ***

Notes: Four-channel arpeggiator with customizable patterns and CV control

Opp Ned is a four-channel arpeggiator designed for creating patterns that can be modified with CV. Opp Ned ships with 12 of Nosie Engineering's favourite arps, including tetrads, major, pentatonic major, minor third, and pentatonic minor, but you can edit and save custom arpeggios to twelve memory slots. Recall your custom arpeggios manually or with CV using the Ptn input. If you ever want to restore the factory arps, just head to the Noise Engineering Customer Portal.

The transpose input makes it easy to combine Opp Ned with external sequencers, too!

Arps have never been easier than with Opp Ned.

Features

Size and Power
8HP Eurorack
+12v: 60mA
-12v: 10mA

Opp from Norwegian Opp for "Up"
Ned from Norwegian Ned "down"
"Ups and downs"

What's in the box

Module
Power cable

*** Noise Engineering no longer include screws with newly packaged modules. Bulk screws are available for purchase. ***

Notes: Designed to provide a powerful, flexible sampling engine for modular synthesis, the ASSIMIL8OR Multi-Timbral Phase Modulation Sampler module is the latest incarnation of Dave Rossum's decades-long pioneering of affordable professional sampling technology.

ASSIMIL8OR provides eight independent channels of sampling with sound quality that can range from extremely hi-fi to low fi, all with extensive real-time CV control.

Assimil8or Specifications

Sample memory
2,300 seconds at 48kHz mono, freely allocatable between the 8 channels

Sample rates
48kHZ, 96kHZ, 192kHZ

A/D & D/A
24 Bits

Internal processing
32 Bits

Latency
100 microseconds at the Mix Outputs
180 microseconds at the Individual Outputs

Inputs

Sample L/R
2x 3.5mm mono socket
100kO Input Impedance

Gate/Trigger 1-8
8x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Control Voltage A 1-8
8x 3.5mm mono socket
100kO Input Impedance
96 kHz sample rate
Anti-alias filtered to 20kHz bandwidth

Control Voltage B&C 1-8
16x 3.5mm mono socket
100kO Input Impedance
48 kHz sample rate
No anti-alias filtering

Outputs

Mix Outputs L/R
2x 3.5mm mono socket
1kO Impedance

Individual Outputs
8x 3.5mm mono socket
1kO Impedance

Power requirements: +/-12V via 16-pin, Doepfer-style connector
Current draw: 220mA +12V, 30mA -12V
Dimensions: 28HP (W); Panel to power connector (with connector plugged in) 25mm (D)

Supplied accessories:
1x Micro SD card
1x 16-pin, Doepfer-style cable
4x M3 screws
4x M2.5 screws
4x Nylon washers
1x Quickstart Guide

Notes: Following in the tradition of Evolution and Morpheus, LINNAEUS represents yet another Dave Rossum innovation in filter technology.

LINNAEUS is a stereo state variable filter that provides the unique ability to linearly modulate its resonant frequency through zero into negative frequency, while maintaining stability. With extensive voltage control of nearly every parameter, Linnaeus lets you manipulate the filter's natural response curve in new ways, to create both subtle and dramatic timbral effects. And with a "one-knob-per-parameter" interface, LINNAEUS inspires sonic creativity that invites (and rewards) real-time interaction.

LINNAEUS's cutoff/resonant frequency is exponentially voltage controllable from sub-audio to ultrasonic frequencies, while its resonant gain (Q) is exponentially voltage controllable from 0dB to greater than 60dB.

LINNAEUS's channel output response characteristics are independently and continuously variable from Lowpass, through Bandpass, Highpass and Notch, to Low and High Shelving characteristics. Voltage control of the response characteristics are independently selectable for each of the two channels.

The linear thru-zero modulation is provided by an integrated modulation oscillator and/or an External Linear FM modulation input.

The voltage-controllable modulation oscillator can track the filter's exponential frequency or operate independently. The modulation oscillator's output waveform is continuously variable from Off through Sine, Triangle, and Sawtooth, to Square. The modulation oscillator output is summed with the external linear FM input and applied to the modulation index VCA, which controls the linear thru-zero modulation index from zero to 8X. The modulation index is, of course, also voltage controllable.

LINNAEUS features include:

- Ultra-wide frequency range, exponentially voltage-controllable from sub-audio to ultrasonic via precise 1V/OCT and attenuverted CV inputs.

- Thru-zero linear frequency modulation via an internal modulation oscillator and/or an external linear FM input.

- Variable linear modulation index, voltage-controllable via an attenuverted CV input.

- Resonance (Q) exponentially voltage-controllable from 0dB to greater than 60dB via 6dB/V and attenuverted CV inputs.

- Continuously variable response characteristics independently selectable for each of the two channels via individual Response Enable controls. Characteristics include Lowpass (12db/oct and 6db/oct), Bandpass, Highpass (12db/oct and 6db/oct), Notch, and Low and High Shelving.

- Voltage control of response characteristics via an attenuverted CV input. Individual Response CV Enable controls let you independently enable or disable CV control of response for each channel.

- An integrated modulation oscillator with continuously variable waveform from Off through Sine, Triangle, Sawtooth and Square. Its frequency can be exponentially voltage controlled via an attenuverted CV input.

- A Track control that lets the modulation oscillator precisely track the filter's exponential frequency.

- Stereo inputs and outputs. LINNAEUS can process a stereo signal or two independent mono signals. While the two channels share the filter's cutoff/resonant frequency, the filter response characteristics can be independently controlled for each channel.

- The solid, high-quality construction you expect from Rossum Electro-Music.

What's with the egg?

The functional description above describes LINNAEUS as originally conceived and designed by Dave. However, late in the beta testing process, Rossum's tester, Chris Meyer, raised the possibility of alternative behavior that would let LINNAEUS function as a self-contained (i.e., no input required) stereo oscillator and/or FM percussion voice with some really powerful timbral capabilities.

While Rossum were initially hesitant to try to shoehorn the new functions into the existing interface, once Dave had prototyped them, it was clear to us all that they were just too cool not to include. So, Rossum have provided them in the form of alternate firmware accessed by pressing and holding the Egg button.

LINNAEUS is 16HP wide and 25mm deep.

Power requirements (max): 155mA +12V, 36mA -12V. Reverse polarity protected.

Notes: LOCUTUS is designed to interface Assimil8or with MIDI instruments, controllers, and sequencers to provide multichannel modulation and new polyphonic possibilities.

LOCUTUS includes a special attached cable to connect to the Assimil8or CPU behind the panel.

LOCUTUS is 6 HP wide and 25mm deep.

MIDI sources connected to LOCUTUS’ MIDI IN port can be used to modulate Assimil8or parameters using velocity, channel pressure, and MIDI CC (Continuous Controller) messages, select presets using MIDI Program Change (PC) messages, and/or optionally trigger Assimil8or channels with MIDI notes using user-selectable assignment modes. MIDI Setups can be configured with assignment modes including Dynamic, which intelligently cycles through Assimil8or’s channels to easily create polyphonic patches, Multi assignment modes ideal for playing multitimbral Assimil8or patches with MIDI sequencers, SP-1200 modes designed especially for triggering Assimil8or with SP-1200’s MIDI output, and more.

Locutus’ MIDI OUT port can be used to optionally transmit program messages when presets are changed and/or to send MIDI CC data based on the analog control voltages patched to Assimil8or’s 24 CV inputs. Using the new CV-to-MIDI options, Assimil8or and Locutus can be configured to control and modulate MIDI equipment using a eurorack modular system.

Notes: With the MORPHEUS digital filter module, Rossum are finally able to unleash the full power of the 14-pole Z0-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

The MORPHEUS Eurorack module includes over 280 filter configurations, which are called 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.

Like all Rossum Electro-Music digital modules, all parameters are available for adjustment with a single button press. No menu diving.

Morpheus Specifications

Filter cubes: 289
Filters: 1000
Filter sequences: 200
Sequence steps: 20,000 Dynamically Allocated

Inputs: Audio L/R
2x 3.5mm mono socket
100kO Input Impedance

Full Level Frequency CV
1x 3.5mm mono socket
100kO Input Impedance

Attenuverted Frequency CV
1x 3.5mm mono socket
100kO Input Impedance

Attenuverted Morph CV

1x 3.5mm mono socket
100kO Input Impedance

Attenuverted Transform/Distortion CV

1x 3.5mm mono socket
100kO Input Impedance

Filter Sequencer Dec

1x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Filter Sequencer Inc

1x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Filter Sequencer Reset

1x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Outputs

Audio L/R
2x 3.5mm mono socket
1kO Impedance

Power requirements
+/-12V via 16-pin, Doepfer-style connector

Current draw
135mA +12V, 25mA -12V (maximum)

Dimensions
18HP (W); Panel to power connector (with connector plugged in) 25mm (D)

Supplied accessories
1x 16-pin, Doepfer-style cable
4x M3 screws
4x M2.5 screws
4x Nylon washers
1x Quickstart Guide

Notes: The Serge GTS is a complete redesign of the famous Serge Dual Universal Slope Generator (DUSG) by Serge himself - with a new core, optimized for speed and tracking. Like some of the clones it can be used for CV, but also provides exceptional audio performance: transient rise times as fast as 13us and a maximum cycle speed of 27kHz.

Some functions for which one Slope Generator can be used:

Function generator for linear, logarithmic, exponential, stepped etc. curves
Integrate an incoming signal
Sawtooth / Pulse oscillator
Add, subtract up to 4 signals
Max and Min function
VC Transient Envelope Generator
VC LFO
VC Portamento device, Envelope Follower (Detector), VC Pulse Delay (Monostable), Sub-Harmonic Series Generator (Divider), Audio Oscillator with variable waveform symmetry (saw to triangle), Non-Linear Audio Processor (low-fidelity VCF).
Serge GTS for eurorack:

Designed by Serge Tcherepnin 2021-2023
Increased audio range (up to >28kHz)
Tracks >5 octaves as a Sawtooth / Pulse oscillator
Temperature stabilized
Eurorack format (3U), 26 hp
Power consumption: 90mA @ +12V, 80mA @ -12V
(NEW) Skiff-friendly: < 25mm (1")

Notes: Another update for WMD's clever dual VCA, this time a little bigger to give more control. Digital control of CV and attenuation gives lots of creative options. Third time's a charm.

Supplier's Notes:
WMD have done several designs of this circuit over the years, the first one had no knobs, the second was too small, the MKIII is finally how this circuit should be packaged. This module does some really cool stuff and is super useful in any system.

The Digital VCA lets signal through like a normal VCA, but the CV and attenuation level is controlled digitally. This lets us do things like wait until there is a zero crossing to change the amplitude, resulting in clickless amplitude changes.

The Trigger mode causes the VCA to only update when a trigger is received. The addition of a noise circuit for each side let us do a very quick and easy sample and hold that never droops. With no input, 5V is normaled to the attenuator, so you get a 0-5V sample and hold. In Bipolar mode, you can get -5 to +5V.

Both sides have bipolar VCA mode (polarizer), which lets them invert the signal when negative CV comes in. Also known as ring modulation. With the zero crossing detector, this can produce some super wild wave shapes.

Features

Dual VCA Design
Unipolar or Bipolar Operation
DC Coupled Analogue Signal Path
Low Distortion / Low Noise
VCA Closes Completely
Zero Crossing Detector Mode
Trigger Mode
Two Independent Noise Sources
8 bit CV resolution
Great for Fast Envelopes and Sine Bass Sounds

Specifications

Power: +65mA, -45mA
Width: 8HP
Depth: 35mm with cables
Height: Eurorack 3U (128.5mm)
Board Height Behind Panel: 112mm
CV/Signal Input Impedance: 100k
Output Impedance: 1k
UPD in 3.3V Threshold Schmitt Trigger
ZCD produces 15us 5V pulse
5V CV to fully open VCA
Linear VCA response
20Vpp signal handling