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Notes: OpticShifter is a 20-Stage optical Phaser with flexible feedback and pole selection. Drawing inspiration from classic 70's era phase shifters, it combines vintage charm with modern versatility. Whether you're aiming for subtle movement or dramatic swooshing and whooshing, from phasing to vibing, OpticShifter creates an immersive Phase Shifting experience.

Notes: The OpticTone MK2 is an improved revision of our original module, combining a 12dB multi-mode Vactrol VCF and a Vactrol VCA. This unique circuit is inspired by the distinct characteristics of Vactrols and Lowpass gates, celebrated for their fluid and natural character.

Notes: RipWave is a compact 6HP analog VCO designed for rich sonic exploration in a small footprint. At the heart of its design is the Transform knob: a unique, voltage-controllable parameter that shapes the character of each waveform. It offers a wide range of timbral variation, from saturation to wavefolding, harmonic morphing, and pulse width modulation, all in a single control.

On the Sine output, the Transform knob applies a tanh() saturation circuit, gradually shaping the waveform from a pure tone into a warmer, slightly overdriven version. As you turn the knob, the wave is smoothly compressed and harmonics are introduced, adding character without harsh clipping.

For the Triangle wave, turning the Transform knob folds the waveform through a transistor wavefolder, shaping the timbre of the signal by adding harmonic complexity. An additional soft clipping diode saturation stage keeps the amplitude in check, taming peaks while introducing additional character.

In the case of the saw output, the waveform is generated by combining two complementary signals: one waveform containing only odd harmonics, the other only even harmonics. The Transform knob controls the balance between them. At the center position, both are equally summed to produce a Sawtooth wave. Turning the knob blends between the two, letting you isolate odd or even harmonics and shape the timbre across a wide range of harmonic textures.

The Transform knob performs a more traditional role with the Pulse wave, acting as a pulse width control. At the center position, it produces a classic Square wave with a 50% duty cycle. Turning the knob shifts the duty cycle toward narrower or wider pulses, delivering the familiar pulse width modulation sound.

An octave switch provides quick transposition and includes an LFO mode for low-frequency modulation duties, allowing RipWave's uniquely shaped waveforms to be used as modulation sources. RipWave also features both sync and linear FM inputs. The sync input allows the oscillator to be reset by an external signal, creating harmonically rich or rhythmically locked results depending on the source. A rear-panel jumper lets you select between hard and soft sync modes to suit different patching contexts.

The linear FM input offers a wide modulation range, from subtle pitch modulation and vibrato to deeper, more complex timbral shifts depending on modulation depth.

Though initially designed as a companion for VastWave, RipWave has developed a strong identity of its own. It performs equally well as a standalone oscillator in a compact system or alongside its larger sibling. Whether used for Lead voices, complex layering, or modulation, it delivers a wide range of shaping options. From warm tones to ripping textures, RipWave pushes all waveforms into harmonically rich territory, making every output well suited for East Coast - style subtractive synthesis as well as West Coast - style waveshaping systems.

Notes: ADDAC released their first DMX output module ADDAC008 back in 2010 as part of the ADDAC001 VCC Series, now here's an updated solution to cover all DMX needs straight from your Eurorack frame in a simple fully configurable and versatile system.

Together with the ADDAC220 Dual Envelope Follower+ & ADDAC607 Crossover it becomes quite easy to create a system for sound to light reaction using both audio amplitude and spectrum translation. Such a system features "no" latency when compared to a digital implementation as all amplitude detection and spectrum separation is done in the analogue realm.

The 13 CV inputs can be assigned to any of the 512 DMX channels using the configuration webpage using Google Chrome:

http://media.addacsystem.com/ADDAC223

There are 30 Slots for 30 different assigns each assigns defines a CV Input and a DMX channel. CV inputs can be assigned to different DMX channels

Check the User's Guide for a more in depth description.

MIDI to DMX512

When connected to a computer MIDI can be sent to directly to the DMX Network via the module.

Sending a CC message on any of the first 4 MIDI channels will control any of the DMX 512 channels.

The DMX value will be the CC Value * 2 (as MIDI resolution is 0/127 and DMX is 0/255)

MIDI CHANNEL 1 > CC 0 to 127 --> DMX CHANNEL 1 to 128
MIDI CHANNEL 2 > CC 0 to 127 --> DMX CHANNEL 129 to 256
MIDI CHANNEL 3 > CC 0 to 127 --> DMX CHANNEL 257 to 384
MIDI CHANNEL 4 > CC 0 to 127 --> DMX CHANNEL 385 to 512

This allows for precise control of any DMX fixture in the network straight from your favorite DAW and sequence any fixture's functions just like any other midi device.
Use MAX, Pure Data, Processing, Python and these can be generated, randomized....

Make sure not to overlap DMX channels that are being controlled over MIDI and over CV.

Tech Specs:

20HP
4.5cm deep
80mA +12V
80mA -12V