Synth modules

Notes: Crystal-clear clock-synced delay for loop up to 90 seconds, echoes, sound-on-sound, Karplus-Strong etc.

Features:
Loop or echo time is synchronized to a clock
87 seconds of delay/loop time maximum
48kHz/24-bit sampling rate, loop recorded at 16-bit (24-bit optional)
Extremely quiet, low noise and low jitter design
Tap tempo button and clock Ping input set the basis for one "beat"
Delay/loop time set as a number of musical beats (or fractions of beats) using the Time knob, switch, and CV jack
Sample-accurate clock output for perfect synchronization
Loop clock outputs for each channel
Time switches change range of Time knob from 1/8th notes up to 32 bars
Digital feedback, up to 110%
Delay Feed control, independent of dry/wet signal mix
Infinite Hold mode disables recording input and fixes regeneration at exactly 100%
Reverse mode plays memory contents backwards
With an infinite loop locked, knobs or CV can "window" around memory, by shifting the loop
Trigger inputs for toggling Infinite Hold and Reverse
Send and Return for applying effects to feedback with external modules
CV jacks to control Time, Level, Feedback and Dry/Wet Mix
16HP Eurorack module

Specs:
48kHz, 24-bit low-noise hi-fidelity
Up to 90 seconds of loop time
16HP
+12V: 110mA
-12V: 45mA

Included with the Looping Delay:
16-to-16 pin power cable
4 x M3 Knurlie screws

Notes: Great value from 4ms's twist on the Stereo Triggered Sampler module, this time capable of playing and manipulating stereo or mono WAV files from an SD card.

Supplier's Notes:
The Sampler is a variation of the Stereo Triggered Sampler.

Record, play and loop stereo .wav files with an SD Card. Includes the same 2022 Sampler Pack from the Stereo Triggered Sampler.

Features:

The Sampler plays stereo or mono .wav files from an SD Card. Samples are arranged into banks by placing .wav files into folders (each folder is a bank). A maximum of 10 samples can be loaded in a bank. There is a maximum of 60 banks (600 samples maximum total).
Sample files are limited to 4GB each, which is over 6 hours at 44k/16b/stereo.

Hundreds of samples included on microSD card
Extremely quiet, low noise and low jitter design
Stereo or Mono output

A knob and CV jack selects the Sample to play, and the Start Position knob and CV jack control where in the sample playback will begin. The Length knob and CV jack determine how much of the sample is played back: from tiny grains, to percussive hits, to longer loops... or just the entire file.

Pressing Play or firing a trigger into the Play Trig jack will play the sample. Holding the Play button down for a second will toggle looping.

There's also a Reverse button and jack for backwards playback, and an End Out jack for synchronizing loops, or cascading sample playback with other events.

To record samples, hold Play and Reverse for two seconds. Press Play again or fire a trigger into the Play/Rec Trig jack to start and stop recording. Each recording will create a new stereo 48kHz 24bit .wav file in the current bank's folder. Recordings can be as long as your card has the capacity for: a 256GB card is 18 days of continuous recording (432.9 hours). Audio data is split into maximum 4GB wav files on the microSD card.

Play button/trigger jack: Tapping the button or receiving a trigger starts/re-starts the sample
Sample CV/knob: select which sample within the channel's bank
Pitch CV and Pitch knob: playback pitch (-10 to +4 octave range)
Start Pos CV/knob: position in the sample to begin playback (loop start point)
Length CV/knob: playback time (loop end point)
Length knob at max: entire file is played
Length knob 50%-99%: 200ms - 5s of the sample is played (beginning at the Start Position)
Length knob <50%: Percussive decay envelope is applied to the playback (attack-only envelope if playing Reverse)
Length <1%: Tiny grains are played (can be used to sweep through sample file data manually)
Reverse button/jack: toggles forward/backwards
Bank button: selects channel's bank
Reverse + Start Pos button/knob combo allows for setting volume of playback
Maximum file size for playback: 4GB per file (6.7 hours per file at 44.1kHz/16b/stereo)
microSD Card is hot-swappable when Busy light is off: no power-down required to change cards.
Samples that are pre-loaded into memory can continue playing while card is swapped.

File Organization:

Using a computer, the intuitive automatic bank loading features make dragging and dropping your entire sample library a snap. No files need to be renamed. Just create folders and put up to 10 samples in each. If you want a folder to be associated with a particular colour of the Bank button, name the folder a colour name (such as "Blue - Loops").

Ships with a high-speed 16GB microSD card, loaded with hundreds of samples created for 4ms, from musicians such as Richard Devine, Wobbly, Moor Mother, Robert Aiki Aubrey Lowe, Joseph Pailo, Russell E.L. Butler, Hugo Paris & Marc Kate, Paul Barker, Baseck, Animal Collective, Cristian Vogel, Jay E, Marcus Fischer, Chris Carter, Daedelus, Nero Bellum, Anna Sitko, Thomas Fang, Bogdan Raczynski, and more (Sample List)

Intuitive bank/colour organization system; no need to rename your wav files
Record new samples directly to a bank with the Record Input jacks...
... or drag your folders of sound files onto the microSD card, and each folder will become a bank.
Folders starting with a colour name will be loaded into that colour bank
Example "Blue - Frooty Loops" will load into the Blue bank
Sub-folders are ignored, only folders in the root directory are scanned for wav files
Works best with UHS Speed Class 3 cards with |3| symbol printed on the card

Specs:

Electrical and Mechanical Specifications:
Module Size:
16 HP Eurorack format module
10-pin Eurorack power header
1.3" (33mm) maximum depth with power cable
Power consumption:
+12V: 135mA
-12V: 41mA
+5V rail: not used
Connect red stripe of power cable towards the bottom of the module, which is marked with a white stripe and the words -12V and POWER
Audio Inputs:
20Hz to 10kHz (+/-0.1dB); -6dB rolloff @ 20kHz
21V peak-to-peak maximum before clipping
Audio Outputs:
0Hz (DC) to 22kHz with maximum -1.8dB difference between file data and output
+10.5V to -10.5V maximum output
Trigger inputs:
Latency: 0.7us typical

Included with the Sampler:
16GB micro SD card (class 10)
SD adaptor
10-to-16 pin power cable
M3 Knurlie screws

Notes: A fresh twist on a simple 303-style acid synth, featuring a triangle/sawtooth/square wave VCO, multi-mode resonant filter, simple AD envelope and a VCA which can be overdriven. Excellent value.

Supplier's Notes:
ADDAC started this module with the idea of developing a complex drum source however, somewhere along the process, it was clear how much better it performed as a synth voice and this lucky accident was embraced.

It features a VCO with a [FREQUENCY] and [FINE TUNE] knob plus a dedicated CV Input and Attenuator knob (tunable over 4 octaves).

The VCO waveform output is achieved by selecting either a Triangle or Saw through a switch. the selected waveform can then be mixed/balanced against the square wave. The resulting mix is then sent to the Filter.

The Filter features a [CUTOFF] and [RESO] resonance knob plus a Cutoff CV Input and Attenuverter knob.

A 3 position switch is used to select the filter type: Highpass, Bandpass or Lowpass.

The resulting output is then sent to the VCA.

The VCA features an Input with [INPUT GAIN] knob which at maximum can amplify the incoming signal by a factor of 2.

This is a very important control, it accepts any signal Trigger, Gate or CV. Whatever input is plugged in the signal is then fed through an AD with a very short attack and controllable decay through the [VCA DECAY] knob plus the CV Input and Attenuverter knob. The resulting slewed signal is then used to control the VCA gain.

This signal is also sent to the CV OUTPUT as well as the LED monitor.

The Accent input adds to the Input signal creating a different amplitude output.


The CV OUTPUT is normalled to the Frequency and Cutoff inputs.

Tech Specs:
9HP
4cm deep
80mA +12V
80mA -12V

The [INPUT GAIN] knob

Usually Attack/Decay envelopes have a maximum voltage of +5v, no matter if the input gate is +5v or above the AD will clip at +5v. In this case, this clipping method was not used, and instead ADDAC allowed the incoming voltage to determine the maximum AD voltage, meaning that if a +5v gate is present then the AD maximum voltage will be +5v but if a gate of +10v is sent then the AD maximum voltage will be +10v.
This also means that with higher input voltages the decay, although falling at the same speed, will be longer than with lower voltages as it has a longer range to go back to 0v.

As previously mentioned, The [INPUT GAIN] knob can amplify the incoming input by a factor of 2, allowing to use a standard +5v gate or envelope and being able to make the resultant AD go up to +10v.

The AD signal is responsible for opening the VCA. Up to +5v the VCA will open to unity gain above this value the VCA will start to amplify and eventually saturate and distort. This saturation will add harmonics to the signal which will change its gentle timbrical nature to a more unique and peculiar timbre that will make the module shine in Acid contexts.

Adding high levels of Resonance or even filter self oscillation in combination with high VCA saturation will create even more harmonics that ADDAC highly encourage the user to explore.

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Inspired by the legendary Moog CP3 mixer, the 713 tweaks the old-school discrete circuits into three stereo inputs and one mono channel, summing to stereo with adjustable feedback and clipping to add character.

Supplier's Notes:
ADDAC713 is the stereo version of ADDAC System's 703 Discrete Mixer.

Inspired by Moog's CP3 mixer, this is a fully discrete analogue mixer and it's not, by any means, your standard breakfast mixer, although it can behave like one.

This is a wolf in sheep's clothing. Despite its harmless looks there's a dark snarly soul behind that panel that wants to take your sounds into a realm of gritty gnarly growls.

This new version was initially thought of as a percussion mixer, with mono inputs and panning, to allow placing percussive voices in the stereo field, while keeping channel 4 in mono for low end sources like a kick drum or Bass. In the development process ADDAC System slightly changed this initial idea, adding stereo inputs for the first 3 channels, but still kept the 4th channel in mono.

All four [GAIN] controls go to extreme levels, the first 3channels also feature [PAN] controls. Feedback is used to overdrive the whole mix. As the control is turned clockwise the sound will be clipped harder until it goes completely off, this happens as feedback is increased the audio bias reference also moves up, at extreme levels it offsets the whole signal upwards until it completely goes above the top rail clipping the whole signal hence the resulting gate effect.

The [MASTER OUTPUT] sets the overall output gain of the mixer, the two leds monitor the audio output signal. The Soft clipping switch engages an anti-click circuit which adds a low pass before the output, the switch allows 3 states: Soft low pass / Off / Hard low pass.

Features:

Three channels with stereo inputs, gain and pan knob
One channel with mono input and gainknob
Feedback/gate knob
Master output volume knob
Soft clipping switch
Two Led Monitors for Left and Right channels

Tech Specs:

8HP
4cm deep
80mA +12V
80mA -12V

Notes: This is a new revision of one of ADDAC's first modules, back from 2010.

Now more compact in 6hp and with an Offset CV input.

The incoming signal amplitude is controlled by a [GAIN] attenuverter circuit allowing to attenuate the signal as well as invert its phase.
A back jumper can set the maximum gain amount to either x1 (unity gain) or x10. DIY modifications can be made by changing its resistors.
After the Gain an offset can be added to the signal, displacing the signal up or down (-5V to +5V) this can be adjusted using the [OFFSET] knob and CV input

When using no input using the [OFFSET] knob and CV input will generate an output between -5V and +5V.

Tech Specs:

6HP
2.5 cm deep
40mA +12V
40mA -12V

Notes: Introducing a limited edition re-release of this iconic electronic instrument in a modular format.

This limited edition of 75 units is a tribute to the pioneering work of Dutch musician and instrument maker Michel Waiswisz (1949 - 2008), who first invented the Cracklebox with Geert Hamelberg in the late 1960s.

The Cracklebox was a small, handheld device designed as a way to explore new sonic territories. It was one of the first electronic musical instruments to use circuit bending techniques in the creation of electronic music. It allowed musicians to manipulate and control electronic circuits in real-time, creating a wide range of unique and experimental sounds. He used a circuit from a toy piano as the basis for the instrument, and then added a series of touch-sensitive pads that were connected to the circuit. When a player touched one of the pads, the circuit would be completed, producing a crackling sound.

The Cracklebox was probably the first commercially available portable self-powered alternative 'keyboard' analogue electronic instrument with inbuilt loudspeaker.

In the 1970s about 4000 Crackleboxes were built and sold by STEIM in Amsterdam.

Nowadays many people refer to the The Cracklebox as the archetype of 'glitch' or 'circuit bending'.

In the decades since its invention, the Cracklebox has continued to be an important and influential instrument in the world of electronic music. It is still in use today, and is considered a classic example of the potential of electronic music to create unique and innovative sounds.

This Eurorack recreation includes a 9v battery, swappable through the front panel, this allows to isolate the current flowing through the user's fingers from the Eurorack frame PSU, protecting the user from undesired electrical shocks. The internal speaker has been removed, a transformer has been used instead to isolate the output signal.

The output generated can be used as an audio, as a gate or a cv signal, when using it as a cv source, due to the specific qualities of the signal, users may want to send it through other modules as slews, sample and holds, quantizers to tame/control it's peculiar cv output.

Controls:

- The module features an on/off switch to turn off the 9v battery (remember to turn it off when you turn off your Eurorack system).
- A Power Starve knob, reduces the 9v voltage feeding the circuitry changing it's overall timbre/pitch
- An Output Gain knob to control the output volume.
- A Boost switch to add more presence to the signal.

Tech Specs:

12HP
5.5 cm deep
20mA +12V
20mA -12V
9v battery required

Notes: Six segment generator. Looping or one shot envelope generator. Chainable, so it can be expanded to link multiple units.

An exact hardware replica of the Mutable Instruments Stages.

Dimensions
14 HP
25 mm deep

Current Draw
80 mA +12V
20 mA -12V
0 mA 5V

Notes: Pan and cross fade up to three signals with AJH's versatile Triple Cross. Four different modes allow you to set up the three channels in numerous ways, for both audio and CV processing.

Supplier's Notes:
The Tone Science Triple Cross module is a design collaboration between electronic musician/composer Ian Boddy and AJH Synth.

It features three independant cross fader and panner channels, and it can be used with both audio and CV signals. Each of the channels can be configured in one of four different ways:

1) One In, One out Linear VCA

2) Two in, One out crossfader

3) One in, Two out panner,

4) Two in, Two out cross fader & reversing panner combined.

Audio rate modulation can also be used on the CV inputs to create Ring modulation and Cross modulation type sounds. Each channel has a dedicated Fade control, CV input, and CV Level attenuverter. These can be used together to bias incoming CV signals.

The L1 and L2 outputs from channels 1 and 2 are normalised to channel 3's inputs, which also have their own level controls to balance incoming signals. This allows very interesting, complex fading and panning between four different input sources, to either Mono or Stereo outputs..

The Triple Cross is very versatile, yet relatively simple to understand and use. However, as they say "knowledge is power", so do spend a little time reading about how to configure the channels in the four different modes, and how to combine all three channels together to create a super-powerful Four to Two to One cross fader.
Each of the three channels can be configured in four different ways, and all three can be used simultaneously. They do not all have to be in the same mode, so we could for example use channel 1 as a cross fader, channel 2 as a Panner for completely different signals, and channel 3 as a Linear VCA, again for different signals.

Specifications

Effective CV Range for CV-1, CV-2 and CV-3 is 0 to +5V with attenuverter fully clockwise or 0 to -5V with attenuverter fully anticlockwise.
Maximum permissible CV Range for CV-1, CV-2 and CV-3 is -12 to +12V
IN 1A to IN 3B Input levels -5V to +5V, levels up to +/-10V are possible however some clipping may occur.
Module Width: 14hp
Module Depth: 26mm (Including power lead)
Current Usage: 80mA Positive, 72mA Negative

Notes: The Tone Science Triple Cross module is a design collaboration between electronic musician/composer Ian Boddy and AJH Synth.

It features three independant cross fader and panner channels, and it can be used with both audio and CV signals. Each of the channels can be configured in one of four different ways:

1) One In, One out Linear VCA

2) Two in, One out crossfader

3) One in, Two out panner,

4) Two in, Two out cross fader & reversing panner combined.

Audio rate modulation can also be used on the CV inputs to create Ring modulation and Cross modulation type sounds. Each channel has a dedicated Fade control, CV input, and CV Level attenuverter. These can be used together to bias incoming CV signals.

The L1 and L2 outputs from channels 1 and 2 are normalised to channel 3's inputs, which also have their own level controls to balance incoming signals. This allows very interesting, complex fading and panning between four different input sources, to either Mono or Stereo outputs..

The Triple Cross is very versatile, yet relatively simple to understand and use. However, as they say "knowledge is power", so do spend a little time reading about how to configure the channels in the four different modes, and how to combine all three channels together to create a super-powerful Four to Two to One cross fader.
Each of the three channels can be configured in four different ways, and all three can be used simultaneously. They do not all have to be in the same mode, so we could for example use channel 1 as a cross fader, channel 2 as a Panner for completely different signals, and channel 3 as a Linear VCA, again for different signals.

Specifications

Effective CV Range for CV-1, CV-2 and CV-3 is 0 to +5V with attenuverter fully clockwise or 0 to -5V with attenuverter fully anticlockwise.
Maximum permissible CV Range for CV-1, CV-2 and CV-3 is -12 to +12V
IN 1A to IN 3B Input levels -5V to +5V, levels up to +/-10V are possible however some clipping may occur.
Module Width: 14hp
Module Depth: 26mm (Including power lead)
Current Usage: 80mA Positive, 72mA Negative

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

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

Dimensions:
2 HP
26 mm deep

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

Notes: The BXx2 is a dual channel preamp, EQ and mixer based on the classic Boss BX series mixers. With the inclusion of both input gain and level controls, each channel can be overdriven, producing the signature saturated and lively sound the BX mixers are known for. The EQ controls provide the channels with simple but great sounding high and low shelf EQs for emphasising and shaping sounds and an additional 'Aux' input allows another mixer or extra sound source to be chained in.

Input gain controls

Sets the input gain of the channel preamp. Higher settings will cause source to overdrive the channel.

Inputs

In 1 - Input to channel 1 of the mixer.

In 2 - Input to channel 2 of the mixer.

Aux - Auxillary mix input for chaining with another mixer or extra source.

Fixed gain (-6dB).

EQ High

Sets the gain of the fixed high shelf EQ. Boosts high frequencies when set above 12 o'clock and cuts when set below.

EQ Low

Sets the gain of the fixed low shelf EQ. Boosts low frequencies when set above 12 o'clock and cuts when set below.

Level

Sets the channel level in the mix. Use level controls to trim back volume when overdriving the preamp.

Output

Audio output producing the mix of the 3 inputs.

Technical specifications

Power: +12V 10mA / -12V 10mA
Size: 8HP
Depth: 32mm

The BXx2 was designed in collaboration with Feedback Modules and is based on their single channel 'PRE BX' module.

Notes: The 'Stereo Sum' is a unity gain summing mixer that features four stereo input pairs summed as pairs to two independent mix outs or all as a single combined mix. It is a useful utility for efficiently combining outputs of multiple stereo sources, such as the MEGA-TANG and Jumble Henge mixers or multiple MFX returns. The inputs accept stereo or mono signals (via normalisation) which can be audio or CV (module is DC coupled) and the top mixer's outputs are normalised to the bottom mixer section meaning if the upper output is left unpatched the two upper inputs will be added to the lower output.

Stereo input pairs

Stereo inputs. Can be used with audio or CV (inputs are DC coupled).

Left ins normalised to Right for mono signals.

Stereo mix output 1

Stereo mix output. Normalised to bottom mixer section if ouput is left unpatched.

Stereo input pairs

Stereo inputs. Can be used with audio or CV (inputs are DC coupled).
Left ins normalised to Right for mono signals.

Stereo mix output 2

Final stereo mix output.

Technical specifications

Power: +12V 8ma / -12V 8ma
Size: 4HP
Depth: 32mm

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Orobas is a dual tube amplifier that is composed of two identical units.

Each channel has two audio inputs with dedicated gain controls and one output volume control.
Thanks to clever routing, a wide variety of sounds can be created. The two channels can be connected in parallel or in series (Parallel / Series). In series connection, the output of channel 1 is still active, good for parallel signals (note: each channel output is phase-inverted in relation to the opposite input). This way, feedback can be generated by feeding back the signal from output 1 to e.g. a control voltage input.

The screen control voltage input determines the gain and the sound characteristics. Additionally, the input is normalized to INPUT 1 of the respective channel.

The Suppress control voltage input is normalized to the input signal if nothing is connected. The purpose of this input is to direct electrons reflected from the anode back to the anode. Turning the knob to the positive does not change as much, turning it to the negative slightly attenuates overtones. With a positive control voltage the change is minimal, but with a negative control voltage you can realize e.g. ducking effects and effectively switch off the tube. Audio Rate Modulation is also possible here and a bit milder than with the Screen CV, but still effective.

The evocation potentiometer controls the feedback of the second output into the first channel. The sonic performance is very much dependent on the Plate Bias switch. The Plate Bias switch effectively controls the headroom. This allows you to use the tubes in three different settings, from fuzz sound to full distortion.

*This version is equipped with other tubes than in version 1.

Tube length: 55mm

Depth: 45mm

Notes: ST Amp is a 1U stereo amplifier designed to boost your external signals into modular levels. The module is designed under the Intellijel 1U format and uses the same pinout, making it fully compatible with the Intelljel case's rear connectors.

Features

Stereo amplifier and signal booster.
Three selectable gain modes: x1, x5 and x10
Level meter LEDs
Fully compatible with Intellijel's 7U and Palette cases.
1U Intellijel format.

Specs

Current needs: +12V: 30mA, -12V: 30mA
Width: 10 HP
Depth: 37mm (including power connector)
Aluminium, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona

Notes: STMix is a four-channel stereo mixer in 28hp and 1U format. It can work independently or as an expansion of Befaco's Hexmix module via the six-pin connector located in the back. The module is designed under the Intellijel 1U format.

Features

Four channels stereo inputs with volume control.
AC Coupled inputs to improve audio performance.
Output clipping LED indicators.
Connector at the back to interface with the Hexmix module.
1U Intellijel format

Specs:

Current needs: +12V: 30mA, -12V: 30mA
Width: 28 HP
Depth: 20mm (including power connector)
Aluminium, heat-treated front panel
Designed, kits prepared and completed modules assembled in Barcelona

Notes: Befaco's unique GameBoy-based effects module allows you to change effects by swapping cartridges, all with CV control over key parameters. Effects include Skuara's harsh fuzz, Instruo's micro phaser and much more.

Supplier's Notes:
A crazy idea with the support of a bunch of crazy people.

A Multi FX module based on game carts!

FxBoy is a multi-FX module designed in collaboration with several talented manufacturers.

This is an effect unit with CV control over the parameters and Dry/wet control, with a Built-in CV controllable four bands EQ.

Each effect is physically hosted in a hot-swappable game cart and designed by a different manufacturer: Touell Skouarn with Skuara a harsh fuzz with overdrive, Instruo with micro Phaser, a two-flavoured Phaser, Feedback modules with a vintage Flanger, XOR with FX-Girl, a digital double effect module: Delay + Granularizer, Making sound machines with an analogue Wave folder, Tesseract with a bit crusher and Befaco Trash distortion!

What have these crazy people put in their cartridges?

Trash

Trash is a harmonic distortion that combines both clipping and folding flavours. Modes A and B will select between aggressive and more aggressive flavours!

Flanger

Analogue Wavefolder

Eskuara

AVMA
AVMA by Tesseract Modular is a bipolar VCA with one switchable wavefolder stage followed by an analogue frequency reducer. The VCA gain is x2, it can be used with i5V oscillator signals at the CV input for ring modulation effect.
Micro Phaser

Three cascaded all-pass filters, a built-in LFO and a saturator in the feedback path.

The purpose for this cartridge is to completely f&%k your phase up!

Instruo - We make sounds with the things that we make to make sounds with.

Technical Specifications

CV control over all parameters and Dry/wet
CV controllable four-band EQ, routable post or pre-effect.
Hot swap for all carts.
Selector for two different flavours of each cart.
Open specifications to design your own carts

Specs

Current needs: +12V: 125mA, -12V: 100mA, 5v: 0mA
Width: 12 HP
Depth: 35 mm (including power connector)
Aluminium, heat-treated front panel.
Designed and assembled in Barcelona.

Notes: Esquivel is Bocuma's homage to space-age pop. This is a voltage controlled filter in a 14HP Eurorack, around a diode ladder topology. It is capable of switching between the 3 classic states: low-pass (LPF), high-pass (HPF) and band-pass (Band Pass).

Control cut-off, resonance and two inputs for CV. Likewise, a mixer for 3 signals was added at the input, giving it the possibility of mixing 3 different waveforms to obtain more harmonic-enriched signals and to maximize the sonic possibilities of its resonance.

Specs:

14HP
+12V > 12mA -12V > 12mA

Notes: Introducing SUM0, a voltage-controlled oscillator with expanded harmonic possibilities, in a Eurorack format.

The 4 classic waveforms are generated by a meticulously designed oscillation engine.

You can modulate its frequency and its pulse width thanks to its integrated LFO, capable of reaching audible frequencies to achieve expressive modulations with the simple touch of a switch.

Expand the voice of your system by creating complex waveforms and high harmonic content thanks to its output mixer. This mixer also has an input to integrate an external signal to the mix output.

Of course, all its parameters (FM, PWM, SYNC, V/OCT) are at your fingertips through its patch points on the front panel.

And of course, assembled with a load of passion in Bocuma's studio-workshop in Guadalajara.

Nerdy-specs:

22HP
+12V > 12mA -12V > 12mA

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Introducing SUM0, a voltage-controlled oscillator with expanded harmonic possibilities, in a Eurorack format.

The 4 classic waveforms are generated by a meticulously designed oscillation engine.

You can modulate its frequency and its pulse width thanks to its integrated LFO, capable of reaching audible frequencies to achieve expressive modulations with the simple touch of a switch.

Expand the voice of your system by creating complex waveforms and high harmonic content thanks to its output mixer. This mixer also has an input to integrate an external signal to the mix output.

Of course, all its parameters (FM, PWM, SYNC, V/OCT) are at your fingertips through its patch points on the front panel.

And of course, assembled with a load of passion in Bocuma's studio-workshop in Guadalajara.

Nerdy-specs:

22HP
+12V > 12mA -12V > 12mA

Notes: A characteristically unique take on mixing from Buchla, with six mono inputs and a built-in mic/guitar pre-amp. Each channel can be cued to a monitor mix, while the first and last channels also include voltage-controlled panning.

Supplier's Notes:
The Tiptop 207t is a modern reimagining of the classic Don Buchla 207 Mixer/Preamplifier from the 1970s 200 Series. This stereo mixer comes with a built-in preamp that allows you to boost external instruments and microphones, making it a versatile tool for any modular setup. The 207t also features a six-channel mixer with a variety of signal routing options, including the ability to route channels to the monitor and L&R signal outputs, with per-channel control over loudness and panning.

Each channel has a Mon switch that sends the channel's signal to the monitor outputs, which are always full-volume and summed to mono, making it useful for basic monitoring applications or rudimentary mixing. The Prog switch sends the signal to the L&R signal outputs, with loudness controlled by the Level Adjustment slider and panning determined by the Channel Assignment knobs. The first and sixth channels offer voltage control of panning; these channels are hard-panned when no CV is applied.

The preamp section features a 1/4" input and multiple gain settings, making it suitable for use with external line level instruments, electric guitars, or dynamic microphones. The continuous amplification control provides added flexibility for your audio needs. Finally, the Expansion In is a stereo input that sums to the left and right main outputs, which is great for chaining multiple 207t modules or adding another stereo source at the final output.

While the 207t's functionality may be simple, it is an essential part of any 200t system, serving as the glue that holds everything together. The Tiptop 207t is a fantastic mixer/preamp option that delivers quality sound and reliable performance.

Buchla 207t Features

Mixer/preamp module based on Don Buchla's original 207 design
Six-channel mixer with per-channel level control and panning
Voltage-controllable panning on channels 1 and 6
Manual panning on channels 2-4
Program switches can act as channel mutes for main outputs
Mon switches route signal (in mono) to Monitor output
Expansion input useful for stereo chaining and more
Re-designed preamp for high audio fidelity
Preamp suitable for use with external instruments, electric guitars, dynamic microphones, and more

Eurorack module
28hp wide

Notes: Module A-101-8 is a 8-stage phase shifter which uses light-sensitive resistors (LDR) and is a replica of the Compact Phasing A manufactured by the company Schulte in the seventies. The actual phasing circuit is identical to the historic model. Only the illumination control of the LDRs is different: the A-101-8 uses LEDs to illuminate the LDRs, the historic model used incandescent miniature lamps. And the A-101-8 has no built-in LFO but can be controlled by any external control voltage source (e.g. LFO, ADSR, random, Theremin, ribbon controller, sequencer, midi). The phasing offset (i.e. the base value for the phase shifting) and the modulation depth of the external control signal can be adjusted separately. The Compact Phasing A had no offset control but only a depth control for the built-in LFO. Feedback and mixing ratio of the output signal are set by two controls. The audio input is equipped with an attenuator. The module has two audio outputs available (same as the historic model) and a visual display of the phase shifting.

The module has these controls and in/outputs available:

Control Man. : manual control of the phase shift offset (base value)

Control CV: attenuator for the signal applied to the CV socket

Control Feedb.: Feedback or Resonance (similar function as filter resonance/feedback/emphasis)

Control Mix: sets the mixing ratio between original and phase shift signal appearing at output 1

fully CCW: only the modified input signal appears at output 1 (see note below *)

center: a mixture between the modified input signal and the phase shift signal appears at output 1, that's the standard position for the classical phasing effect

fully CW: the pure phase shifted signal appears at output 1 (e.g. for vibrato effects)

Control Input Level: attenuator for signal applied to the In socket

Socket In: audio input

Socket CV: control voltage input

Socket Out 1: audio output 1 (mix signal)

Socket Out 2: audio output 2 (modified input signal)

LED: visual control of the phase shift

The module has some peculiarities (same as the historic model):

The input signal is processed at first by a pre-stage which outputs a "modified" input signal (*). This signal is not processed by the phase shift stages but is affected by the feedback setting. Only when feedback is set to zero this signal is identical to the input signal. Otherwise it contains feedback components.

This signal is output on socket Out 2.

When both output sockets Out 1 and Out 2 are used as stereo channels one obtains a spatial stereo sound effect.

The same signals is also used for the CCW position of the mix control. With mix control fully CCW the unmodified signal appears only if the feedback control is set to zero. Otherwise it contains feedback components.

The historic model had two audio inputs: one 5-pin DIN socket and a 1/4" jack socket. The DIN socket was intended for high-level line signals. When the 1/4" jack socket was used the amplification of the pre-stage increased by about 100. The 1/4" jack socket was intended for low level signals (e.g. electric guitars or microphones). For this feature the A-101-8 has an internal jumper that can be used to increase the amplification. As long as the module is used within the A-100 system usually the lower amplification is used to avoid distortion.

The 8 photo resistors and LEDs are assembled within an small lighproof box. In addition the pc boards are made of lighproof black material to avoid interfering light from other modules or the bus board.

Dimensions
4 HP
45 mm deep

Current Draw
30 mA +12V
30 mA -12V

Notes: Module A-147-4 is a dual voltage controlled LFO (Low Frequency Oscillator). Each LFO has the five waveforms triangle, sine, rising and falling sawtooth, as well as rectangle available. The rectangle output features manually adjustable pulsewidth and pulsewidth modulation by means of an external control voltage. The core waveform is triangle. The other waveforms are derived from triangle by means of waveform converters. The frequency of each LFO can be adjusted manually and modulated by means of an external control voltage with associated attenuator and polarity switch. By means of a jumper the basic frequency range of each LFO can selected: about 0.02 Hz (~ 50 seconds) ... 2.5kHz or about 0.0017 Hz(~ 600 seconds) ... 220Hz. That way each LFO can be used also as a VCO with a max. frequency of about 2.5kHz. Each LFO features a reset input which can be used to reset the triangle signal.

The module has these controls and in/outputs available:

Control F : manual control of the frequency, for each LFO the frequency range can be selected by means of a jumper from two values (see technical notes)

frequency coverage of control F in the high frequency range: about 0.075 Hz (~ 13 seconds) ... 1,4kHz

frequency coverage of control F in the low frequency range: about 0.007 Hz (~ 140 seconds) ... 125Hz

Control CV: attenuator for the signal applied to the CV socket, by means of a jumper a small positive voltage can be applied to the switching contact of the /CV/ socket, as long as no patch cable is connected to /CV/ socket the CV control then works as fine control for the frequency

Switch CV Pol.: polarity switch for the signal applied to the socket /CV/

Control PW/PM: combined control for manual and CV control of the rectangle pulsewidth:

when no patch cable is connected to socket /P/ the control is used to adjust the pulsewidth (PW) manually

when a patch cable is connected to socket /P/ the control works as attenuator for the external CV signal with a basic pulsewidth of 50:50.

Socket /CV/: frequency control voltage input, in the factory the module is adjusted so that the sensitivity of this input is exactly 1V/octave when the CV control is fully CW.

Socket /R/: reset input, according to the associated jumper the reset input is edge triggered or level controlled (see technical notes for details)

Socket /P/: pulsewidth control voltage input

Sockets with waveform symbol: output of the waveform in question (triangle, sine, rising and falling sawtooth, rectangle)

The output voltage ranges are about -5V ... +5V (10Vpp), except the rectangle output

For the rectangle output one can choose by means of a jumper if the range is about -5V ... +5V or 0...+10V.

LED: visual control of the LFO (triangle)

The inputs of the module are labelled with white characters on black background (in the text included into two slashes). The outputs are labelled with black characters.
Technical notes and special features:

The basic frequency range of each LFO can be selected by means of a jumper. The settings correspond to two different capacitor values for the VCO circuit. The relation between the two ranges is about 1:11. When the upper range is selected frequencies from about 0.02 Hz up to 2.5kHz can be generated. For the lower range the values are about 0.0017 Hz ... 220Hz. To obtain these full frequency ranges external control voltages are required. With the frequency control F only the frequencies mentioned above are possible.

Apart from that the range for the manual control F can be reduced to obtain a finer resolutuion. For this a jumper has to be removed. The range of control F is then reduced to about 1:4.5 only.

In the factory the starting voltage of the triangle output after a reset is adjusted to 0V, i.e. the triangle starts from 0V with the rising slope after a reset. By means of a trimming potentiometer the starting voltage can be adjusted to another value (e.g. to -5V).

Another jumper is used to set the reset behaviour to edge triggered or level controlled. When set to edge triggered the rising edge of reset signal is used for the reset (independent of the duration of the "high" state of the reset signal). When set to level controlled the triangle output remains at the starting voltage as long as the reset signal is "high". Only when the reset signal turns "low" the triangle starts.

Dimensions
8 HP
45 mm deep

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

Notes: Module A-147-4V is a dual voltage controlled LFO (Low Frequency Oscillator). Each LFO has the five waveforms triangle, sine, rising and falling sawtooth, as well as rectangle available. The rectangle output features manually adjustable pulsewidth and pulsewidth modulation by means of an external control voltage. The core waveform is triangle. The other waveforms are derived from triangle by means of waveform converters. The frequency of each LFO can be adjusted manually and modulated by means of an external control voltage with associated attenuator and polarity switch. By means of a jumper the basic frequency range of each LFO can selected: about 0.02 Hz (~ 50 seconds) ... 2.5kHz or about 0.0017 Hz(~ 600 seconds) ... 220Hz. That way each LFO can be used also as a VCO with a max. frequency of about 2.5kHz. Each LFO features a reset input which can be used to reset the triangle signal.

The module has these controls and in/outputs available:

Control F : manual control of the frequency, for each LFO the frequency range can be selected by means of a jumper from two values (see technical notes)
frequency coverage of control F in the high frequency range: about 0.075 Hz (~ 13 seconds) ... 1,4kHz
frequency coverage of control F in the low frequency range: about 0.007 Hz (~ 140 seconds) ... 125Hz
Control CV: attenuator for the signal applied to the CV socket, by means of a jumper a small positive voltage can be applied to the switching contact of the /CV/ socket, as long as no patch cable is connected to /CV/ socket the CV control then works as fine control for the frequency
Switch CV Pol.: polarity switch for the signal applied to the socket /CV/
Control PW/PM: combined control for manual and CV control of the rectangle pulsewidth:
when no patch cable is connected to socket /P/ the control is used to adjust the pulsewidth (PW) manually
when a patch cable is connected to socket /P/ the control works as attenuator for the external CV signal with a basic pulsewidth of 50:50.
Socket /CV/: frequency control voltage input, in the factory the module is adjusted so that the sensitivity of this input is exactly 1V/octave when the CV control is fully CW.
Socket /R/: reset input, according to the associated jumper the reset input is edge triggered or level controlled (see technical notes for details)
Socket /P/: pulsewidth control voltage input
Sockets with waveform symbol: output of the waveform in question (triangle, sine, rising and falling sawtooth, rectangle)
The output voltage ranges are about -5V ... +5V (10Vpp), except the rectangle output
For the rectangle output one can choose by means of a jumper if the range is about -5V ... +5V or 0...+10V.
LED: visual control of the LFO (triangle)
The inputs of the module are labelled with white characters on black background (in the text included into two slashes). The outputs are labelled with black characters.

Technical notes and special features:

The basic frequency range of each LFO can be selected by means of a jumper. The settings correspond to two different capacitor values for the VCO circuit. The relation between the two ranges is about 1:11. When the upper range is selected frequencies from about 0.02 Hz up to 2.5kHz can be generated. For the lower range the values are about 0.0017 Hz ... 220Hz. To obtain these full frequency ranges external control voltages are required. With the frequency control F only the frequencies mentioned above are possible.

Apart from that the range for the manual control F can be reduced to obtain a finer resolution. For this a jumper has to be removed. The range of control F is then reduced to about 1:4.5 only.

In the factory the starting voltage of the triangle output after a reset is adjusted to 0V, i.e. the triangle starts from 0V with the rising slope after a reset. By means of a trimming potentiometer the starting voltage can be adjusted to another value (e.g. to -5V).

Another jumper is used to set the reset behaviour to edge triggered or level controlled. When set to edge triggered the rising edge of reset signal is used for the reset (independent of the duration of the "high" state of the reset signal). When set to level controlled the triangle output remains at the starting voltage as long as the reset signal is "high". Only when the reset signal turns "low" the triangle starts.

Power consumption: 80mA at +12 V and 70mA at -12 V
Depth: 45mm
HP : 8

Notes: Simple to look at but deceptively powerful, Dreadbox's Telepathy is a full analogue synth in a small module, featuring VCO, low-pass and high-pass filters, LFO, envelopes and VCA.

Supplier's Notes:
Telepathy is a full voice analogue synthesizer module with deep modulation options due to its multi-destination LFO and Envelope. From Bass to Lead sounds, to drums and drones, Telepathy has broad and versatile sound design capabilities. It has a Full Analogue path (Typhon VCO, 4-pole low pass / 2-pole high pass filters, analogue VCA) that is digitally controlled for more precision over its parameters, resulting in a warm, present and distinct Dreadbox sound.

With lots of useful and musical features integrated into a compact size (10hp), and its skiff friendly design, Telepathy is a great addition to small or large Eurorack systems.

Features:

1x Analogue Oscillator with saw, square, -1 oct square sub and noise, plus PW control for square, level for noise and waveshape
Automatic tuning for the oscillator and fine tune
Analogue 24db Resonant Low pass filter with Oscillator FM and Noise FM and 6db High pass filter
Analogue VCA
1x LFO with Free/Key/Track/BPM/BPM Key modes, Fade in, Triangle/Saw/Ramp/Square/Random waveforms, that is mapped to various parameters
2x Envelopes, one dedicated to the VCA with Velocity control and one loopable for Low pass Filter, Pitch and PW
CV in patch that can be mapped to all the basic parameters in parallel with dedicated amount for each parameter
MIDI in/out+through
CC in/out, Program Change in/out
Multitimbral Chaining functionality via MIDI up to 8 modules 16 presets
10HP

Notes: Psychosis is a high quality true stereo - 6 channel mixer eurorack module, that has the unique ability to pan an input signal, from left to right with a single control.

It is equipped with a set of 4 stereo effects - reverb, delay, chorus and flanger, all trimmed for the modular levels.

This module is an easy gateway into mixing multiple signals as the last part in your signal chain.

10HP.

Notes: dsp.cpoffee's custom everything-including-kitchen-sink dsp development platform.

At the core of this is an Electrosmith Daisy Patch Submodule, combined with a 12-bit 4 channel SPI DAC [DAC7554], and supporting hardware for more IO

Features
- 8x pots normalled to +5V
- 8x CV in breaks normalled connection and pot acts as an attenuator
- 2x gate in
- 2x gate out
- High-fidelity stereo in/out (Daisy Patch Submodule, using an WM8731 codec)
- 2x 12-bit CV out from Daisy Patch Submodule, scaled to -5v to 10v
- 4x 12-bit CV (or lofi audio w/ some hacking) from external DAC7554, scaled to -7v to 7v
- TRS MIDI in/out (in is auto-sensing for type a/b)
- SD card slot
- Expansion header for +5v, +3v3, SPI, UART, I2C, and USB connections

Notes: YYS is a super useful spin on the 4x2 matrix mixer. Instead of comparatively boring unipolar attenuators to send to the destination channels, attenuverters were used. This allows combinations of DC signals that can cancel each other out to make interesting new waveforms, and with audio signals can cause strange stereo cancellations. dsp.coffee also included inverted outputs and bipolar LEDs as a bonus.

Features:
- 4 inputs with 2 attenuverters to send to output A or B
- Inverted outputs that follow A / B
- Bipolar LEDs for monitoring

Notes: The successor to Eowave's Fluctuations Magnetiques module is an even more advanced quad analogue filter, designed for cross modulation, complex routing and self-oscillating fun.

Supplier's Notes:
The Tempete Magnetique is a fully analogue complex filter/synthesizer module.

It was that was created as an evolution of the "Fluctuations magnetiques".

More than a mk2, Eowave designed it to push you to play with one of the most interesting things in modular synthesis: to divert the primary usage of a module to create unexpected and new sounds (aka this is not only 4 filters)

Tempete Magnetique is deeply inspired by the classical filters design as well as West Coast synthesis complex oscillators.

At it's core, has 4 multi-mode 12db filters that can be chosen to be routed in series or parallel, which can be used independently or combined and even cross-modulated, controlled by CV or with an integrated envelope follower (which can be used as a dynamic responsive envelope) and even pinged.

The Tempete Magnetique was designed to have several levels of use. The individual level with the use of separate filters, perfect for quadraphonic processing of different sources (A B C D).

The pair sections which allows for more complex stereo effects or to generate synthesis voices (X, Y) and finally, the global level with a cross-modulation of filters.

The independent outputs have been designed to be fed back into their input, turning them into oscillators (not really precise one, but you can make synth voice kind of V/Oct tuned with their very own sound, due to the fully analogical design, these oscillators may have strange behaviours sometimes, but this instability will bring you the warmth of analogue gears).

The pairs sections, of course, can filter an incoming signal, but can be transformed to full synthesis voice, percussion engine (exited by the ping input and modulated with the envelope follower) and way more.

This filter allows for anything from gentle, subtle filtering to a storm where the undulations of your sound and their intensity create new types of textures.

Main features:

Four independents or linkable multi-modes 12 db filter
Envelope follower who can act as end decay envelope sensible to the velocity
Cross modulation engine who modulate both pair of filters
Ping input
Outputs with phase correction to be fed to inputs

Some applications:

Filtering (obviously), can be used for quadraphonic or stereo filtering
Weird synth voice
Waveshaper
LFOs/oscillators generator
Crossover
External rhythm following - auto filtering
Drum generator

Technical details

22hp
Skiff friendly
Reverse power protection

Notes: Great value from this versatile percussion module, built around a noise generator and four linked envelope generators, each with its own VCA. Generate hi-hats, envelopes, shape drums or create modulation sequences.

Supplier's Notes:
Ricochet is a compact, fully analogue module featuring four interconnected decay envelopes, each with its own VCA and an integrated noise generator.

The module's design is inspired by the way skipping stones bounce on the water, creating a versatile tool for crafting percussive sounds.

The exponential envelopes are specifically designed to generate dynamic percussive tones. The unique linking function connects the end of one envelope's decay to the trigger of the next, enabling the subsequent envelope to activate once the previous one ends. This innovative feature allows you to create ratcheted envelope.

A front-panel trimmer lets you adjust the threshold for triggering subsequent envelopes, while a rear header enables connecting two Ricochet modules together, or linking the last envelope to the first. This feature transform the Ricochet to a weird sequencer where the steps length depend of the decay times.

Since Ricochet is fully analogic, trig inputs are velocity-sensitive, responding to a standard gates but also allowing attenuation to modify the envelope's velocity (you can play with the dynamic of your sound by attenuating the trigg input. Ricochet is also perfect to play with drum pads).

Each VCA features a gain control that can be pushed to achieve subtle saturation.

All envelopes and VCAs have separate outputs, but there are also mixed audio and envelope outputs. When an individual output is connected, it is removed from the mix. The decay modulation inputs are normalized between each other.

Last but not least, an analogue noise generator is normalised to the first input, so you can use ricochet on it's own to create hi hat kind of sounds

Main features:

- Fully analogue design so everything is responsive to the amplitude
- Unique linked envelopes feature
- Compact 4 envelopes 4 VCAs module
- Linkable to a second ricochet or looping back the last envelope to the first one

Some applications:

- Envelope generator
- Drum shaper
- Hi-hat
- Clap envelope shaper( with short ratcheted envelopes)
- Envelope sequencer
- Trigg delay
- Burst generator

Technical details:

- Fully Analogue design
- 14hp
- Skiff friendly
- Reverse power protection

Notes: The Erica Synths Envelope Generator 2 is a re-triggerable, looping envelope generator with some unconventional features that are very useful for experimental setups. What sets the Black EG2 apart from other envelope generators is its optional GATE LENGTH setting, which allows for generating full ADSR envelopes even if a short trigger is used at the input. Likewise, in LOOP mode, the module outputs a full ADSR envelope instead of a classical AD envelope. The gate length is both manual and CV controlled, which allows for using this envelope generator in compact modular setups controlled by trigger sequencers only.

SPECS:

Gate input level 3...10V
Envelope amplitude 0...10V
Attack time 0...7,4"
Decay time 0...19"
Sustain level 0...10V
Release time 0...17"
Gate length 0...3,7"
Panel width 8HP
Module depth 25mm
Power consumption 29mA@+12V, 33mA@-12V

LOOP/SINGLE

Select between SINGLE SHOT or LOOP modes. When the internal gate is o , the rise and fall times are set via the A and R knobs. When the internal gate is on, all knobs have an e ect on the envelope shape.

The LED gives visual feedback on the envelope state.
GATE ON
Engage the internal gate and you have a full ADSR envelope in loop mode and with a trigger applied to the trigger input in single mode.

G. LENGTH

Set the internal gate length manually

LENGTH CV

This is the internal gate length CV input.

The CV is added to the gate length potentiometer setting

GATE

This is the GATE input

A / D / S / R

These knobs adjust envelope stage times and sustain level

TRIGGER

This is the TRIGGER input. You can retrigger the envelope and start the attack stage again, even if the gate is still high (see Figure 1).

If you wish to use the envelope generator with an internal gate, patch the incoming trigger signal here. The internal gate is linked to the trigger input, not the gate input.

EG OUT

This is the envelope generator output.

Notes: Take a DJ-mixer-style combined high-pass and low-pass filter, cram it into Eurorack and you have the DJ VCF. A simple formula, but one perfected by Erica's attention to detail, with CV control and adjustable resonance.

Supplier's Notes:
As its name suggests, the Erica Synths Black DJ VCF provides sound treatment functionality typically found on DJ decks - it is fully open when the cutoff knob is set to 12:00. When turned counter-clockwise, lowpass filtering is applied and when turned clockwise, highpass filtering is applied. The filter also has a nice-sounding resonance parameter. This module provides hands-on control over the sound during the performance, as well as unconventional timbre modulations that are hard to achieve with conventional state variable filters. The Black DJ VCF is a fully analogue design and consists of two VCFs - highpass and lowpass in series and the filter management is done by complex CV routing.

CUTOFF
This is the main control of the module - manual cutoff frequency adjustment with a twist - it's fully open when the cutoff knob is set to 12:00. When turned counter-clockwise, lowpass filtering is applied and when turned clockwise, highpass filtering is initiated

AUDIO LVL
Adjust the audio signal level

RESONANCE
Adjust the resonance level manually. On settings over 1PM, the filter will start to self-oscillate. The resonance is incoming audio signal-sensitive - a signal of greater amplitude may reduce the impact of resonance on the resulting sound

CV1 LVL
This is the cuto CV attenuverter. Adjust the CV level to your taste! Notice that the cutoff CV works differently compared to conventional state variable filters - it sweeps the filter from closed lowpass through fully open to closed highpass

CV2 LVL
This is another cuto CV attenuator

CV2 IN
This is the cuto CV2 input, which is controlled by the attenuator knob

AUDIO IN
Patch your audio signal here.

OUTPUT
This is the audio output of the module.

CV1 IN
This is the cutoff CV1 input. The CV1 level is adjustable by the CV1 LEVEL attenuverter knob.

Features
Fully analogue DJ-style VCF
Manual resonance control
Cuto ff CV attenuverter and attenuator
Input and output
Protection against undesired overvoltage

Technical specifications:

Audio level: 10Vptp
CV level : -10V - +10V
Filter slope: 24dB/oct
Power consumption: +55mA, -58mA
Module width: 10HP
Module depth: 35mm

Notes: Up to eight voices of digitally synthesised drums, percussion and synth sounds from this versatile module, featuring virtual analogue models as well as FM and wavetable options.

Supplier's Notes:
Flame "Fire" percussion synth module

The module is a full 8-way polyphonic drum and percussion synthesizer. It offers different digital synthesis algorithms, which can be distributed over 8 channels. The sound engine delivers virtual analog sounds as well as different digital percussion sounds, which are generated with FM, wavetable or virtual analog synthesis. It is also possible to create sim- ple monophonic bass or synthesizer voices.

During development, particular attention was paid to direct and simple usability with regard to live operation. The hardware essentially consists of two parts (which are deli- vered together). On the one hand there is the basic module with all controls, the display, connections for MIDI, 2x CV inputs and 5 audio outputs.

There is also a separate XFIRE I/O extension with sockets for the 16 analog trigger/gate/CV inputs and 3 additional audio outputs. Both modules are connected via a 60cm long ribbon cable. In this way, the XFIRE module can be installed anywhere else in the rack. The base module is therefore only 22TE wide and can also work alone without the extension as a MIDI expander.

A maximum of 8 audio outputs are available. A stereo pair (outputs 7+8), plus 6 additio- nal individual direct outputs. All outputs are freely configurable. Two pages with settings for panorama and volume are available for the stereo main out.

There is a gate/trigger input and a configurable CV input for each channel. Two additio- nal programmable CV inputs can be used for further controls. Regardless of the analog connection, the module offers full MIDI functionality. Two MIDI inputs and a MIDI output/softthru allow integration into an external MIDI setup. The firmware can be upda- ted via MIDI Sysex. The created KIT data can also be saved or exchanged.

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

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

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

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

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

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

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

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

Four Analogue Resonant Multimode Filters

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

Unique 'Character' Circuit for Feedback and Distortion

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

V/oct Tracking and Quadruple Oscillator

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

Ping and Ring

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

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

Linked or Individual Filtering

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

Filter and Combo Behaviour

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

Four Seminormalizations for Group Use

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

Analog Mixing Stage and Group Outputs

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

CV Inputs with Attenuators

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

Notes: LED Meter is a handy utility module designed to show audio levels. Three color versions are available:

- green colour with yellow-red peak segments.
- all blue colour
- all yellow colour

There are total 30 led segments, each one roughly corresponds to 1 dB of level, so it is 30 dB of measurement level available with this module.
The module has an input for the signal to be displayed, and its buffered copy is sent to the output for further processing, so no external splitter is needed.
Two trimmers are accessible via holes on the front panel: left trimmer adjusts brightness and right trimmer is used for the level adjustment. So the module can represent full scale signals ranging from 1 V to 12 V.
There is operation mode jumper on the back side. When the jumper is installed - bipolar operation is active, and when the jumper is removed - ordinary audio meter is active.

Dimensions
4 HP
40 mm deep

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

Notes: The Man-Machine Interface, or MMI, is a passive touch and pressure sensitive controller which allows the user to direct CV and audio signals at will. The MMI consists of three input/output jacks, and five body contact surfaces in glorious gold.

The zig-zag body contacts correspond to the input/output jacks, with the top zig-zag connecting to the top jack, the middle zig-zag connecting to the middle jack, and the lower zig-zag connecting to the lower jack. The spiral patterns in between the zig-zags are comprised of the two adjacent jacks, so the upper spiral is comprised of the upper and middle jack, while the lower spiral is comprised of the middle and lower jack.

In order to operate the MMI, the user can touch any two points with their fingers, patch cables, a piece of fruit or vegetable, or any other conductive substance or object, in order to complete the connection. The degree of contact made with the MMI, and the resistance of the object completing the circuit, will determine the output that is sent along the circuit. For instance, if a user were to patch a VCO into the top jack, and patch the MMI into a filter in the middle jack, the VCO will be sent to the filter when the topmost zig-zag and lower zig-zag are connected by two fingers, for instance.

But how about the spirals? The spirals offer a way to make a connection with one finger. Using the example from before, the connection will instantly complete when the user touches the upper spiral pattern. Using this principle, it becomes possible to use the MMI in unusual and interesting ways, such as a rudimentary keyboard, a drum controller, a switch and any other number of weird and exciting purposes.

It is also possible to combine several MMI - using two different MMI, it is possible to reach across one zig-zag to another zig-zag, in order to make a different connection, or to place a particularly long vegetable across all the contacts just to see what will happen. The MMI is an unusual patching system for the experimental musician, and lends itself well to all manner of experimentation and weird instruments.

The MMI can bleed a tiny bit of signal when using sharp VCO waves like square waves, while other sounds like sine waves will have softer responses. This can easily be corrected with amplification or attenuation as needed.

The MMI takes up 4HP and is skiff friendly, and is also suitable for installing in external boxes as a passive control unit. You can combine any number of MMI to create increasingly complex keyboard-like arrangements, drum pad matrixes or advanced switch systems.

Dimensions
4 HP
14 mm deep

Notes: Drawing inspiration from the MMI Maxima, the MMI Helios is intended as a middle ground between the gestural control surface of the Maxima and the fingertip control of the smaller MMI.

Less density, but a much higher degree of patch control is the key point of the Helios, which complements other MMI devices very well, and can be joined with other Helios (Helii?) to form larger and creative control surfaces.

The design is greatly simplified compared to the original MMI, with only two I/O jacks - either can function as input and output, and their interaction with each other is determined by touching both plates simultaneously to form a connection, or in cooperation with other MMI devices.

Available in a "right" and "left" version - one is an exact mirror image of the other, which makes it suitable for having two units adjacent to one another.

Dimensions
8 HP

Notes: The Herzlich Man Machine Interface - a beloved instrument, but what if there was even more of it? An MMI with more than one dimension? An MMI arranged in a manner of... matrix?

With operation identical to it's little brother, the MMI Matrix allows the user to patch inputs to outputs by connecting zig-zagged patterns together with fingers, fruits, cables, pizza slices or any other conductive source. The labyrinth patterns will immediately connect the zig-zags immediately adjacent, whether above and below, or on each side. Furthermore, the two labyrinths within labyrinths will connect ALL adjacent inputs and outputs, which may lead to beautiful disasters or otherworldly insights.

As with its predecessor, the MMI Matrix is fully touch and pressure sensitive, reacting to the amount of pressure exerted, the amount of skin connecting, and the resistive quality of your body. Incredibly easy to perform with, the MMI Matrix offers new and far more advanced ways to patch your performances, whether CV, triggers or audio signals. Create reverb swells that vary between different types of reverb, use multiple fingers and labyrinth patterns to mix trigger signals into complex polyrhythms or create beautiful chords by combining various pitch inputs with a chord oscillator. The MMI Matrix also integrates very well with it's little brother, so there is absolutely no need to hold back!

Oh, and as always, it uses NO power! But it will take up 10hp of space in your system. A fair deal!

Dimensions
10 HP
14 mm deep

Current Draw
Module does not draw current

Notes: The MMI Maxima is the final word in MMI technology. Beautiful gold patterns form gradients of touch sensitive surface areas, each connected to an input/output. Drag, rub, pinch or tap your fingers across to form connections, and create evocative and unique performances. Utilize the various pattern densities and shapes in your performance, or create installations with whatever conductive material is to hand.

Operation is easy: simply plug any audio, LFO, CV, trigger, gate, offset or clock into any of the inputs on the front panel, and connect one or several outputs to destinations in your system. The symbols near the sockets correspond to the shapes on the panel, and all that remains is for you to form the connection between the desired symbols with your hand, or any other conductive object you may have. Connect multiple at the same time to achieve liquid, gradual mixing, evolving rhythmic patterns, mixed LFOs and more. Furthermore, touch the pressure plates more firmly or in more dense areas to form stronger connections - in practice, this means a signal will pass with more or less intensity, based on the pressure you apply.

There are countless possibilities here: the shapes make it easy to memorize your patch, and the many inputs and outputs allow for enormous creativity. Eight inputs and one output? No problem. Maybe you want eight outputs sharing one input? Also no problem. Why not patch in an offset voltage, and then use the pressure sensitivity to sweep a filter with the offset patched into the filter resonance CV control? Or maybe create volume swells by patching audio into a VCA, or even an effect, for reverb or delay swells. Maybe you want to create chords, crescendos or chaotic and swiftly changing drum patterns?

Although practice helps, there are no rules for playing the MMI Maxima. Use it upside down or downside up, rack it, tape it to your body or drill it into your guitar and use it with the expression input on your pedals (yes, this is actually possible. Seriously.) With no external power needed, it makes an excellent performance companion for any system, big or small, modular, semi-modular or even not-modular-at-all.

Intended as a controller for musicians and non-musicians alike, the purpose of the MMI Maxima is to put emphasis on your performance and expression, rather than your competence at the ivory keys or dexterity at a drum pad. Let your hands, slices of pickled cucumber or other conductive everyday objects do the talking, through a combination of clever patching and expressive play - with the MMI Maxima, you have a performance tool unlike any other at your disposal.

The MMI Maxima comes in a custom case, and does not require external power to operate. Enjoy the Maxima either as a standalone controller, or rack it in your system if you desire.

Dimensions
30 HP
30 mm deep

Current Draw
Module does not draw current

Notes: The Om is a slim, passive 2hp LPG with characterful resonance. Taking notes from its bigger brother, the Omen, the Om offers similarly beautiful resonant LPG action in half the size and skiff-friendly depth.

In a convergence of old-school LPG design and more modern components, the Om boasts a single -6dB resonant filter, custom hand-built vactrol and no less than three cutoff modes designed to inspire your next sounds.

Although the little brother of the Omen, the Om brings a distinct sound to the table. Do not mistake the Om for an Omen sawn in half, as they will both provide musically interesting and useful sounds to your setup.

Exactly as with the Omen, care has been taken to create a circuit with near-zero audio bleed and the best possible characteristics for a passive LPG. Of course, many of the natural features of vactrols remain, such as subtle memory effect when engaging the vactrol for long periods.

Finally, you receive maximum blinkenlights as an LED on the front panel simulates the action of the vactrol, so you'll always know what's going on under the hood. No collection of fancy LPG's is complete without the Om(en)!

Notes: You want less sound, and you want it fast. You want a mute that doesn't take up any power, a mute that doesn't take up a lot of space, and a mute that accepts three signals. You want a mute that's nice and clicky, and a mute that doesn't cost an arm and a leg.

You've found it.

Dimensions
2 HP

Current Draw
Module does not draw current

Notes: In recent years, stereo signal paths have increasingly found their way into the wonderful world of Eurorack synthesis - so naturally, utilities should follow suit. Introducing the Herzlich PSA, a simple solution to a problem you might not even realize you had. Far from just useful as an attenuator for audio sources in mixdowns, the PSA can also be used to bring audio down to more managable levels (such as line level), attenuate multiple signals simultaneously (like increasing the modulation depth of two LFO's at the same time! It's like having two hands, but with one hand!) and even function as a multiple: Attenuator 1 is normalled to Attenuator 2, so multing your stereo signal (or two mono signals) while attenuating the two signals individually is easy as pie.

There's not much else to say, except that it's passive, and draws no power - and it looks great!

Dimensions
4 HP

Current Draw
Module does not draw current

Notes: You've been up all night in a bidding war on eBay to win a prized 80s rack effect unit - you can't wait to add some serious cheese to your tracks, and the sound of gated reverbs ring in your ears. Your heart pounds, and your pulse rises to crescendo as you win the auction! But there is one problem: your Eurorack system runs way too hot to simply plug straight into your stereo FX units. Your heart sinks, as you realize there is not much you can do that doesn't involve a lot of messing around with complicated and weird mono modules. That is, until now: introducing the Herzlich SFXI.

The Stereo FX Integrator was designed in response to my own need: owning several cool stereo FX units, and having no easy way to integrate them with an easy send and return, in my Eurorack system. Attenuate your Eurorack signals down to line level, or even all the way down to instrument level, and get a nice, clean boost back up to modular levels, with this dead simple and highly useful device from the R&D department at Herzlich Labs.

You can even use it to integrate external stereo line level signals into your Eurorack, which is both nice and convenient, and also useful. Finally, you have an easy way to get the sound of your JV1080 into your Clouds.

The scientists have been working overtime to produce this unit, and were fed extra rations of maize and millet gruel just to bring you this circuit. Every SFXI sold will grant the poor souls at Herzlich Labs another serving of maize and millet gruel. Please think of the poor scientists at Herzlich Labs.

Dimensions
4 HP

Current Draw
30 mA +12V
30 mA -12V
0 mA 5V

Notes: The Herzlich 4x4 Switched Passive Matrix Mixer is a fresh dose of hot old school synth flavor right into your signal chain - inspired by the Buchla and Synthi matrix mixers of yore, the Herzlich 4x4 Passive Switched Matrix Mixer will give you all the joys of an old school matrix mixer, and none of the pesky conveniences of a modern one!

Looking for a super clean, powered matrix mixer that will treat your signals with velvet gloves and behave with mind-numbingly boring predictability? Then you've taken a wrong turn, and instead of finding the pristine tedium you sought, you have uncovered a sleeping beast, an uncut diamond the size of a bell pepper and an all-red rainbow all in one. No power needed, and a super slim profile for even the shallowest skiff user.

The Switched Passive Matrix Mixer will set your heart ablaze with its glorious commitment to happy accidents and unapologetic jank. With absolutely no electronics to rein in the monster that resides in its circuitry, you will be delighted and shocked as you turn the knobs and click the switches, to find channels that bleed gently into each other, pots that alter channels other than their own, and switches that may take your desire to open and close them as suggestions rather than commands.

You'll think you've fallen asleep in the pale glow of your DAW and awoken to a nightmare at first, but very soon, you will discover it is a creative dream. Step into the shoes of the composers of yesteryear, and discover how your unintended accidents mixing CV or audio turn into beautiful and unexpected compositions. Find beauty in the strange interconnectedness of the switches and pots, as you try to brave and tame them. Reach synth transcendence with the psychedelic potential of passive matrix mixing, and open your heart to the multitudes of possibilities contained with the power of 70s circuit design.

Dimensions
20 HP
22 mm deep

Current Draw
Module does not draw current

Notes: When patching, you might feel inspired to add an effect mid patch - but how do you audition your new sound compared to the baseline, without a lot of continuous plugging and unplugging? The Bypass offers a solution. Quickly switch between the dry and wet signal output AND immediately hear the impact of your dynamics change, FX or EQ, switching back and forth at will.

The best part? It's a completely passive solution, drawing no power and requiring only an Intellijel 1U row. An invaluable tool for the studio, or the creative performer. The Bypass works similarly to an FX return circuit, taking a signal input and multiplying it to an output. A switch then allows the user to select either the dry input or the returned, wet input, for the final output.

Hand built, tested and guaranteed to take your abuse, the Bypass is the tool you wished you had in your arsenal yesterday - correct that mistake today!

Notes: You've been plugging, patching and sweeping for hours, when it hits you: you're not actually listening to what you're making. Up until this point, the sad reality of modular has been that your ears won't hear the sweet sounds of your music, unless you invest in a bloated, oversized output module or a professional mixer. This ends now.

The Herzlich Micro Phone Out is an active headphone output in only 2hp - and it includes a very pleasantly tactile volume slider! Gone are the days where you would have to spend untold hp on useful and clean headphone outputs, now all that remains is beautiful, small simplicity.

No stereo signals to process? No problem. The left channel automatically works as a mono input with nothing plugged into the right channel. Forget everything else - this is the one and only output module you'll need!

Dimensions
2 HP
34 mm deep

Notes: Mix it up with the Micro Mix, a dual passive mixer in 2hp that functions as both a 3-to-1 and a 6-to-1 passive mixer, allowing you to perform acts of minor sorcery in your modular system (or maybe outside with your Volca and Pocket Operator jam?).

Nothing knobs or buttons here to confuse you, plug in either audio, CV, clock or triggers, and get the mixed signal out. The best part? Since it's passive, there's no guarantee what you put in is exactly what you'll get out. Embrace the unpredictable world of passive mixing like they did in the 60s and 70s.

Notes: You've got triggers, gates, clocks and other such binary signals that you want to mix - but you'd much prefer if they did not interact and interrupt each other!

What you need is OR logic - and this passive OR logic in 2hp makes it easy to mix up to four signals in one, and even allows you to switch any off the signals on or off at will. Your trigger sequencing will become truly next level.

The ABCD/OR: It's the logical choice.

Notes: AGOGO is a pack of 8 vactrol low pass gates in an open design configuration.

Why:

To bongo.
To enhance and enrich a weak audio source.
To create sub-mixes of up to 8 inputs.
To send a single source to many outputs and modulate each one of them individually.

With:

Multiple fixed waveforms - use the individual LPGs as a CV scanner.
Stereo sources - control them with a single CV input.
EOC pulses and triggers - this is where it gets percussive.
Slow modulations - take advantage of those vactrols and their natural decay.

How:

"I", the inputs row is normalized from top to bottom.

An input inserted in the first socket will be copied unaltered to the next one.

If a jack is plugged in it will break the normalization.

"V" is for control voltages and they cascade the same way as the inputs following to natural decay of the vactrol response. All the LPGs can be opened simultaneously with a single CV source. Combining the features of both "I" and "V" rows you can control a signal with 8 different CVs or 8 different sources with the same CV.

"O" stands for outputs. They act as an active mixer letting you combine up to 8 signals. As in the previous two rows, the connection can be interrupted in any given point to create sub mixes or individual outputs.

Since Jolin are actively summing copies of the original input, each LPG stage will add saturation to the final out. Thanks to the open design path and normalizations this is just an additional feature: all the LPGs can still be used individually or in multiple combinations for multichannel effects or other creative application. More AGOGOs can be chained together thanks to headers on the back to multiplicate the number of inputs/outputs.

Dimensions:

6 HP
28 mm deep

Current Draw:

150 mA +12V
90 mA -12V

Notes: NEXUM is a smart multi-cable tester.

Why:

To test the unknown power cable of a fresh module.
To check if all the spaghetti is working before a gig.
To know if your power supply is well-mannered.
To mass produce cables and be sure that all of them are working.

With:

Eurorack 2.54mm cables - 10 pins and 16 pins ones.
Other 2.00mm connection cables - 20 pins headers.
JST 1.27mm cables - 20 pins headers.
Patch cables - 3.5mm TS & stereo - 3.5mm TRS.

How:

Plug a cable in one of the sockets and the other end specularly on the opposite side. Check if the blue LEDs light up steady in a number equal to the cores of the cable you are testing. Wiggle the wire back and forth just to be sure that all the individual cores are firmly connected.

Due to its configuration, the connection is considered true only if there is no continuity between the adjacent wires or discontinuity in that specific core. This smart feature will avoid false positives.

On top there are two LEDs indicators directly wired to the power lines to check if the -12V or +12V PSU power lines are misbehaving.

Dimensions:

8 HP
18 mm deep

Current Draw:

50 mA +12V
5 mA -12V

Notes: GOBLET is an analogue filter and distortion unit with some added quirks and extra controls.

Why:

To make stuff sound filthy.
To shape the output of an oscillator.
To live interact with the sound during a performance.
To soft sweep the cutoff thanks to the optocouplers logarithmic response.

With:

Simple waves - make them unrecognizable.
Complex waves - shape them into something new.
Percussions - crank the resonance and give an acid twist to a beat.
No input - play with the feedback and the touch controls.

Dimensions:

8 HP
18 mm deep

Current Draw:

45 mA +12V
25 mA -12V

Whichever power connector you use should work fine with the polarity.