Synth modules

Notes: Ustka ['ustka] is a simple passive expander module for the Ostrawa stereo mixing console. It offers direct access to four pairs of stereo signals before they are combined into the mixed signal at the output of Ostrawa.

Ustka's main application is interfacing with external multichannel devices like computer audio interfaces and hardware multitrack recorders.

For detailed description, please refer to the manual.

Features

Per-channel VCA direct outputs
Modular or line signal level

Technical details

Eurorack standard compliant
4hp wide, 31mm deep (including cable bracket)
Current draw: no current draw (passive device)

Notes: On the surface, Xaoc Devices Berlin is a simple compact VCO offering square and saw waves with hard sync, FM input and octave switching. The most interesting part lies behind the panel and that is the Leibniz Binary Subsystem interface, namely LBZ out and LBZ in. The front panel LBZ LINK button and its corresponding gate input switch between the default saw wave and a signal that has been passed through any Leibniz module (or a combination of Leibniz modules) connected to Berlin. Add Xaoc Devices Jena for wave processing and the output is no longer a simple saw wave - you now have a vintage-style wavetable oscillator with a penchant for the experimental due to its open, hackable nature.

Berlin operates in a way similar to the classic PPG Wave and Fairlight CMI synths and employs a variable sample rate of an extremely wide-range internal clock. As the sample rate changes with the oscillator frequency, Berlin's internal square and saw waves exhibit no aliasing effect. The whole frequency range spans from 30 seconds in LFO mode up to 250 kHz (!) with the clock reaching an astounding 20 MHz. Add to that voltage control over all parameters and the result is a highly versatile module capable of creating a significantly diverse palette of unusual waveforms. To better understand the device and avoid common pitfalls, it is strongly advised that you read through the entire manual before using the module.

Technical details:

8hp, 30mm deep (including the ribbon cable and bracket)
Current draw: +40mA/-20mA
Reverse power protection

Connectivity:

Berlin connects to all modules compatible with the Leibniz Binary Subsystem: Drezno II, Lipsk, Gera, Jena, Erfurt, Poczdam, Rostock, Ostankino II, and Odessa.

Notes: A super impressive offering from Xaoc, the Samarkanda is a quad delay module designed for hands-on, real-time performance. Dial in everything from loops to stereo delays, resonators, modulation effects and much more.

Supplier's Notes:
Xaoc Devices Samarkanda is a digital quad delay module with extensive patching capabilities and a lot of flexibility for signal mangling. It can be used as four entirely independent delays, a dual stereo delay, a complex/multi-tap or multi-channel delay, a quad/polyphonic resonator, dual chorus, dual flanger, reverb, looper (with sound on sound!), and granulator, or any combination of those. You can reverse the delayed signal, hold it, squeeze and stretch it beyond all recognition and still go back to the original piece of audio captured in the buffer! The internal lossless normalization (the signal doesn't leave the digital domain) combined with top-notch components (including 24-bit AKM converters and 32-bit internal processing) are responsible for high sound quality. Samarkanda has been conceived in the truly modular spirit. Not only can you control almost all its features remotely with CV/gates, but the external feedback path gives you the opportunity to process the delayed signal with other modules.

Samarkanda offers a wide range of delay times beginning at a mere 0.5ms and reaching up to 15 seconds per channel. That means that, by stacking its four channels, you can achieve up to one minute delay! There are two operating modes switchable individually for each channel. Analogue delivers pitch changes that resemble classic analogue tape and BBD delays. When you combine it with the looping Hold function, you can play Samarkanda with any 1V/octave CV source. By using the Sync function you can even loop single wave cycles. The Digital mode gives you a granular buffer-scrubbing effect (no pitch change) across the whole delay time range. You can seamlessly switch back and forth between modes without losing any information. You can use Samarkanda for multiple tasks at the same time - from four independent delay lines through any combination of channels processing the same signal up to a quad behemoth. You can also use the linking feature for ease of operation (the first channel in the chain acts as the main control source for the others).

As most settings operate on a per-channel basis, you can freely combine different features (such as analog/digital behaviour, delay time range, reverse and hold functions, etc.) in a configuration of your choosing. You can synchronize each of its channels separately to a different source, either via the Sync input, or by using the tap-tempo functionality (with multiplication and division galore). Should you ever get lost, the Purge button comes in handy when/if things start to spiral out of control!

Notes: Updated version of WMD's exceptional performance mixer. Full stereo design with improved sound quality, revised layout and increased expandability. An even better version of what was already one of the best mixing solutions in Eurorack.

Supplier's Notes:
Enter the WMD Performance Mixer MKII - Eight years after the MKI was released, the MKII builds on all the valuable feedback received. This is a serious upgrade, with feature enhancements and engineering improvements affecting every bit of the design.

Decisions, decisions, decisions!

If you recall, WMD showed a previous version of the PM MKII a year ago. That version was very similar to the original, with a few enhancements. Primarily focused on manufacturability and overall noise floor with some great recording features. WMD moved to an 8-layer board, replaceable channel strips, developed the MIDI and bootloader, pre/post fader headers, and made it work on both AUXs simultaneously.

Noise Performance - The MKI was alright with noise, there was a little bleed too. Going to 8-layer boards meant I could put ground planes between trace layers, and spread the traces out triple the spacing of what they were on the MKI, this reduces bleed/crosstalk by a factor of about six.

Noise Performance 2 - On the Original, the Level VCA was before the Panning VCAs, which saved on parts/power, but it meant that the Panning VCAs were always connected to the mix bus, adding noise floor that couldn't be attenuated. Making all the channels stereo and putting the Pan circuit first eliminated this problem, now the noise add is controlled by the fader. This did force WMD to make every channel stereo, so the design got simpler through figuring this out.

Panning / Crossfader - The above panning/level improvement made it possible to convert the Pan control into a crossfader, buy simply routing the post pan signals through a switch to the opposing channel, summed at the Level control. This huge improvement allowed the A/&/B input switching scheme to still work on the PM MKII, a bit differently, but it's there in spirit.

Modular Design - The channel strips are all now stereo, and identical, which makes assembly much easier, and lowers the cost. It also makes replacing them easier should a mechanical part fail or get spilled into. Further, the Patchbay, Power board, and Master section are all separate parts, so if there's a failure, they can be quickly swapped without having to RMA the whole unit.

Patchbay - The MKI and rev E MKII still had jacks misaligned with channels. This was a source of frustration for d many users of the PM MKI. And I decided to just be done with it. It didn't make sense to try to put jacks over the channel, it wasted too much space on the panel... So all the jacks go left, keeping the mixer clear of cables, this let me space the knobs out a bit to take up all 3U. It's cleaner, simpler to make, and intuitive to use.

Expandability - It's super modular now, the DB25 can connect to any two headers that spits out audio, they're all the same format across PM MKII and Channels MKII. Pre, post, mixes, connect it however you want. And the connectors can't be hooked to power, meaning no more blown opamps and RMAs to the factory. They're all shrouded too so they won't get bent in shipping!

Features Overview:

Everything is stereo. Inputs, Busses, Auxes, and Cue Mix.
INPUTS: IN LEFT is normalled to IN RIGHT.
GAIN: Each channel has a Gain trim range of -12dB to +20dB, this will let you use line level devices easily.
GAIN CLIP LED: lights red 1dB before clipping the input stage.
LVL FADER: smooth intuitive curve for easily adjusting the mix level on the fly. A yellow indicator shows the level.
MUTE: Press the channel button and the channel will soft mute with a red LED indicator.

Notes: PM DB25 MKII is an expander output for the MKII versions of the Performance Mixer and Channels.

Pre-fade and Post-fade connections are available for all channels. The DB25 has 16 outputs. All mixer channels are stereo, so one DB25 handles the main PM MKII (either pre or post), and the DB25 can handle 2x Channels (either pre or post).

Simply connect the cable to the Pre or Post headers on the back of the PM MKII or Channels MKII modules to choose pre/post.

The PM MKII has an additional header with both Aux Sends, Master Bus, and Submix Bus.

Connect a DB25 cable of your choice to the front connector and then straight to your DAW or recording interface.

For use with original WMD Performance Mixer, an adapter board can be added on. Please note that width behind panel is increased by 8mm when adapter board is added on. This may require some clever position in your case. The original Performance Mixer still only offers Pre Fader Outputs.

Notes: DASSBRUM is a powerful kick module capable of producing a wide variety of sounds, ranging from classic kick tones to complex folded timbres. It features an analogue core processed through a digitally controlled matrix of analogue wave folders and envelopes, offering deep sonic flexibility in a compact 8HP form factor. A built-in sweet spot mode ensures optimal pitch envelope relationships for consistently punchy and dynamic kicks.

Consumption: 120mA +12V /30mA -12V
Width: 8HP
Depth: 29mm

Inputs maximum ratings
Fold type (rear switch): 0/5V
Trigger IN: 5V (>0.5V)
Other inputs: -5/10V

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Nicely creative sequencer module based around controlled randomness. Build patterns and then morph them in real time. Great for live performance as well as studio use.

Supplier notes:
The Eloquencer is a powerful and versatile eurorack sequencer that can be used both as a performance and a composition tool. It's designed to be intuitive, easy to use, and quick to edit. It has been built around the "controlled chance" concept. This means you can decide when and where there will be randomness and how much this randomness will affect your sequences. It features 8 tracks of CVs and Gates in a 16 step disposition, but with the ability to define larger bar counts or chaining patterns to build multiple song parts of 256 steps each.

INPUTS AND OUTPUTS
8 V/oct CV Output
8 Trigger / Gate Output
Reset Input
External Clock Input (configurable. i.e: can be used as a clock divider / multiplier)
Accent Output (configurable)
Clock Output (configurable. i.e: can be used as a clock divider / multiplier)
2 CV Input (assignable to different parameters)

Notes: The LedPressor is a full stereo Diode-based compressor module.
Its unique core adds character and color to any signal passed through it.
The LedPressor can be used as a normal compressor with low input levels, but as the input volume increases and the "nuke" LED lights up, it enters a new territory that combines compressor and overdrive, creating a dynamic overdrive effect.

Get it pumping with the Side Chain
The module features an external sidechain input that accepts audio and CV signals. Only the sidechain signal passes through a high pass filter, which gives the user greater control over the sound shape. The audio signal itself is not affected by the filter.
Parallel compression
The module also includes a mix knob that can be controlled with a dedicated mix CV input, allowing for greater flexibility when blending dry and wet signals. Additionally, it features a momentary bypass button to easily adjust the levels of dry and wet signals.
Feed-Back Or Feed-Forward - it's your choice
The module can be configured with a feed-back or feed-forward topologies with a jumper in the back.
Reverse polarity protection
The module have proper reverse current and over current protection in its power input stage to protect the module in case it was connected the wrong way or connected to a faulty power supply.
Dimensions
Width
: 12HP
Depth
: 34mm
Current Draw
+12V
: 20mA
-12V
: 15mA

Notes: 
Q^Mix
4 channels CV/Audio polarising mixer
Q^Mix is a four-channel CV and audio mixer designed to take simple signals and combine them into something altogether new.
The four DC-coupled inputs feature a switch that selects between linear attenuation or bi-polar attenuversion.
Q^Mix can be used to sum simple signals to create much more complex results.
perfect for use as a final volume control when used as an audio mixer.

Technical Specifications
All inputs are DC-coupled.
Four-channel audio and CV mixer.
Logarithmic attenuation on the output stage.
Input impedance: 100k for all inputs.
Noise filtering and resettable fuses on the module's power input.
Reverse current protection.
Dimensions
Width
: 6HP
Depth
: 10mm
Current Draw
+12V
: 5mA
-12V
: 5mA

Notes: 2^VCA is a dual vca module in 1u Intellijel format.
Both of the VCA's are normlised so it can be used a stereo VCA, as a dual mono VCA , mono to stereo VCA and many more combinations.

Technical Specifications
1u Intellijel format
Noise filtering and resettable fuses on the module's power input.
Reverse current protection.
Dimensions
Width
: 12HP
Depth
: 20mm
Current Draw
+12V
: 10mA
-12V
: 10mA

Notes: S&M is a very useful utility module in 1u Intellijel format combining unity mixer and a precision active buffer.

CV and Audio Mixer
Audio grade dc-coupled unity mixer for mixing CV or Audio signals
Active Buffer/Splitter
Precision active buffer/splitter for splitting signals along your system without any signal loss (highly recommended for splitting Pitch CV).
Reverse polarity protection
The module have proper reverse current and over current protection in its power input stage to protect the module in case it was connected the wrong way or connected to a faulty power supply.
Dimensions
Width
: 12HP
Depth
: 20mm
Current Draw
+12V
: 10mA
-12V
: 10mA

Notes: 
2^LFO
Dual Analog VC-LFO
2^LFO is a dual analog VC-LFO Eurorack module, each LFO unit consists of two outputs of square and triangle that can be used simultaneously.

From LFO to Audio-Rate
Three variable rates range from super slow modulation of 20 seconds to super fast audio-rate of 700hz.
Control the speed
CV input for external control of the modulation rate.
No light bleed
Custom made light bleed blocker to prevent indicator light to bleed to other modules.
Reverse polarity protection
The module have proper reverse current and over current protection in its power input stage to protect the module in case it was connected the wrong way or connected to a faulty power supply.
Dimensions
Width
: 4HP
Depth
: 10mm
Current Draw
+12V
: 10mA
-12V
: 10mA

Notes: Reduxer is a stereo sample reducer effect module.

Depends on it's signal, It can produce dynamic range of sounds from knurly bitcrushing to formant/vowel style effects.

Extra resolution

Custom made Redux potentiometer with 300 degrees rotation for extra crashing resolution.

Double the power

Two proprietary sample reduction circuits with extra offset control on channel 2 via the "Spread", lets you create motion in the streo field for wider effect.

Stereo operation

Inputs are normelized - supporting mono to stereo configuration.

Reduction under control

Redux CV input with attenuator for external control of the bit reduction rate.

Reverse polarity protection

The module have proper reverse current and over current protection in its power input stage to protect the module in case it was connected the wrong way or connected to a faulty power supply.

Dimensions

Width: 8HP
Depth: 20mm

Current draw

+12V: 25mA
-12V: 25mA

Notes: Simple but effective stuff from Vermona. Four transformer-isolated channels take a Eurorack-level signal each and output it at +6 dBu line level via XLR connections.

Supplier's notes:
Quad Output Module

The inputs accept audio signals with a maximum level of +/-10V. These are output via balanced and galvanically isolated XLR outputs. The output level is +6 dBu when using standard Eurorack modules.

The TRANSfourMER circuitry allows all signals in the modular system to be output without distortion - no more annoying gain staging between Eurorack and audio interface / mixing console.

Power consumption: 20mA at +12 V and 20mA at -12 V

Depth: 43 mm

12 HP

Notes: Legendary Vermona drum synthesis circuits get reimagined for Eurorack. The Bass/Drum reworks the kick and 'drum' circuits from the DRM-1 for extra modular flexibility, maintaining the powerful analogue sound.

Supplier's Notes:
With BASS|DRUM, Vermona have transferred the sonic foundation of the DRM1's KICK and DRUM instrument channels to the Eurorack format. They reworked the existing circuitry in key areas to optimize it for the modular context. The result is an Eurorack sound generator that clearly reveals its origins and at the same time surpasses them many times over.

The modulation possibilities of BASS|DRUM offer enormous flexibility. Many parameters like the pitch of the oscillator, the decay time and the integrated wave shaper can be controlled by external voltages. For example, you can create rhythmically alternating long and short or low and high kicks or tonal variations by modulating the waveform.

Use the DYNAMIC input to control the amount of force your trigger source applies to the internal circuitry of BASS|DRUM. This not only changes the volume, but also many different nuances of the sound.

Bass or drum? BASS|DRUM can do both, without compromise. If you need drum sounds that follow the tuning of your music, you'll find what you're looking for here. At the same time, the module serves as a full-featured audio oscillator that can be used to create bass lines or melodies.

From deep, powerful bass drums, toms and tom-toms to high-frequency pings and percussive chirps - no problem with BASS|DRUM! In combination with other modulation sources, this spectrum can be extended infinitely. The module is also an excellent oscillator for anything other than classic analog drum sounds.

Notes: Full synth voice with MIDI connection!

The voice is inspired by the classic West Coast synthesis approach.

Five oscillators from the popular Verbos Foundation oscillator are used. The oscillator has controls such as timbre and richness to shape the sound. With Timbre, the waveform can be faded from sine to sawtooth. The voice also has a spread control that can be controlled via CV. Another nice feature is the Auto-Tune function.

All parameters can be controlled via MIDI CC, which is great for sequencing different parameters.

There are two AD envelopes built in, which can also be cycled and generate frequencies up to 500hz.

The module can be used as a standalone unit with the Verbos Blackbox or as a standard Eurorack module.

Power consumption: +30mA at +12V and -10mA at -12V
Depth: 22mm
42 HP

Notes: A colourful approach to mixing here, the Kemmerskan offers two stereo channels and four mono channels, processed through germanium transistors. Three band master EQ and aux sends give plenty of creative options.

Supplier's Notes:
More than just a mixer, the Kemmeskan can be used as a soundscaping module. It has an equaliser that sounds really musical and gives the user the ability to change the sound drastically. It can be used in an Eurorack context or with external devices.

Notes: This versatile dual-function Eurorack module offers both a Low Pass Gate (LPG) and a Voltage-Controlled Amplifier (VCA), inspired by two iconic designs in synthesiser history.

Low Pass Gate (LPG)

The LPG is modeled after the classic Buchla design, delivering a rich, organic sound that blends amplitude control with low-pass filtering. Ideal for producing natural-sounding dynamics, the LPG responds to control voltages to create plucky, percussive tones and smooth, woody textures. Its distinctive vactrol-based architecture provides a warm and unique character, adding depth and nuance to your patches.

Voltage-Controlled Amplifier (VCA)

The VCA draws its inspiration from the legendary Minimoog, ensuring a clean, dynamic, and responsive performance. Known for its iconic smoothness and headroom, this design is perfect for traditional amplitude shaping, allowing precise control over audio signals with minimal distortion. The VCA section excels in both subtle modulation and aggressive signal sculpting, making it a versatile choice for any patch.

Power consumption: 30mA at +12V and 47mA at -12V

Depth: 27mm

6 HP

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

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

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

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

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

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

Depth: 27mm

18 HP

Notes: Tobinski 8-Channel interpolating scanner with integrated VCAs

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

Key Features:

1. Interpolating Scanner

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

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

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

2. Integrated VCAs

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

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

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

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

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

Creative Patching Examples:

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

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

VCA Control:

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

Expandable with Tobinski Harmonic Timing Generator (HTG):

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

Connections:

Inputs:
8 for audio or CV

Outputs:
8 individual VCA outputs

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

Control Inputs:
Bipolar CV for scan stage and scan width

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

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

Depth: 27mm

18 HP

Notes: Expander for the 4-channel sequencer that provides CV inputs and controls for each sequencer to enable complex pattern generation, waveshaping oscillators, ratcheting sequence effects, sequence step address re-ordering, gate length control and more.

Depth (internal from panel): 27mm
-12V @ 30mA
+12V @ 63mA
+5V @ 8mA

Weight = 0.171kg not including packaging or cables

Notes: OCTOPASS is an eight voice 24db/octave low pass filter based on the classic 2044 filter. All eight filters are fully analogue with gain compensation of resonance and the lovely lush sound of classic synths. A global frequency modulation CV using a 3.5mm jack can be used to modulate all eight incoming CVs of the Polytip jack. The typical use is to patch polyphonic synthesisers with the use of only a few Polytip patch cables for its audio ins and outs and its cut-off frequency controls. To tap each filter I/O or CV using discrete modules the OCTO I/O module can be used as an expander. As there are eight filters in the module special attention has been given to power consumption efficiency.

Size: 20HP

Notes: Octo I/O is a bi-directional passive Polytip to 3.5mm expander and a Polytip Mult. The expander section lets you break out to each individual voice from a polyphonic module. The mult section lets you mult Polytip polyphonic signals from one source to multiple destinations. For example patching the OCTOSTAGES envelopes to control both your OCTOPASS filters and HEXAGAIN VCAs.

Dimensions:

6HP - Depth: 15mm

Current Draw:

Module does not draw current

Notes: Introducing the BD808, part of TipTop's new drum module series that brings the iconic analogue percussion of the Roland TR-808 into the modular synth world. This compact, minimalist module is cost-effective due to modern production methods, reviving the renowned bass drum sound.

The BD808 adapts the TR-808's Bass Drum circuit for Eurorack format, retaining the classic 80's sound while adding new features. These include an independent Accent level, a high-powered gain stage, dual input pulse-shaper, and extended decay. The integrated high-powered gain stage can produce signals up to 20Vpp, allowing for a range of harmonized bass drum sounds from sharp attacks to distorted tones. The dual pulse-shaper circuit ensures stable sound from various pulse sources, making integration into your modular setup seamless. These enhancements unleash the power of true analog drums, delivering impactful bass sounds.

TR-808 is a Trademark of Roland Corp Japan

Size: 4HP
Depth: 14mm
Power: +12V 13ma / -12V 6ma

Notes: Part of TipTop's polyphonic range, the Octostages is based on the envelope circuits from the legendary Oberheim OB-X. Eight fully analogue envelopes with shared ADSR controls.

Supplier's Notes:
Octostages is an eight voice fully analogue envelope generator made with the original envelopes of the 1979 OBX. Each of the eight envelopes feature a Gate in, Envelope OUT, Velocity CV in and Attack CV in control as well as an output led indicator. A master output level knob and CV using standard mono jack are provided to control or modulate all envelope output levels globally. As there are eight EGs in the module special attention has been given for power consumption efficiency.

Size: 20HP - Depth: 40mm
Power: +12V 185mA / -12V 165mA

Notes: Introducing the HATS808, a drum module that brings the classic TR-808 closed and open hi-hat sounds to the Eurorack modular synth format. This module includes features like independent accent levels, a high-powered gain stage, dual input pulse-shaper, and adjustable Filter Q and VC-Q knobs for additional tuning.
The HATS808 uses six analogue square wave oscillators to create its signature sizzling sound, maintaining the unique metallic character of the original. The original "choke" circuitry is fully implemented but can be disabled if needed. The high-powered gain stage allows for further sound harmonization through distortion and clipping. The dual pulse-shaper circuit ensures consistent sound quality from any pulse source, making the HATS808 an easy and powerful addition to any modular synth setup.

TR-808 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 14mm
Power: +12V 30ma / -12V 25ma

Notes: The RS808 is a Eurorack module that brings the TR-808's analogue Rimshot and Claves sounds to your modular drum machine at a low cost. It offers the classic sounds plus two unique snappy "click" variations. Two control knobs, labeled Pitch and Snap, adjust the oscillator frequency and envelope decay, providing greater sound variation and control.

The RS808 faithfully reproduces the original 1980s TR-808 circuit and includes a high-powered gain stage for hot, distortable signals. It features a dual input pulse-shaper for stable triggering from various pulse sources. These enhancements make the RS808 an easy and powerful addition to any modular synth setup, delivering authentic analogue drum sounds.

TR-808 is a Trademark of Roland Corp Japan

Size: 4HP
Depth: 14mm
Power: +12V 14ma / -12V 13ma

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

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

The CP909 clap effect is made by a special triple-saw envelope generator that controls the gain of a VCA. The sound source feeding into the VCA is made by a quasi-random logic- based noise generator. Some might call it "digital noise", though this term might be misleading in today's world of microcontrollers and sound samples. What really makes the noise generator is a ring of logic gates, so primitive, so 80s, and so much the sound of the 909 Clap!

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

TR-909 is a Trademark of Roland Corp Japan

Size: 4HP
Depth: 36mm
Power: +12V 6ma / -12V 10ma

Notes: Introducing the TOMS909, the warmth of the classic, all-analogue, punchy tom-toms from the TR-909 drum machine. The TOMS909 contains all three of the TR-909's original LOW, MID and HIGH tom-tom circuits adapted for use in the modular format. The module was designed to sound like a fresh machine coming off the assembly line back in the 80's. To add flavour to the beast, Tiptop have extended each tom's tuning range so it's easier to dial soft bass drums on the low end and high-pitched toms on the other.

The toms circuitry is made up of 9 triangle oscillators and a stack of filters, VCAs, and envelopes which, in total, took about half of the space on the original 909's circuit board. Utilizing the latest in electronic design technology, Tiptop have managed to squeeze this enormous circuit, consisting of more than 450 components, into an area only 16HP wide. It is a beautiful board with hundreds of tiny, shiny components: it's a little analogue jewel.

Each tom includes a trigger and accent input with accent level control, manual tune, voltage-control tune input with attenuator and independent audio out. In addition, a MIX out is available that sums all three toms together as well as access to the MIXZ MixBus on the back. On each gate input, Tiptop have designed a dual pulse-shaper circuit so you can trigger your TOMS909 with trigger/gate signals from sequencers or any other pulse/clock sources.

TR-909 is a Trademark of Roland Corp Japan

Size: 16HP
Depth: 51mm
Power: +12V 120ma / -12V 100ma

Notes: The MA808 is a Eurorack module that recreates the TR-808's analogue Maracas drum voice and white noise generator at a low cost, expanding your Tiptop Audio modular drum machine. It features a fluffy, harmonically rich sound that enhances Hi-Hats dynamics. The Attack control knob allows adjustments from sharp Hi-Hat to slow-rise Maracas, with a marker for the original 808 setting.

The MA808 also includes the 808's continuous analogue white noise generator, ideal for creating custom drum sounds or general white noise use. It faithfully reproduces the original 1980s circuit and includes a high-powered gain stage for hot, distortable signals. The dual input pulse-shaper ensures stable triggering from various pulse sources, making the MA808 an easy and powerful addition to any modular synth setup.

TR-808 is a Trademark of Roland Corp Japan

Size: 4HP
Depth: 14mm
Power: +12V 16ma / -12V 14ma

Notes: Octogain is a eight voice polyphonic analogue audio VCA plus a eight voice mixer with master level control and odd/even (Right and Left) channels for a stereo output and clipping indicator. All eight VCA ins and outs are simultaneously available through Polytip jacks and 3.5mm jacks so the module can be used in a variety of ways both polyphonic or multi-voice monophonic. The fully analogue audio path has exponential CV control. CV inputs are 0-5V, typical audio input is 10Vp.p. A global Offset knob allow to open all VCAs manually or apply positive offset to incoming CV. The design uses very low power consumption with excellent audio quality.

Size: 16HP - Depth: 40mm
Power: +12V 42mA / -12V 35mA

Notes: The Octovert is a CV processor capable of scaling, inverting, and offsetting up to eight polyphonic signals. It can also be externally controlled via CV! Its most obvious applications include inverting envelopes, reversing the direction of CV, and scaling plus offsetting any CV source to precisely fine-tune the modulation sweet spot of the target module. With the added feature of external control, it takes things even further by modulating the modulation signal itself for even deeper modulation motion.

Size: 6HP - Depth: 40mm

Power: +12V 18mA / -12V 15mA

Notes: The M module is a 5-way Polytip signal multiplier. It takes a single polyphonic audio, CV, or gate signal set and routes it to up to five multiple outputs. The module is completely passive and requires no power. Like all Polytip jacks on Tiptop Audio modules, the jacks on the M module are top-quality components made in Japan.

Size: 4HP - Depth: 15mm

Power: no power required

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

The BD909 includes all the controls found in the original: Attack, Decay, Tune Decay, Accent, and Level. Tiptop have gone beyond that and added controls that further increase the palette of sound this circuit is capable of. First off, a tuning control knob has been added for the oscillator and included its own CV input and attenuator that let you tune the 909 kick with your bass lines. Next, control knobs have been added for the tuning attack and extending tuning decay. Each one affects the other, allowing for intuitive and interactive sound shaping, opening Z8000 up numerous "sweet spots" and provides the ability to center the energy peak at different parts of the sound. Finally, Tiptop have offered additional punch and distortion by giving complete control over the internal waveshaper, which allows you to overload the waveform manually or with voltage control.

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

TR-909 is a Trademark of Roland Corp Japan

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

Notes: Introducing the HATS909, part of TipTop's new series of drum modules that brings those classic percussion sounds into the modular synth world, instantly turning your system into a self-contained music machine.

The HATS909 is the TR-909's original Closed and Open Hi-Hats circuits adapted for use in Eurorack modular synthesizer format and was designed to sound like a machine coming fresh off the assembly line back in the 80's. Improving on the original, TipTop have added some great new features that expand the sound palette that can be produced with this small, powerful module.

The original TR-909 circuit is made with a combination of low-fi sound samples that pass through a series of analogue elements to provide envelope and filtering to the source sound. The HATS909 module allows for manual and voltage control of the sample's tuning, which provides anything from crushed hats and short ticks to the original sound and anything between. Additional controls allow you to send a voltage control signal to either the tune input or the internal VCA for modulation with external control signals and, using a modulation switch, add AM or FM synthesis in the audio range from external oscillators, other drum sounds, or just about any other sound source. Lastly, HATS909 also offers a switch that allows you to tap directly into the raw output of the module for a unique sound source that can used throughout your system.

Just like the other drums in this series, the HATS909 high-powered output gain stage allows you to further harmonize the sound through distortion and clipping. On each gate input, Tiptop have designed a dual pulse-shaper circuit so you can trigger your HATS909 with trigger/gate signals from step sequencers, clock dividers, or any other pulse/clock sources.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 36mm
Power: +12V 33ma / -12V 22ma

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

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

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

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

TR-909 is a Trademark of Roland Corp Japan

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

Notes: The SD909 adapts the iconic TR-909 snare drum and noise generator for use in the Eurorack modular synthesizer format. Tiptop painstakingly tested the module in their lab to sound like a fresh machine coming off of the assembly line back in the 80s. On top of the original circuit, Tiptop have added new features that expand the palette of what can be produced with this analogue circuit.

The sound of the SD909 consists of two main sections: the binary noise generator and two modulated triangle oscillators. The oscillators provide the low end punch while the noise makes up the upper sonic spectrum, resulting in a combination that makes the 909 snare sound so rich. In the SD909 module, the noise generator and oscillators are variable and voltage-controllable, pushing the circuit beyond its original boundaries, offering new sounds and many variations of the original tone. The panel also has markings to guide setting the knobs to reproduce the vintage snare sound of the original machine.

Just like the other drums in this series, the SD909's high-powered output gain stage allows further enhancement of the sound through distortion and clipping. Tiptop have designed a dual pulse-shaper circuit on each gate input so you can trigger your SD909 with Trigger/Gate signals from step sequencers, clock dividers, or any other pulse/clock sources. Also, the SD909 is equipped with access to the MIXZ MixBus, matching the rest of the Tiptop line of percussive modules.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 46mm
Power: +12V 35ma / -12V 30ma

Notes: The core idea behind this module is all about control voltage. Hence all features are individually broken out to CV inputs, making the most use possible of the benefits of the digital wavetable oscillator. This means that the design is geared towards allowing hands-off control of all aspects and some concessions have been made to that effect.

Initial setup basically consists of connecting the power cable to the module and your bus. The cable has a slotted socket for correct orientation, but mind that the red stripe faces the white line on the edge of the PCB. The included screws are nylon in order to minimise rack-rash.

Tuning the module is possible by adjusting the small SMD trim potentiometer on the back. It adjusts the offset voltage that affects the centre point of the LFO oscillations. It should be close to its three o'clock position, but you can adjust it by turning the module on, reducing the output level to almost zero and turning the trim potentiometer until you find the point where the gate output led just barely turns off.

The LFO sync type is hard sync, meaning that it resets the current cycle to the beginning of the waveform. It does not control the duration of the cycles. This allows you to further shape the output to, say, three quarters of a sinewave by using external sync and adjusting the HZ knob so the duration of a cycle is just a little longer than the time between incoming sync pulses.

Colour coded nuts indicate the type of jack, with gold representing Gate/Trigger input, black is +-5v CV inputs and red jacks are outputs.

The CV inputs are scaled down to +-2.5v and added/subtracted with the knob setting, meaning that to sweep the full range of the parameter with CV, the knob should be in centre position. The inputs are clipped to the allowed range after mixing, so you can apply any eurorack voltage here.

The module's core processor is socketed, so using a simple PIC programmer and some basic Assembly knowledge you can modify its functionality to suit your needs.

The code is written by Electric Druid who supplies me the chips preprogrammed.

Fully voltage controllable Eurorack format, externally syncable, 16 waveform low frequency oscillator with built-in VCA and sample & hold.
Powered by a socketed VCLFO10 IC from Electric Druid.

Suitable for precision modulation, live performance as well as educational purposes.

Height: 3U (128.5mm)
Width: 12hp (60.6mm)
Depth from panel: 31mm
Depth total: 51mm
+12v: 80mA
-12v: 60mA

Notes: The core idea behind this module is all about control voltage. Hence all features are individually broken out to CV inputs, making the most use possible of the benefits of the digital wavetable oscillator. This means that the design is geared towards allowing hands-off control of all aspects and some concessions have been made to that effect.

Initial setup basically consists of connecting the power cable to the module and your bus. The cable has a slotted socket for correct orientation, but mind that the red stripe faces the white line on the edge of the PCB. The included screws are nylon in order to minimise rack-rash.

Tuning the module is possible by adjusting the small SMD trim potentiometer on the back. It adjusts the offset voltage that affects the centre point of the LFO oscillations. It should be close to its three o'clock position, but you can adjust it by turning the module on, reducing the output level to almost zero and turning the trim potentiometer until you find the point where the gate output led just barely turns off.

The LFO sync type is hard sync, meaning that it resets the current cycle to the beginning of the waveform. It does not control the duration of the cycles. This allows you to further shape the output to, say, three quarters of a sinewave by using external sync and adjusting the HZ knob so the duration of a cycle is just a little longer than the time between incoming sync pulses.

Colour coded nuts indicate the type of jack, with gold representing Gate/Trigger input, black is +-5v CV inputs and red jacks are outputs.

The CV inputs are scaled down to +-2.5v and added/subtracted with the knob setting, meaning that to sweep the full range of the parameter with CV, the knob should be in centre position. The inputs are clipped to the allowed range after mixing, so you can apply any eurorack voltage here.

The module's core processor is socketed, so using a simple PIC programmer and some basic Assembly knowledge you can modify its functionality to suit your needs.

The code is written by Electric Druid who supplies me the chips preprogrammed.

Fully voltage controllable Eurorack format, externally syncable, 16 waveform low frequency oscillator with built-in VCA and sample & hold.
Powered by a socketed VCLFO10 IC from Electric Druid.

Suitable for precision modulation, live performance as well as educational purposes.

Height: 3U (128.5mm)
Width: 12hp (60.6mm)
Depth from panel: 31mm
Depth total: 51mm
+12v: 80mA
-12v: 60mA

Notes: Vinia is a new powerful 8-channel audio generator and processor for Eurorack. Each channel is independent and has its own signal chain. This can be a multi-engine instrument, an FX processor, a combination of both, or a chain of several FX.

The sound generator section offers 2 sample players (one plays from the 16 MB internal flash memory and the other directly from the microSD card), various VCOs (VCO, multi-VCO, harmonic VCO), Karplus, a Chord generator, noise, a drum synth and modulation generators (LFO, envelope follower, envelope).

Each of these generators has a rich set of parameters for setting up your sounds. Then, there is a powerful multi-FX processor.

Tesseract Modular has added 20 different algorithms in Vinia: FM operator, filters (multimode, ladder, rubber, bandpass), a wave folder, tube saturation, delays (filter delay, delay, long delay), reverb, metallizer, grain pitch shift, and more.

These can be flexibly set in a chain per channel and offer many customization possibilities. The module also hosts a mixer. You can also save your channels in presets and work with macro parameters.

Each of the 8 channels can be independently configured as a multi effect processor, VCO, sample player...

Audio outputs are DC coupled so it can be used to generate complex CV modulation sources too.

There are 2 types of modulation in Vinia, the first is stepped (occurs every 1,4 milliseconds approx.) and very flexible, any modulation source can modify any parameter of any track. The second is the 'audio rate' one (44,1 KHz), only a few parameters admit this type and both sources and destinations will be within the same track.

Audio sources: Audio Input, Flash Sample Player, MicroSD Sample Player, VCO, Multi VCO, Harmonic Oscillator, Karplus, Chords, LFO, Envelope Follower, Envelope, Noise, Drum Synth

Audio processors: FM Operator, Multimode Filter, Ladder Filter, Rubber Filter, Bandpass Filter, VCA / Polarizer, Folder, Tube Saturation, Exponential Envelope, Delay, Filter Delay, Long Delay, Long Filter Delay, Reverb, Metalizer, Chorus, Modulator, Vocoder 16, Vocoder 32, Bit Crusher, Rectifier, Grain Pitch Shift, Ring Modulator

Notes: The uTONE is a bass-treble tone control, that is a quite useful tool to shape the overall spectrum of individual signal paths.

Please note: These micro modules need a carrier, like the uBASE module. They cannot be mounted directly into an AE case.

Notes: The uFM is an oscillator module, that is focused on FM synthesis.

It's basically a two-operator FM synthesis, but with extended functionality: The operator waveforms can be either sine waves (classic FM), or four other different combinations of non-sinewave waveforms, that produce a much broader palette of sounds beyond the classic sinewave based FM synthesis.

The MOD DPT knob controls the modulation depth; in combination with a button press also the multiplier of the modulating operator can be defined.

Both parameters can be controlled also by CV and also via IMDI by MIDI controllers. The pitch can be controlled via 1V/octave CV or also via IMDI e.g. from a DAW

(For IMDI, see IMDI HEART for more info).

Additional to the normal audio output a suboctave output with a squarewave is provided, and a third output with the mix of the primary oscillator signal and the suboctave.

Quite a lot for such a tiny module, right?

Please note: These micro module needs a carrier, like the uBASE module. The cannot be mounted directly into an AE case.

Notes: Identical to the OR2x4 module in full size, but shrunk to 1/3 size. It contains two logical OR functions with four inputs each; with a switch they can be linked to an 8-input mode. Useful for "summing" gate / trigger signals from different sources.

Please note: These micro modules need a carrier, like the uBASE module. They cannot be mounted directly into an AE case.

Notes: The PAN/XFADE module is a combined routing processor for creating panning and crossfades. The PAN/XFADE works either as a signal panner, meaning one input signal is moved continuously between the left and right output, or, in crossfade mode, where it blends between two input signals into one output. Of course controllable by CV; and working for audio signals as well as DC control voltages.

Notes: The IMDI HEART module is the central module for using IMDI (the "internal MIDI" transmision) within AE modular.

It receives MIDI, either by a TRS adapter, or via USB-C (the module appears as Class-compliant MIDI device on a computer); the incoming data is splitted up to 16 outputs carrying IMDI data. Each output contains the information of one (or more) MIDI channel(s) and a freely assignable note range, in the standard MIDI data rate or at a much higher data rate. Realtime data, like MIDI start/stop/clock is provided as gate/trigger outputs; the 1/96th clock can be divided to other, slower clock rates.

The outputs can drive then modules that can receive IMDI, like the micro oscillators (uOSC, uFM, uPOLY) and other upcoming IMDI capable modules.

The 16 chains of IMDI controlled modules you get with IMDI HEART is enough for quite complex setups, so in most cases, one IMDI HEART will be enough.

Notes: The u4LOGIC is identical to the full-size LOGIC module, but shrunk to 1/3 micro format.

Please note: These micro modules need a carrier, like the uBASE module. They cannot be mounted directly into an AE case.

Notes: The uS&H / RANDOM / NOISE module combines several functionalities for (pseudo) random control; it includes two sample & holds (one of them can be switched to track & hold) and a random/noise section. The latter can be switched between two types of random CV (stepped / smoothed), these either at an internal, tapped rate or an external clock.

Please note: These micro modules need a carrier, like the uBASE module. They cannot be mounted directly into an AE case.

Notes: Expand the sound of your modular rack with incredibly lush, ethereal reverbs. Enhance signals with gorgeous chorus, flanging, and modulated delays. Create uniquely expressive synth voices with Karplus-Strong string synthesis. StarLab is a single module that will completely transform your modular rack.

The seemingly simple idea of allowing the pre-delay signal to be fed directly to the module's output led to the development of rich sounding delay, chorus, and flanger effects, all of which can be used together with or independent of the reverb.

While experimenting with short delay times using feedback and filtering, Strymon began finding very musical and expressive Karplus-Strong string synthesis sounds, and realized that StarLab could move beyond signal processing and become a truly unique voice module as well. All this ultimately resulted in the creation of a module that is equal parts reverb, delay/ modulation, and playable instrument.

From patch creation to live performance, StarLab's powerful features are easily accessible at the turn of a knob or the touch of a button. With no menus to wade through, StarLab's interface is designed for intuitive hands-on sonic exploration, while every function and control works together to respond musically and smoothly.

From perfectly voiced room ambience to vast, immersive, nearly infinite decays, StarLab offers the pinnacle of premium reverb sounds with unparalleled depth and spaciousness. Add musical intervals to the reverb signal with Shimmer, and enhance the harmonic spectrum with Glimmer, while enjoying real-time control over the size/pitch of the reverb process.

StarLab has vastly expanded what reverb pre-delay can do by allowing you to bus the pre-delay signal to the output while making the pre-delay time a modulation target. This results in the ability to create rich choruses, sweeping flanger effects, and beautiful modulated delays, while also processing signal through the reverb.

In addition to input signal processing, StarLab is a powerful Karplus-Strong string synthesis voice module that allows freely alternating bowing and plucking as well as dynamic string damping. This results in an astoundingly expressive and lifelike instrument with a unique voice all its own, which can be enhanced and expanded by the full range of StarLab's reverb capabilities.

Notes: Packed with powerful features while maintaining intuitive playability, Strymon's Magneto module is a stereo multi-head tape delay that also functions as a looper, phrase sampler, vintage spring reverb unit, phase-aligned clock multiplier, chaotic oscillator, zero latency sub-oscillator and more, with extensive CV I/O.

Turn simple monophonic signals into complex orchestrations. Create new oscillator tones using self-oscillation. Add rich stereo dimension to your sound, and enjoy the inherent warmth and sweet, subtle distortion characteristics of magnetic tape. Magneto transforms even the smallest rack into a fully expressive, immersive instrument.

To capture the full experience and complexity of a vintage tape echo machine, every last tape system attribute was relentlessly studied and faithfully recreated. From the sought-after natural saturation and soft clipping of magnetic tape when driven hard, to hands-on real-time controls for tape age, tape crinkle, and mechanical wow and flutter, Magneto delivers a rich multi-head delay experience that adds life and vibe to your sound.

Every function, control, gain stage, and signal path component in Magneto works together to respond musically and smoothly, even during the wildest live modular improvisations. All this is combined with a luxurious spring reverb to take the sound of your modular setup to a new level, and your sonic explorations into far-out territories.

Not only does Magneto deliver the warm, luscious delay signals that tape delays are known for, it is also capable of a high degree of saturation. Turn up the Record Level knob to send a hot signal to the record head for any amount of tape saturation you desire. Turn up the Tape Age control for warmer repeats. Add some truly beautiful Spring Reverb. Magneto adds organic heart and soul to the sound of your modular.

The effect of the Low Cut and Tape Age knobs are explored, followed by the mechanical 'deterioration' of the machine with the Crinkle and Wow and Flutter controls. The Speed knob is put to use for sonic enhancement.

In a typical digital effect the dry signal gets converted to digital, causing conversion noise and latency. Signals are often attenuated before combining digital dry and wet, with makeup gain amplifying the conversion noise. To avoid this scenario, Strymon have equipped Magneto with a completely analog dry path. Why go to all this trouble? Because the improvements in dynamic range and reduction in noise are so dramatic.

Strymon have outfitted Magneto with the powerful Analog Devices SHARC ADSP-21369 processor, which provides a 366 MHz core instruction rate, and an incredible 2.4 Gigaflops of peak performance. Thanks to this high-powered technology platform within Magneto, we had the freedom to craft our processor-intense tape echo algorithms without compromise.

Notes: Expand the sound of your modular rack with incredibly lush, ethereal reverbs. Enhance signals with gorgeous chorus, flanging, and modulated delays. Create uniquely expressive synth voices with Karplus-Strong string synthesis. StarLab is a single module that will completely transform your modular rack.

The seemingly simple idea of allowing the pre-delay signal to be fed directly to the module's output led to the development of rich sounding delay, chorus, and flanger effects, all of which can be used together with or independent of the reverb.

While experimenting with short delay times using feedback and filtering, Strymon began finding very musical and expressive Karplus-Strong string synthesis sounds, and realized that StarLab could move beyond signal processing and become a truly unique voice module as well. All this ultimately resulted in the creation of a module that is equal parts reverb, delay/ modulation, and playable instrument.

From patch creation to live performance, StarLab's powerful features are easily accessible at the turn of a knob or the touch of a button. With no menus to wade through, StarLab's interface is designed for intuitive hands-on sonic exploration, while every function and control works together to respond musically and smoothly.

From perfectly voiced room ambience to vast, immersive, nearly infinite decays, StarLab offers the pinnacle of premium reverb sounds with unparalleled depth and spaciousness. Add musical intervals to the reverb signal with Shimmer, and enhance the harmonic spectrum with Glimmer, while enjoying real-time control over the size/pitch of the reverb process.

StarLab has vastly expanded what reverb pre-delay can do by allowing you to bus the pre-delay signal to the output while making the pre-delay time a modulation target. This results in the ability to create rich choruses, sweeping flanger effects, and beautiful modulated delays, while also processing signal through the reverb.

In addition to input signal processing, StarLab is a powerful Karplus-Strong string synthesis voice module that allows freely alternating bowing and plucking as well as dynamic string damping. This results in an astoundingly expressive and lifelike instrument with a unique voice all its own, which can be enhanced and expanded by the full range of StarLab's reverb capabilities.