Synth modules

Notes: Serious versatility from AJH here. Based on the circuits from the Oberheim Matrix 12, the Matrix VCF offers a whopping 16 different fully analogue filter modes, each with two different resonance models. All bases covered.

Supplier's Notes:
Presenting the new AJHSynth Matrix VCF - this may well be the most versatile Eurorack VCF ever.

This amazing multimode filter and VCA offers sixteen different filter types, and two different resonance models on each, totalling an incredible thirty two assorted resonant filters to choose from. AJH Synth have also included manual and CV control of filter type selection, along with 16 LED's that give a clear visual indication of which filter type is currently selected.

The filter core circuitry is based on that of the rare and highly sought after Oberheim Matrix 12 synthesiser, and of course has an all analogue signal path. The Matrix 12 VCF originally offered fifteen filter types, however AJH Synth have expanded this to 16 with the addition of AP4, a full four pole all pass phaser mode.

AJH Synth have added a unique P-Vox resonance distortion and overdrive circuit that changes the character of the resonance completely, and can force all of the filter modes into self oscillation. This effectively doubles the filter variants and hugely broadens what is already a very impressive sound pallet.

Other features include an inbuilt VCA with Input and Output Level controls, a Peak level LED, CV control of resonance, and of course the legendary AJHSynth build quality.

The Matrix VCF in depth

After two years of development AJH Synth have finally released what they consider to be the most versatile Eurorack VCF & VCA ever. Like many other AJHSynth modules it uses the very best vintage analogue circuitry as the starting point for the design, and in this case, the filter was chosen from the rare and very desirable Oberheim Matrix 12 synthesiser. AJH Synth expanded this from the original fifteen filter compliment to sixteen distinct filter types by adding in a really useful four pole phaser!

So, behind the compact 14hp front panel lies sixteen distinct filter types, including all of the favourites: Low Pass filters with a choice of one, two, three or four poles, Band Pass filtering with two or four poles, High Pass filtering with one, two or three pole options, along with Notch filtering and four complex, combination filter types. Finally, a four stage phaser with two types of emphasis that can be forced into tuneful self-oscillation!

However, this is far from the end of the story. AJH Synth decided to use their design expertise to add in some crazy resonance distortion circuitry, that could be switched on from the front panel. This was inspired by the filter from the Soviet Polivoks synthesiser, but again the implementation used here is considerably changed, improved, and best of all this can be applied to all filter types! This completely changes the filter character when engaged, and it forces all of the filters into self-oscillation at higher resonance settings. Better still, the oscillation waveforms are more harmonically rich than the usual sine waves - everything from gloriously fat to screaming and angry! Best of all, this takes the number of different filters up to a massive thirty two variations!

AJH Synth put a lot of thought into the ergonomics and how to select the individual filter type. Filter type can be changed either with the front panel Mode knob, or by using a control voltage patched to the MODE CV input. The selected filter mode is displayed by the LED next to the filter in use. This is also very helpful when using a step sequencer to change filter mode as it gives a real time display of the filter chosen as you take the step CV voltage up or down, while setting up each individual step.

Lastly, AJH Synth have also included a VCA hard-wired to the output - simply patch an envelope or an LFO to the VCA input, connect a VCO to the audio input and you have a synth voice (with a choice from 32 different filters!) using only three modules!

Thirty two Eurorack VCF's and a VCA would most certainly take up a lot of rack space - AJH Synth have got all of this into 14hp and managed to have a really finger-friendly user interface, without it feeling cramped.


Sixteen distinct filter modes to choose from

Here's a list of the different filter modes that are available:
1 - Four Pole Band Pass
2 - Three Pole High Pass combined with One Pole Low Pass
3 - Three Pole All Pass combined with One Pole Low Pass
4 - Two Pole Notch combined with One Pole Low Pass
5 - Two Pole Low Pass
6 - Four Pole All Pass (Phaser)
7 - Four Pole Low Pass
8 - Two Pole Band Pass
9 - Two Pole High Pass combined with One Pole Low Pass
10 - Three Pole High Pass
11 - Three Pole All Pass
12 - Two Pole Notch
13 - One Pole Low Pass
14 - Two Pole High Pass
15 - Three Pole Low Pass
16 - One Pole High Pass

All of the above filter types can be further altered by switching in P-Vox mode, this doubles the list up to thirty two different filter variants!

P-VOX MODE

Transforming the resonant character of every filter type

This magical switch completely transforms the resonance of the filter core by overdriving it in a similar fashion to the filter from the Soviet Polivoks synthesiser, which was renowned for it's powerful, aggressive character.
In common with the Oberheim Matrix 12 VCF, some of the sixteen filter types will not normally go into self-oscillation, however when you switch on P-Vox mode all sixteen filter types can be forced into self-oscillation at higher resonance settings. But that isn't the only change, the self-oscillation waveform is not the usual sine waveform, it is a rather more interesting and harmonically rich waveform that varies according to the filter type chosen - generally Low Pass modes produce the nearest to regular sine waves, whereas other filter types can produce very much more complex waveforms as can be seen in the diagrams below. It does not require any audio input for this, it can be a stand alone oscillator. Most of the filter types will track 1V/Oct reasonably well over a three to five octave range, so it can be used as a VCO with a few interesting waveshapes!

Of course, P-Vox mode isn't just useful for self-oscillation, it adds lots of character to any audio signal as P-Vox resonance is switched in.

Module Width: 14hp
Module Depth: 29mm (Including power lead)
Current Usage: 56mA Positive, 36mA Negative

Notes: Bartender is the centerpiece of the mixer system. Four stereo channels, with two stereo aux send and two stereo returns. Each channel can be used in a mono mode where both channels are mixed. If you want to do eight channels of mono, you can put the channels in stereo mode (I know it feels backwards) and then use the pan control to control the crossfade between each channel, and then take the mono output. There is a built in cueing system so you can monitor channels in your headphones and control the blend with the main output. You can expand a Bartender with both a Barback and/or another Bartender. When connecting two Bartenders, the main level control on the 'expander' Bartender acts as a group control.

Notes: Inspired by 'fill' effects found on old-school drum machines, the DeFeel module is unique approach to manipulating sequences, designed to 'degenerate the monotony' of rhythmic patterns, creating variations in real time.

Supplier's Notes:
With DeFeel, Enjoy Electronics have redesigned and applied the Fill concept to make it usable in the world of modular synthesisers.

This device is designed to break the chain between the sequencer and everything that comes after it, allowing you to intervene at the right time and create unique variations.

A modular device that's not going to generate anything, but is created to degenerate the monotony.

DeFeel isn't about complex button presses or cryptic menus. Here, creativity reigns supreme. Design your rhythmic patterns with an intuitive touch. Simple lines and vectors come to life on the multitouch display, allowing you to experiment and craft unique sequences with remarkable ease.

DeFeel, offers musicians and performers a powerful and versatile tool to enrich their performances and compositions. With its intuitive programming, sleek design, and innovative translucent panel, DeFeel stands out as a unique device poised to revolutionize the way modular synthesizers are used and perceived.

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: Polyphonic sequencing from Elektrofon, the Klang allows you to program and perform chords and multi-layered harmonies. Circular clock-style display gives visual feedback and real-time indication of chord progressions.

Supplier's Notes:
«Klang» is a 4 voice polyphonic controller. It stores, traverses and manipulates chord progressions.

Overview

«Klang» is a unique take on polyphonic control within Eurorack.

Displaying chords in a circular clock-like display, and giving the user immediate control over every aspect without "menu diving" makes for an easy to use and inspiring module.

The module can store up to 99 chords, where each chord is made up of 4 voices.

Each voice is represented by a colored indicator on the clock-face which in turn is controlled by an encoder.

The indicators points to notes on the chromatic scale drawn in 360- around the clock-face.

Interface

The big grey encoder in the middle of the module lets you browse the chords - the active chord and total chord count is shown just above the encoder on the display.

The + button lets you ad a new chord. The new chord is added after the currently active chord, and the new chord is then set as the active chord.

The - button removes the current chord.

Inputs

The module has 3 inputs - 1 trigger input and 2 bipolar CV inputs.

Trigger input

The trigger input triggers a chord change.

If the direction input is unconnected, a single trigger results in a single step in the forwards direction.

Direction input (+-5V)

The direction input normalizes to a single step in the forwards direction.

You can feed this input a bipolar CV (+-5V).

Direction maps the total chord count to 5V. This means that +5V results in a single trigger progressing +n steps, where n is the total chord count.

A negative voltage will do exactly the same but resulting in backwards stepping.

0V equals no movement.

Transpose input (+-5V)

This bipolar CV lets you transpose the current chord up or down within 1 octave.

It is therefore a 5V/oct input.

The reason for this is that it is intended to be used with an analoge voltage source like the Pressure Points from Make Noise, or any other analoge sequencer.

It is much easier to fine tune a 5V/oct signal with a regular potentiometer than a 1V/oct signal.

Outputs

Each voice has a separate color coded 1V/oct CV output.

Notes: This module is designed to generate a multitude of aggressive, punchy, violent and absolutely bonkers variations of the original unprocessed sound.

Transform any clean sound into a distorted monster, using 2x drive stages per channel with a wide range of distortion flavors ranging from subtle saturation to extreme fuzz.

Process two channels at the same time and create balanced and smooth or raw and rough transitions between them.

Allow the kick drum and bass line to coexist effectively in the mix, avoiding conflicts in the low-frequency range with env. follower and sidechain.

Shape any sound with 3 band adaptable EQ.

Function as a signal generator as well, this module can be pushed into self-oscillation at any frequency even with no input.

Add sub-octave tones to melodies and bass lines.

Preserve the dynamic range and clarity of the sound through parallel processing, ensuring that the original characteristics are not lost even when applying heavy distortion.

Add character, flexibility and madness to any source that sparks your imagination.

Notes: This module is designed to generate a multitude of aggressive, punchy, violent and absolutely bonkers variations of the original unprocessed sound.



Transform any clean sound into a distorted monster, using 2x drive stages per channel with a wide range of distortion flavors ranging from subtle saturation to extreme fuzz.



Process two channels at the same time and create balanced and smooth or raw and rough transitions between them.



Allow the kick drum and bass line to coexist effectively in the mix, avoiding conflicts in the low-frequency range with env. follower and sidechain.

Shape any sound with 3 band adaptable EQ.

Function as a signal generator as well, this module can be pushed into self-oscillation at any frequency even with no input.

Add sub-octave tones to melodies and bass lines.



Preserve the dynamic range and clarity of the sound through parallel processing, ensuring that the original characteristics are not lost even when applying heavy distortion.



Add character, flexibility and madness to any source that sparks your imagination.

Notes: A sequencer and a filter-bank got together...

...And a love child was born !

Introducing NIGHT RIDER, from RYK Modular

Four multi model filters with stereo capability, combined with a six-stage four-channel modulation sequencer.

Finally a filter bank that unifies the control of multiple parameters, enabling a spaghetti-free approach to formant animation fun.

NIGHT RIDER cleverly turns the dials to where you want them, when you want, via it's unique modulation sequencer

Create dreamy swooshing 70's phaser filter sweeps
Phenomenal for phoneme vocal formant rasps and wheezes
Plucking great for strumming Karplus Strong twangs, and pinging filter pings!
Or, turn your silk into shredded cabbage, with the built in bad-ass clipping-saturator

Technical specifications

Frequency range - from rumble to wispy
Resonance/Feedback range - from tame to insane
Individual Filter levels - silent to beyond 11, for serious saturation-clipped sonic destruction

Features:

Four filter blocks, with multiple models , including:
6db BPF [ pingable ]
12db BPF [ pingable ]
12db variable width BPF
Comb Filter for Karplus Strom [ pluckable & flanger vibes ]
All Pass filter [ crazy Phaser vibes ]

Dual Input and Stereo output, with Pan control for each filter in the stereo field. Input can
be Mono [ CH1 - 1,2,3,4 ] or Dual [ CH1-1,2 CH2 - 3,4 ]
Modulation Sequencer capable of being clocked, scanned, and interpolated
CV inputs for sequencer Interpolated scanning, 1V/Oct frequency offset, Slew amount,
Resonance amount, Clock or MIDI clock input for sequence animation, MIDI CC
Memory slots for storing and retrieving Filter and animation setups, and retrieving preset formant, and chord based Filter setups

Vital stats:

Width 16 HP
Depth 25mm

52mA +12V
9mA -12V
0mA 5V

Notes: In only 12hp, Axis condenses all the classical blocks for the audio amplitude management, redefining the classical envelope -> vca -> mixer path. The idea is to manipulate a sound over three axes: its length, its volume, and its place inside the stereo field.

Axis is a dual envelope generator that features an integrated VCA, a crossfader, and a voltage-controllable mixer section. The initial concept was to combine digital control over an analog VCA to closely emulate the classic Vactrol sound. After more than a year of refinement, Axis has evolved into more than just that. It offers exceptional versatility, providing a wide range of waveforms and the unique capability to simulate the natural percussive qualities of different materials. All this is in a complete analog path.

For the function generator section, we choose a faster method over the classic AD/ ADSR style: a selection of waveforms studied to give back a precise musical effect can be selected with the shape knob. The function length is independent from the actual wave shape and can be settled with the fader timeX from 30hz to 15 seconds. Also, setting the timeX fader at its maximum level will leave the VCA open.

A more typical collection of envelopes can be found in the first half of the dial. All kinds of sounds, from plucked notes to long volume swells passing through lead-friendly lines, can be obtained here.

More unusual, the last section of the knob is thought to simulate the acoustic vibration of a percussed object. Starting with a triangular envelope, from this point on, the more you turn the knob, the more rebounds will be added, simulating the natural ring of a material. Using this section at low rates can generate complex envelopes that could also be suitable for the vibrato-style AM effect. The envelope generator section includes a mode switch (cycle,trigger,hold), a trigger/gate input, an EOC trigger out, a function output, a CV for the envelope shape selection, and one CV for time.

As a cherry on the cake, a crossfader is placed at the end of the chain, blending both Axis halves. With a dedicated fader and CV control, raising it will invert the L/R output, creating nice stereo effects or moving the voices around the stereo field.

The VCA section is more straightforward: it has an audio input/output[1] and a VCA CV input[3].

You can plug the audio I/O to use Axis in its completeness and eliminate a lot of cables and mess!

Soundwise, here at Clank, we are all about vactrols LPGs, but since we knew it's not the most versatile option on the market, we came up with a different design. Blending together a VCA with a not-so-step filter, we obtained a VCA with a nice mild LPG flavor: enough to sound not so "clicky" but not too slow to inficiate really fast sounds.

By default, the envelope created by the function generator is normalized to the CV in of the VCA. Plugging a cable into the VCA in breaks the normalization, in this way you can use a different source to control the VCA and free the function generator for LFOs or modulation duties.

The range Y fader sets the strength of the envelope, but you can also see this control as a volume fader, which is nice since you won't necessarily need an additional volume for your voice after the Axis. Take into consideration that since the Axis VCA is actually a low-pass gate, lowering the rangeY fader also affects the cutoff frequency. The range fader also has its CV control to program dynamic changes to the sound. Basically, it's a VCA over a VCA that permits every note to be at different intensities. Last but not least, Range CV can also be fed by a unipolar modulation CV to obtain vibrato effects or audio rate AM modulations

Notes: Chaos is excellent for modulation purposes or as a clock multiplier/ divider, but that's only scratching the surface... It takes a different approach to writing sequences than traditional sequencers, as it is built on six touring machines combined with an effective pattern and clock generator. One of the biggest challenges in electronic music production, especially when it comes to sequencing, is finding that sweet spot between hands-on control and possibilities.

It can be frustrating because many sequencers with lots of fun and playable controls don't always pack the punch you need. On the flip side, you have those bigger menu-based sequencers with tons of options but can feel overwhelming with all the programming they require. It's designed to help you overcome these challenges and make your music-making experience smoother and more enjoyable, whether you're jamming or writing a song you want to execute live.

Typically, a sequencer starts with a blank canvas. However, with Chaos, you begin with all possibilities at your disposal and can easily narrow them down to fit your vision with just a few adjustments. This makes creating a sequence that conveys a specific mood quick and straightforward. Once you have established this initial mood, you can loop it from the last step to step 32 whenever you hear something you like. At this point, you can choose to modify the entire loop or adjust the parameters of any individual step. There is no need for extensive menu navigation; simply pressing a button and turning the encoder gives you control over parameters such as gate time, gate probability, gate width, gate ratcheting, gate swing, notes, scale, slew, and slew amount.

The LED bar continuously displays the voltage output of the selected channel, as well as the gate and each parameter's value, eliminating the need for a screen. You can save and recall the entire sequence of its six channels at any time. Additionally, there is an internal function that allows you to randomize all parameters or just a select few within a specified range, helping you discover new melodies to work with.

Chaos is an endless reservoir of tunes and is incredibly quick and powerful for composing sequences, gate patterns, or modulation. In a short time, it will become the brain of your system.

Six CV outputs can be used for a wide range of applications; everything from chaotic modulations to fine-tuned sequences can be obtained. Thanks to its interface you can quickly adjust the voltages from where the random engine picks new values and then edit them in every aspect.In addition, Slew amount, Quantization, and external sampling are available on every channel.

Thanks to its 6 gate outputs, Chaos can be used as your system's quick and effective clock manager and gate pattern generator. Chaos also provides a stable master clock (10mS to 10Sec) from a separate output and can be clocked from external devices. On every channel, you can set Probability, Width, Swing, Ratcheting, and Time as a multiplier/divider of the master clock or unquantized in mS.

You can freeze the last 1 to 32 steps of randomly generated CVs and Gates in a locked loop when you hear something you like. Loops are not static; every parameter of Chaos can be used again to change the loop behavior in a non-destructive way.

Entering sequencer mode means taking control of every aspect of the looped sequence generated by the random engine. You can change time, width, probability, ratcheting, slew, slew amount, note, note deviation, etc., for each of the 32 steps of all six channels.

Thanks to the external input, you can substitute the random generator with external voltages, transpose a sequence on the fly, and a lot more.

If you're more into generative stuff or want to add a bit of craziness to the patch, you can use the Chaos function to randomize all the parameters on a channel. A sophisticated control named entropy is available on every parameter to set the distance of the new value from the last one.

Chaos can save and recall 10 slots where you can save entire sets or preferred channel behavior. Recall can also be done with an external voltage.

Notes: The name, indeed, comes from ancient Greek mythology since Proteo was a shapeshifter who could assume whatever shapes he preferred. In this way, our Proteo, has not a precise sound on its own but a clever mechanism that permits to acquire and transform every signal into waveforms. What if you can use your envelopes, LFOs or any other signal as a sound source?

What sets it apart from other oscillators? What's very different in Proteo is its internal pseudo-tape recorder, which is capable of continuously acquiring and transforming any external signal into waveforms and morphing them from a basic sine.

In Proteo, waveforms are not a static digital representation of a sound; they can continuously evolve in a very organic way, and tape loop time is a fundamental factor: changing it will drastically affect the resulting output even with the same sources at the inputs. Slowing down the time will capture a bigger portion of the incoming source with more harmonics. As a result, increasing it allows to capture up to low audio rate signals or really small fragments of the signal.

Exploring the interaction between Proteo, the sources and the time will force you to change your mind about how sounds and harmonics can be generated: visualizing how different shapes can sound and looking for new sources to generate YOUR waveform is the fundamental idea behind Proteo.

Proteo is also stereo, thanks to the Span knob you can easily detune one oscillator from the other to create nice stereo effects. Beside the common pitch the two oscillators have independent acquisition paths and morph controls, each one can emit different waveform.