Synth modules

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

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

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

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

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

Features

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

Specifications

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

Notes: Pressure Points is a controller module, an analog sequencer that is played by hand. Touching the gold plated copper wires (aka Touch Plates), you become part of the circuit, generating a gate signal (Gate OUT), a control signal proportional to the amount of pressure applied (Press OUT) and the 3 Tuned Voltages for the activated Stage.

Notes: Four channel voltage controlled Clock Divider/Multiplier with master Tap Tempo. Each channel can be synced to the tap tempo, to the channel above, or to an external clock. Each channel also has a reset jack.

With a Tap Tempo button and five sync'ed clock outputs, the QCD is a versatile head-of-the-chain "Master" clock module, and/or a complex rhythmic pattern generator.

Notes: Eurorack-outputs deluxe:
Besides spectacular sound engines and -shapers, usual and unconventional sources and manipulators of control voltages, every modular system also needs a choice of modules for the "daily" business. twinOUT is such a module: the perfect connection to the outer world.

This DI-box in a module offer two adjustable electronically balanced XLR-outputs. twinOut is designed for full stereophonic or dual mono use. To complete its functional range, a headphone output was added - being also suitable to transport line levels.

Like every VERMONA module, each twinOUT is hand-assembled in our electroacoustic manufactory in Germany. If you want to get the most of your modular synthesizer, you cannot pass by the twinOUT!

Notes: Small and efficient MIDI to CV courtesy of Intellijel's 1U series. Works in conjunction with an Intellijel case or the MIDI IN Jacks 1U module to give you Pitch, Velocity, Mod, CC, Gate, Trig, Clock and Reset.

Supplier's Notes:
The MIDI 1U system provides all the essentials to control and sync your Eurorack modular from your computer, mobile, or hardware MIDI device with a minimum of fuss. Several of the module's most important features can be changed using the two front panel buttons, with full configuration capabilities offered via the Intellijel Config app, which is available for both Mac and Windows. The connectivity, feature set, expandability, and compact size make the MIDI 1U system ideal for integrating your modular gear with the rest of your rig.

Intellijel's MIDI 1U system comprises several elements, which work together to provide flexible, programmable MIDI-to-CV conversion to your Eurorack modules: The system comprises two mandatory components, and one optional component:

MIDI 1U module - This 14HP 1U module receives MIDI from an attached, external MIDI input connector (7U case, Palette case, or MIDI IN Jacks 1U module), and extracts (by default) Pitch, Velocity, Mod, CC, Gate, Trig, Clock and Reset messages i sending the proportional voltages to individual 3.5mm jacks for patching.If desired, the CC and MOD jacks may be configured to respond to either Channel Aftertouch or High Resolution CC, and the Reset jacks can be configured as a Run jack, instead. Additionally, MIDI 1U features an alternate Dual Mode, which maintains the Clock & Reset functionality, but uses the other six jacks to transmit Pitch, Velocity and Gate messages derived from two separate MIDI channels.
MIDI input connector - the MIDI 1U module does not have its own MIDI input jack. This enables you to use the MIDI/USB inputs built-in to your Intellijel 7U Performance Case or Palette Case. If you don't own one of these cases, you can purchase the MIDI IN Jacks 1U module to connect an external MIDI device.
MIDI Expander 1U module - This optional 14HP 1U module connects to the MIDI 1U module and adds an additional eight 3.5mm CV outputs. These outputs are fully programmable using the Intellijel Config app, and greatly expand MIDI 1U's ability to control your entire Eurorack system.

Width: 14HP
Depth: 14mm
Power: 34mA @ +12V
2mA @ -12V

Notes: A fully modular, Eurorack-format version of the excellent Dark Energy synth, the A-111-5 offers VCO, VCF, LFOs, VCA and envelope generator in a compact format. Brilliant value for a starter system.

Supplier's Notes:
Module A-111-5 is a complete monophonic synthesizer module that includes these components (modular version of Dark Energy):

VCO
Manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
Range switch -1 / 0 / +1 octave
Frequency range about 10Hz ... 12kHz - FM (frequency modulation) control with modulation source switch (LFO1 / off / ADSR)
Manual pulsewidth control for rectangle waveform
PWM control with modulation source switch (LFO2 / off / ADSR)
Waveform switch (sawtooth / off / triangle)
The sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW)
External CV input for VCO frequency (1V/octave)
External CV input for external PWM of the rectangle - internal CV input for frequency (1V/octave) connected to the A-100 bus via jumper, the jumper can be used to interrupt this internal connection if not wanted

VCF
24 dB low pass
~ 12 octaves frequency range
Manual frequency control
Tracking switch half - off - full (internally connected to the external frequency CV input of the VCO, i.e. the VCF tracks to the VCO if the switch is set to "half" or "full" position)
XM: exponential FM (frequency modulation) control with modulation source switch (LFO2 / off / ADSR)
LM: linear FM (frequency modulation) control to modulate the VCF by the triangle of the VCO in a linear (!) manner
Manual resonance control (up to self oscillation)
External audio input (this signal is added to the VCO signal)
External CV input for filter frequency - 1V/octave tracking for usage of the VCF as a sine wave oscillator (not as precise as the VCO but much better than most of the other filters)
VCA
Manual amplitude control
AM (amplitude modulation) control with modulation source switch (LFO1 / off / ADSR)
External CV input for VCA amplitude - special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB (Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCA)
LFO1 and LFO2
Manual frequency control
Waveform switch (triangle / off / rectangle)
Range switch (low, audio, medium) - LED display (dual green/red color for positive/negative share of the signal)
The inverted LFO1 signal is available as an additional socket (to use the LFO1 signal for external modules)
An internal jumper can be used to select between the LFO1 signal or the inverted LFO1 signal

ADSR
Manual controls for Attack, Decay, Sustain, Release
Range switch (long, short, medium) - blue LED display
ADSR signal is available as an additional socket (to use the ADSR signal for external modules)
Gate input connected to the A-100 bus via jumper, the jumper can be used to interrupt this internal connection if not wanted

Remarks:
As the LFO frequencies can go up to moderate audio range (~ 5kHz) even audio FM effects of VCO (pitch and pulsewidth), VCF and ADSR are possible.

If the VCO is turned off (waveform switch = center position, pulsewidth control = fully CCW) and the VCF resonance is set to maximum the module can be used as a sine oscillator. The sine can be modulated in a linear manner from the triangle wave of the VCO and by LFO2 in an exponential manner at the same time !

From the factory the socket labelled "LFO1" outputs the inverted LFO1 signal. But as the module has several internal pin headers available even another signal may appear at this socket by changing the internal module patch. These six pin headers are available: LFO1 output, LFO2 output, ADSR output, inverter input, inverter output, output socket. The internal default patch is LFO1 -> inverter input, inverter output -> output socket (i.e. socket = inverted LFO1). But even another signal can be patched to this socket (e.g. inverted ADSR, non-inverted LFO1, inverted or non-inverted LFO2). It is also possible to add a blind panel next to the A-111-5 with a couple of sockets that are connected to the corresponding pins of the A-111-5 pc board. The in- and outputs of the VCO, VCF and VCA are not available as pin headers because the VCO, VCF and VCA are internally connected in the circuit which is used in this module.

Notes: Kickall is a 6HP compact synth voice that features everything needed to make a big fat Kick sound. A stable VCO that tracks V/Oct, a couple of VCAs, envelopes for volume and pitch and an aggressive waveshaper.

The module has been designed with a kick synthesis patch in mind.

The audio path consists of a sinewave oscillator that passes across a Square Waveshaper and two VCA's. The first VCA is for the Volume envelope. The second VCA is dedicated to general volume. Thanks to his CV input, it is possible o apply accents or affects the dynamics of notes. Feeding this input with audio generates a basic AM operation expanding the sonic range of the module.

In the control path, KickAll has two envelope circuits to modulate the first VCA oscillator's pitch. Both envelopes are fired at the same time manually or via dedicated trigger input.

Through its Tune input, KickAll tracks eight octaves with high accuracy. Plug your favourite sequencer or CV source to create patterns out of the kick range, or feed it with an audio signal, for frequency modulation Fx.

Specs

Current needs: +12V: 26mA, -12V: 12mA
Width: 6 HP
Depth: 20mm, (28mm DIY) including power connector
Aluminium, heat-treated front panel.
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: Zadar is a powerful, four-channel envelope, modulation, and transient generator, in a compact yet very complete, feature-rich package. It is capable of synthesising a vast palette of envelope shapes starting from hundreds of shapes stored in the memory. These starting shapes are not mere wavetables, but flexible vectors that can be stretched (from a fraction of a millisecond to half an hour), flipped, warped, distorted, delayed, shuffled, repeated, and amplitude modulated in real time. A set of freely assignable CV inputs allows for external control of most parameters. Each channel can work independently or combined with other channels within one of the chaining and looping algorithms.

Operating Zadar is quick and immediate, thanks to its accessible interface and crisp OLED display. The main screen displays all parameters together with the currently selected shape. Entering the simple 3-page menu is needed only for advanced settings.

Notes: Part performance mixer, part utility module, with 4 channels of VCA, summed to a stereo output, Tannhauser Gates is AFA's first stereo module.

Based loosely on the Buchla 100 series Gates, each channel boasts a discrete VCA with a rich overdrive sound, stereo panning, a tilt EQ and an easily accessible mute switch. Each channel can be used individually as a mono track or all four can be summed down to the stereo output. The four channels have an individual CV input, or they can all be controlled via the master CV input. The Tannhauser Gates also hosts the capability for a stereo send and return path, expanding your sonic arsenal to other processing modules.

Tannhauser Gates is designed with future expansion in mind. Adding up to three more Tannhauser Gates modules, it is possible to build a performance mixer system of up to 16 channels, all summed to a single output module. The back side of the module is equipped with a number of expansion headers.

Power consumption: 146mA at +12 V and 94mA at -12 V
Depth: 34mm
HP : 20

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: Part of Xaoc's range of modular mixing tools, the Bohumin 1966 is a commander module for Ostrawa stereo mixer modules, adding a second stereo aux bus, voltage control and manual attenuators with clickless mutes

Supplier's notes:
Bohumin [bo'xumin] is an expander for Xoac Deives' Ostrawa full stereo mixer module. By connecting to Bohumin, Ostrawa gains a second full stereo AUX bus with voltage control over the amount of the effect on each channel. Bohumin features manual attenuators for stereo returns of both AUX A and AUX B, as well as four gate inputs for automated clickless muting of each stereo input channel. Please note that Bohumin is not compatible with Ostrawa's sister module Praga. Similarly, Praga's expander Hrad cannot be connected to Ostrawa. However it is possible to chain any combination of Ostrawas and Pragas, and each of them may have its corresponding expander attached.

Technical details

10hp, skiff friendly
Power drawn from Ostrawa: +50mA/-40mA

Notes: Part of Xaoc's Leibniz Binary Subsystem, the updated Drezno ADC/DAC module builds on the original with higher resolution converters, allowing you to use it for pitch quantisation.

Supplier's Notes:
Drezno II is an improved version of the original Drezno module. It is an essential member of the 8-bit Xaoc Devices Leibniz Binary Subsystem. The Leibniz subsystem is a family of modules that operate on 8 binary (two-state, on/off) signals. These signals are arranged as 8 bits of digital data and may represent analogue signals and voltages, or they may be whatever you want them to be (clocks, gates, rhythms, etc.).

Drezno features an ADC (analogue-to-digital-converter) and DAC (digital-to-analogue-converter), allowing it to act as an analog front-end of the system. In other words, Drezno allows one to convert analogue signals and CVs into digital numbers, as well as to obtain analogue signals back from some other digital numbers (or 8 binary signals). Between these two conversions there is a whole universe of digital shenanigans waiting to happen resulting in all kinds of signal transformations and modulations.

Both (ADC and DAC) sections of Drezno can work independently, or they can be linked. Input and output range of analogue signals may be adjusted using Gain and Offset sliders. Individual bit outputs (for the ADC) and inputs (DAC) allow for extensive cross-patching and the creation of complex waveforms and rhythms. A very fast clock (up to 2MHz) at which the conversions are performed may be replaced with any external clock (for each section separately).

Compared to its predecessor, Drezno II uses new converters of much higher resolution which results in much lower noise floor and higher accuracy. The lower bits are much more stable than before. It is easy now to use Drezno for quantizing pitch voltages with accurate results with 128 or 256 semitone steps. Potentiometer ranges are factory calibrated for precise chromatic scale. A new switch on the front panel allows the user to select the calibrated range of 10Vpp or 20Vpp, so that the lowest bit or the second bit correspond to 1 semitone.

Technical details

Eurorack synth compatible
12hp, skiff friendly
Current draw: +80mA/-50mA
Reverse power protection

Notes: Part of Xaoc's Leibniz binary system, the Rostock is a digital delay line capable of processing triggers, audio, CV and video signals. Another useful module from the unique Leibniz series.

Supplier's Notes:
Rostock is a component of the Leibniz Binary Subsystem. It is a data pipeline, a FIFO (first in - first out) shift register, or a very short digital delay. The module operates similarly to a BBD delay or an ASR (analogue shift register), except that it is digital. It consists of a chain of memory cells that pass bits from one to another at each clock cycle. The delay length is variable from 1 to 64 stages (with optional looping and scrambling). It works by processing data in the Leibniz bus and must be connected to other Leibniz modules using data ribbon cables at the back. Rostock may process data sequences representing rhythms, control voltages, audio-rate signals, and even video signals because the bits can change at extreme rates (up to 2MHz). In addition, its memory may be digitally looped. Delaying and looping is a fundamental building block for sequence automation, pattern and chaos generation, and various cybernetic modular patches. Thus, Rostock is a multi-purpose open-ended device that invites creative thinking.

Technical details

Eurorack synth compatible
8hp, skiff friendly
Current draw: +70mA/-40mA
Reverse power protection

Notes: The SoundForce Chorus 6 is 16HP Juno style BDD chorus with plenty of CV inputs. It is using the Xvive MN3009 and the same audio path as the original circuit. It can do the classic Juno I, II and I+II modes. I+II modes are available from both the Juno 6 and Juno 60, each in mono (as the original) or stereo, giving you 4 I+II options. But the manual and external modes can take the module away from sweet and pretty sound territories right into weird and noisy soundscapes.

Some tech-talk:

A chorus effect is created by mixing a dry signal with a delayed signal. The delay time is modulated by an LFO to create more movement. To create some stereo width, the left and right modulation are 180 degrees out of phase. Exactly like the chorus in the Juno 6/60/106, the delay is made with MN3009 BBD chips. Also as in the original design, filters are added both before and after the BBD chips in an attempt to hide some of the artefacts of this very crude IC.

To get the audio "moving" through the chain of MOSFETs in the BBDs, driver signals are needed. This used to be done with the MN3101 BBD driver chip. Unlike the MN3009, there is no clone available of this ancient IC and this was a chance to add some modernity to the design. The drivers were replaced by a modern STM32 micro-controller along some extra ICs to convert the 3.3V logic to the negative voltage needed by the MN3009.

In order to recreate a genuine Juno-type modulation, the BBD driver signals of my Juno-106 were sampled over a few periods. Using the timer peripherals of the STM32, a replica of the BBD driver signals can be sent out to the MN3009's. Although the driver signals only follow a very basic triangle LFO shape and could have been generated using direct synthesis in the firmware, this method gives an exact copy of the original driver signals including all the potential imperfections.

Implementing a digital programmable chip also allows a digital-style interface with tactile switches and LEDs as in the original Juno interface. The last used mode is saved and loaded when the module powers on. The CV inputs (with the exception of the MIX CV) are acquired by the STM32 ADC and can modulate the BBD driver signals based on parameters in the firmware.

Features:

The SoundForce Chorus 6 has 4 main modes: I, II, I+II, MAN for manual and EXT for external. I and II are the classic Juno modes available in the Juno 6/60/106. Press both I and II to enter the I+II mode. While holding down I and II, press the OFF button to cycle through the 4 I+II options:

- Juno 60 mono - 1hz - 8% depth
- Juno 60 stereo - 1hz - 8% depth
- Juno 6 mono - 8hz - 25% depth
- Juno 6 stereo - 8hz - 25% depth

In I, II and I+II, only the mix controls can influence the sound, all the other parameters are fixed and CV inputs are not active.

Mix control:

Using the slide pot (fader) or the CV input, the mix between the dry input signal and the BBD delays output can be set. The orignal Juno balance is reached when the slide pot is in the middle (without CV connected). The mix control is a VCA-based crossfader and is 100% analog which means it can withstand really high audio rate frequency modulation.

MAN mode:

The manual mode gives you the opportunity to control every parameter of the chorus and gives you acces to the LFO that modulates the BBD delay times. Here is what you can tweak:
- time slide pot: sets the start delay time
- rate slide pot and CV input : sets the frequency of the delay time modulation
- depth slide pot and CV input: sets the depth of modulation around the start time
- mix slide pot and CV input: see above
- LFO wave: selection of different waveforms to modulate the delay time
- range: selection of 3 different frequency ranges for the LFO (S: 30Hz to 500Hz | M: 1Hz to 100Hz | L: 0.016Hz/1min to 10Hz)

In manual mode, the EXT IN CV input can be used to change the LFO wave, range or add additional modulation of the delay start time.

EXT mode:

In external mode, the BBD delay times can be modulated using an external signal through the EXT IN cv input. Plug in a CV source from your eurorack case into the EXT IN, set manually the starting delay time using the time slider and use the EXT ATT slide pot to attenuated the incoming CV signal (equivalent to setting the depth). In external mode, the depth/rate sliders and CV inputs are not active.

Stereo inputs:

The Chorus 6 can be used with either mono or stereo input signals. When the right channel is unconnected, the left channel is sent to the right jack so it can be used with mono signals. When using both inputs, each input signal is going through its own BBD delay line.

BBD delay time range:

The Chorus 6 gives you in the MAN and EXT modes a delay range that it is about doubled compared to the I/II modes. The original Juno chorus was using only a very limited range of the BBD chip and really stayed in the sweet spot. Extending to the full spectrum of the MN3009 yields pretty horrible high pitch noise at audio rate modulation, so the range has been limited to a usable section. When you apply high frequency modulation with great amount of depth, the delay time will be pushed in the extremities of its time range and quite nasty artifacts will appear in the form of squeaks and whines. Please note this is a characteristic of the BBD. If you want to reduce those artifacts, reduce the depth of modulation. On the other hand, if you are looking to add characteristic and vibe to the sound, audio rate modulation and plenty of depth will help you to get there.

Input levels:

Both Eurorack and Line level signals can be used as input for the Chorus. A small slide switch between the 2 PCBs can switch between Euro and Line. In Euro levels, the input signal is attenuated to an healthy level that is well below the BBD distortion point. Some headroom is also needed as the chorus is a sum of the input signal and the modulated delayed signals. For that reason, when the chorus is turned off the output attenuation is about 50% of the input level. When the chorus is on, the resulting output amplitude is similar to the input level. Line levels are also accepted by the module when the switch is on Line. Please note that Line levels input will be amplified to the Eurorack levels range at the output of the module. So the output levels are Eurorack in both Euro or Line input ranges.

Specifications:
16HP
Depth: 38mm (including power connector)
Power: +12V 76mA, -12V 35mA

Notes: Roucha Legio is a 12 dB /octave state-variable stereo multimode filter available on the Legio DSP+oscillator platform.

Noise Engineering received tons of requests for NE filters over the years, and Roucha Legio is their first dedicated release. The filter features lowpass, bandpass, and highpass settings and tracks frequency via the dedicated encoder and extremely accurate 1v/8va CV input. Roucha Legio's CV-controlled resonance parameter can go from clean to acidy-squelchy for bassline joy. Add CV for filter sweeps that will knock your socks off. Of course, because it's a Noise Engineering module, there's a Fold knob. Add wavefolding to the signal chain before, after, or both before and after the filter.

Noise Engineering have made it easy to carry out dramatic buildups and cuts with Roucha Legio. Just tap the encoder to bypass; tap again to turn the filter on again. Want to automate it? Send a gate into the Bypass input. The filter will remain bypassed as long as a high gate is present.

Roucha Legio is also a DSP and oscillator platform: users can change the firmware on any Legio module, 100% free, to any other firmware in the Legio series.

Dimensions
6 HP
38 mm deep

Current Draw
140 mA +12V
22 mA -12V

Notes: Roucha Legio is a 12 dB /octave state-variable stereo multimode filter available on the Legio DSP+oscillator platform.

Noise Engineering received tons of requests for NE filters over the years, and Roucha Legio is their first dedicated release. The filter features lowpass, bandpass, and highpass settings and tracks frequency via the dedicated encoder and extremely accurate 1v/8va CV input. Roucha Legio's CV-controlled resonance parameter can go from clean to acidy-squelchy for bassline joy. Add CV for filter sweeps that will knock your socks off. Of course, because it's a Noise Engineering module, there's a Fold knob. Add wavefolding to the signal chain before, after, or both before and after the filter.

Noise Engineering have made it easy to carry out dramatic buildups and cuts with Roucha Legio. Just tap the encoder to bypass; tap again to turn the filter on again. Want to automate it? Send a gate into the Bypass input. The filter will remain bypassed as long as a high gate is present.

Roucha Legio is also a DSP and oscillator platform: users can change the firmware on any Legio module, 100% free, to any other firmware in the Legio series.

Dimensions
6 HP
38 mm deep

Current Draw
140 mA +12V
22 mA -12V

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: Four independent, analogue LFOs in 8hp. Linear voltage control over frequency. Sine or square waveforms.

The Quad LFO gives you four independent high quality temperature stable modulation sources. While audio rate analogue oscillators famously sound more alive, the living quality of analogue modulators is often overlooked. The Quad LFO has a totally analogue sine core, for living, low distortion, accurate, and consistent sine wave outputs. However, if you need a square wave for a clock, to drive a logic input, or for another purpose, you can set one or more LFOs to a square with a jumper on the back.

The Quad LFO provides linear voltage control over frequency, matching our perception of sub-audio rate frequencies. Each oscillator ranges from nearly stopped to around 23 Hz. It is designed for knob twiddling, with accurate potentiometers, aluminium knobs, and 1Hz easily reachable in the centre.

Specs

Size: 8HP
Depth: 32mm
Power Consumption: +12V 51mA, -12V 51mA
Frequency Range: 5+ minutes to 23Hz
Input Range: 0-10V
Input Impedance: 40kO
Output Swing: -5V-+5V peak
Output Impedance: 1kO
Output Drive: 2kO (min), 20kO+ (ideal)

Notes: ***NEW revision TEMPI firmware tempi11 improves External SYNC and RUN/ STOP behaviors. Download here today - http://www.makenoisemusic.com/content/patchsheets/tempi11_firmware_update.zip***

TEMPI is a 6 Channel, polyphonic time-shifting clock module. It provides an intuitive method for creation and recall of complex clocking arrangements within a modular synthesizer system. Using HUMAN and/ or MACHINE programming you could re-create most classic Clock Divider and Multiplier arrangements and then continue on to create new ones. Store up to 64 for later recall and Select them using control signals from within your system or the Select Bus.

Notes: Full-featured triangle core VCO/LFO

The Dixie II+ is a larger variant of the classic Dixie II. Using the same great triangle core oscillator, it adds a number of features to make it even more versatile with only a modest increase in size. The Dixie II+ makes a great primary oscillator for a modular system, or a great companion the Rubicon.

Notes: The Jumble Henge is a 16 input stereo spectral mixer with a unique patch-based mixing interface in a compact space. Each input has a carefully tuned resonant analog filter and a unique fixed pan value, providing each sound its own space within the mix. There is a Mix control to adjust the depth of the filtering and a clean external stereo input for chaining with another mixer or extra sound source. Jumble Henge is a space efficient solution for creating rich stereo mixes from a number of both mono and stereo sources.

INPUTS
Vertical and horizontal patch position determines a source's spectral and stereo placement in the mix respectively.

Aside from centred inputs, every input sits in its own unique pan position, helping to keep a separation between sounds but building a complete stereo image when combined.

The centre right inputs of the top two rows are normalised to the centre left inputs. - i.e if just a left input is patched it will be effectively panned center.

Towards the highs the panning becomes wider - as the human ear better pinpoints direction at higher frequencies, whereas the lows remain more centred for a tighter, more focused sound.

MIX CONTROL
Mix control for the overall depth of the filters applied to the inputs. Note: a slight volume increase occurs near the centre of the dial.

EXTERNAL INPUT
An additional clean stereo input pair for chaining with another mixer or additional source. Right input normalised to left input to accomodate mono sources.

OUTPUTS
Stereo mix output, the sum of all 16 inputs.

Jumble Henge was designed in collaboration with Worng Electronics and is based on the 'SoundStage'.

Technical Specifications

Supply: +12V 70mA / -12V 70mA

Size: 8HP

Depth: 38mm

Notes: The Ensemble Oscillator is a unified polyphonic voice of sixteen complex oscillators combining additive, FM, phase-distortion and wavefolding synthesis techniques in new unorthodox ways. By quantizing the oscillators to scales or series of harmonics, the Ensemble Oscillator allows you to explore the sonic boundary between musical chords and rich evolving textures. Easily create a wide variety of sounds ranging from aggregates of pure sine waves to pulsar synthesis or pristine harmonic tones and lush wide chords to rich dirty drones and rumbling glitches. Custom scales can quickly be "learned" and saved using a CV keyboard or by manually entering notes with the controls.

The Ensemble Oscillator is designed by Matthias Puech and 4ms Company.

Electrical and Mechanical Specifications:

16HP Eurorack format module
0.98" (25mm) maximum depth (including power cable)
10-pin to 16-pin Eurorack power header

Power consumption:
+12V: 114mA maximum
-12V: 45mA maximum
+5V: 0mA (not used)

Audio outputs
Frequency range: 0Hz (DC) - 20kHz
Typical amplitude: 10Vpp
Maximum amplitude: 18.5Vpp
1V/oct inputs (Root and Pitch)
Voltage range: -2V to +6V (8 octave range)
Factory calibrated to 1.00V/oct
Per-jack user-calibration allows from 0.7V/oct to 1.3V/oct
CV inputs (other than 1V/oct)
Voltage range: -5V to +5V

Gate inputs:
Trigger threshold: 2.5V
User memory (non-volatile)
Scale slots: 30
Shift feature settings
1V/oct calibration settings

Notes: Erica Black OCTASOURCE is, what we want to believe, the LFO carried to it's extremes. It features one of 8 waveforms available on 8 outputs phase shifted by 45 degrees OR all 8 waveforms simultaneously on all outputs. Futuremore, waveform selection, phase shift and LFO rate are CV controlled, and the rate can be synched to an external clock signal.

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, design and usability was prioritsed over module width. Big knobs are assigned to functions that make difference in sound. The Erica Black series are a range of modules that together make an entire synthesizer.

LFO rate: 0.03Hz- 30HZ
Output signal amplitude: 10Vptp
CV input (full sweep): -5V- +5V
Power consumption: +82mA, -44mA
Module width: 12HP

82 mA +12V
44 mA -12V
25 mm deep

Notes: Three-band isolator with stereo inputs and outputs, splitting the signal into highs, mids and lows then allowing you to control level and frequency via CV for some clever sound sculpting and modulation.

Supplier's Notes:
Katowice is a stereo variable-band isolator that allows the user to manipulate a selected range of frequencies. It is the first module in a series of upcoming Xaoc Devices products designed specifically for processing stereo signals.

Katowice splits the stereo input signal into three bands: low, middle, and high. While the knobs and CV inputs define the center frequency and bandwidth of the mid band, the low and high bands are automatically adjusted so that the sum of all three is a complete signal. All three bands are passed through high quality VCAs and their stereo outputs are available separately for further processing. A stereo mixdown signal is also available.

Katowice may be used as a crossover network, a parametric EQ, DJ-style kill filter, or other band-selective applications, including multiband compression and stereo enhancement.

TECHNICAL DETAILS:
Eurorack synth compatible
10hp, skiff friendly
Current draw: +100mA / -100mA
Reverse power protection

Notes: 6HP Micromodule of Opensource Rings

Notes: 8HP Micromodule based on Opensource Frames.

This devices comes with Parasites 1.1 firmware

Notes: mBrane is a 4 channel midi to CV interface based on opensource Yarns. The device includes a 1.5m 3.5mm TRS to Midi male cable (Type B). This is the brand new Rev1.1 of the device which now features PSImidi which allows ANY type of TRS midi cable to be used on the input. Type A or B, male or female, all will work.

Running firmware 1.5
Multichannel MIDI to CV/Gate conversion

Yarns is a MIDI interface providing up to 4 channels of very accurate CV/Gate conversion, which can be assigned to up to 4 voices.

In single voice mode, note, velocity, modulation and aftertouch (or other CC) CV are produced, along with a gate, a trigger, and a clock/reset output.

In two voices mode, two channels of note, modulation or aftertouch CV are produced, along with two gates, and clock/reset outputs.

Finally, in four voices mode, four pairs of CV/Gate outputs are provided.

Each voice has a built-in digital LFO to interpret modulation wheel messages as a vibrato; can respond to pitch-bend messages; or can be smoothed with a glide/portamento control - no need for a dedicated module and patches to get the right response from a MIDI keyboard!

Monophonic and polyphonic

The 2 and 4-voice modes are available both in a "polyphonic" and "multitimbral" flavour. The former receives chords from one single MIDI channel and dispatches them to the voices; while the later provides independent monophonic parts - which can be addressed to different MIDI channels, keyboard ranges, or even velocity levels.

Various note priority modes (low, high, last) and polyphonic allocation schemes (voice-stealing, random, cyclic) allows you to fine-tune the CV/Gate conversion to your playing style.

With sequencing and note transformation...

Each part can generate sequences either through an arpeggiator/euclidean sequencer combo; or with a SH-101 style sequencer with step-by-step recording, storing up to 64 notes. The module can sync to an external MIDI clock, and generate a clock/reset output at any subdivisions of the MIDI clock.

...and even more advanced features.

Other unique features include support for microtunings (either through standard MIDI messages or from a selection of historical tunings or indian ragas), just intonation, and an audio output mode which can transform one, two, or four of the CV outputs into simple digital oscillators.

Notes: 12HP version of Marbles Random Sampler

Fully calibrated

Notes: 8HP Tides version 2

Fully calibrated.

With LED Pots for the attenuverters.

Notes: The full power of Mutable Instruments Elements packed into 18hp. It features jack lights that can be turned on/off via a jumper on the back. This module comes loaded with the most recent firmware, with the new Chords mode that unlocks a whole new world of potential.

Based on open source designs by emilie gillet under Creative Commons (CC-BY-SA) license.

Width: 18hp
12V: 130mA
-12V: 10mA

Notes: Third-party clone of the open-source Mutable Instruments Plaits oscillator/sound source. All the same functionality in a compact 8hp format with full-size knobs for the key functions.

Supplier's Notes:
Functionally identical clone of the Mutable Instruments Plaits. Beehive strikes a nice balance between size, reducing 12hp down to 8hp, and playability by offering full size knobs for the four main functions. Beehive also retains the same depth of the original module at 25mm. This module uses After Later's new aluminum knobs which have a nice non-slip texture and allow for more finger space over the standard 1900H Davies knobs.

Notes: Cara (uMarbles)

This is a new build of a micro version of Mutable Instruments Marbles. It retains all the functionality of the original full-sized module but takes up less space. It comes with jack lights that can be disabled via a jumper on the back.

These modules use tall bushing potentiometers to offer a more stable feel. You can see the difference in the last picture. You will feel much less wiggle with the tall bushing (left) than with traditional trimmer style (right).

The module is fully assembled, tested, and calibrated. The calibration is done with a 6.5 digit multimeter, itself recently calibrated, to ensure you get the highest accuracy from your module. Eurorack power cable included.

Width: 10HP
Depth: 34mm
Height: 3U
Power Consumption: +12V: 80mA -12V: 20mA

Notes: This is a new build of a micro sized Mutable Instruments Plaits called Knit.

These modules use tall bushing potentiometers to offer a more stable feel.

The module is fully assembled, tested, and calibrated. Eurorack power cable is included.

Width: 6HP
Depth: 25mm
Height: 3U
Power Consumption: 12V: 50mA -12V: 5mA

Notes: This is a new build of a Monsoon, which is a variation of Mutable Instruments Clouds with separate CV and controls for the 4 "blend" functions. The 4 LEDs on the sliders indicate incoming control voltage for the 4 main parameters. The button which was used to select blend parameters now simply switches what the 4 LEDs display (audio input monitoring or monitoring the 4 blend amounts.) Parasites 2.01 firmware is loaded by default. Alternative firmware can be loaded by request.

The module is fully assembled, tested, and calibrated. Eurorack power cable is included.

Width: 12HP
Depth: 22mm
Height: 3U
Power Consumption: +12V:120mA -12V:10mA

Notes: This is a brand new build of a JakPlugg designed Pachinko, which is a micro version of Mutable Instruments Marbles. It retains all of the functionality of the original but takes up less space (12HP) than the original Marbles (18HP).

The module is fully assembled, tested, and calibrated. The calibration is done with a 6.5 digit multimeter, itself recently calibrated, to ensure you get the highest accuracy from your module.

The panel is a custom black After Later Audio panel that offers metallic gold accents.

The module comes with a power cable and a 1 year warranty.

Notes: This is where Storm and Monsoon meet to create the latest improvements on the original Clouds design. With Typhoon you get all of the features of Storm combined with sliders and layout of Monsoon in 16hp. Typhoon runs the SuperParasites firmware, so no more having to swap between Parasites and Kammerl firmware options. Some of the notable features are:

Dedicated blend controls for Feedback, Panning, Mix, and Reverb (similar to Monsoon)

All eight modes from Parasites and Kammerl

Stereo VCAs

input/output mutes

Exponential and linear pitch controls

Universal CV routing and random CV signals

Comes with an exclusive black and gold panel, power cable and one year warranty.

Notes: Erica Synths Black Quad VCA2 is a versatile four channel voltage controlled amplifier and mixer module for use in complex modular systems. Each channel has linear/logarithmic response selector and signal level indicator LED. All outputs are sequentially mixed and CV inputs are normalled to each other, so you can use the module in various configurations. If no CV is applied, the Black Quad VCA2 performs as a signal mixer, and the 4th channel is DC coupled for controlling CV sources, as well.

Notes: 32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analog Dry/Wet control with dedicated CV input. High quality stereo signal pass. Separate modulation inputs for all three effect parameters plus Sample Rate Reducer (SRR) input - changes internal clock. Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other effects in any order.

Reflashing procedure is quite easy: playing 40 sec long "wav" file of line level amplitude to SRR input.

Reflashing mode: hold both buttons for 10 sec.

By default it runs on 32.77 kHz and, this sample rate can be decreased down to 150 Hz or brought up to 48 kHz via SRR input.

Please note the reverse CV operation of the Dry/Wet control: positive CV crossfades from Wet to Dry, and negative CV crossfades from Dry to Wet.

80 mA +12V
30 mA -12V
45 mm deep

Notes: 32 unique audio effects arranged in 4 banks of 8 effects. Three effect controls plus analog Dry/Wet control with dedicated CV input. High quality stereo signal pass. Separate modulation inputs for all three effect parameters plus Sample Rate Reducer (SRR) input - changes internal clock. Four user storable presets - stores selected program and all three controls. Spin FV-1 based.

The last used effect, and presets are always remembered.

32 effects are simultaneously available, but FX AID can be reflashed with other effects in any order.

Reflashing procedure is quite easy: playing 40 sec long "wav" file of line level amplitude to SRR input.

Reflashing mode: hold both buttons for 10 sec.

Please note the reverse CV operation of the Dry/Wet control: positive CV crossfades from Wet to Dry, and negative CV crossfades from Dry to Wet.

By default it runs on 32.77 kHz and, this sample rate can be decreased down to 150 Hz or brought up to 48 kHz via SRR input.

80 mA +12V
30 mA -12V
45 mm deep

Notes: Complex gate and CV generator designed as a trigger source and modulation tool. Based around four sine wave LFOs that mix together and interact to create ever-changing patterns.

Supplier's Notes:
In 2009 John Berndt coined and defined the term Relabi in his essay "Relabi": Patterns of Self-Erasing Pulse, these are his own words: "Relabi, Def.: The experience of a palpably coordinated plurality of events that appears to be cyclical but simultaneously suspends identification of a uniform pattern, preventing a resolved sense of pulse. Relabi therefore seems equally pulsed and unpulsed at the same time. It is an experiential gestalt, a quality of experience, greater than the sum of its parts (it forms a sustained unity in experience, albeit of a new kind)."

He also makes the question: "Why would anyone want this Relabi experience? I maintain that much of what is exciting in musical forms involves an interplay between the setting up and denying of pulse expectations."

Inspired by this idea, ADDAC System developed this module that is both a gate/trigger and cv generator that can be freely used to trigger events or act as a complex modulation source. Four Sine LFOs are internally generated, each has controls for gain, frequency and mute(off). These 4 LFOs are then mixed together to generate what Berndt named the "Relabi Wave" this "wave" becomes a complex bipolar CV source. This i5v bipolar "wave" can be monitored on the 2 dedicated leds and is also available at its own Output.

Make sure to check the User's Guide for indepth description, working behaviour and diagrams.

Tech Specs:
10HP
4cm deep
100mA +12V
40mA -12V

Notes: Eurorack version of the 16n Faderbank, offering 16 CV inputs and 16 outputs, each corresponding to a fader. MIDI in and out allows you to configure the module in myriad ways.

Supplier's Notes:
This module is a eurorack version of the 16n Faderbank, implemented with 16 CV inputs and some other smart add ons. Almost everything is in the front panel.

This new version is oriented for firmware tweaks and future expansions, still being fully compatible with the 16n and the previous Sweet Sixteen.

Changes from previous versions:

Function push button
Function led
Expansion header in the back
i2C pull-up switchable with jumpers (aux pcb not required)
Mate black & gold panel with brass nuts

There are 16 channels, which can be used as:
Midi controller
Manual CV generator (0 to 8v range)
Attenuator
CV to Midi CC
i2C controller
CV to i2C data

The Midi CC number and channels can be different for the TRS jack and the USB port. The firmware has been tweaked to allow also Pitch Bend, which is pretty handy because you can get much better resolution through Midi (from min to max values Midi CCs have 128 steps and Pitch Bend has a resolution of 16.384 steps).

The voltage generated by every fader is up to 8v, which is good enough to control eurorack modules (like wide open/close the cutoff frequency of a filter etc).

In the midi CC messages, 0 volts will correspond to a value of 0, and 8 volts to a value of 127. But the CV to Midi can handle also negative voltages, for such task there are 4 slide switches (1 for every 4 faders) that swaps the internal voltage reference in a way that, when activated, 0 volts will be the middle position of the midi controller, -4 volts the minimum value and +4 volts the maximum. Those switches only affect the Midi/i2C outs, CV outs won't be affected by them in any way.

If you plug in a bigger voltage source (like a -5v+5v LFO or a 10v envelope) the fader will work as attenuator, so you'll be able to adapt how that signal affects the Midi CC out, covering the whole Midi CC range, saturating the waveform or just affecting it briefly.

Panel USB port is type B, which seems to be stronger than mini or micro ones.

i2C could connect directly to an ER-301, monome Ansible or a monome Teletype.

The Teensy can be powered via the internal regulator or the +5v eurorack rail (selectable via a switch on the back).

The partial kit comes with all SMD populated, so only through hole components requires soldering work.

size: 24 HP

92 mA +12V

86 mA -12V

Notes: This module is a 12 ins and 12 outs precision buffered matrix.

It is conceived to be a semi-permanent matrix for medium to big systems, with white silkscreen labels to customize ins and outs names.

Every output has a rotary switch to select an input. This is not a mixer, you can make the same input go through several outputs but not several inputs go to the same output.

There's also a bicolor led next to every output for visual info of the signal that is going through it.

This module allows fast patch changes and easy rerouting signals, both audio and cv.

The last version has matte black & gold panel, and it's equipped with OPA4171 precision op-amps for the buffers.

26 HP
45 mA +12V
45 mA -12V

Notes: Dual tidal modulator with max, min & mix outs

FranKinksTides is a 18hp dual Tides (based on the Swirls pcb layout) with the max/min circuit from Kinks and some switches for sync, quadrature, pll and fm operation . It can be a double/complex oscillator, a dual function generator or any combination of oscillator, Lfo and Envelope generator with lots of cv control plus some interesting cross-modulation and sync features.

Some improvements in version 1.2:

-Mix output is now buffered, no signal bleeding on single outs.
-Mix pot controls also the balance of the signals sent to the max/min circuit.
-Uni/bi switch now also determines the signal sent to FM1.
-Clock/sync switch has now a center OFF position, no need of plugging a dummy cable in the Clock1 when using Sheeps firmware to avoid ultra fast sound bank changes.
small improvements for DIY:
-Bigger font size on the pcb.
-Parts renumbered for easy DIY.

Original design by Emilie Gillet
Available assembled and DIY (pcb+panel)
+12v
-12v

Notes: 16 trigger ins to play up to 4096 wav files from a micoSD card

Nutella is a eurorack conversion module for the Sparkfun Tsunami Super Wav Trigger.
Features:
-16 trigger in & buttons to play audio files.
-MicroSD card to store up to 4096 wav files in 44.1kHz 16bit.
-32 voices polyphony in mono and 18 in stereo.
-Low latency (8ms typically)
-8 audio outs (modular level)
-Midi in (velocity sensitive, supports MIDI Note-On, Note-Of, Pitch Bend and Program Changes messages, as well as Controller messages for real-time control of sustain, attack and release times and volume.
-Ability to play multiple audio stems in sample-locked sync.
-Can be used as a Wav player and Midi-to-Trigger converter at the same time.
-Trigger ins (and so buttons) can be assigned to various functions (normal, next, previous, random, pause, resume, stop, volume up, volume down, trigger bank up, trigger bank down, synced set, midi bank up, midi bank down)
-Easy configurable by an optional ".ini" file stored in the microSD card, a Tsunami Configurator utility (Windows, Mac and Linux versions available), makes it easy to set options and generate this file.
-Super easy firmware update system via microSD card, no external programmer needed.

30 mA +12V
15 mA -12V
200 mA 5V

Notes: Voltage-controlled Dual VCO/LFO - two oscillators independently set as VCO or LFO.

Features in VCO mode:
V/Oct tracking over 10 octaves
Through zero and linear FM
Sub-octave output
Hard & soft synchronization
VCA control and CV algorithms selection
Quantizer with various scales
20 algorithm-based synthesis types among:
Wave shaping
Phase modulation
Phase positioning of multiple waves
Up to 5 stacked oscillators in tunable unison
Self-sync with phantom oscillator
Additive synthesis (7 waves)
Variable bit reduction (bit-crushing)
Ring modulator with its own 2nd oscillator
Noise with LPF, BPF, or resonant filter
Features in LFO mode:
Simultaneous signal and trigger outputs
External wave synchronization
Clock controlled rate with voltage controlled multiplier and divider
CV and knob control of output level
Algorithm based wave engine with a selection of:
Wave shaping
Phase modulation
Random levels and vectors (also Brownian)
Randomly spaced triggers and waves
Display with contextual icons and instant reminder help text
LEDs indicating potentiometer vs. value matching, switch settings and output levels
Automatically saved settings for instant recall at power on
Firmware update by playing an audio file via the front panel
Compact and skiff-friendly module

The driving idea behind the Twin waves voltage-controlled dual oscillator/LFO is to offer two interesting oscillators in a skiff-friendly and compact size. To achieve that challenge, Klavis built the product's architecture on the concept of pre-defined algorithms, where the most useful configurations and their matching parameter are ready to use.

This MKII evolution brings a redesigned layout, additional knobs for more hands-on fun and semi-modular cross-patching between sections.

All of the original features are present: a top selection of synthesis techniques, each with their key parameter directly at hand, enriched by a full set of complementary features.

More than ever, the Twin Waves is versatility at its best.

Dimensions:

(mm) Height: 128.40, Width: 40.40, Depth: 21.00
(Inches): Height: 5.06, Width: 1.59, Depth: 0.83
Eurorack: Height: 3HE, Width: 8HP
Depth behind panel (no supply cable inserted)- 21.00mm, 0.83 inches

Current draw
+12V: 46mA
-12V: 18mA
+5V: 0mA

Notes: Erica Synths Modulator is an advanced modulation and pitched noise source with focus on rhythmic (but not limited to) compositions in mind. It features two identical syncable to the BPM LFOs/noise sources with selectable morphing waveshapes. LFO frequency can be manually adjustable, as well as they provide frequency divisions and multiplication in Sync mode. Each LFO has two outputs- main one and secondary one with adjustable phase, so you can create evolving modulations. Furthermore, LFOs can be linked to work at the same frequency and the first LFO has built in VCA to control output signal amplitude.

Features
Two independent modulation/pitched noise sources
7morphing waveshape + noise
LFO Sync, frequency divisions and multiplications
Integrated VCA for first modulation source
Two main outputs
Two outputs with an adjustable phase shift
LP and HP filter on outputs in pitched noise mode
CV control over LF rate/noise pitch

Output level: -5...+5V
CV level (full span): -5V - +5V
Power consumption: 86mA@ + 12V, 7mA@ - 12V
Module width: 10HP
Module depth: 45mm

Notes: CV Thing is a fully mappable CV to MIDI converter in just 6HP. Its based on our VCMC module, but aiming for small and compact performance rigs. It has eight inputs that can be mapped to any MIDI message quite easily thanks to its simple and intuitive user interface. CCs, Program change ,V/Oct to Note or Clock are some of the messages that can be configured to easily control MIDI gear from your modular rig.

Features:

Class-compliant USB MIDI and TRS connectors.
TRS to DIN5 Type A adaptor included.
8 CV inputs.
Controls fully mappable to any MIDI message (CC, Notes, Program change, Clock, ST/SP, NRPN...)
Configurations are saved both in internal memory and via Sysex.

Specifications:

Current needs: +12V: 50mA, -12V: 4mA
Width: 6 HP
Depth: 25mm, (32mm DIY) including power connector
Aluminium, heat-treated front panel.
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: Genuine EMS synthi filter, with redesigned faceplate!

This legendary filter can be switched between pre1974 and post 1974 filter type and response. For the first time response can be voltage controlled which was designed on the circuit board but not available on the matrix. This module is made under license from EMS. The only officially licensed remake of the EMS diode lowpass filter used in the VCS3 and AKS synths. It´s a faithful recreation of the original circuit, featuring some modifications that are also done on vintage EMS equipment, like a switchable faster CV response option for very quick modulations. Another switch determines if the filter has 18dB/oct slope as used by EMS pre-1974 or 24dB. The cutoff frequency and also the resonance are voltage controllable. Signal inputs and outputs have level controls.

Notes: Motomouth is an analogue 3-Band, Sedra + Espinoza Bandpass Filter (DABP) with resonant frequencies that are tuned to the same resonant frequencies found in the human mouth and nose cavities, and these can be varied, independently, to form different 'mouth shapes,' to emulate vowels such as A, E, I, O and U. Motomouth can emulate 16 vowels and 'morph' or 'glide' between each vowel using a single Control Voltage input (1V/Oct), and a Gate to 'snap' to each vowel when required.

Two of the bands (F1 and F2) are used to form the mouth cavity, and the third band (F3) is used to form the nasal cavity, which is reasonably static. Varying F3 makes little significant difference 'in the mix,' but having it is important.

The single Control Voltage is decoded to control F1 and F2 independently, because the frequency bands for each vowel are not proportional to each other over the vowel range. So Motomouth has learned how to 'speak,' so to speak, but it still needs to learn more, and that's where you come in.

Specifications:
Module width: 12HP
Module depth: 42mm
Power draw:
+12V: 80mA
-12V: 4mA