Utility synth module in Eurorack format - 6HP wide
Notes: Bytom is a simple - yet very useful - utility module that allows you to combine various trigger/gate signal sources to obtain interesting rhythmic events, useful for sequencing, modulation and patch automation purposes. It can also be used for summing control voltages of a positive polarity. The module consists of three independent sections. Each one can process up to four signals fed to its inputs. All three sections can be normalled into one 12-signal combination via the manual switches. Either the upper or lower section can be combined with the middle section to form an 8-signal combination. Summed signals of two or three sections will appear on the middle section's output socket. The individual outs on upper and lower units remain active even when combined with the middle section.
FX expansion card bundle for ZDSP digital effects processor
Notes: The Time Domain Bundle is all about rich delay effects. The package consists of three Z-DSP cards with eight algorithms each. Modulated Delays specializes in animated echo programs, which can be used to create, for instance, diffusion, chorus or pan effects. Hydra provides multi-tap algorithms. These can be used to generate rhythmical delays. Spiral combines a pitch shifter and a multi-tap echo to create atmospheric to slightly psychedelic effects.
Modulated Delays brings various forms of animation to the delay lines. These types of algorithms further extend the signal path of delay effects with extra processing and routing of the audio signal. The sonic results put the Mod Delay effects in a category of their own.
Each program adds different processing like diffusion, chorus, panning and other modulation to the basic mono or dual delay line structure. The two Modulator programs are intended for use with external CV - opening up vast modulation possibilities of the modular synthesiser. Each card comes loaded with 8 presets.
Hydra is the multi-armed DSP creature tapping its tentacles into a buffered delay line and creating a range of multi-tap delay rhythmic and spatial effects. The Spread parameter sweeping through rhythmic variations allowing some of the programs bridge the gap between single delays and reverbs by using diffusion while others use taps to create rhythmic patterns.
The basic Hydra algorithm sums the inputs to mono and writes the signal to a single delay line. Multiple output taps are taken from the delay line and spread across the stereo outputs. Each program adds additional features like panning, filtering, pitch shifting and/or diffusion to create a unique Z-DSP Hydra experience. The last two programs add external Clock input for more precise sync to the beat.
Spirals is a pitch and multi-tap delay card for the Z-DSP. This card uses numerous multi-tap delay techniques in combination with dual pitch shifters to create a wide range of harmonizing choruses, echo and harmonic reverb sounds. Programs on this card derive from the complex algorithms found on high-end studio effects processors, which, while powerful, have a complex editing process. On the Z-DSP all of the power of the internal code is controlled by three simple adjustments for sculpting the sound - making the experience more about performance and live tweaking rather than navigating through dozens of menu pages.
Seven channel mixer with classic analogue sound - 3HP
Notes: MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.
MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.
The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.
At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.
Notes: MISO is a multipurpose utility module, a laboratory for synthesizing control voltage signals and audio. MISO combines multiple CV tools into one module for making complex CV shapes at the output stage. The name comes from the four main functions available: Mix, Invert, Scale, and Offset.
MISO's 2 sections (1/2 IN and A/B IN) are identical. Each section has two inputs that can be used to Mix signals, Invert polarity/shape, Scale magnitude and Offset voltage. Each function can be used independently or simultaneously with the total shape summed to the mix output.
At the centre of the module is another processor, an accurate smooth linear voltage-controlled crossfader that mixes equally between the outputs of the top and the bottom MISO sections. Feed the MISOs with envelopes, LFOs, Sequences to create new shapes and then crossfade them manually or with CV using the centre section for even further complexity of shapes and animation of control signals. Crossfade between the waveforms of a VCO or audio samples with CV for more motion.
There are an endless number of ways to patch MISO with unexpected and inspiring results. MISO is the kind of module that gives modular synthesizers its incredible replay value, rewarding hours of creative explorations and its experimental and non-traditional mixing.
MISO offers a lot in a small comfortable module that matches Tiptop's system look with clean white faceplate styling. A red/yellow indicator light next to each section makes it easy to see signals and visualize polarity.
Notes: TRIQ164 is a 4-track, 16-step trigger sequencer.
Four track buttons select the track to be edited; with 16 buttons each step of the track can be activated an is then displayed by an LED.
For each step in each track a "repeat" can be activated, resulting in repeated triggers within one step. The number of repeats can be selected from one to eight by the REPEAT knob. Additionally, the repeat count can be CV controlled by the REPEAT CV input.
The inputs MUTE 1/2 allow to mute the outputs 1 and 2 by an external signal (e.g. for muting a kick drum)
Each of the 16 steps has a separate trigger output for additional control for certain steps or limiting the sequence length by connecting one of the outputs to the RESET input.
Use it for any kind of rhythmical patterns, typically for triggering drum sounds or envelope generator!
No, it has no pattern load/save features; this will be part of a future, much more complex sequencer. TRIQ164 is designed as improved replacement for the STEP10.
B-STOCK: Box opened, product in perfect working order
Notes: ***B-STOCK: Box opened, product in perfect working order***
TOPOGRAF is a drum sequencer with three tracks, that works with a "topographic" principle; it contains a number of drum patterns arranged in a "virtual map"; and with two knobs MAP X and MAP Y you can set a position in this map. With one knob per channel the density is defined; and a CHAOS knob brings some randomness into the whole process. All in all, a few knobs for a lot of drum patterns you probably wouldn't make this way by yourself - a nice source of inspiration and also great for playing live.
TOPOGRAF is the AE modular version of the Grids module by Mutable Instruments. It is 100% identical to Grids.
Notes: The SEQ16 is a 16-step sequencer for controlling oscillator pitch and triggering envelopes.
Compared to "classic" analogue sequencers it works a bit different: Instead of setting the CV for each step independently (which means in fact "tuning" each step which can be a bit tedious), the SEQ16 has 5 knobs for pre-setting different CV's (= notes); each of the 16 step knobs selects one of these CVs, plus 0V (=base note) plus Pause (no trigger output). So some CVs have to be fine-tuned once; with the step knobs you can focus entirely on the sequence itself and you can even modify it on the fly, still remaining in tune.
An additional feature is "accent"; this can be set for each step by turning the knob fully clockwise. If a step is set to "accent", a separate trigger output is set and also a gate repeat for the regular gate output can be selected (from one to eight repeats).
Notes: The MASTER module is the base of every AE modular system - it contains;
- The voltage regulation (5V) for the power supply of the modules
- MIDI input (minijack; Breakout cable to DIN-5 socket is available separately)
- In/out-sockets (3.5mm minijack) for audio out and/or interfacing with a Eurorack system
- All bus signals (CV, GATE, CTRL, MIDI clock/start/stop) as patch sockets
The power supply is a 9V DC adapter; it can be connected either at the side or on the top of the module.
Compact, high quality, 4 in/1 out audio & CV mixer 6HP
Notes: Space conscious, 4 in/1 out, high quality audio and CV mixer. Originally set at unity gain (along with the VCA2), but tinkering provided useful intel and design changes. Upshot: With the pot set at 3:00 you are at unity, fully clockwise, expect a 2 Volt increase.
LVL 1, LVL 2, LVL3, LVL 4.
Five Patch Points:
OUT, IN 1, IN 2, IN 3, IN 4.
All Controls and Patch Points:
LVL 1 - Adjusts the level of IN 1
LVL 2 - Adjusts the level of IN 2
LVL 3 - Adjusts the level of IN 3
LVL 4 - Adjusts the level of IN 4
OUT - Composite output
IN 1 - Audio/CV input 1
IN 2 - Audio/CV input 2
IN 3 - Audio/CV input 3
IN 4 - Audio/CV input 4
- Size: 6hp
- Depth: 25mm with ribbon cable attached
- Power Usage: 4mA (+12 / -12)
Additive interval pitch sequencer for turning triggers into melodies - 6HP
Notes: In a slim 6HP format the Rebel Technology Tonic offers one adjustable and five fixed intervals. Each interval has a trigger input and manual trigger button. Freely combine intervals for more than four octaves chromatic range.
The bottom interval is negative, the middle four are positive. The top, adjustable interval has a range from minus one half octave at fully counter-clockwise, to plus one octave at fully clockwise, with zero in the middle.
The default tuning gives you whole tone steps: +2, +4, +8 and +16 semitones. The bottom, negative interval drops the pitch by a semitone. This provides a basic range of 32 semitones, not counting the adjustable interval.
The module is entirely analog, each interval can be tuned using the 23-turn precision trimpots on the back of the module.
Envelope, oscillator & noise source synth module in Eurorack format - 2HP wide
Notes: EON is an envelope, oscillator, and noise source in 2 HP.
It has three modes that are quickly and easily set via a 3 position switch.
Its functionality is deep and multifaceted. The EON can be a full fledged envelope with linear and exponential shapes, a square wave oscillator that tracks 1 volt per octave, or a digital noise source with downsample control.
In addition to the three main functions, the EON also has a triangle wave LFO, random gates, and cycling envelopes.
Packing more features per HP than any other module before, the EON is the best way to fill any empty spot in your case.
Simple attack-release envelope with voltage controlled clamp
Notes: The Sinclastic Empulatrix was inspired by the simple - yet remarkably clever - envelopes used in the cymbals of the TR-808. These envelopes are simple exponential decays that are applied to the signal via clamping rather than the more typical scaling. For binary signals such as a square wave a clamping VCA will sound like a typical VCA. For analog signals it will add a clipping effect that gets stronger as the envelope decays.
The Sinclastic Empulatrix has knobs for control of attack and release.
The envelope is controlled by a gate input that determines the timing of the envelope. The envelope is also scaled by the voltage of the gate so it can be used to control the amplitude of the envelope.
The clamping VCA section of the Sinclastic Empulatrix has a simple input and output. It is DC-coupled so is suitable for control voltages and can be used without the envelope generator by turning the attack and release fully counter-clockwise and driving the gate with an analog CV.
This module can also be used as an asymetric slew: the envelope output will track the gate input but will be slewed by the attack and release times based on relative voltage.
Size: 4HP Eurorack
Depth: 1 Inch
Power: 2x5 Eurorack
Draw +12V: 15 mA
Draw -12: 25 mA
Simple buffered quad attenuator with LED indication - 4HP
Notes: Noise Engineering Sinc Defero is a buffered four channel attenuator designed for control voltages. Two LEDs per channel show the incoming and outgoing signals, with green for positive voltage and red for negative, so you always know what's exactly going on. Thanks to the buffered outputs, it is possible to send the signals to multiple destinations without any voltage drop, unlike passive attenuators! Sinc Defero is therefore ideal for controlling various modules with one control voltage!
Four channel CV mixer with bipolar attenuator - 4HP
Notes: Roti Pola is a four channel attenuverting CV mixer and offset with visual feedback in a small package. With nothing patched to channel 1, a 5v offset is applied to the mix, useful for controlling other parameters or modifying CV signals.
Notes: Muta Jovis is a 4HP switchable quad mute. The inputs are circularly normalled so a single input can be sent (and muted) to up to four outputs. Switches and LEDs that indicate channels that are outputting signal leave no doubt about the state of each channel. MJ was designed with gates/triggers in mind.
Mixer, offset, attenuverter synth module with 3 channels of audio/CV processing, 6HP size
Notes: Shades provides 3 channels of audio/CV processing which can be configured either as active attenuators or as attenuverters.
A bicolor LED monitors the polarity and intensity of the audio or CV signal on each output.
Unconnected inputs are normalized to an internal precision voltage reference, which can produce either a +5V or +10V constant voltage.
Normalization on the outputs allows the module to be used as a mixer or offset generator: when no jack is inserted in an output, the signal from this output is summed into the next output. Combined with the internal voltage reference, this allows the module to be used as a CV offset control.
When output 1 is left unconnected, the signal on output 2 is the sum of channels 1 and 2. Channel 3 can be used for another purpose (attenuation, attenuversion, or constant CV generation).
When output 1 and 2 are left unconnected, the signal on output 3 is the sum of channels 1, 2 and 3.
Leave channel 1's input and output unconnected, and connect a CV source to channel 2's input. Channel 2's output will contain a scaled and offset copy of the input CV. Channel 1's level knob will control the offset and channel 2's level knob will control the signal scale and polarity.
Multiples and mixing utilities synth module, 4HP size
Notes: Links provides 3 utility functions focused on signal distribution and mixing.
1:3 is a 3-output buffered multiple, with an offset error < 0.1%. It is useful for distributing the voltage from a CV output with a large protection resistor to several modules - particularly VCOs.
2:2 is a 2-input summer with unity gains. The sum of the two input channels is distributed to 2 outputs.
3:1 is a 3-input mixer with a gain of 1/3 for each channel (averager). It is particularly suitable for rapidly mixing audio sources such as oscillators, for which a unity gain mixer would have caused clipping.
A 2-color output monitoring LED is available for each of these functions.
Notes: A Bernoulli gate takes a logic signal (trigger or gate) as an input, and routes it to either of its two outputs according to a random coin toss. The knob controls how fair the coin toss is - with the knob in minimal position, the first output always win, with the knob in maximal position the second output always wins - with random fun in-between. And obviously, this bias is CV-controllable!
Branches packs two such gates in a small 6-HP panel. Get a sequencer to randomly skip steps, randomize drum patterns, dispatch events from a sequence to two subpatches, or patch a monster modular Pachinko machine...
Notes: The VCO/DCO is a voltage controlled analogue oscillator module. This can also be used as a DCO, eliminating the need for heating and temperature sensitivity. All functions except for the FM input are also available with the DCO. Sawtooth, triangle, rectangle and pulse are available as waveforms, with soft switching between the individual waveforms. This can also be done with a control voltage, so you have additional PWM modulation.
The power consumption is +/- 30 mA. The module has a width of 8 HP (40 mm).
Voltage controlled LFO, switchable to oneshot mode
Notes: The module VC LFO accommodates a slowly oscillating oscillator, which is primarily used for modulations. It has five waveforms, CV input with attenuator and a control range from 10 seconds to 100 Hz. In addition, the LFO has its own reset input, over which the waveform is restarted. If you set the speed accordingly and have a separate reset pulse, you can synchronize the LFO with a sequencer. The following waveforms are available: rising sawtooth, triangle, falling sawtooth, rectangle and sample & hold.
The output voltages are maximum +/- 5 volts. The module has a width of 8 HP (40mm).
Notes: The ADSR module is a voltage-controlled envelope generator. Normally, the characteristic is logarithmic, but a linear part can be added. With the help of the loop button, the envelope can also be used as an LFO, then Attack and Decay determine the frequency that goes far beyond 100 Hz. Another special feature is the CV inputs for Attack, Decay and Release. This can be used e.g. control or modulate the times externally. In addition to the normal output, there is an inverted output in parallel.
The power consumption is +/- 30 mA. The module has a width of 8 HP (40 mm).
Notes: The DRUM-99 module is an audio-mixer that has been designed for the modules of the MFB-DRUM series but also for usage with other manufacturer's modules. When using multiple drum-modules in a modular system, the following processing stages like filters or VCAs often lack enough audio inputs. To route a complete drum-set through a filter, a separate mixer like the DRUM-99 comes handy.
DRUM-99 offers five monaural inputs with individual level control. Tiny trim-controls are used to set the channel panorama position for the internal stereo-bus.
A fixed level stereo-input can accommodate the signal of one or more additional DRUM-99 modules. These inputs can also be used with the DRUM-06 module (Tom Tom) that also offers a stereo-output.
All five mono signals and the stereo-input are routed to the stereo-output that can be connected to two VCAs, filters or other sound manipulating devices. The output may also be used to connect the DRUM-99 to a mixing-console or audio-interface.
The stereo-output is designed for a possible summing with additional stereo-outputs.
Clap module based on circuit designs of the MFB-522 & Tanzbar Lite
Notes: The Clap-522 Modul contains an enhanced circuit of the MFB-522 and Tanzbar Lite. You can edit and modulate the sound in a wide range.
As modular concept you have the possibility to control the parameter PUSE, SNAP, ATTACK, DECAY and FILTER via CV-signals from Envelopes, LFOs and Step Sequencers.
The parameters are in detail:
PULSE is the amount of claps between 1 and 7.
ATTACK sets the noise level between the clap repetitions.
DECAY controls the release of the noisy reverb.
FILTER defines the colour of the noise floor.
WIDE edits the gap between the single claps.
Beside sequencer generated analogue and digital trigger-signals, drum pads, piezo pickups and dynamic mics may also be used. Here the SENS controls allow individual adjustment of the input sensitivity. Dynamic trigger also changes the volume of the clap.
The module provides the new developed M-Bus connection. MIDI signals can control following destinations:
Trigger MIDI Note #39 or #82, switchable, with Velocity. Controller values for Wide, Attack, Decay and Filter.
Notes: The Bass-522 module is based on the 522 circuit and offers a punchy attack, long decay and wider pitch range. Adjustable noise and pitch envelope have also been added.
The sound can be triggered by Gate, M-Bus and signals like piezo pickups, dynamic mics and drum pads. The Sense parameter decides the sensibility and dynamic of attack, amplitude. decay and pitch.
The following parameters are available and can be controlled by CV:
TONE dampens the attack transient.
DECAY sets the release time of the amplitude.
TUNE defines the basic pitch from around 35 to 70 Hz.
PITCH controls the amount of pitch envelope.
NOISE mixes the noise floor (no CV control).
The module offers the new developed M-Bus connector which means you can you control everything via MIDI/CV interface or the new MFB SEQ-01 Pro Drum Sequencer without additional patching. The following addresses are supported:
Trigger with Velocity - MIDI Note #35 or #36 (switchable) and controller values for Tone, Decay, Tube, Pitch and Noise Decay.
Notes: The 24dB VCF SSI is a voltage controlled analogue low pass filter module with the new SSI2144 chip. In addition, it has a 12dB output that works either as a low pass or bandpass (+/- 12dB). There are two inputs, one with attenuator. Another CV input with attenuator is available for the cut-off frequency. The resonance is controlled either via a controller or via another CV input with attenuator.
The power consumption is +/- 30 mA. The module has a width of 8 HP (40 mm).
Collection of real time functions integrated with hand gestures & trigger input - 8HP
Notes: Hand is a gestural controller based on a piezo mic build in the elevated front panel.
When you tap the front panel, the audio is converted into CV and allows you to control a collection of real time functions including an LFO or envelope, a clock source and a trigger delay. It's possible to switch between LFO and envelope mode when holding the Rec button for 4 seconds.
Slew smoothes the slopes and the Rec button allows you to record the gestures for 2.22 seconds max.
VCA module with dedicated controls for Volume, Drive & CV input attenuation
Notes: The DTA is a low-cost, yet high quality VCA made by Manhattan Analog. The circuit was designed as a back end for monophonic synthesiser voices. If clean sound doesn't feel right in a particular moment, you can add a decent amount of dirt using the module's drive stage.
The DTA features a signal input, followed by a VCA. The circuit's volume can be adjusted manually and via CV inputs. One of the control voltage channels comes equipped with an attenuator. Thanks to an adjustable drive stage, the sound character can be varied from clean to crisp and dirty.
Buffered mult synth module with 2 sets of 3 outputs - 2HP wide
Notes: The 2HP Performance Buffered Mult features 2 sets of 3 outputs as well as a SWITCH for disconnecting the 2nd input to make a total of 6 outputs. It's the perfect mult solution for live performance!
Drum & filter module with very high pitch range for rim shot 4HP
Notes: Legno is percussive instrument based around cassa design with very high pitch range for rim shot, fingers snap, high tom like sound.
Basically Cassa, Bongo and Legno are the 3 multicassa channel in eurorack format.
All the 3 module share the same design with different pitch range, cassa low range, bongo one octave higher range and legno super high range.
Bass Drum & Filter Module with two trigger inputs 4HP
Notes: Cassa has two trigger inputs between which you can crossfade unsing the MIX potentiometer. So simple and so brilliant ... mix two different trigger sequences, blend between them, create fill-ins or connect a manual gate and fire some extra drums with your finger!
FREQ sets the drum frequency, RES controls decay time; at long decays the Cassa starts oscillating in an obscure way and starts screaming (no, it's no self- oscillation, that's schreaming!). DIST is a pretty wild distortion. Gabba musicians will love it!
Attention: module abuse!:
As the module is based on a filter which resonates when being "pinged" by a trigger signal at the audio input and then creates a percussive sound it's not far-fetched to inject audio signals instead triggers int othe Cassa. FREQ is cutoff frequency and RES the filter resonance, just as expected. But both act pretty unusual in this case for a filter. It phases more than it filters, the resonance roars and the distortion does the rest...
Instead of using two audio signals you might use one trigger and one audio signal - and the Cassa will indeed generate a drum and process the audio signal at the same time. Weird but possible. Instantly it was possible to generate a wobbly Skrillex simulation, read: saw mill dubstep aka "Filth".
Drum & Filter Module with powerful and quite dirty sound character
Notes: Bongo comes equipped with two trigger inputs. A potentiometer allows you to crossfade between them. The sound varies depending on the level of incoming trigger signals. With just one input patched, the knob can be used as a tone control for treble attenuation. This behavior is not surprising, as the Bongo is basically a pinged filter. Accordingly, the sound shaping parameters are called frequency and resonance. The cutoff potentiometer is slightly erratic. Small changes sometimes have a huge impact on the module's sound. The resonance leads the Bongo rather early into violent self-oscillation.
The filter is followed by a distortion circuit. It not only adds dirt to sounds, but also removes a lot of bass. Very important for creating "real" bongos. Without any distortion, the results are more reminiscent of bass drums or low toms.
The inputs can not only be fed with triggers, but audio signals as well. Patched like this, the Bongo acts as a filter. The sound qualities remain the same. Depending on the knobs' positions, the sound is rough to brutal and more or less dirty.
Expansion pack for the Koma Elektronik Electro Acoustic Workstation
Notes: It's all about the things you connect to the The Field Kit! To get you started, Koma Elektronik have decided to offer an Expansion Pack with a bunch of different sources that you can use and connect to create your own signature sounds.
The Expansion Pack contains:
- 2 x Contact Microphones: Use these contact microphones to pick up vibration or sound, they are an amazing versatile input source
- 1 x Electro-Magnetic Pickup: This guy is good at picking up changes in magnetic fields, you can use it to amplify a string like a guitar pickup or amplify a spinning motor
- 1 x Solenoid push-pull motor: Use the solenoid to hit things, together with the DC Interface the solenoid can make anything rhythmical and percussive
- 1 x DC motor: The Motor can be used to rotate things or as a noisy oscillator together with the Electro-Magnetic Pickup
- 1 x small speaker: Use the speaker to listen to the main mix or as a sound source and to feedback sounds
- 3 x patch cables Always handy to have around to patch up different parts of your Field Kit... and a bunch of little objects to play with (little springs, marbles)
The new KOMA Elektronik Field Kit is the perfect tool for everyone who would like to experiment with electro acoustic sound. Use everyday objects, amplify them and use them to make sound, like our heroes John Cage and David Tudor used to do!
The Field Kit is optimized to process signals from microphones, contact microphones, electromagnetic pickups and able to run DC motors and solenoids. On top of that it can receive radio signals and convert signals from switches and sensors into control voltage!
Notes: Mixup is a versatile, expandable audio mixer for Eurorack format. It has eight inputs (6 on the front panel) and two outputs. Inputs 1 and 2 are single-channel mono inputs, each with its own mute switch and level control; Input 3 is a dual-channel stereo input with a shared mute and level control; and input 4 is an auxiliary unity-gain, non-mutable stereo input.
Using bus connectors on the back panel, you can chain multiple Mixups together in series, giving you the ability to mix together even more inputs, or to create sub-mixes for routing around larger systems.
Because Mixup is designed specifically for audio (and not for CV mixing), it uses AC-coupled circuitry (which reduces the potential for 'pops' when muting and unmuting audio), and it uses audio-grade, logarithmic attenuators for a smooth, even response across the entire volume range.
B-STOCK: Box opened, product in perfect working order
Notes: ***B-STOCK: Box opened, product in perfect working order***
This is a simple 1U module designed to allow the monitoring of a system using headphones. However, if your cat isn't easily scared, the headphone jack doubles as a TRS stereo line level output. Simply connect the signal that you want to monitor to the 1/8? jacks, plug in your headphones, and adjust the volume as desired.
Notes: Digiverb is a lo-fi reverb effect unit that uses an Accutronic digital reverb "tank" module. The sound is somewhere between a virtual spring reverb and a dense multi tap delay but the effect is quite musical and interesting.
Use the Digiverb as a simple and fun way to add some extra dimensions to your patches!
Voltages expander for Permutation - silver faceplate, 6HP
Notes: Variant is an expander module based on the original Voltages expander for the Turing Machine. Variant adds two additional bipolar CV outputs (with modulation inputs) that are derived from Permutation's gate sequence.
Notes: The MX1 mixer module from FSS is designed to present a compact, affordable mixing solution for Eurorack users. The MX1 gives four audio inputs in as many HP, with both normal and phase-inverted outputs available.
The level controls of the MX1 are logarithmic, but the channels are DC coupled, so CVs can be summed together using the MX1 if necessary.
The MX1 provides unity gain of each channel when the level control is fully clockwise, meaning that there is no loss of signal level when mixing. This also allows for the MX1 to be overdriven, especially if the same source is multipled to the four inputs or the "normal" output is fed back into one of the inputs.
A set of expansion headers also allow for the FSS P.O.C.A. VAC1 and Whitehall SW1 modules to be used alongside the MX1 without any patching required, when using the MX1x expander accessory.