Tags: VCA module

Notes: Great value from Xaoc's pingable dual VCA, capable of creating organic, acoustic-style decay curves which replicate the dynamics of real-life instruments. Ideal for processing audio as well as CV.

Supplier's Notes:
Xaoc Devices Lublin is a high-quality dual VCA module with exponential CV inputs. On top of that, its two identical channels feature additional inputs for pinging. These inputs use an elaborate analogue circuit to model the dynamic behaviour of vactrols, allowing you to trigger a carefully crafted gain response that mimics the natural decay of plucked and struck acoustic instruments. Unlike lowpass gate modules though, Lublin reduces gain while retaining the full frequency bandwidth, so it is perfect for harmonically rich signals, like our Odessa additive VCO. The vactrol-like behaviour is just a starting point as the envelope may be varied within a wide range using a switch (natural, shortened and prolonged response) and a potentiometer, so you are not stuck with one decay characteristic. Therefore, you can use it not only to create bongos, but also for fat compressed kicks! The built-in gain control circuit (saturating CV instead of the audio signal) prevents distortion from excessive amplification. Lublin is DC-coupled, so you can use it to process CV as well as audio signals.

Width 6HP, Depth 33mm (including cable bracket)
40mA/-20mA

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: Add external feedback loops, tilt filters and more to the Timiszoara effects module with this versatile expander. A must-have for Timiszoara owners.

Supplier's Notes:
Deva is an expander for Xaoc Devices' Timiszoara multi-fx module designed for creative exploration of the dirty/nasty side of signal processing. Deva opens up the Timiszoara programs you've come to love with some unexpected twists and turns along the way. The analog side features two external feedback loops (for the left and right channel) with tilt filters adjustable via sliders with two additional switches for choosing positive or negative feedback (for each channel). The third slider controls the DAC clock - from overclocking by a factor of two down to 16-times slower, so you can go from chipmunk to hardcore teeth gnashing of underclocked goodness. A switch allows for turning the clock control off for normal/regular operation. All features have inputs for external CV.

Technical details

Eurorack synth compatible
8hp, skiff friendly
Power drawn from Timiszoara: +60mA/ -50mA
Reverse power protection

Notes: Javelin is a module that is basically an ADSR envelope with integrated VCA. However, it has several features that make the module an expressive sound shaping tool.

Three level ranges determine the total amplitude of the envelope, additionally three different time ranges are integrated, which can be switched between.

The accent behaviour is also unique. If several gates are applied to the Accent input at the same time, the envelope rises slightly with each gate.

Features:

Attack-decay-sustain-release envelope
Integrated VCA
Unique accent behaviour for expressive sequences
Reset input
CV control over attack and release
Looping mode for LFO-like modulations
Mode switch for gate and trigger behaviour
Linear, moderate or steep exponential shape
Short hold in the peak of the attack for more punch
Power consumption: 93mA at +12V and 65mA at -12V

Depth: 38mm

HP : 6

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

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

Notes: The Control Voltage Processor from Verbos Electronics GmbH is a suite of control voltage processing possibilities divided into 3 sections in a slim 18HP package. The lower 2 sections are DC coupled mixers that allow mixing, inverting, offsetting, scaling, multiplying, dividing, crossfading or a combination of these functions. The top section is a voltage controlled slewing processor with independent control of Positive and Negative slew rate, with some unique tricks. The Positive and Negative slew, or Rise and Fall rates if you like, have reversing attenuators. The slopes can be blended from linear to RC curves (starting all slides fast and ending slow, like a proper "East Coast" Portamento) without a change in speed. It can be triggered like an AD envelope and has a Gate out that goes high when the CV out is below 100mV. Of course it can loop by patching the Gate out to the Trigger in. The Bounce control adds a unique flare of overshoot to CV changes, a bit like the effect of stopping a tape reel from turning and then letting it go. The combination of multiple voltage processors offers the user the functions of analogue computer.

Notes: Tobinski 8-Channel interpolating scanner with integrated VCAs

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

Key Features:

1. Interpolating Scanner

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

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

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

2. Integrated VCAs

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

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

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

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

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

Creative Patching Examples:

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

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

VCA Control:

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

Expandable with Tobinski Harmonic Timing Generator (HTG):

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

Connections:

Inputs:
8 for audio or CV

Outputs:
8 individual VCA outputs

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

Control Inputs:
Bipolar CV for scan stage and scan width

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

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

Depth: 27mm

18 HP

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

Low Pass Gate (LPG)

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

Voltage-Controlled Amplifier (VCA)

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

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

Depth: 27mm

6 HP

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

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

Notes: CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

Notes: A deep, comprehensive digital LFO offering 16 waveforms, sync, built-in VCA and more. All made even more powerful by the fact you can control every parameter via dedicated CV inputs.

Supplier's Notes:
Fully voltage controllable Eurorack format, externally syncable, 16 waveform low frequency oscillator with built-in VCA and sample & hold.

Powered by a socketed VCLFO10 IC from Electric Druid.

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

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

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

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

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

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

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

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

Height: 3U (128.5mm)
Width: 12hp (60.6mm)
Depth from panel: 31mm
Depth total: 51mm

+12v: 80mA
-12v: 60mA

Notes: The Solar Gravity from SetonixSynth and Tidbit Audio is an analogue vactrol-based VCA designed to bring the lovely response of optocouplers into the realm of clean, performance-based Eurorack VCAs. Starting with this simple concept, the Solar Gravity utilizes some neat active circuitry to significantly reduce the bleed inherent in vactrol-based VCAs and to provide the user with lots of control over the level, direction, and response of incoming control voltage.

Though it's primarily designed for use with audio signals, the Solar Gravity can also be used to control the level of CV such as envelopes or stepped voltages with a unique vactrol response through its DC-coupled input.

Technical Specifications

Width: 4hp
Depth: 28mm
Peak Current Draw: 16mA @ +12V, 18mA @ -12V
Input Impedance (All Inputs): 100kO
Output Impedance: 1kO
AC Input Cutoff Frequency (-3dB High Pass): 5 Hz approx.

Notes: A handy combination of two of Serge's most recent designs:

The GATE (left side) is an enhanced redesign of the classic Serge Gates which can be used as a linear or exponential VCA or ring modulator or some interesting combination of these.

The VCFX 2023 is a newly designed Serge filter that is essentially a Bandpass, but also offers a Lowpass output.

Serge NEW GATES / VCFX 2023 for eurorack:

Designed by Serge Tcherepnin 2023
Eurorack format (3U), 18 hp
Power consumption: 24mA @ +12V, 24mA @ -12V
(NEW) Skiff-friendly: < 25mm (1")

Notes: A powerful utility module:

The 2+2 Mixer (left side) is a combo of two DC coupled 2-channel mixers with a sum out. For audio or CV purposes.

The Dual VCA is the audiophile and distortion friedly VCA taken from the Stereo Mixer. It has a special exponential response that imitates the behavior of the early Serge VCAs and allows massive amplification and overdrive. Beware - the resulting signal can get very high amplitudes (up to 16Vpp) and allows squaring of a sine or triangle wave.

Serge 2+2 Mixer / Dual VCA for eurorack:

Designed for audio performance
Eurorack format (3U), 18 hp
Power consumption: 55mA @ +12V, 50mA @ -12V
(NEW) Skiff-friendly: < 25mm (1")

Notes: Envelope generator meets VCA meets sound source, combining to create a powerful sequencing tool, modulation generator, compression-style effect and more. Versatile.

Supplier's Notes:
Cascade is a ratcheting envelope generator, VCA, and sound source all within a compact form factor. The unique interactions of its feature set open up new worlds of rhythmic patching and modulation. Easily create ratcheting sequences, bouncy-ball modulation, and pumping compression, all within a single module.

At its core, Cascade is a powerful envelope generator, which is normaled to a high fidelity 2164 based VCA. You can patch in external audio to the VCA, or take advantage of 4 internal audio algorithms: white noise, 808 kick and hi-hat, and a high frequency sine tone. Cascade will open up your system in ways that make you wonder how you ever lived without it.

Tech Specs:
Width: 10HP
Depth: 28mm
Current Consumption: +12V=131mA, -12V=40mA, +5V=0mA

Notes: Punch is the ultimate VCA-DECAY module for Eurorack

Specially designed to generate dynamic percussive sounds but also capable of basslines, leads, envelopes and more. The VCA has a built in voltage controlled Decay envelope that can be turned from smooth to more aggressive exponential responses and can be activated with triggers, gates or cv's.

Punch features two modes per channel to play, with a dedicated switch control: "vintage style drum machine mode" and "dynamic cv mode"

Punch is capable of creating AM sounds with control voltage on the "amount"

Each envelope can be inverted via dedicated switches on the front panel.

If you use an inverted envelope alongside the accent input you can create ducking effects like side-chain compression..

INSTALLATION:
* Disconnect your synth from the power source.
* Double check polarity from the ribbon cable, unfortanetly if you damage the module by powering in the wrong direction it will not be covered by the warranty.
* After connecting the module check again you have connected the right way, the red line should be on the -12V.

Notes: Punch MG is a unique module with VCA-DECAY & Mute GROUP designed for Eurorack systems.

This module has been specially crafted to generate dynamic percussive sounds while also offering the capability to manage multiple signals simultaneously through its innovative mute group feature.

Punch MG provides a versatile platform for crafting dynamic percussive sounds. With its mute group feature, it allows you to handle numerous signals concurrently.

The manual will guide you through the various features and functions of Punch MG, enabling you to explore its full potential.

Key Features:

Dynamic Sound Generation: Punch MG is engineered to generate dynamic percussive sounds with finesse, offering a range of creative possibilities.

Mute Group Interaction and Signal Patterning: Utilize the mute group feature to enable interactions between signals that share the same group.

This feature enables signal muting and amplitude limitation when multiple signals are triggered simultaneously. The amplitude and decay time of each signal are influenced by others in the same group. This characteristic can lead to captivating pattern variations when focusing on specific channels.

Expandable Capability: By linking two modules, you can expand the effect of the mute group to accommodate up to eight signals, fostering intricate interactions and captivating sonic landscapes.

AM Sound Creation: Connect audio rate signals to the level input to explore the creation of AM (Amplitude Modulation) sounds, further extending the sound design possibilities.

Envelope outs: Each envelope's polarity can be inverted using dedicated switches on the front panel, enabling you to achieve effects like side-chain compression and ducking. Moreover, the mute group circuit's influence extends to the envelope signal output, providing intriguing modulation capabilities that add a unique layer of creative expression to your sonic endeavours.

16 HP
Power consumption 180mA@+12V, 64mA@-12V

Notes: You can never have too many voltage controlled amplifiers VCAs! (voltage controlled amplifiers). Ampera offers 4x VCAs in a tiny 6HP footprint with manual potentiometer control mixed with CV control.

Amplification ranges between 0.1x-2x, so you can make your 5V signals 10V with an offset voltage. Chain 2 channels together, and you have boost.
Ampera has bi-polar LEDs that display red or blue depending on the polarity of the signal. At audio rates, the LEDs show purple.

An excellent solution for those with small systems, or those just looking to free-up some space in their Eurorack cases.

Important note: Ampera works both for CV and audio. However, if audio is passed though, it will always be slightly audible, as the VCA circuit has some leakage (cannot completely mute). Two channels can be used in series to mitigate this if necessary.

Technical specs:

- Module Size: 3U X 6HP X 25 mm deep
- Current Draw: 70mA@ 12V, 70mA@ -12V

What's in the box:

- 1x Ampera module
- 1x Power cable
- 2x Mounting Screws

Notes: Attenuate and amplify your signals with the Dual Linear VCA. This all-analog dual VCA gives you control over audio and modulation signals with an offset knob per channel and LED level indicators. As the old adage says, you can never have too many VCA's!

Tech Specs:
Width: 14HP
38mm
Front Panel: Intellijel format, Pulp Logic replacement panels available here.

Notes: Transit has two stereo (dual mono) channel lanes of audio with an all-analog signal path. Each stereo channel lane has its own input gain control, mute button and ducking input. The Ducking input on each channel operates like traditional side-chaining on a compressor where an input signal, CV or Trigger input (i.e. LFO, Clock, Gate) modulates the gain reduction of the audio.

Transit offers a main stereo output controlled by the master volume control knob and an independent 3.5mm headphone output controlled by its own headphone level control knob.

Digitally controlled LEDs for master indicates level via white and pink illumination while each channel lane illuminates the LEDs with the color red when engaging mutes.

All in all, Transit is a rather full features compact 6hp dual stereo channel lane eurorack formatted mixer that offers easy signal mixing, gain staging, ducking, and performance-oriented mutes. Transit is just as at home in a small eurorack system as one Transit or several would be in a larger system.

Transit pairs perfectly with Per4mer and a Modbap20 compact powered Eurorack case. It also pairs well with Osiris and any other module that could benefit from a compact analog dual channel stereo ducking mixer, sub mixer or final output mixer.

Features
All analog audio signal path
2 stereo channels
mutes per channel
gain control per channel
ducking input per channel
left/right output
master volume control
3.5mm headphones output with dedicated volume control knob

Tech Specs
Width: 6HP
Depth: 30mm
Power: 50mA +12V, 50mA -12V

Notes: The Meng Qi DPLPG is a Dual Passive 1-pole vactrol based Low Pass Gate/VCA in modest 2 HP. No power is required as the design is completely passive.

Handpicked components ensure that the modules will be musical.

Feed it a trigger and enjoy the natural smooth decay of a vactrol.

Notes: Arkan

Dual Voltage Polarizer

You may have heard this before: "You can never have enough VCAs". A voltage polarizer (also known as a bipolar VCA or a 4-quadrant multiplier) is often viewed as the VCA better suited for CV. As it can be used as a unipolar VCA and it allows you to invert a signal when it is modulated with a negative voltage. Resulting in interesting movements in your modulations.

What sets Arkan apart from other voltage polarizers is the curvature control, a feature usually only seen in unipolar VCAs. By taking a different approach to the classic voltage polarizer circuitry, Malstrom have devised a unique solution that provides a new way to shape your audio and CV. The non-linearity of the polarizer also makes Arkan really good at reaching silence when presented with a 0V CV signal.

At audio rate, Arkan acts as a ring-modulator with four controls to change timbres.

Boosting adds odd harmonics (symmetrical distortion), while offsetting adds even harmonics (asymmetrical distortion). The modulation curve changes ring modulation sharpness, and modulation strength determines the carrier dominance.

Two identical channels with carefully selected features will make Arkan your go-to modulation control hub. Arkan is especially useful for common utility duties such as mixing, scaling, inverting and offsetting. As well as CV modulation, feedback patching, and waveshaping. All this makes Arkan a very versatile tool that will certainly have a place in your patch!

Features (per channel)

- Input attenuation with inverter switch gives you more precision and range, with voltage inversion and quick silencing.
- Bias input with attenuverter control to offset your input signal or mix/invert another signal.
- CV input with curvature control allows you to shape the polarizer and improve its 0V attenuation.
- CV modulation control to fade in the modulator, allowing you to determine the amount of modulation.
- Voltage gain and polarity led indicators showing you exactly what is happening under the radar.
- Output normalled internally and externally (to other Arkans) to easily mix signals.

Additional features

Optional signal boost (x4 / +12dB) via switch on the PCB to increase voltages when needed.
5V or 10V voltage reference selection for bias voltage and CV input range to adjust Arkan to your system.

Dimensions
- 8HP.
- 28mm, Skiff-friendly.

Power consumption
- 90mA @ +12V.
- 85mA @ -12V.

I/O specs

- All inputs DC coupled.
- All inputs handle audio signals.
- All inputs have 100k input impedance. - All inputs have +-10V Input range.
- CV range +-5V or +-10V.
- Bias Voltage range +-5V or +-10V.
- Boost gain x1 or x4.
- All inputs are overvoltage protected.
- Keyed power header.
- Reverse power protection.

Notes: Make quick changes to signal routing manually or with CV control. Any audio or CV signal can be routed via two outputs in series, parallel or reverse series. Quick, clever and easy to use.

Supplier's Notes:
Signal flow is an essential concept in modular synthesis: the path taken by audio or control voltages (CVs) may be long or short, branching or linear, intuitive or highly complex.

While the patch programmability of a modular system is its greatest strength, it can also be a weakness: quick experimentation is often hampered by the need to repatch the synthesiser to change the signal flow.

Pivot 2 offers a unique solution: a compact, fully voltage controlled variable signal router. At the turn of a single knob, any signal can be routed through two external modules in series, parallel or reverse series, as well as any combination in between.

Experiment with patching wavefolders before, after or alongside filters, shuffle multiple delay lines, precisely dial in two-stage audio compression or easily control intricate feedback patches.

Looking beyond the basic signal routing application, Pivot 2 will also function as a complementary pair of counter-acting linear voltage controlled amplifiers (VCAs), a voltage controlled crossfader or a voltage controlled panner.

Analogue voltage controlled send/return router.
Seamless transitions from series, through parallel on to reverse series effect routing.
Also functions as a complementary VCA pair, voltage controlled crossfader or panner.
Impedance-compensated outputs with dual-colour LEDs.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium.

4 HP | +12: 60 mA, -12: 60 mA

Notes: A multi-VCA module on steroids, the Morph 4 is designed as a modulation hub for an entire Eurorack system, capable of working in coutnless different ways. Proper versatile business.

Supplier's Notes:
Modulation is the core concept of modular synthesis: parameters changing over time, adding movement and musical interest to what would otherwise be merely static sounds. Being able to control the amplitude of signals throughout a patch is therefore essential, and one can never have too many voltage controlled amplifiers (VCAs).

Designed as a fully-featured modulation hub for Eurorack synthesisers, Morph 4 takes the basic concept of the multi-VCA module to the next level.

Four linear amplitude modulators are controlled by a master 'morph' parameter. The response of each modulator to this parameter is completely variable, both manually and under voltage control, and can be overridden if desired. Each response is triangular, with the 'position' parameter setting the maximum point along the morph axis, while 'span' determines the width of the triangle's base.

In addition to separate signal inputs and outputs, a variety of combined outputs is available as well: A+B, C+D, add (unity gain) and averaging mixes, and instantaneous minimum and maximum. Input normalisation makes it easy to send the same signal to multiple modulators, while output and modulator response LEDs provide essential visual feedback.

The combination of master control, fully flexible modulators and multiple combined outputs creates a module truly embodying the spirit of 'patch programmable' modular synthesis. Use Morph 4 as a voltage controlled mixer, dual crossfader, dual panner, interpolating scanner, interpolating distributor, quad VCA, quadraphonic controller, slope modifier, rectifier, complex waveshaper or something in between any of those- the choice is yours.

Notes: Tangrams

Push (or Pulse) the Envelope

Snappy, classically analogue envelopes with visually intuitive controls. Add a powerful, cv controllable cyclical gate generator, integrated VCA, and trigger buttons -then double it-now you've got Tangrams.

Tangrams, like the Dual ADSR before it, is a dual analogue core-envelope inspired by the Roland SH-101 / System 100m design with several enhancements. Taking further inspiration from trapezoidal function generators like the one on the EMS Synthi, Intellijel have added a voltage-controlled pulser circuit to link the triggering of two envelopes - allowing for delayed one-shots, cycling organic envelopes, and more. In addition, Intellijel added two VCAs for level control of each envelope, or alternatively, direct injection of the signal you'd like to envelope - freeing up your other VCAs.

The Pulser

The Pulser can be thought of as a way to set both a gate ON time (T1) and an OFF time (T2). In this way, you could configure a cycling ADSR that has a gate time that is different from the interval between gates. Alternatively, you can create a sequence where ADSR2 is triggered by a delayed amount of time after ADSR1 is triggered (either cyclically or in a single shot sequence). The panel switches for routing or disabling the pulse sources allow for even more complex combinations of control beyond these examples. This special combination of functions can yield a plethora of interesting and organic envelope and gate patterns to be created; cyclical and single shot.

ADSR + VCA Features

Dual Analogue ADSR envelopes with digital gate Pulser for trapezoid shapes
Pulser stages P1 and P2 can be selectively routed to trigger each ADSR via panel switches
Three timing ranges: (FAST: ~5 seconds, MED: ~35sec, SLOW: ~1min A/D times)
Retrig input (allows re-triggering of the envelope if source gate held high)
VCA input can be used to dynamically control the respective ADSR output level (bipolar) or to process signals to be modulated in amplitude by the ADSR.
Manual GATE buttons for each envelope

Pulser Features

A pulse is made of individually controllable T1 and T2 stage lengths
CV control over T1 and T2 time
Pulser can be one-shot (SINGLE) or repeating (CYCLE)
PULSE output has a switch to select P1 or P2 as the source.
Pulser stages P1 and P2 can be selectively routed to trigger each ADSR via panel switches
START trigger input for starting/restarting the Pulser sequence
Manual GATE button to trigger the Pulser sequence

Size: 14HP
Depth: 35mm
Power: 66mA @ +12V 49mA @ -12V

Notes: The Quad VCA is a compact and feature packed module that is sure to find its way it almost all of your patches. In addition to being used for standard VCA duties it can also be used as a mixer and signal booster.

Features:

- Manual LEVEL control per VCA which is convenient when using the module as a mixer or for biasing when CV modulating the VCA with a bipolar LFO.
- Dedicated CV attenuators with dual colour LEDs for monitoring bipolar CV signals.
- Continuously adjustable response from linear to exponential per VCA.
- Each CV input is normalled to the adjacent one for cascaded control.
- Each output is normalled to the mix input of the adjacent one which allows you to use adjacent sets as submixes or the fourth output can be used as a master mix output when none of the other outputs are patched.
- Each VCA has a boost switch that increases the output level by approximately +6dB (double).

Notes: The Voltage Controlled Amplifier or "VCA" is one of the most essential and useful building blocks in a synthesis patch. The DUAL VCA 1U packs two high quality, DC coupled, linear VCAs into a very compact 1U package.

The two VCAs can be used completely independently or in tandem via the handy signal normalling. The DC coupling means that the VCA can be used for the amplitude control of both control voltages (CV) and audio signals.

Some application/use examples:

- Dual, independent VCA for dynamic level control of two different audio or cv sources
- Stereo VCA (use the CV normalling where CV A normals to CV B) for processing stereo sources or CV pairs.
- CV/Audio summing (when Out A is not patched, it normals to sum with OUT B, CV A and B control the independent levels)
- Voltage/signal doubling (use input A only and the doubled voltage will appear at OUT B when a CV of +5V applied to CV A)

Notes: 3xVCA ofers three high class amplifier circuits with linear characteristic. Thanks to AC / DC compatibility, a very low noise floor and basically no distortion, the module is not only a great partner for control voltages, but audio material as well. Besides a signal input and output, each VCA has its own CV input. The dual potentiometers regulate levels and bipolar CV attenuation values of all amplifiers. Using these rather unusual, yet very practical components, it was possible to equip the 3x VCA with a front panel that is only 6 HP wide. Switches allow the user to feed the results of one amplifier to the output of the next amplifier, so we can get 1+2, 2+3, and 1+2+3 outputs mix. Two-colored LEDs visualize CV and output signals.

60 mA +12V
60 mA -12V
35 mm Depth

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

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

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

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

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

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

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

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

Four Analogue Resonant Multimode Filters

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

Unique 'Character' Circuit for Feedback and Distortion

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

V/oct Tracking and Quadruple Oscillator

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

Ping and Ring

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

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

Linked or Individual Filtering

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

Filter and Combo Behaviour

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

Four Seminormalizations for Group Use

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

Analog Mixing Stage and Group Outputs

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

CV Inputs with Attenuators

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

Notes: VCA2600 needs no introduction. The best sounding VCA in 4HP with matched and thermo coupled transistors.

Tech specs:

-width 4HP
-35mm depth behind the panel, including the power connector
-standard 10 pin euro power +12V / -12V
-power consumption +12V 25mA -12V 25mA

Notes: The Erica Synths Black Ring-Xfade is an extremely versatile module for sound shaping. It consists of two unconventional ringmodulators/waveshapers, a crossfader that works both for audio and CV and a VCA. Unlike conventional ringmodulator that works only with a signal present on both signal and carrier inputs, the Black Ring-Xfade passes through the signal without alteration, if no carrier is present, but low level signals on the carrier input result in unique waveshaping. Add the crossfader between two ringmodulators (or as a separate unit) topped up with the VCA, and you have an amplitude modulation powerplant in 10HP!

Ring1 CV; Ring2 CV
These are the ringmodulator carrier (CV level) level controls. Unlike conventional ringmodulator, this one passes signal unaltered, if RING CV is turned down. With increasing Ring CV level a slight waveshaping turns into proper ringmodulation.

Xfade
This is a manual Crossfade control. This fades smoothly between signals patched into XFADE IN1 and XFADE IN2. The XFADE CV is added to the knob position.

Coupling
Set the Crossfader mode - AC is optimized for use with the audio signals, DC - for control voltages (but it will work fine with audio, as well).

Ring 1; Ring 2
The green LEDs give visual feedback on signal levels, applied to XFADE IN1 and XFADE IN2 respectively.

Vol CV
Select the VCA CV response. A 0-10V setting is intended for use with the envelope generator, a -5V - +5V setting - for nice tremolos with a LFO.

Xfade IN1; Xfade IN2
These are the Crossfader inputs. They are normalled to the Ringmodulator ouputs, so, if nothing is patched here, you can crossfade between two ringmodulated signals.

Xfade CV
This is the Crossfader CV input. The CV is added to the XFADE knob setting.

VOL CV
This is the VCA CV input. The VCA is post-crossfade - it controls the amplitude of a resulting signal after the crossfader. It will also work with low frequency control voltages applied to the XFADE Ins - nice for designing unconventional modulations.

Ring1 Out; Ring2 Out
These are the ringmodulator outputs.

Xfade Out
This is the Crossfader output and the main output of the module.

Ring2 In; Ring2 CV
These are the second Ringmoduator signal and carrier inputs respectively. These two are normalled to the RING1 inputs, and if no signal is patched here, the duplicate the first Ringmodulator. Interesting trick is to set RING CVs at different levels and crossfade between two ringmodulator signals.

Ring1 IN; Ring1 CV
These are the first Ringmoduator signal and carrier inputs respectively.

Fade L; Fade R
The red LEDs indicate the crossfader position.

Xfade CV LVL
This is a crossfade CV level attenuator. By adjusting it you can control a span of fading between inputs.

Specs:
Audio level 10Vptp
CV level (full span) -5V - +5V
Power consumption +38mA, -32mA
Module width 10HP
Module depth 35mm

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

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

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

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

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

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

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

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

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

Main features:

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

Some applications:

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

Technical details:

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

Notes: Now available in Intellijel's 1U format, the Milky Way is Endorphin.es's stereo effect module, featuring 16 programs: reverbs, delays, chorus, flanger, compressor and more. Versatile.

Supplier's Notes:
Tasty multi-effects module in Intellijel's 1U format. Eight stereo effect programs include meta CV scanning along with Airways and Darkwaves banks borrowed from the Blck_Noir and Grand Terminal modules.

Supplier's Notes:
Milky Way is a stereo FX module already know from the Blck_Noir and the Grand Terminal. It offers 8 types of effects.


simple and effective 6hp stereo FX module
8 types of effects available with meta CV scanning, 2 famous Airways and Darkwaves banks (more banks coming soon)
volume control with VCA
Airways:

Hall Reverb
Shimmer Reverb
Stereo Room Reverb
Plate Reverb
Spring Reverb
Ping-Pong Delay
Tape Echo Delay
Chorus
Darkwaves:

Gated Reverb
Spring Reverb
Ping-Pong Delay
Flanger
Ring Modulator
Overdrive
Compressor
Freezer
Power consumption: 117mA at +12 V and 12mA at -12 V

Depth: 42mm

HP : 22

Notes: Milky Way is a multi effects module with stereo signal flow. Its algorithms are already known from the Blck_Noir and the Grand Terminal.

- Simple and effective 6hp stereo* FX module
- Comes with "T.F.D" firmware installed: 16 types of effects are available, sorted in two banks
- Meta CV effects scanning
- Volume control with VCA

*depending on the effect type

Notes: The Golden Master from Endorphin.es is a multi-band processor that takes inspiration from studio mastering and radio loudness units from the 1990s. It gives control over the EQ, compression, and mid/side processing of incoming audio.

Thanks to the 16-bit/96kHz audio fidelity, you'll get incredible processing power. It features three bands - low, medium, and high - each handling a distinct portion of the audio spectrum. These controls feature a single knob that both boosts and cuts signals. Set the overall loudness limit of your sounds, and the brickwall limiter ensures all your sounds stay in check. This multi-band effect is the perfect end-of-chain module, ensuring that anything you throw at it sounds dynamic and full.

Multi-band processor inspired by mastering tools from the 1990s: adds punch and dynamics to your sound

Compression, EQ, and mid/side processing

Three frequency bands with +7 db boost and -20 db cut

Brickwall limiter sets upper limit of signals

16-bit/96kHz audio I/O with 32 bits internal processing

Enhance/mute buttons

Available in 1U / 22HP version

Power consumptions:

135 mA +12V
25 mA -12V
0 mA 5V

Dimensions:
6 HP
30 mm deep

Notes: Unusual output and mastering module, inspired by studio and radio mastering tools but fitting into just 6hp. Includes multi-band compression, mid/side stereo processing and brickwall limiting.

Supplier's Notes:
Golden Master is a multiband processor module in Eurorack format. Inspired from the studio mastering and radio loudness units from the 90's, this tool is a game changer for everyone who performs live with a Eurorack synthesizer.

The whole magic of Eurorack lies in its raw sound and simple analog mixes - processing through the Golden Master brings instant punch and sound pressure, as well as controlling the overall volume.

Power consumption: 135mA at +12V and 25mA at -12V
Depth: 30 mm (with ribbon cable connected)
HP : 6

Notes: 1U version of the excellent Golden Master, a surprisingly creative little output module which combines radio-style multi-band compression with brickwall limiting and mid-side stereo processing.

Supplier's Notes:
Golden Master is a multiband processor module in Eurorack format. Inspired from the studio mastering and radio loudness units from the 90's, this tool is a game changer for everyone who performs live with a Eurorack synthesizer.

The whole magic of Eurorack lies in its raw sound and simple analog mixes - processing through the Golden Master brings instant punch and sound pressure, as well as controlling the overall volume.

Features:

instantly improve your raw Eurorack mixes to sound balanced and powerful on stage or wherever you are
96 kHz 16 bit digital audio stereo processing
3-band compressor with intuitive adjustment and brickwall limiter
mid/side stereo field processing
Power consumption: 125mA at +12 V and 12mA at -12 V

Depth: 42mm

HP : 22

Notes: This module is divided between 3 functions, a 3 channel mixer, with 3 knobs the the singal together, this then passes in a dual analogue filter, a resonant 24db LPF and a non resonant 18db HPF, passing from there into a built in VCA.

Notes: Module A-147-2 is the successor of the VCLFO A-147 but offers much more features than the predecessor. The module is made of these sub-units:

- VCLFO: voltage controlled low frequency oscillator
- VCA: voltage controlled amplifier, switchable to voltage controlled polarizer
- VC delay unit: voltage controlled linear attack envelope (only one parameter: attack) for delayed LFO operation in combination with the VCA (e.g. delayed vibrato/tremolo)

LFO: The voltage controlled LFO has the waveforms Triangle, Sine, Sawtooth and Rectangle available and features a Reset/Sync input. Triangle/Sine and Rectangle are displayed by means of dual-colour LEDs (probably red/green), Sawtooth has a unicolor LED available (probably blue). The output levels are about -4V...+4V for Triangle, Sine and Rectangle. The Sawtooth level is about 0...+8V.

The CV control can be switched to attenuator or polarizer ("CV Mode" switch). In polarizer mode the CV inputs affects the frequency in the reverse manner when the CV control is left from the centre position. In the centre position CV has no effect and right from the centre the control works like a normal attenuator. The frequency range (without external CV) is from about 0,005 Hz (i.e. about 3 minutes per period) to 200 Hz (with external CV max. frequency about 1kHz). In addition a ultra-low mode can be activated by means of an internal jumper. When the ultra-low jumper is set a fixed voltage is connected to the switching contact of the "LFO CV" socket. In polarizer mode of the CV control that way extremely low frequencies (up to one hour period and more) are possible. For this a jumper has to be installed on the pin header JP6. In the factory a dummy jumper is installed on the pin header JP7 "Dummy". JP7 has no function and is used only for "parking" of the jumper. Simply remove the jumper from JP7 and plug it on JP6. JP6 is located behind the CV control.

VCA: This is a linear VCA that can be switched to "normal" VCA (i.e. kind of a voltage controlled attenuator) or voltage controlled polarizer ("VCA Mode" switch). In the "normal" VCA mode amplification +1 is achieved with about +5V control voltage. In polarizer mode the amplification ranges from about -0.5 (i.e. inverted signal with about 50% level) with 0V CV to +0.5 (i.e. non-inverted signal with about 50% level) with +5V CV. With about +2.5V CV the signal is suppressed. Details about the functioning of a voltage controlled polarizer can be found in the description of the module A-133. In this mode the VCA can be treated also a DC coupled ring modulator (similar to A-114).

The VCA of the A-147-2 has three sockets available: "In" (signal input), "Out" (signal output) and "CV" (control voltage input).

The Triangle Output of the LFO is normalled to the VCA signal input by means of the switching contact of the "VCA In" socket. If another LFO waveform (or any other signal) should be processed by the VCA the corresponding signal has to be patched to the "VCA In" socket. The VCA can be used also independently from the LFO and the Delay CV. In this case the VCA sockets In, Out and CV have to be patched accordingly. The VCA can be used also as waveshaper for the LFO signals (e.g. by patching VCA In and VCA CV to different LFO signals, if necessary via attenuator A-183-1 or offset generator/attenuator A-183-2).

Attack/Delay: The third sub-unit of the module is a simple, voltage controlled envelope generator that has only the parameter "Delay" (or Attack) available. This unit generates a linear increasing voltage that starts from 0V after each Delay Reset until it reaches about +5V. Then the voltage remains at +5V until the next Delay Reset occurs. The inclination or gradient is controlled by the manual Delay control and the Delay control voltage ("Delay CV" input). The waveform is linear, the control scale is exponential. The output voltage is displayed by a green LED and available at the "Delay Out" socket.

The manual Delay control ranges - without external "Delay CV" - from about 5ms (fully CW) up to 2 minutes (fully CCW). By means of an external voltage applied to the "Delay CV" socket this range can be extended. A rising CV shortens the delay time (behaviour like a VCO)!

The Delay output voltage ranges from about 0V to +5V. The rising edge of the gate, clock or trigger signal applied to the "Delay Reset" sockets resets the Delay output voltage to 0 V.

"Delay Out" is normalled to the VCA CV input by means of the switching contact of the "VCA CV" socket and consequently controls the Triangle level provided that no other patch is made. A typical example is the usage of a Gate signal (e.g. from a USB/Midi-to-CV/Gate interface) as Delay Reset. That way a delayed vibrato or tremolo can be realized if the VCA output is patched to the frequency CV input of a VCO (or VCF), or the CV input of a VCA.

Notes: A-135-2 is a miniature version of the A-135-1. Behind a front panel with 8 HP only four linear VCAs (voltage controlled amplifiers) and a voltage controlled mixer based on the VCAs are available.

Controls, In/Outputs and Functions of each VCA:

Level (manual control of the VCA amplification), small rubberized knob (L1...L4)

Control voltage input with associated attenuator (CV1...CV4), for the full VCA control range about 0...+5V control voltage are required (attenuator fully clockwise), for higher control voltages the attenuator is used, the attenuators are without knobs, just plastic shafts with white marker

Signal Input

Signal Output

All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. to control the level of LFOs or envelopes)

The signal input is not equipped with an attenuator. But the VCAs can process all signals up to 15Vpp / -7.5...+7.5V without clipping. In case of higher levels an external attenuator is required (e.g. A-183-1).

The available amplification range is 0...1, the maximal amplification is 1 (i.e. it "clips" and remains at 1 even if the control voltage goes beyond the value that corresponds to amplification 1)

Functions of the voltage controlled mixers:

two outputs ("Selected" and "All")

Selected output: the ouput if a VCA is removed from this sum signal when a plug is inserted into the corresponding VCA output.

All output: sum of all VCA outputs, regardless of inserted plugs into the VCA outputs

The maximal amplification is about 0.6 to avoid clipping at the mixer outputs (otherwise the outputs may distort with 15Vpp signals at each signal input and full amplifications)

Special functions of the voltage controlled mixer (selectable by internal jumpers)

Dual Stereo VCA: In this case the control unit of VCA1 (L1 + CV1) affects also VCA3 and the control unit of VCA2 (L2 + CV2) affects also VCA4. The control units of VCA3 (L3 + CV3) and VCA4 (L4 +CV4) are out of operation.

Quad VCA: In this case the control unit of VCA1 (L1 + CV1) affects all four VCAs. The control units of VCA2, VCA3 and VCA4 are out of operation. In this mode the module has the same function as module A-132-2. That's why module A-132-2 will be discontinued.

Normalling of the signal inputs: by means of internal jumpers signal input 1 can be normalled to signal input 2, signal input 2 to signal input 3 and signal input 3 to signal input In 4. That way the same input signal can be distributed to four different channels by means of control voltages (e.g. quadrophonic distribution of audio signals). Suitable control voltage sources are e.g. A-144 (Morphing Controller) or A-143-9 (Quadrature LFO).

Additional technical specification for each VCA (based on the specifications of the VCA circuits CEM3360/AS3360 used in the module):

Crosstalk between VCAs: typ. - 80dB

Signal attenuation at 0V CV: typ. -70dB

Total harmonic distortion: typ. 1%

Control voltage feedthrough: max. 15mV

Width: 8 HP / 40.3 mm
Depth: 45 mm (measured from the rear side of the front panel)
Current: +40mA (+12V) / -40mA (-12V)

Notes: A-135-2 is a miniature version of the A-135-1. Behind a front panel with 8 HP only four linear VCAs (voltage controlled amplifiers) and a voltage controlled mixer based on the VCAs are available.

Controls, In/Outputs and Functions of each VCA:

- Level (manual control of the VCA amplification), small rubberized knob (L1...L4)
- Control voltage input with associated attenuator (CV1...CV4), for the full VCA control range about 0...+5V control voltage are required (attenuator fully clockwise), for higher control voltages the attenuator is used, the attenuators are without knobs, just plastic shafts with white marker
- Signal Input
- Signal Output
- All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. to control the level of LFOs or envelopes)
- The signal input is not equipped with an attenuator. But the VCAs can process all signals up to 15Vpp / -7.5...+7.5V without clipping. In case of higher levels an external attenuator is required (e.g. A-183-1).
- The available amplification range is 0...1, the maximal amplification is 1 (i.e. it "clips" and remains at 1 even if the control voltage goes beyond the value that corresponds to amplification 1)

Functions of the voltage controlled mixers:

- Two outputs ("Selected" and "All")
- Selected output: the ouput if a VCA is removed from this sum signal when a plug is inserted into the corresponding VCA output.
- All output: sum of all VCA outputs, regardless of inserted plugs into the VCA outputs
- The maximal amplification is about 0.6 to avoid clipping at the mixer outputs (otherwise the outputs may distort with 15Vpp signals at each signal input and full amplifications)

Special functions of the voltage controlled mixers (selectable by internal jumpers):

- Dual Stereo VCA: In this case the control unit of VCA1 (L1 + CV1) affects also VCA3 and the control unit of VCA2 (L2 + CV2) affects also VCA4, the control units of VCA2 and VCA4 are out of operation
- Quad VCA: In this case the control unit of VCA1 (L1 + CV1) affects all four VCAs. The control units of VCA2, VCA3 and VCA4 are out of operation. In this mode the module has the same function as module A-132-2. That's why module A-132-2 will be discontinued.
- Normalling of the signal inputs: by means of internal jumpers signal input 1 can be normalled to signal input 2, signal input 2 to signal input 3 and signal input 3 to signal input In 4. That way the same input signal can be distributed to four different channels by means of control voltages (e.g. quadrophonic distribution of audio signals). Suitable control voltage sources are e.g. A-144 (Morphing Controller) or A-143-9 (Quadrature LFO).

Notes: Module A-130-8 contains eight linear voltage controlled amplifiers (VCAs). Each VCA features a control voltage input (CV), a signal input (In) and a signal output (Out). In addition three mixers are included: the socket labelled "1-4" outputs the sum of the VCAs 1-4, the socket labelled "5-8" outputs the sum of the VCAs 5-8, the socket labelled "1-8" outputs the sum of all eight VCAs.

The signal inputs are able to process levels up to about 20Vpp without clipping (20Vpp = 20V peak-to-peak or about -10V...+10V) . Each CV input is equipped with a trimming potentiometer that is used to adjust the sensitivity of the CV input in question. In the factory the module is adjusted for the CV range 0...+5V but can be re-adjusted by the user for other control voltage ranges (e.g. 0...+10V).

The amplification range for each single VCA is 0...1. The signals of the sum outputs have a lower amplification to avoid distortion at the sum outputs.

The VCAs and mixers are fully DC coupled, i.e. the module can be used for the processing of both audio and control voltage signals. The control voltage and signal inputs can be normalled by means of small solder pads (e.g. 1 > 2 > 3 > 4 and so on, or 1 > 5, 2 > 6, 3 > 7, 4 > 8 for the stereo application mentioned below).

Typical applications

any kind of VCA application (e.g. voltage controlled attenuation of audio or control voltage signals)
two voltage controlled mixers with four channels each
voltage controlled stereo mixer with four channels each, for this the control voltage inputs have to be correspondingly patched or internally normalled: CV1=CV5 /CV 2=CV6 / CV3=CV7 / CV4=CV8
voltage controlled mixer with eight channels
add-on for the Joystick module A-174-4
Technical notes

The following document shows the positions and functions of the jumpers and trimming potentiometers of the module: A130_8_trimming_potentiometers_and_jumpers.pdf
When the trimming potentiometer in question is moved CCW (counterclockwise) the sensitivity of the CV input in question increases (view to the top edge of the module).
Trimming procedure: apply the max. CV voltage that will occur in your application (e.g. +8V) to the CV input and a constant audio signal to the audio input (e.g. a VCO sawtooth). Then adjust the trimming potentiometer in question until the max. output level is reached and does not become higher even if the trimming potentiometer is turned further. Possible the the trimming potentiometer has to be turned back again a bit to find the correct position.
With the trimming potentiometer adjusted to max. sensitivity the linear amplification starts at about +0.1 control voltage (CV). We introduced this small dead range of about 100 mV to make sure that the VCA fully closes with CV = 0V.
It's possible to change the amplifications of the internal mixers used for the sum outputs (1-4, 1-8, 5-8) also to 1. Pay attention that then clipping/distortion may occur at the sum outputs. For this the 22k resistors R41 (Sum 1-4), R44 (Sum 5-8) und R51 (Sum 1-8) have to be replaced by 47k. As they are smd resistors sufficient experience with soldering/desoldering of smd parts is essential. And we have to point out that warranty is void if such modifications are carried out by the customer. The positions of the resistors are shown in the document A130_8_trimming_potentiometers_and_jumpers.pdf.
If multiple exponential VCAs are required module A-132-4 is recommended.

Width: 6 HP / 30.1 mm
Depth: 40 mm (measured from the rear side of the front panel)
Current: +50 mA (+12V) / -50 mA (-12V)

Notes: Module A-130-4 contains four linear VCAs with a common level control section for all four VCAs. It can be used for all applications of simultaneous amplitude/level control of up to four different audio or CV signals. A-130-4 is the replacement of the no longer available module A-132-2. Compared to the A-132-2 the width has been reduced from 8HP to 4HP.

The module has these controls and in/outputs available:

Control Man.: manual control of the amplification

Control CV: attenuator for the control voltage applied to socket CVo socket Input 1

Sockets In 1...4: VCA inputs 1...4

Sockets Out 1...4: VCA outputs 1...4

Application examples:

simultaneous amplitude/level control of up to four different audio or CV signals

polyphonic application 1: simultaneous control of the frequency modulation depth of 4 VCOs (Quad-LFO A-145-4 or Quad-VCLFO A-147-5 > A-130-4 > FM inputs A-111-4)

polyphonic application 2: simultaneous control of the pulsewidth modulation depth of 4 VCOs (Quad-LFO A-145-4 or Quad-VCLFO A-147-5 > A-130-4 > PWM inputs A-111-4)

simultaneous control of quadrophonic signals

Technical notes:

The maximum amplification for each VCA is about 1 ("Man." control fully CW). Even with an external control voltage applied to the CV input the maximum amplification is limited to 1.

The module is equipped with two internal connectors (pin headers with 4 pins each). Pin header #1 can be used to normalize the four inputs to other modules (e.g. Quad LFO A-145-4 or A-147-5, Quad ADSR A-143-2). Pin header #2 can be used to connect the four outputs to other modules.

The max. level at the VCA inputs without clipping/distortion is about 20Vpp or +/-10V.

Width: 4 HP / 20.0 mm
Depth: 45 mm (measured from the rear side of the front panel)
Current: +30 mA (+12V) / -30 mA (-12V)

Notes: Module A-130-2v is composed of two identical voltage controlled amplifiers (VCA). Each VCA has a manual gain control (also named Initial Gain) and a control voltage input with attenuator. The character of the control scale can be switched to linear or exponential. All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. for voltage control of the level of LFO or envelope signals). The signal input has no attenuator available but is capable to process up to 16Vpp signals (i.e. -8V...+8V) without distortion. For the processing of higher levels an external attenuator (e.g. A-183-1) is recommended.

The amplification range is 0...1. Even with a higher external control voltage the amplification remains at 1 (kind of "amplification clipping" at 1).

Controls (for each of both units):

Gain: manual gain control (Initial Gain) in the range 0...1
CV: attenuator for the CV input
lin/exp: switches the VCA characteristic to linear or exponential, in center position the VCA is off (mute function)
Inputs and outputs (for each of both units):

CV: control voltage input, min. +5V required for max. amplification (1) with CV control fully CW and Gain fully CCW
In: signal input, max. 16Vpp (+8V...-8V) without distortion
Out: signal output

A-130-2v is the slim version of module A-132-3 and offers essentially the same features. But the distances between the controls are smaller and rubberized small-sized knobs are used. In return the front panel has 4 HP only which is half the width of the A-132-3. The module is primarily planned for applications where only limited space is available.

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

Depth: 50mm

HP : 4

Notes: Module A-130-2 is the slim version of module A-132-3 and offers essentially the same features. But the distances between the controls are smaller and rubberized small-sized knobs are used. In return the front panel has 4 HP only which is half the width of the A-132-3. The module is primarily planned for applications where only limited space is available.

The module is composed of two identical voltage controlled amplifiers (VCA). Each VCA has a manual gain control (also named Initial Gain) and a control voltage input with attenuator. The character of the control scale can be switched to linear or exponential. All inputs and outputs are DC coupled. Consequently the VCAs can be used to process both audio and control voltages (e.g. for voltage control of the level of LFO or envelope signals). The signal input has no attenuator available but is capable to process up to 16Vpp signals (i.e. -8V...+8V) without distortion. For the processing of higher levels an external attenuator (e.g. A-183-1) is recommended.

The amplification range is 0...1. Even with a higher external control voltage the amplification remains at 1 (kind of "amplification clipping" at 1).

Controls (for each of both units):

- Gain: manual gain control (Initial Gain) in the range 0...1
- CV: attenuator for the CV input
- Lin/Exp: switches the VCA characteristic to linear or exponential, in center position the VCA is off (mute function)

Inputs and outputs (for each of both units):

- CV: control voltage input, min. +5V required for max. amplification (1) with CV control fully CW and Gain fully CCW
- In: signal input, max. 16Vpp (+8V...-8V) without distortion
- Out: signal output

Notes: 'Vintage' black panel version of Doepfer's updated frequency shifter module, offering weird and wonderful effects by shifting all frequencies by a fixed amount. Unique sound, not to be confused with pitch shifting.

Supplier's Notes:
Module A-126-2 is a fully analog frequency shifter for audio signals. A frequency shifter is an audio processing unit that shifts each frequency of the incoming audio signal by the same frequency. If the shifting frequency is e.g. 200Hz an incoming audio frequency of 1000 Hz becomes 1200 Hz, 2000Hz becomes 2200 Hz, 3000 Hz becomes 3200 Hz and so on. Pay attention that this is different from pitch shifting where all frequencies are shifted proportional (e.g. 1000>1200Hz, 2000>2400Hz, 3000>3600Hz) !
The frequency range of the internal quadrature VCO is about 8 octaves (about 20Hz ... 5kHz). If required an external quadrature VCO can be used.

The module is equipped with these controls, inputs and outputs:

Frequ. 1: first manual control of the shifting frequency (factory setting: coarse, range about 20Hz - 5 kHz)

Frequ. 2: second manual control of the shifting frequency (factory setting: fine)

by means of internal jumpers the sensitivity of Frequ.1 and 2 can be swapped (i.e. Frequ.1 = fine and Frequ.2 = coarse)

the relation between coarse and fine control is about 25:1 (corresponding to about 8 octaves to 1/3 octave)

FCV In (socket) and FCV (small control without knob): control voltage input with attenuator for the external voltage control of the shifting frequency

Mix: manual control of the up/down shift panning unit, fully CCW = down shift, fully CW = up shift, in between a mixture of down and up

Mix CV In (socket) and Mix CV (small control without knob): control voltage input with attenuator for the mixing unit for external voltage control of the up/down mixing

Audio In (socket), Level (small control without knob) and Overload (LED): audio input with attenuator, typ. audio in level = 1Vpp, the level control has to be adjusted so that the overload LED just begins to light up a bit, when the LED is fully on clipping/distortion occurs, when the LED is permanently off the input level is too low and the signal-to-noise ratio increases

Audio Out (socket): audio output of the frequency shifter

Squelch (small control without knob): controls the squelch function: fully CCW (Env.) the output VCA is controlled by the envelope signal, which is derived from the audio input signal, fully CW (open) the output VCA is permanently open (no squelch function), in between the squelch intensity can be adjusted

Quadrature VCO Outputs (sockets Sin and Cos): outputs of the internal quadrature oscillator, about 12Vpp level (+6V/-6V)

Ext. Inputs Sin and Cos (sockets): required when an external quadrature VCO (e.g. A-143-9 with a wider frequency range or A-110-4 with thru zero feature or A-110-6 with different waveforms) is used instead of the internal quadrature VCO, the levels of the external VCO should be about 10Vpp (8...10Vpp are OK) and the signals have to be symmetrical around zero Volts, the sockets are normalled to the internal quadrature VCO (i.e. the sockets are equipped with switching contacts that interrupt the internal connection as soon as a plug inserted)

VCA ext. CV (socket): used when an external control voltage (e.g. from an envelope generator) should be used to control the output VCA instead of the internal squelch unit, the socket is normalled to the output of the squelch control (i.e. the socket is equipped with a switching contact that interrupts the internal squelch connection as soon as a plug inserted). From about +8V external control voltage the VCA is fully open.

Internal terminals (pin headers, e.g. for a DIY breakout module):

envelope follower output

dome filter output 1

dome filter output 2

ring modulator 1 output

ring modulator 2 output

Up shift output

Down shift output

Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: 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 or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- 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 VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)

Notes: A Low Pass Gate (LPG) can be a low pass filter, a VCA or a combination of both. This means both the harmonic content and volume can be controlled simultaneously which resembles the behaviour of many instruments: the louder, the more harmonics.

The A-101-2's mode of operation is set with a switch: left position is low pass, right is VCA and the combo mode is in the centre. Alternatively, you can activate the modes with gate signals which is the reason for two gate inputs; this is very interesting in combination with clock dividers or trigger sequencers.

- Gate 1 high & gate 2 low = low pass mode
- Gate 1 low & gate 2 high = VCA mode
- Both Gate 1 & 2 high = combo mode

The A-101-2 has an aggressive sound, compared to other LPGs and its resonance goes up to self-oscillation which not many LPGs offer. The oscillation is rather dirty and far from being a sine wave.

3U Eurorack module, 8HP wide, 50mm deep.