All genres charts

Notes: Gross, gritty, and dark industrial-strength voice on a swappable oscillator platform. Pangolin approved.

Manis Iteritas Alia is a voice based on the architecture of Basimilus. It was designed to be grittier and more aggressive by using only sawtooth waves that are manipulated, modulated, and distorted through a rethought interface. Manis Iteritas Alia is fantastic for leads, basslines, drums, darkness, detuned swarminess, or pure mayhem. Plus, MIA's dedicated envelope output is a great modulation source for the rest of your patch.

MIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal to check out any other Alia firmware, free of charge, any time.

A portion of the proceeds of every Manis Iteritas Alia sold goes to pangolin conservation.

Width: 10HP
Depth: 22mm

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: Silver version of Cosmotronic's Messor module, offering stereo compression and transient shaping in just 8 hp. Ideal for mix buss compression, whether full stereo mix or drum/synth submixes.

Supplier's Notes:
Messor is an analogue stereo compressor with lots of tricks up its sleeve, in only 8HP.

From squashing drums, sidechaining kicks and sculpting transients, to glueing a mix together, it's a very versatile dynamics manager.

At its core it's a VCA based feed-forward compressor with a low noise signal path. The magic is in the internal sidechain that shapes the gain reduction envelope. This starts with a a switchable high-pass / low-pass filter, before going into a precision envelope follower, controlled by familiar parameters: the attack, release, threshold, ratio and makeup gain.

The ratio can go past limiting and into over-compression, which can completely reshape transients, a great tool for sound design.

Being modular, of course there are CV inputs for Attack, Release and the side-chain Filter cutoff. The Gain CV controls the makeup gain, but also doubles as a Stereo VCA with the Gain knob turned fully CCW.

The gain reduction envelope is also available as an output, for turning filters or other VCA's into compressors for example, or as a standalone envelope follower.

There's a bypass switch, and a Warm mode, that can bring in a bit of additional saturation and compression in the form of analog tube simulation circuitry.

Lastly there's the possibility to insert an external sidechain, for that classic kick sidechain compression.

Dimensions
8 HP
25 mm deep

Current Draw
45 mA +12V
26 mA -12V

Notes: Cylonix and Intellijel have collaborated to bring you a very sophisticated and deeply complex Wavetable VCO. At the core of this module is very powerful FPGA board that he has pushed to the absolute max of its capabilities and crammed full of features. We wanted to create a module that really worked well in the modular context so there are a lot of modulation and control possibilities.

CHORDS
Oscillator 1 can be operated in a CHORD mode, which runs 8 copies of the oscillator in parallel with adjustable detuning, leading to very fat, rich waveforms. The oscillators have extensive modulation capabilities including audio rate (98KHz) Frequency and Phase Modulation (FM and PM) via external sources. Nonlinear combination processes allow the outputs of the two oscillators to interact to generate complex timbres and sonic textures.
There are 64 user selectable chords.

WAVEFOLDER
The SHAPESHIFTER module also includes the analog wave folder circuitry from
module to add analog warmth and metallic rasps to the digital oscillator output.
External signals can also be patched in.

PRESETS
The module includes a sophisticated preset mode where panel settings can be stored. There are 12 user-programmable preset slots and another 52 volatile slots that can be used as a scratchpad. These scratchpad slots are initialized to interesting presets on module powerup. The capabilities of the preset mode is not limited to mere passive storage of settings, however. In this mode the user can also step through, or sequence, the settings, either in order or randomly in response to pulses input to the external sync input. This gives the user the ability to generate complex sequences of sounds. The preset mode also allows the user to morph between the current panel settings and a preset providing a very powerful real-time performance tool.

SYNC
8 Different sync modes: HARD, SOFT, REV, HOLD, BUMP, 2=1, 1=2, OFF
with the ability to internally sync to a sub oscillator

PULSE
User selectable modes for the PULSE output: OR, AND, XOR, GLCH, +OSC1, EOC, +OSC2, -OSC2

MOD A modes: (audio rate modulation)
COMBO IN, SHAPE IN, PHASEMOD, VOCODER

MOD B options (all with CV control)

-Combo modes for OSC1 and OSC2:
NORMAL, RING, MIN, PONG, INLV, AND, XOR, GLCH
-Waveform TILT
-Chord mode overdrive
-Delay depth and FB
-Percussive mode decay time

Notes: FONT is a massive sounding liquid filter- designed to bring you powerful basslines, tons of FM modulation and a clean resonance over your audio path.

It features two simultaneous outputs:
2-pole Low Pass
2-pole Band Pass

It can also work as a sine oscillator, tracking 1V/OCT when the resonance is at its maximum level.

FONT can be used to make basslines, acid patterns thanks to its organic and musically sounding resonance.

Ping it to produce percussion sounds such as, bongos, congas or toms.

Applying a pitch envelope, it really shines as a kick-drum machine!

22 mA +12V
25 mA -12V
0 mA 5V
15 mm deep
O 4.60 (10 Votes) Average Rating

Notes: While ADDAC were working on the new VC Stompboxes several expression pedals were tested and it became clear that most often, while playing a modular system, your hands are busy.
It's also normal to have an expression pedal lying around somewhere, so ADDAC have brought these back, cleaned up the dust and put them to good use.
This module allows the connection of any standard expression and sustain pedal.

The expression pedal action can be fine-tuned with Range and Offset knobs.
Range defines the voltage range (-10v, +10v).
Offset transposes the range by (-5v, +5v).
Two leds, plus and minus, monitor the CV Output
Positive and inverted output jacks.
The sustain pedal action will generate a gate signal on the gate output.
One led monitors this output.
The module also features a bus board +5v Adaptor, this will be able to provide +5v to any bus board.
This feature can be removed through a jumper on the back of the module.

Specs:
- Width: 4 HP
- Depth: 4 cm
- Max current: 20mA
. Bus Board Cable: 8 × 2 IDC (Doepfer style) connector

Notes: Module A-180-3 is a dual buffered 1-in-3 multiple. The signal applied to the input socket appears as a buffered signal at the three output sockets. Each output has its own buffer, i.e. the three output sockets are not simply connected to each other. The lower output of the upper unit is normalled in the factory to the input of the lower unit. That way the module works as a single 1-in-6 buffered multiple provided that no signal is applied to the input of the lower unit. But it's also possible to pick-up the bus CV and normalize the input socket of the lower unit to the bus CV.

Application: copying/buffering of CV, gate and audio signals.

Notes: Multi-function eight-channel LFO, joystick, movement recorder and drone oscillator that packs in lots more functionality than you might expect. A real modulation powerhouse in a compact format.

Supplier's Notes:
Erica Synths Black Joystick2 is 8 channel multi functional CV and sound source - joystick, movement recorder, distinct LFO and drone/noise oscillator. It provides great interaction with the modular system and allows to develop unconventional modulation patterns instantly.

Notes: A unique analogue percussion module, based on principles from the legendary 909 twisted into new sonic territory. Capable of everything from classic kicks and snares to more experimental hits and complex VCO effects.

Supplier's Notes:
A machine is born

The Machine began as a quest to create a rich-sounding eurorack snare drum synthesis module to complement the existing Mutant Drums. The project quickly became too large and costly to justify the module being capable only of snare drum sounds. So, the decision was made to learn from the architecture of the TR-909's snare and kick circuits, in order to develop a module capable of generating multiple forms of analogue percussion, and various other effects.

Like the other Mutant Drums, the Machine has its roots in classic analogue percussion synthesis. Even though it can create totally alien sounds, it still has the capability to deliver those classic 909 house snares and kicks if you want them. There are no microcontrollers in the Machine. The signals and waveforms are all generated by discrete components and ICs, for a distinctly analogue sound, and user experience.

Features

Microcontroller-free analogue percussion synthesis engine
Unique Inverter Core oscillators form the MEMBRANE. Each analogue oscillator has three waveforms to select from
Capable of synthesizing everything from heavy-hitting bassdrums to classic 909-style snares and other complex timbres
Modular design gives the Machine many auxiliary purposes, great for modular sound design of many varieties, and not just percussion
The SNAPPY section is comprised of a voltage controlled noise oscillator, for modelling the noisy part of drum timbres
Both MEMBRANE and SNAPPY elements have an external input for replacing the built-in sound sources, opening up many avenues of possibility
13 control voltage and audio inputs, for a fully modular drum experience
7 audio and CV/gate outputs for maximum integration with other modules
Dedicated outputs for each WAVE and NOISE oscillator mean you can use the Machine as a complex VCO in your system, when not synthesizing percussion
Waveform scanning feature generates complex timbres from analog waveforms
The MEMBRANE's waveforms can be scanned through automatically by the wavescanner's voltage controlled clock generator, or an external clock or VCO can be used
SCAN FREQ CV forms a unique form of timbre control, making the Machine act like a complex oscillator at its WAVES output
The ENABLE input allows you to gate the wavescanner on and off with a CV or gate signal

Technical specifications

Width: 29HP | Depth: 30mm
Current draw: +139mA, -115mA @ 12V

Notes: For decades, the voltage controlled slew limiter has been a staple of modular synthesisers. With its extreme versatility, it can be used to slew control voltages (CVs), create envelopes, as a low-frequency or audio oscillator and much more.

Today, Contour 1 brings a fresh approach to this classic circuit. It delivers much improved performance and control by incorporating modern design techniques.

At its most basic, a slew limiter slows down the rate of voltage change in a signal. On Contour 1, the rising and falling rates can be individually set using sliders and CV modulation.

The gate and trigger inputs allow the module to be used as a function generator: create snappy attack-release (AR) and attack-decay (AD) envelopes, with slope times ranging from 500 us to 30 seconds. The dedicated gate input makes it easy to generate +10 V envelopes from any signal source. Using the large tactile push button, AD envelopes can be manually triggered. A trigger will also reset the output voltage.

When set to loop mode, Contour 1 will continually re-trigger itself. In this mode, it fulfils the role of a variable-shape low-frequency oscillator (LFO) or temperature-stable voltage controlled oscillator (VCO) in the audio range.

Both the rising and falling slopes can be individually bent, from concave through linear to convex. While doing so, the deviation in slope time, and thus oscillation frequency, is kept to a minimum. Since the bend parameters are separately voltage controllable, boundless modulation possibilities present themselves.

Explore anything from shape-shifting envelopes to rich VCO timbres: Contour 1 will make you re-think what a slew limiter can do.

Dimensions
8 HP
30 mm deep

Current Draw
90 mA +12V
85 mA -12V

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

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

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

Notes: Module A-160-2V is an enhanced version of the standard clock divider A-160. The module is a frequency divider for clock/trigger/gate signals, designed to be a source of lower frequencies, particularly for rhythm uses.

The Clock input will take any digital signal from, eg., an LFO, MIDI sync, or the gate from a MIDI-CV interface. At the outputs, you have access to three sets of seven different sub-divided clock signals, from half the clock frequency down to 1/128. The low/high levels of the output signals are 0V and about +10V.

The A-160-2V also has a reset input. Whenever a reset signal is sensed, all outputs are set to certain levels which depend upon the selected mode.

HP : 4

Notes: Any signal can be expressed in terms of a few parameters: frequency, phase, amplitude and timbre. It is through modulation of these aspects that synthesists create electronic sound. With Generate 3, it is now possible to create a signal and control all its parameters by through-zero modulation within a single 12 HP wide module.

Everything starts with the exceptionally precise triangle-core voltage controlled oscillator (VCO) at the module’s heart. Through-zero linear frequency modulation (FM) enables rich yet pitch-stable FM sounds, by allowing the oscillator to run backwards into ‘negative frequencies’.

The resultant triangle wave is then processed by the through-zero phase modulator, providing a total phase shift range of 900°. Phase modulation offers an interesting alternative for FM, as it enables deep FM-type tones without actually changing the oscillation frequency.

The timbre of a signal is determined by its harmonic content. This full set of harmonics can be grouped into three main parts: the fundamental, even and odd harmonics. Generate 3’s harmonics generator separates out these three timbral ‘channels’. By adjusting their relative amplitudes, a vast array of different waveforms can be created, including but not limited to the classic sine, saw and square waves.

While the amplitudes can be adjusted manually, each timbral channel supports through-zero amplitude modulation, also known as balanced or ring modulation. When audio-frequency modulation signals are applied, the harmonics become ‘split’, enriching the spectrum.

In addition to all the usual analogue synthesis techniques, the extensive set of modulation options makes Generate 3 especially suited for exploring multiphonic synthesis: a monophonic source creating a complex timbre, much like throat singing, yet by electronic means.

Notes: Expander module adds four more assignable CV inputs to Squid Salmple for advanced modulation and sample manipulation. A must for all Squid Salmple owners.

Supplier's Notes:
AXON-1 is a 4HP expander module for the SQUID SALMPLE that provides 4 additional freely assignable CV inputs.

The addition of AXON-1 brings Squid's total number of CV inputs to 7, greatly increasing the possibilities for vast modular sample manipulation.

Each modulation assignment includes digital attenuation and offset and behaves just like Squid's 3 built in CV inputs.

AXON-1 requires firmware 166 or later installed on the Squid Salmple to function!

Notes: After Later's redesigned take on the classic Mutable Instruments Rings module offers all the distinctive resonant synth sounds you'd expect, from strings to percussion. Great value.

Supplier notes:
This is an exact hardware replica of the Mutable Instruments Rings module.

Notes: 'Beast's Chalkboard' is dual channel stepped voltage source and adder for your eurorack modular synthesizer system. It primarily is intended as a dual octave switcher for VCO's but has many other uses including sequence transposition, FM ratio creation, buffered CV distribution and VCO calibration.

Technical Specifications:

Supply: +/-12V (Reverse voltage & polyfuse protection)
Current Draw: ~30ma
Size: 6 HP
Depth: 22mm (including power header)
Offset Error: +/- 10mV

Notes: THE SBG-PRO supports mono, stereo, balanced, and unbalanced input and output via 6.35mm jacks with level matching controls with clipping indication. The module features both direct and voltagecontrolled equal power crossfading between wet and dry sources.

Additionally, an expression input, along with the included 'floating ring' cable and conditioned output, ensures safe, voltage-limited CV control of external devices from your modular system.

The module extends its sibling, the original S.B.G, by adding full size stereo balanced jack connections and voltage control focusing more on connectivity with not just pedals but also pro audio equipment including rack effects, 500 Series modules and mixing consoles.

Notes: MEGA-TANG Expander MT-EX1 is a new expander module for the MEGA-TANG mixer.

The MT-EX1 adds 4 additional inputs. It also adds a mono line level input with level and send controls, two extra fixed inputs each with send controls and a fixed stereo input. Note the MEGA-TANG only supports a single expander at any time.

Technical Specs

Size: 4HP
Depth: 32mm (approx)

Notes: The Dual Stereo Gate (DXG) music synthesizer module is a Dual Stereo Low Pass Gate and Mixer. It follows in the footsteps of the QMMG, Optomix, RxMx, DynaMix, and LxD. Unlike its predecessors, the DXG is specifically oriented around mixing stereo signals, making it an important addition to any system containing modules like XPO, QPAS, Morphagene, Mimeophon, and other stereo modules by Make Noise or others.

Unique to the DXG is a new low pass gate circuit that does not use vactrols. This circuit is 100% analogue and its response was arrived at after many months tailoring it to meet or exceed the expectations that have been set by all the vactrol low pass gates that Make Noise has created over the years.

In the past, Make Noise produced the Dynamix module and Dynamics circuit in the 0-COAST, both of which are vactrolless LPGs; however, the DXG is a completely new approach which better implements the gentle single pole filtering of a low pass gate, while also emulating the slow decay and memory of the vactrol based low pass gate. This new circuit makes possible the consistency of response necessary for versatile stereo use, while also keeping the module small and affordable so that it can be a key part of just about any modular system.

As on all of Make Noise's low pass gates, the DXG's Control parameter is used to set both the amplitude and the frequency content of the sound that passes through it. The control parameter tends to open faster than it closes, imparting a subtle decay phase onto any envelope shape that is used to modulate it.

Unlike previous low pass gates made by Make Noise, all the DXG's inputs and outputs are stereo. Each set of inputs is normalled so that the left input can be used for a mono signal, sending a copy to both left and right outputs. The Auxiliary inputs are also a stereo pair with mono normalization. These normalizations allow for the DXG to be used as a simple three channel stereo mixer, with one or two of the channels additionally being used for dynamics control and note event generation. The Aux inputs can be used to chain together larger decentralized mixes using additional DXG modules, or X-PAN, Optomix, modDemix etc.

Features

- Make Noise's first Stereo Low Pass Gate

- Vactrol-free design for classic Low Pass Gate sounds, but with the balance and consistency needed for true Stereo

- Fully Stereo i/o for easy integration into a Stereo-equipped modular synthesizer

- All Left inputs normalled for easy use with Mono signals

- STRIKE Input allows use of Gate signal to trigger Low Pass Gate circuit, creating "plucking" or "pinging" sound from any Gate

- Summing stage with Stereo AUXiliary IN allows for chaining of multiple units, creating larger mixes

- Part of a decentralized mix console integrated throughout the system along with X-PAN, Optomix, XOH, etc.

- Pairs well with XPO, QPAS, Morphagene, Mimeophon, Spectraphon etc.

Width: 8hp
Power:
74mA @ +12V
86mA @ -12V
Module Depth (incl power cable): 43mm

Notes: The 'S.B.G' is a compact utility module intended for the interfacing of guitar effect pedals with your eurorack modular system.

It provides both attenuation and amplification of audio signals for level matching together with a crossfade control to conveniently adjust the wet/dry mix of a processed signal. The module also offers regulation of outgoing CV signals for safer use of pedal expression inputs.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~30ma
Size: 4 HP
Depth: 22mm (including power header)

Notes: 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: Belgrad is an all-analogue voltage controlled filter module which - on par with our other modules - brings something new to the table. While it can be used as a traditional VCF for "academic" subtractive synthesis, we guarantee countless hours of exciting timbral explorations thanks to its unique character, flexibility, and features. The most prominent feature is that it offers a multitude of frequency responses with two resonant peaks.

- Eurorack synth compatible
- 14HP, skiff friendly
- Current draw: +45mA / -42mA
- Reverse power protection

Notes: Scales is an 8hp dual-channel note quantizer and step sequencer. Fundamentally, it takes an input voltage, quantizes it to notes in a user-defined scale, and sends that quantized voltage to an output, where you can use it as a melodic pitch source for oscillators or any other module that expects to see discreet note values at its input.

Scales goes far beyond the fundamental, allowing you unprecedented control of the pitches and intervals hiding inside your control voltages; turn LFO's into arpeggiators; random voltages into harmonic counterpoint; and unquantized external CV sequencers into chromatically tuned note sequencers.

Quantization can be locked to an incoming trigger. There are a number of trigger output options as well, ranging from no triggering (good for pitch shifting drones); through triggers that sync with either of the two outputs (or both); to a trigger or gate transmitted in sync with one sent to the module's TRIG input.

Shift:

Scales features two independent outputs, enabling you to create shifted harmonic intervals within your chosen scale using only a single pitch input. Using the SHIFT input you can modulate changes on OUT A and/or OUT B.

You can also use the shift input to switch between scales or to change the root of any existing scale pattern or split Scales into two quantizers - each conforming to a common scale, but fed entirely different voltage sources.

Sequence:

Scales also features a 128-step SH-101 style step sequencer (complete with storage for up to 35 fully programmable patterns) - allowing you to feed OUT B with sequenced notes and rhythm patterns, while OUT A continues to function as a standard pitch quantizer for external voltages. You can even sync the sequencer to quantizer events on OUT A.

Notes: The Quad Peak Animation System music synthesizer module combines the auditory enveloping of stereo spaced peaks with the animation of two or more peaks in a single channel dancing around each other or engaging in primitive vocalizations. QPAS is Quad Core, containing four identical state variable filter cores with a control system powerful enough to guide them in stereo multi-peak operation, but simple enough to encourage system integration rather than domination.

Features:

Quad Core Stereo Analogue
Multi-Peak with clean resonance
Fast response encourages deep FM
Radiate spaces stereo image and animates associated channel
High Q settings are under damped, excitable, and ring by gate or trigger
2 !!ii modulation inputs aid patch exploration
Stereo VCA, pre-filter with gain
Mono to Stereo, Stereo to Mono, Mono to Mono and Stereo to Stereo operations
Smile Pass filter response unique to QPAS
Low Pass, Band Pass, High Pass and Smile Pass outputs simultaneously available

Specifications:

Width: 18hp
Max Depth
(incl. power cable): 45mm
Power:
166mA @ +12V
190mA @ -12V

Notes: Maestro is a 6 channel clocked modulation controller inspired by the automation lanes found in digital audio workstation software, brought into eurorack and made playable and performable. Maestro will push and pull the parameters of your other modules with rapid or slowly evolving voltages, always in perfect sync with eachother and the rest of your system.

Details:

20hp

25mm deep

65mA on +12, 18mA on -12, 0mA on 5V

Notes: Reverb. Well...kind of.

Welcome to Aurora, a spectral reverb capable of a wide palette of sounds: from lush caverns and whale songs, to alien textures you've never created before. And likely, will invoke a hunger for exploration you felt when you first touched a modular synth.

Aurora uses a phase vocoder audio engine which separates the input signal's time and pitch domains. By blurring these signals you can achieve beautiful time-stretched tails, or cybernetic metallic effects.

Since Aurora's sonic response is entirely dependent on the input signal, no two patches will sound alike, lending itself to an infinite world of surprise and discovery.

Discovery. It's why we are all here.

A portion of all Aurora proceeds will help the fight against shrinking ice caps and dwindling polar bear populations.

Tech Specs

Width: 12HP
Depth: 22mm
Power Consumption: +12V=215mA, -12V=5mA, +5V=0mA

Notes: Module A-183-9 is a simple power supply for up to four devices which can be powered via USB (e.g. keyboards, smartphones). An LED shows is the +5V are present.

The module has no USB function but provides only the +5V supply for USB devices.

A control LED shows if the +5V are present.

Note: The module requires an A-100 case with built in power supply A-100PSU3. Only this A-100 supply has the required +5V available. We do not recommend the usage of an older A-100 case with A-100PSU2 as this would require the +5V adapter A-100AD5 and the max. current would be limited to 100mA.

Notes: Updated expander module for the Moskwa II sequencer. The Ostankino adds additional connectivity to the Moskwa II, allowing CV control of most parameters, plus extra outputs.

Supplier's Notes:
Ostankino II expander adds CV inputs for many Moskwa II functions, as well as a transpose input, clock out and individual gate/bit outputs for each step.

Notes: A comprehensive solution for stereo signals in Eurorack, the Enhance 2 offers stereo and mid/side processing with tons of CV control. Balance, widen and sculpt frequency bands.

Supplier's Notes:
Moving from mono to stereo sound: a logical progression for any synthesist looking to expand their sonic palette. Making use of two audio channels, rather than just one, quite literally adds another dimension to the capabilities of a synthesiser.

Unfortunately, controlling stereo signals can be a challenge within a modular system. This realisation led to the development of Enhance 2: a convenient yet high-fidelity tool for stereo enhancement. It can be used to adjust balance, width and spectral content, while also opening up a world of mid/side processing; all under voltage control and in just 8 HP.

The primary stereo parameters are balance (moving the sound left or right) and width (making it narrower or wider). The balance circuit uses a true constant-power gain law, while the width stage allows for seamless transitions from pure mono to extra-wide stereo.

In addition, tone control is provided by a pair of unique, wide-ranging mid/side voltage controlled tilt filters with selectable corner frequency. These make 'cleaning up' a muddy-sounding mix straightforward, but also provide unique binaural effects when modulated.

Mid/side processing encodes the stereo signals into one containing only the mono material (mid), and another containing the differences between both channels (side). Apart from the internal tilt filters, mid/side outputs also enable external signal processing such as compression or reverberation. An integrated mid/side decoder returns the results back to standard stereo. And at all times, a LED bar phase meter ensures that phase correlation can be easily maintained.

Stereo field modulation, mid/side equalisation and beyond; Enhance 2 brings true analogue stereo control to the Eurorack world.

8 HP
+12: 70 mA, -12: 70 mA

Notes: Ohm Force's genre-defining 'shaper' distortion plugin comes to Eurorack in this neatly designed module. Over 100 distortion programs in full stereo, with plenty of hands-on control and extensive CV modulation options.

Supplier's Notes:
Time to get away with murder

From the plugin that redefined distortions forever

111 different distortions and shapers in one single 14hp module

Full stereo

Advanced performer modes

Back on Eurorack

Ohmicide Eurorack is an adaptation of the legendary distortion plugin that defined the now well populated category of "shaper" effects. Amongst the numerous things that made it a hallmark plugin was the carefully crafted distortion library covering all things known and many more unknown. All of those 111 distortions are now ready to burn your finger tips in a remarkably versatile module delivering huge sonic possibilities. ant let you change the texture of your VCOs, drums and samples in subtle or brutally unsubtle ways. Use all sorts of distortions, including bitcrusher, freezer, filtering and jellyfish variety.

Wiggle. Listen. Drool.

With a routing redesigned for Eurorack you'll need little learning to go straight to soundscape heaven (or hell, preference may vary). Shape the frequencies you want with the XOVER and the two Low Pass Filters. Explore the impact on all of your sounds, from mono VCO to stereo drums loops. Cycle through TYPE to find a fit or get nice surprises then tweak BIAS and MOD to explore new forms of madness.

It's alive

Ohmicide Eurorack features CV for all of its parameters including four with attenuverters. It also has automatic gain staging that is essential to the distortion delivering texture, not just loudness. And for your live experience we incorporated a performer mode that let you store and even automate preset switching. Ohmicide is lovingly crafted based on decades of experience in distortions. It's a module to lose yourself in for long sessions of sound exploration - or simply to get uniquely aggressive leads and drones.

Specifications:

Width: 14HP
Depth: 26mm
+12V: 120mA
-12V: 10mA
+5V: 0mA

Audio

Sample Rate: 48kHz
Hardware audio converters bit-depth: 24-bit
Internal processing bit-depth: 32-bit floating point
True Stereo Audio
High fidelity Texas Instruments Burr-Brown audio converters

Controls

Knob resolution: 16-bit (65536 distinct values)
CV inputs
Voltage: +5V (0..5V compatible)
Resolution: 16-bit (65536 distinct values)

Memory

Current distortion type, screen contrast and saver mode, TYPE and FAM CV +5V or 0..5V options
16 sequences
8 steps, each step being a snapshot of all knobs and switches
All knob options
Sequence length
Step reset mode

USB Port

Type: Micro-B
The USB port is only used to update the module firmware.

Notes: Enter a galaxy of rich and vibrant delays. The Dreadbox Nostalgia 3 Stage Delay is a superb effect module that can give you amazing results in moments. Delay is a true staple in the effects world and it can take your modular music to the next level via just a few cables.

The Dreadbox Nostalgia 3 Stage Delay is ideal for a range of modular music styles, from ambient to acid house. This 10HP module fits snugly in your system and has enough CV control to keep even the most avid patcher satisfied.

117 mA +12V
25 mA -12V
35 mm deep
10HP

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: The XPO or Stereo Prismatic Oscillator music synthesizer module is a Voltage Controlled Analog Oscillator designed for generating Sine waves, Triangle waves, Sawtooth and Spike waves, Sub-Octaves, Stereo Timbre Modulations (including Pulse Width Modulation and Wavefolding), Oscillator SYNC, Linear FM and more in the analog domain.

The XPO is designed to be the Stereo VCO complement to our Stereo Filter, the QPAS. The two modules share the core idea of complex circuits being controlled in multiple dimensions in the stereo field by a few powerful parameters. The Stereo Prismatic »

Features:

Stereo Analog VCO with eleven simultaneous outputs (five mono outs and three stereo pairs)
Modulate Timbre via Stereo Pulse-Width Modulation, Stereo Vari-Timbre, and Stereo Wavefolding
Sine, Triangle, Sawtooth, Spike, and SUB mono outs
Unique Mono versions of all Stereo Waveforms via Left output normalizations
Modulate Left and Right channels together or separately thanks to normalization and attenuverters
Center parameter adds additional timbre control to both sides of Vari-Timbre and Wavefolded outputs
Linear FM Bus features voltage-control over FM depth and a normalization of SUB to FM input for easy GROWL
Hard SYNC circuit
Two 1v/oct inputs for transposition, melody stacking, or richest FM
Expo FM input with attenuverter
Designed to pair well with QPAS, Mimeophon, and X-PAN

Specifications:

Width: 18hp
Max Depth
(incl. power cable): 45mm
Power:
145mA @ +12V
135mA @ -12V

Notes: An expander module for Rossum's powerhouse Assimil8or sampler module, the Locutus provides MIDI in, out and thru connections over 5-pin DIN sockets, letting you take full control of the module alongside other MIDI gear.

Supplier's notes:
Locutus is designed to interface Assimil8or with MIDI instruments, controllers, and sequencers to provide multichannel modulation and new polyphonic possibilities.

Locutus includes a special cable to connect to the Assimil8or CPU behind the panel.

Locutus is 6 HP wide and 25mm deep.

More pricing and availability information is coming soon.

Locutus is on display in the MIDI Association booth #9901 at NAMM 2023 where Locutus and Assimil8or will be performing with a Rossum SP-1200 Reissue, an Oberheim OB-X8, and other new and vintage MIDI-equipped instruments.

MIDI Association booth #9901 is dedicated to the MIDI@40 Lifetime Achievement Award winners, including Rossum Electro-Music co-founder Dave Rossum.

From the MIDI Association: "At Saturday's anniversary celebration, lifetime achievement awards will be presented to (or posthumously honour) legendary music industry innovators who created the modern music production environment of synths, drum machines, and sequencers, including Bob Moog, Don Buchla, Ikutaro Kakehashi, Tsutomu Katoh, Roger Linn, Tom Oberheim, Alan Pearlman, Dave Rossum, and Dave Smith."

Notes: Module A-124-2 is a special 12dB multimode filter using the "strange" filter circuit of the "EDP Wasp" (an analog synthesizer with black/yellow case built end of the seventies, manufactured by the UK company "Electronic Dream Plant").

The A-124-2 is the Slim Line version, which is only 4hp wide.

This design "abuses" digital inverters as analog operational amplifiers leading to distortions and other "dirty" effects that generate the specific sound of this filter. The filter is equipped with a band pass output and a combined low/notch/high pass output. For this output a control knob defines the relation between low and high pass signal. If both signals appear at the same level (i.e. middle position of the Mix knob) one obtains a notch filter. Otherwise the low or high pass signal predominates. The module does not feature self oscillation in contrast to most of the other filters of the A-100 system.

Dimensions:
4 HP
20 mm deep

Notes: Dual-channel wavefolding with a lot of creative power. Buchla- and Serge-style circuits combine with a voltage-controlled crossfader, allowing you to shape and sculpt sounds in intriguing ways.

Supplier's Notes:

Bifold is a unique dual channel wavefolder with numerous feedback and routing options along with CV control. Mix, blend and crossfade the two different folder flavours into a rich stew of unique waveforms and harmonic movement. It is the first wavefolder to offer simultaneous, independently controllable serial and parallel folder circuits.

Wavefolding is one of the most powerful ways to produce complex timbres out of a simple sound source or waveform. When done well, the results can be warm, textured, organic and full of musical character. Intellijel studied some of the most revered wavefolding circuits and looked at ways to integrate the positive qualities of these into a design that was full of sweet spots and allowed for a huge amount of experimentation and modulation.

Bifold combines two unique wavefolders with a crossfader; One channel (the P channel) has a sonic characteristic inspired by the Buchla-style Parallel "deadband" folding circuit, while the other channel (the S channel) is more characteristic of a Serge-type Serial folding circuit. There are distinct differences to how they react to specific waveforms, modulation and even their overall frequency response. By linking both folders together with a voltage controlled crossfader we further expand the ability to blend these two different folders together to create new waveforms. But this just scratches the surface of possibilities. Ring modulation, blending, crossfading, complex noise generation, feedback modulation, cascaded folding and so much more are all possible thanks to the strategically placed routing switches, jack normals and attenuators and other control options. This is a module that invites much exploration and discovery and pairs well with almost any kind of modulation and sound source.

Width: 8HP
Depth: 38mm
Power: 94mA @ +12V, 94mA @ -12V

Notes: 3xMIA is a 6-channel attenuverting mixer/offset/scale/polarizer

3 blocks of 2-channel attenuverting mixers, using dual concentric pots. Each channel can be switched to mix with the subsequent channel, allowing for 2-2-2, 4-2, 6 mix configurations.

With nothing plugged into an input, an offset is normalled to that channel. The inner knobs control the A inputs, while the outer knobs control the B inputs.

DC coupled, so it can be used for audio, CV, or both at the same time.

80 mA +12V
80 mA -12V
35 mm Depth
24HP wide

Notes: Building on the familiar dual VCO core arrangement of Carrier and Modulator, Mindphaser is a complex oscillator which departs from this bit of ancestral DNA with a modern toolkit focused on searing, phase-modulated leads, percussive basslines and other-worldly effects!

A diverse palette of intermodulation and harmonic experimentation is offered through the Modulation Bus, its unique Waveshaper and the dedicated Thru-zero Phase Modulation Bus. An intuitive interface provides colour-coded visual feedback and responsive indication while performing in dimly-lit environments.

Two precision analogue oscillator cores

Precision, wide-range V/oct ramp cores, each ranging from deep subsonic to supersonic frequencies (ramp cores, and not triangular, deliver the ideal waveforms for analogue phase accumulation in the TZ-PM Bus)
Each core generates fundamental waveshapes which interact and mangle one-another through the complex Modulation Bus and TZ-PM bus
Simultaneous waveform outputs for each base shape
Dedicated button to toggle between RAMP or SAW for each core, inverting the phase of the ramp output
V/oct, linear FM and exponential FM inputs which are all independent of the TZ-PM functionality. The Carrier's FM occurs inside the core itself, separate from the TZ-PM bus.
DC-coupled linear FM

Carrier

The heartbeat of Mindphaser, focused on audio-rate generation. Drives the WAVESHAPER and TZ-PM bus. This core's frequency range spans the audible spectrum.

- An external hard SYNC IN forcibly resets the core, useful for punchy sequences, percussive basslines and drum synthesis -- or to sync to another VCO.

- Coarse and fine controls conveniently span the audible spectrum. Ranges further with external CV.

Modulator

An extremely wide range oscillator, spanning from deep LFO frequencies all the way up to supersonic sound! Four base waveforms and diverse internal routing options form a versatile palette of modulations for the CARRIER to feed on.

- Activating hard SYNC on the Modulator locks its core to the Carrier's heartbeat. The effect can be dramatic. Try this while phase modulating!

- Octave RANGE switch lets you quickly flick up and down between octaves. All the way beyond audio-rate and LFO speed octaves. Perfect for experimenting with different PM sidebands and taming the wide frequency range of the Modulator.

- Manual PW (Pulse Width) control and dedicated CV input for PWM.

Waveshaper

This isn't a classic waveshaper! Developed anew from the ground up, this waveshaper is focused on deep harmonic experimentation and audio obliteration. Each waveshaper parameter is capable of being "turned up to 11".

FOLD up to 5 octaves above the fundamental Carrier frequency. A ceiling forms at maximum, imparting additional harmonics.

FEEDBACK the waveshaped and phase-modulated audio through a signal path internal to the waveshaper.

AMPLITUDE modulation spans thru-zero, allowing for full-range ring modulation effects with bipolar CV or audio signals.

CLIP the final stage of amplitude with the switch to introduce a last stage of harmonics before the complex signal exits through the final OUT.

Switchable inverting attenuators on each CV input, for quickly inverting the behaviour of your modulation. The indicator illuminates red to tell you the attenuator has been inverted.

Two distinct waveshaping modes

A press of the shape switch toggles Mindphaser between RAMPOID (green) and TRIANGULAR (yellow) waveshaping modes.

These modes have a remarkable effect on the behaviour of wavefolding and overall character of the final complex OUT, in addition to TZ-PM Bus character.

RAMPOID mode folds more asymmetrically, with raucous, buzzing harmonic artefacts as you sweep and introduce TZ-PM

TRIANGULAR mode folds more symmetric, splitting the complex sine wave at its peak centre of the waveform. TZ-PM character is less raucous, and more smooth.

TZ-PM Bus

Thru-zero phase modulation in the ANALOGUE realm! Unlike its digital counterpart, analogue TZ-PM has its own character we've come to expect from analogue circuitry!

A dedicated, voltage-controlled phase modulation bus completely separate from the Mod Bus
Modulator's SINE wave normalled to the PM SOURCE input
SOURCE input allows you to modulate phase with any signal you patch in
Dedicated voltage-controlled INDEX (amount)
Manual phase lets you zero in (or not!) on the base phase before introducing modulation
Independent of the Linear FM circuitry in the Carrier core

Mod Bus

The internal modulation powerhouse, normally fed by the Modulator core, but external signals are patchable as well.

Select from the PULSE, RAMP/SAW or SINE output of the MODULATOR, or inject your own SOURCE to the bus.

Voltage-controlled INDEX behaves like a macro control when combined with various amounts and polarities dialled in at each CV destination.

Internal sends include the Carrier's classic Linear FM, Amplitude, Feedback and TZ-PM Index, with variable amounts and polarities!

Modulator waveforms internally feeding the Mod Bus behave unipolarly, for predictable modulation of every Mod Bus destination, without external patching. By patching in one of the Modulator's bipolar waveform outputs manually (or any external signal), you can override this behaviour.

Dimensions
30 HP
24 mm deep

Current Draw
110 mA +12V
100 mA -12V

Notes: Based on similar circuits to the legendary Maths module, the CH.SVR ('channel saver' is a three-part function generator module based around sum/offset/attenuversion features. Great value for an accessible entry point to CV signal processing.

Supplier's Notes:
The Ch.Svr music synthesiser module is a small utility module, offering several channels of signal-processing that will be useful in just about any modular system. As a condensation/extension of the sum/offset/attenuversion aspects of MATHS, it continues the great tradition of sculpting the control signals we use to sculpt our sound signals.

Features:

Scale, amplify, attenuate, or invert an incoming signal using Channels 1 or 2
Generate DC offsets when Channel 1 or 2 is unpatched
Crossfade between two signals, or attenuate one signal, using Channel 3
SUM and INVerted Sum Bus for addition, subtraction, mirroring, inversion etc.
Individual Channel Outputs for Channels 1 and 2 allow independent use of all three channels
Anywhere you need more subtle modulation, Ch.Svr is there for you... now all your eurorack slivers may have subtle and intentional modulation they deserve!

Specifications:

Width: 6hp
Max Depth (incl. power cable): 30mm
Power: 20mA @+12V / 10mA @-12V

Notes: Att 1U Passive Variable Signal Attenuator

This passive attenuator has a 100K linear potentiometer that is DC coupled. Perfect for adding attenuators to those 1U/3U modules without.

Width: 6HP
Depth: 18mm

Notes: End-of-chain stereo effects are on tap with this compact and powerful module, built around a large central control knob for quick hands-on tweaking of effects like DJ-style filtering, reverb, and loops.

Supplier's Notes:
The Best Eurorack Performance FX Module

Meta is the all-in-one solution for creating smooth transitions, exciting drops, and other creative live performance effects.

Meta controls are easy to understand and use. Its feature-rich compact size saves you space and time setting up various modules or expensive effects hardware.

This is the perfect performance effect module for you.

Designed for Performance by Performers

OXI Meta is designed to be easily operated with one hand, and the effects algorithm is built to work specifically for transitions between tracks, building up a drop, intros, or outros with effects like a DJ filter, risers, loopers, and more.

The Solution for Transitions in Eurorack

OXI Meta is an end-of-chain effects processor with a highly performative interface in only 6 HP. Blend your songs and build tension like a professional without all the expensive, bulky gear.

Effect Scenes Breakdown

Meta FX Scenes were crafted and tested to deliver premium level FX- with simplicity, but also allowing to tweak enough to fit your taste and technical needs.

Space

Send your mix into the outer realms with this reverb effect.

Choose from two types of reverbs, a classic long tail reverb with tone and filter control or an experimental reverb from shimmery to deep/black-hole textures.

Riser

One of the most effective ways to create tension for drops and transitions. The OXI Meta riser features two modes both with a high-pass filter & reverb. Mode 1 adds noise and mode 2 adds a Shepard tone-style effect.

DJ filter

A DJ style filter is must have for any live performer. OXI Meta provides you with a high-pass and low-pass filter for the ultimate in transitions.

Loop

Loop small sections of audio in forward or reverse order to create head-nodding breaks and rhythms.

Delay

A high-pass or low-pass clockable delay algorithm with a splash of reverb wash to help glue this classic effect into the mix.

Gater-roller

A unique dual gater effect for exciting audio. Turn the knob right for a gater with division control and built-in high-pass filter, or go left with a snare roll build up with reverb and built-in high-pass filter.

Technical specifications

Width: 6 Hp
Depth: 22 mm
Audio: 24bit, 48KHz

Power consumption:

+12 V: 110 mA
-12 V: 20 mA
+5 V: 0 mA

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

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

Notes: 'Tangle Quartet' is a high quality quad linear voltage controlled amplifier (VCA) providing individual level control of 4 signal inputs with both individual outputs and a combined 'mix' output (for non patched outputs) . Control signal inputs and associated attenuation controls allow for voltage control of signal levels. Control inputs are normalised to 5v thus providing manual mix control in the absence of control signals.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~80ma
Size: 8 HP
Depth: 32mm (including power header)

Notes: Part of Xaoc's Leibniz subsystem, which processes signals and voltages by manipulating binary 8-bit numbers, the Poczdam allows switching between two data sources.

Supplier's Notes:
Poczdam is a binary data routing solution for the Xaoc Leibniz Subsystem. It facilitates manual and remote switching between two Leibniz data sources, modifying individual bits of the data stream, and re-clocking the data with its onboard voltage-controlled wideband oscillator or any external clock signal. Poczdam is particularly useful within complex Leibniz setups where the user needs to reconfigure the data flow between multiple modules. However, it can also be employed in small creative patches, e.g., for waveform splicing, disrupting rhythmic loops, or generating digital chaos.
To better understand the device and avoid common pitfalls, it is strongly advised to read through the entire user manual before use.

Component of the Leibniz Binary Subsystem
Routing Leibniz data
Reclocking Leibniz data
Additional CV clock generator (up to 2MHz)

6hp, 30mm deep
Current draw: +20mA/-10mA
Reverse power protection

The high quality Coal Mine black panels are available for all Xaoc Devices modules. Sold separately. Ask your favourite retailer.

Drezno is the input/output front-end of the system, consisting of an analogue-to-digital converter (ADC) and a digital-to-analogue converter (DAC), that alone can be used for manipulating analogue signals and voltages based on their binary representation.

Lipsk is a binary logic processing expander module that can flip (invert) individual bits of the digital signal representation. There are more Leibniz Binary Subsystem elements coming, with specialized and advanced sets of features.

Jena is a digital module that may be used as a flexible waveshaper for CV and audio signals, a wavetable oscillator, a Walsh function generator, or a rhythm generator.

Erfurt is a bi-directional digital counter, frequency divider. It has multiple applications: the output of the counter may be used as a phase source driving a digital wavetable, connected to other Leibniz modules it may scan waveshapes in Jena, produce stepped voltages useful for making interesting glissandi with Drezno and any VCO, generate gate patterns animating the spectrum of Odessa harmonic banks, spawn pseudo-chaotic sequences when fed back to Lipsk, etc.

Notes: The Stereo Mixer 1U provides a convenient way to combine your mono and stereo sources into a single stereo mix. There is level control over the first two channels and, using a rear connector, you can chain multiple Stereo Mixer 1U's together into a hidden 3rd stereo channel without using up channels on the front panel. The chain i/o connectors are fully compatible with the Mixup connectors so you are able to mix 1U and 3U mix chains together as needed.

The Stereo Mixer 1U is a versatile, expandable audio mixer for the Intellijel 1U format. It has two pairs of front panel inputs, each with its own level control, and a mixed output pair. For each input pair, the left channel is normalled to the right channel, for mono operation.

Using 3-pin Link connectors on the back panel, you can chain multiple Stereo Mix 1U's together in series, giving you the ability to mix together even more inputs, or to create sub-mixes for routing audio around larger systems. You can also these same connectors to patch Intellijel's Mixup and XY IO 1U modules to these back-panel chains, and you can connect them directly to the 14" audio jacks on an Intellijel Palette Case, a 7U case with 2nd-generation Audio Jacks Board, an Outs module, or a v2 Headphones 1U.

Stereo Mix 1U is designed specifically for audio (and not for CV mixing), it's AC-coupled, and uses audio-grade, logarithmic attenuators for a smooth, even response across the entire volume range.

Width: 16HP
Depth: 25mm
Power: 17mA @ +12V
23mA @ -12V

Notes: 'MUM M8' is an 8hp Eurorack low pass filter building on the filter design used in the classic Akai S950 12 bit sampler with the addition of resonance, voltage control, clipped saturation and a dedicated VCA.

The low pass filter gives the recognisable super smooth vacuum like tone sucking sound which works magic on complex sources. The addition of clipped overdrive and intentionally aggressive self-oscillating resonance compliment the smooth filter core by juxtaposing it into more wasp like territory with acidic squeals and a more gritty sound.
Mum M8 features dual voltage control with attenuation (and inversion) of filter cut off and voltage control of resonance together with dual audio inputs - one of which includes a VCA to with the capability to aid overdriving signals into the filter core.

The filter core is a 6th Order Butterworth switched capacitor type design featuring an analog core but controlled by a high speed digital clock. This produces the characteristic smooth sounding filter but, as with the original S950, has a relatively high minimum cut off as to avoid 'clock bleed' into the filter output from the digital control. This minimum cut of point (and introduction of bleed if required) can be controlled via trimmers on the rear of the module (see calibration chapter). It is not unusual for there still to be some low-level artefacts from the clock present, particularly during filter sweeps - these add to the filters character.

The motivation for the module came from discussing filters in classic samplers with the artist Jack Adams - aka Mumdance. Jack suggested investigating the S950's filter well known as for it use in classic use in early jungle and hardcore. From that point onward Jack provided inspiration, help and feedback in the development of the filter. Big up Mumdance.

Notes: Module A-138m is a 4 x 4 matrix mixer with switches for unipolar/bipolar mode for each column. Unipolar means that the controls work as attenuators. Bipolar means that the controls work as polarizers. In this mode the amplification is zero in the middle position of the corresponding control. Turning the knob counterclockwise from the center position the signal is subtracted from the output sum with increasing amount (i.e. negative). Turning the knob clockwise from the center position the signal is added to the output sum with increasing amount. The module is DC-coupled and can be used for both audio and control voltage mixing.

By means of an internal jumper one can select if the four upper controls work as DC offset generators - provided that no patch cord is plugged into the upper input socket. If this feature is not required it can be deactivated by removing the jumper on top left of the pc board. The function is identical to the A-138a/b.

Dimensions
20 HP
20 mm deep

Current Draw
30 mA +12V
30 mA -12V

Notes: Module A-196 contains a so-called phase locked loop (PLL). The basic PLL system is shown in the sketch at the bottom of this page. A PLL consists of three parts: voltage-controlled oscillator (VCO), phase comparator (PC), and low-pass filter (LPF). All parts are normally connected to form a closed-loop frequency-feedback system.

This is how a PLL works: The output of the internal VCO (linear CV control, rectangle output) is compared with an external signal (e.g. the rectangle output of a A-110 VCO) in the so-called phase comparator (PC). The output of the phase comparator is a digital signal (low/high/tristate) that indicates if the frequency resp. phase difference of the two input signals is negative, zero or positive. The output of the phase comparator is processed by a low pass filter (LPF) to generate a smooth voltage that is used to control the frequency of the internal VCO. The 3 units VCO, PC and LPF form a feedback loop that works like this: The control voltage (output of the LPF) increases as long as the external frequency is higher than the frequency of the internal VCO und stops increasing when both frequencies become identical. The control voltage decreases as long as the external frequency is lower than the frequency of the internal VCO und stops decreasing when both frequencies become identical.

But there are some stumbling blocks: Different types of phase comparators with advantages and disadvantages can be made. Some phase comparators e.g. even lock at harmonics, i.e. if the two frequencies to be compared are integer multiples. But for some applications this can be used to create interesting effects. The A-196 contains 3 different types of phase comparators: PC1 is a simple exclusive OR, that even locks at harmonics. PC2 is a so-called RS flipflop and PC3 a more complex digital memory network. The user can select one of the three phase comparators with a 3-position switch. When PC2 is used a LED displays the "locked" state, i.e. when the frequency of the internal VCO is identical to the external frequency.

Special attention has to be directed to the frequency of the LPF. To obtain a smooth control voltage for the VCO the frequency of the LPF has to be much smaller than the lowest frequency of the internal or external audio signal. Otherwise the frequency of the internal VCO will jitter or wobble around the correct frequency. But for special effects this frequency jitter can be used intentionally. Example: frequencies in the range 50Hz...1kHz have to be processed with the PLL. Therefore the frequency of the LPF has to be about 10Hz or even less. Such a low frequency of the LPF causes a noticeable slew of the internal VCO. When the frequency of the external signal jumps e.g. between 500Hz and 1kHz it takes about 0.1 second until the internal VCO reaches the new frequency (like portamento). So one has to find a compromise between frequency jitter and portamento. But these remarks are valid only for the "ideal" working PLL. As the A-196 is used in a musical environment the "problems" and disadvantages with jitter and slew time lead to additional musical applications like portamento effects, wobbling frequencies or harmonic locking according to the type of frequency comparator and time constant of the PLL low pass filter. Instead of the internal manually controlled low pass filter the voltage controlled slew limiter A-171 can be used to obtain voltage control of this parameter. Normal audio filters (e.g. A-120, A-121) cannot be used for this job as the minimum frequency is to high (down to a few Hz or even less necessary) and the signal has to be DC coupled due to the low frequencies. Audio filters are normally AC coupled.

Another very important application of a PLL is frequency multiplication in combination with an external frequency divider. For this the output of the PLL-VCO is processed through an external frequency divider (e.g. A-163, A-160, A-161, A-115) before it is fed to In1 of the phase comparator. In this case the frequency of the PLL-VCO will be a multiple of the master frequency. E.g. if the A-163 is used and adjusted to dividing factor 5 the frequency of the PLL-VCO will be 5 times the frequency of the master VCO. Consequently, frequency division (A-163) leads to frequency multiplication with the PLL circuit. In combination with the PLL low pass frequency several effects can be realized (frequency multiplication with portamento or wobbling). The frequency multiplication can even be used to drive a graphic VCO. If your graphic VCO e.g. has 8 steps (e.g. A-155) and you use a frequency divider with factor 8 in the PLL feedback the output of the graphic VCO has the same frequency as the master VCO. Another application is the generation of pseudo-harmonics (not real harmonics as only rectangle waves are available) or clock generation for switched-capacitor filters.

Notes: The Erica Synths Black Low Pass VCF is designed for analogue purists, who take sound design seriously. It's highly stable, 24dB/oct resonant low pass VCF with voltage control over cutoff (two CV inputs, one is with an attenuverter) and resonance. Bonus features are built in post-filter overdrive circuit with user adjustable drive amount and the Black Filter Coupler connector.

When used in combination with the Black High Pass VCF and the Black Filter Coupler, you get a Holy Trinity of VCFs for an ultimate analogue modular system.

Cutoff

This is the main control of the module - manual cutoff frequency adjustment. The incoming CV is added to the cutoff knob position.

Drive

For extreme results, flip the drive switch on! This will apply post-filter drive. You can preset drive level to your taste by adjusting a trimpot close to the switch on the back side of the module.

Reso CV In

This is the resonance CV input.

In Level

Adjust the audio signal level.

Resonance

Adjust the resonance level manually. On settings over 1PM the filter will start to self-oscillate. The incoming CV is added to the resonance knob position.

CV1 Level

This is cutoff CV attenuverter. Adjust the CV level to your taste!

ResoCV Level

Adjust the resonance CV level to your taste.

CV1; CV2
These are the cutoff CV inputs. The CV1 level is adjustable by CV1 LEVEL attenuverter knob, CV2 is applied to the cutoff without attenuation.

Input

Patch your audio signals here.

Out
This is the audio output of the module.

SPECS:
Audio level 10Vptp
CV level -10V - +10V
Filter slope 24dB/oct
Power consumption +25mA, -29mA
Module width 10HP
Module depth 35mm

The Black Low Pass VCF has a hidden feature - the Black Filter Coupler connector. The Erica Synths Black Filter Coupler is a satellite module for the Black High Pass and the Black Low Pass VCFs, and it adds versatile Bandpass and Band Reject filter functionality to your modular system.

Please note, that the Black Filter Coupler works only with Erica Synths modules and you need both Black High Pass and Low Pass VCFs.

Remove the jumper and connect the Erica Synths Black Filter Coupler. 2x5pin ribbon cable is supplied with the Black Filter Coupler module. Use this trimpot to adjust post-filter overdrive to your taste.

Notes: Pico Drum2 is compact yet versatile percussion synthesizer in a 3 HP eurorack module. It features 8 drum synthesis algorithms created to deliver distinct sounds to your modular system. Each algorithm offers a lot of flexibility therefore a big sounding bass drum and a squelchy snare can be dialled in within the same algorithm. It also tracks 1V/Oct and all parameters can be mapped to the CV1 input.

Technical specifications:
Output level: 10Vptp
CV level (full span): -5V - +5V
Power consumption: +28mA, -5mA
Module width: 3HP
Module depth: 35mm