All genres charts

Notes: ***Now featuring Assimil8or Software Version 2.0! Available to download here: http://www.rossum-electro.com/products/assimil8or/

The ASSIMIL8OR is a CV/Gate-controllable sampler with eight independent channels. Each channel is not only its own voice, but also has a separate audio output and a gate/trigger and three CV inputs. Given ever get two sample inputs and main outputs. Thus, Stereo Sampling and playback is possible. Mixed operation of stereo or mono is possible and is limited only by the maximum number of eight channels or parts.

The ASSIMIL8OR works with high-quality 24-bit AD and DA converters. Internally, however, sample and bit rate for lo-fi sound can be lowered, the latter is even CV-controllable. The samples can also be otherwise manipulated in many ways. Thus, the phase of a sample via CV or a different sample can be modulated. Likewise, the loop points can be controlled and the sample can be traversed with CV control (scrubbing), whereby wavetable similar effects could be achieved. The following parameters can be addressed via the gate / trigger and CV inputs:

- Pitch
- Level
- Bit Depth
- Phase Modulation
- Pan
- Scrub
- Sample Start
- Sample Length
- Loop Start
- Loop Length
- Release Decay

Samples and presets are stored on an SD card, which is easily accessible plugged into the module front.

Notes: Sampler legend Dave Rossum's ultra-powerful Assimil8or module gets a black makeover. Eight-channel multi-timbral design with extensive CV control and clever sound manipulation options.

Supplier's Notes:
Designed to provide a powerful, flexible sampling engine for modular synthesis, the ASSIMIL8OR Multi-Timbral Phase Modulation Sampler module is the latest incarnation of Dave Rossum's decades-long pioneering of affordable professional sampling technology.

ASSIMIL8OR provides eight independent channels of sampling with sound quality that can range from extremely hi-fi to low fi, all with extensive real-time CV control.

Assimil8or Specifications

Sample memory
2,300 seconds at 48kHz mono, freely allocatable between the 8 channels

Sample rates
48kHZ, 96kHZ, 192kHZ

A/D & D/A
24 Bits

Internal processing
32 Bits

Latency
100 microseconds at the Mix Outputs
180 microseconds at the Individual Outputs

Inputs

Sample L/R
2x 3.5mm mono socket
100kO Input Impedance

Gate/Trigger 1-8
8x 3.5mm mono socket
100kO Input Impedance
1.6V threshold

Control Voltage A 1-8
8x 3.5mm mono socket
100kO Input Impedance
96 kHz sample rate
Anti-alias filtered to 20kHz bandwidth

Control Voltage B&C 1-8
16x 3.5mm mono socket
100kO Input Impedance
48 kHz sample rate
No anti-alias filtering

Outputs

Mix Outputs L/R
2x 3.5mm mono socket
1kO Impedance

Individual Outputs
8x 3.5mm mono socket
1kO Impedance

Power requirements: +/-12V via 16-pin, Doepfer-style connector
Current draw: 220mA +12V, 30mA -12V
Dimensions: 28HP (W); Panel to power connector (with connector plugged in) 25mm (D)

Supplied accessories:
1x Micro SD card
1x 16-pin, Doepfer-style cable
4x M3 screws
4x M2.5 screws
4x Nylon washers
1x Quickstart Guide

Notes: Updated version of WMD's exceptional performance mixer. Full stereo design with improved sound quality, revised layout and increased expandability. An even better version of what was already one of the best mixing solutions in Eurorack.

Supplier's Notes:
Enter the WMD Performance Mixer MKII - Eight years after the MKI was released, the MKII builds on all the valuable feedback received. This is a serious upgrade, with feature enhancements and engineering improvements affecting every bit of the design.

Decisions, decisions, decisions!

If you recall, WMD showed a previous version of the PM MKII a year ago. That version was very similar to the original, with a few enhancements. Primarily focused on manufacturability and overall noise floor with some great recording features. WMD moved to an 8-layer board, replaceable channel strips, developed the MIDI and bootloader, pre/post fader headers, and made it work on both AUXs simultaneously.

Noise Performance - The MKI was alright with noise, there was a little bleed too. Going to 8-layer boards meant I could put ground planes between trace layers, and spread the traces out triple the spacing of what they were on the MKI, this reduces bleed/crosstalk by a factor of about six.

Noise Performance 2 - On the Original, the Level VCA was before the Panning VCAs, which saved on parts/power, but it meant that the Panning VCAs were always connected to the mix bus, adding noise floor that couldn't be attenuated. Making all the channels stereo and putting the Pan circuit first eliminated this problem, now the noise add is controlled by the fader. This did force WMD to make every channel stereo, so the design got simpler through figuring this out.

Panning / Crossfader - The above panning/level improvement made it possible to convert the Pan control into a crossfader, buy simply routing the post pan signals through a switch to the opposing channel, summed at the Level control. This huge improvement allowed the A/&/B input switching scheme to still work on the PM MKII, a bit differently, but it's there in spirit.

Modular Design - The channel strips are all now stereo, and identical, which makes assembly much easier, and lowers the cost. It also makes replacing them easier should a mechanical part fail or get spilled into. Further, the Patchbay, Power board, and Master section are all separate parts, so if there's a failure, they can be quickly swapped without having to RMA the whole unit.

Patchbay - The MKI and rev E MKII still had jacks misaligned with channels. This was a source of frustration for d many users of the PM MKI. And I decided to just be done with it. It didn't make sense to try to put jacks over the channel, it wasted too much space on the panel... So all the jacks go left, keeping the mixer clear of cables, this let me space the knobs out a bit to take up all 3U. It's cleaner, simpler to make, and intuitive to use.

Expandability - It's super modular now, the DB25 can connect to any two headers that spits out audio, they're all the same format across PM MKII and Channels MKII. Pre, post, mixes, connect it however you want. And the connectors can't be hooked to power, meaning no more blown opamps and RMAs to the factory. They're all shrouded too so they won't get bent in shipping!

Features Overview:

Everything is stereo. Inputs, Busses, Auxes, and Cue Mix.
INPUTS: IN LEFT is normalled to IN RIGHT.
GAIN: Each channel has a Gain trim range of -12dB to +20dB, this will let you use line level devices easily.
GAIN CLIP LED: lights red 1dB before clipping the input stage.
LVL FADER: smooth intuitive curve for easily adjusting the mix level on the fly. A yellow indicator shows the level.
MUTE: Press the channel button and the channel will soft mute with a red LED indicator.

Notes: A serious bargain for anyone putting together a modular system, TipTop bundle three VCOs and the Octopus controller with their mixer, filter, dual envelopes and VCA. Great value.

Supplier's Notes:
The S2 is a promotional bundle that TipTop is offering to users, providing a 33% savings to get you started with ART. With these bundles, TipTop have included an incredible voice: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by TipTop's beloved 4-pole Z2040 filter that has been with them since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing. OCTOPUS is TipTop's first ART controller with more to follow, please select between Octopus or ART V/Oct Quantizer to get started with ART. Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

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

The Z2040 is TipTop#s redesign of the most famous analog filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colorful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: Selection of five Droid sequencer modules for Eurorack, including MASTER18 master module, two M4 motor fader controllers, a P2B8 controller and a B32 controller. Excellent value for a comprehensive package.

Supplier's Notes:
This kit is two things at once:

1. A full featured total innovative musical performance sequencer controlled by motor faders and haptic feedback.

2. A powerful self contained Droid setup with motor faders that can do and can be anything - at a very good set price.

The sequencer

Let's talk about the sequencer first! In the configuration that it is shipped, it has four independent tracks, each controlling one voice, either via CV/Gate plus extra modulation CV, or via MIDI. MIDI connectivity is provided with two DIN/TRS (mini jack) outputs and one USB port. In our free software "Droid Forge" for Windows and Mac there is a tool called "patch generator", which allows you to not only configure the MIDI routings but also decide about the feature set and even the button layout.

The modules come all prepared so that within a few minutes the sequencer is setup and ready to go. Once your are satisfied with your configuration, you can use the include stickers to label the buttons of your modules (as shown in the images).

This Droid motor fader sequencer is very unique and innovative in many ways. Most importantly the direct control with the motor faders makes it stand out. The big faders allow easy instant control and real "playing". In the normal mode, each fader represents one step in the sequence. With eight fingers you can change eight notes at once.

When you switch to another track or to another function within the track (e.g. to the velocity / modulation CV), all faders immediately move to the correct position of these settings, so you can immediately see what's going on and change the values without any "pickup", as is necessary for sequencers with normal sliders.

When you edit alues that are stepped in nature - first of all the selected notes of the scale - the faders use ther tiny motors to give you haptic feedback! For every note you feel a little notch. You can change by say exactly two notes by feeling the notches and don't need any display for hitting the correct note.

Musical functions

The Droid motor fader sequencer is built to improvise and play music, for being creative, finding new melodies, and everything right in the moment - a perfect tool for live performances, but also for jamming and recording in the studio and get inspired. It does this not only by its unique haptic interface but also by including lots of interesting musical features and algorithms - all of them accessible by a single button press.

Chord note selection: Use seven buttons (on the P2B8) to select those notes from the scale that are allowed. Play with these buttons to temporarily make a melody simpler and more complex, again. Or change its harmonic structure but removing the root and third and add the ninth or 13th. Since all seven notes are part of the scale, you can never go astray, however. You will always by "in tune", even without any knowledge of music theory.

Diatonic transposition: Shift up and down a melody by a number of notes - within the scale and within the selected notes. One simple movement of a fader brings a great and refreshing alteration to your melody. Touch one button and you are back to normal.

Built-in arpeggiator: Press one button to switch from the sequenced melody to an algorithmically created melody - based on the same scale and selected chord notes. More than different controls change the played pattern - all of them can be combined, which creates millions of melodies - without any randomness!

Pitch accumulator: The note of one step moves up or down within the scale by one or two notes every cycle of the sequence. So with just one little setting, you can create a 32 step melody from just 8 steps.

Conditional gates: For example play a step just every second time. This doubles the length of the sequence and creates musical variations - without need of randomness.

Mini arpeggiator for reapeats and ratches: Make every repeat of a step (you can repeat each step up to 16 times) use a different note. Similar for the ratchets (ratchets divide a step into multiple faster sub-steps).

Inversion: Press just one button and lower notes get higher and higher notes get lower - like a vertical mirror of your melody.

Forms like AAAB and AABB: Split up your melody into two halves - for example 16 steps are split into 8 and 8. The first half is called A, the second half is B. Now A is played three times, than once B. So the essential length of the melody is double, in a very musical way.

Activity: For each step select an activity level that is needed for the step to be played. Then with a global fader you select the activity. This allows you to make your melody more sparse or more complex - in a very controlled way and again without any randomness.

Autoreset: Restart the sequence after a fixed number of clock cycles. This is done with one fader with virtual notches.

Shift steps: Again with one fader, rotate all steps. The changes the musical timing of your melody in relation to the rest of the tracks. Again this can be undone with one flip of a fader.

Transpose by root: When this is turned on, your melody is transposed along with the root note whenever that changes.

Contents of the Moto Kit

The Moto Kit is a selection of five Droid modules. Even if you don't need a sequencer, you get these modules for a very good price as set. Or maybe your start with the sequencer but then use the free Droid Force software to change the configuration, change some of its features, add new features. Droid is a super flexible universal CV processor that is not limited to sequencing!

The Moto Kit contains the following ingredients:

MASTER18
P2B8 controller (special Moto Kit edition with red LED in button 8)
B32 controller (special Moto Kit edition with various coloured LEDs)
2x M4 motor fader controller
2x MIDI TRS-DIN adapters (type B, matching MASTER18)
USB-A to USB-C cable
All necessary ribbon cables for power and controller connection, of course.
One addition 80 cm controller cable in case you want to put the MASTER18 at a different place in your rack.
Micro SD card with standard start patch in MASTER18
Extra SD card with Motor Fader sequencer (put this into your MASTER18 to use the sequencer)
SD card reader
Folded cheat sheet for the Motor fader sequencer
3x Sticker sheet for the sequencer (three times, so you can rearrange things later if you like)
2x 1HP blind plates (if you can afford the extra space, it is recommended that you put one after MASTER18 and one between the B32 and the M4s)