シンセ・モジュール

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 '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: 'O/A/x2' is a dual channel attenuverter with each channel also including a bipolar voltage offset and LED monitoring. The module is primarily intended for fine grain flexible 'editing' of control signals (i.e changing the phase, level and DC offset of an LFO signal) but also has uses with audio signals such as attenuation, inversion and mixing.

Technical Specifications:

Supply: +/-12V (Reverse voltage protection)
Current Draw: ~50ma
Size: 4 HP
Depth: 32mm (including power header)

Notes: 'Akemie's Castle' is a dual voltage controlled oscillator with authentic 4 Operator digital FM using 'new-old-stock' Yamaha IC's for audio signal generation.

Each of the 4 operators feature independent waveform selection, frequency multiplier and level control via direct panel operation and voltage control. Operators can be combined in various ways across both oscillators, which together with independent feedback control on each VCO, offer an extremely wide palette of sounds.

Oscillator A also features a chord mode providing a range of up to 5 voice chords and voltage controlled inversion.

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

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

Notes: The Buff Mult is a buffered multiple with LED indicators to show positive and negative voltages. Using wide bandwidth opamps, it functions as a dual 1-to-3 or a single 1-to-6 mult for audio, video, or CV signals.

Notes: The VCA Matrix from 4ms is a playable 4x4 matrix of 16 VCAs.

Four CV or audio inputs can be routed in any amount/combination to four outputs, using the 16 CV control jacks, Level knobs, and Mute buttons.

Notes: Announcing the Dual Looping Delay from 4ms Company, designed by Gary Hall!

The 4ms Dual Looping Delay (or DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular time-base and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.

What is a "Looping Delay"?
Modern looping devices grew directly from hardware digital delays of the late 70s and early 80s. A looping delay, modelled on units such as the classic Lexicon PCM42, has the very long storage times associated with dedicated looping, but without triggered record and playback functions.

By default, a looping delay records and plays continuously, though recording can be suspended at any time with Infinite Repeat. Sustain of delays and loops is mainly accomplished with regeneration, allowing an organic, evolving approach to sound creation as new material replaces old, more or less gradually. The 4ms Dual Looping Delay also provides advanced clock input and output facilities that allow for locking delayed and looped material with sequencers and rhythm devices of all descriptions.

The 4ms Dual Looping Delay is conceived and designed by Gary Hall. Implemented and manufactured by 4ms Company

Notes: The Spectral Multiband Resonator from 4ms Company is an innovative resonant filter which can process audio like a classic filter bank, ring like a marimba when plucked/struck, vocode, re-mix tracks, harmonize, output spectral data, quantize audio to scales, and much more...
A gorgeous ring of colored lights displays the frequency of each filter, as well as the levels and current scale selection(s).

At a glance, the SMR works like a normal six-band graphic EQ: six frequency band-pass filters are mixed together using sliders. Resonance/Q is variable, which changes the "ringy-ness" or width of the bands.

But here's where comparison stops. The frequency of each channel is treated like a note in a scale, and the six bands form a chord. Spin the Rotate knob and the "notes" circle around the scale, rotating back to the bottom once they've reached the top. Adjust Spread and the distance (interval) between each note changes. Triggers for up/down motion, CV inputs for sequencing and scale selection allow for flexible control with external modules. Morph, which automatically cross-fades between frequencies, together with variable Slew allows rhythmic clocks drive the SMR as a variable-speed evolving resonant filter.

At maximum Resonance/Q, the SMR can be struck like a gong or marimba by inputting clocks or triggers. The frequency of each channel is quantized to a scale: beautiful chords, ethereal tones and eerie ambiance flows easily. With lower resonance, the SMR can pull out particular frequency bands, and sweep these across the spectrum.

Two 1V/octave Frequency jacks allow for tracking even and/or odd bands and creating floating melodies over evolving chord bases, or complex percussive membrane sounds.

Save your settings into one of six storage banks, and recall on the fly. On startup, the SMR instantly jumps to the last saved settings. The color scheme of the lights can be adjusted, so if you prefer all white lights on your modular, you can have that (or all red, or rainbows, pastels, etc..)!

Advanced features:
- Program your own scale. The frequency of each of the 20 notes can be assigned by setting the octave, the semi-tone, and coarse and fine micro-tone. Up to 11 scales can be saved permanently in the user bank
- Adjust color scheme of the LEDs. Pick a pre-programmed color scheme or create your own using the sliders to set Red/Green/Blue values. Custom color schemes can be saved permanently
- Save your settings in one of six parameter banks. Note position, scale and bank selection, Q value, Lock settings and color scheme can be saved and recalled on the fly. On startup, the SMR loads settings from the last saved bank.
- Optional alternative filter type for a more exponential decay when plucked and different timbral qualities. Freq jacks no longer track 1V/oct in this mode.
- Slider LEDs can be assigned to display level for each channel (combination of slider position and CV on the jack), or clipping for each channel.

Notes: The Circadian Rhythms is moving modular synthesizer technology another step forward by gluing all the pieces of a system together. Each module or voice can now be programmed to play straight from an intelligent, eight-channel, 512-step master trigger sequencer made for composers looking to make music on the modular. Building on the sequencing concept of step programing multi-channel patterns of musical phrases can be repeated, looped, chained, muted and manipulated on the fly in real-time, and most importantly, all of this is done through a simple, clearly labeled interface. Using an array of multicolor illuminated buttons and innovative grid views provides a highly functional live performance sequencer with a beautiful glowing appearance of the programmed music that will look amazing on stage for both performer and crowd. As a master controller, the heart of the modular synthesizer, Circadian Rhythms generates high precision clock and reset signals for all the other sequencers and devices in the system to align with and can also act as a high precision bridge for DAW synchronization.

Views - Unlike most hardware sequencers that have a single static display of a timeline, Circadian Rhythms offers four different horizontal views of the timeline and two unique vertical views that scale from macro to micro. Switch between viewing 64 steps at once or all 8 channels side by side instantly. Stretch gates over multiple patterns to drive envelopes or use Zoom view to move a single hit back a few milliseconds in time to get the right feel all from the same interface.

LED Grid Built for Quick Access - Built around 72 buttons set as a multi-color illuminated 8x9 array, Circadian Rhythms displays both note data and settings in a clear and precise manner. It takes only one click to switch to vertical view and the grid turns into a set of programming and realtime playing functions like Mutes, Loops, Swing, Fills, Copy and Pate, Grouping, Randomizing, Manual trigger entry drum machine style and many many more. Activate any of those functions with only a button press or two.

Clock - Inside the CR ticks an extremely precise clock with jitter and latency measured in mere microseconds for the ultimate feel of groove. The four modes of clock sync make interfacing with other modules, hardware or software simple. Whether driving a large Eurorack system or synced to a DAW, the groove always remains tight.

SyncBus Technology - The Tiptop Audio designed SyncBus enables the CR to connect to any number of other SyncBus devices with the highest possible level of synchronization. A SyncBus master directly injects its core clock and running status into every connected unit so they work seamlessly as one device. Hook up two CRs to make a 16 channel device or add a Trigger Riot (or three) to the mix for further experimentation. Plus, the connection is done behind the panel so no need to patch anything together.

Under The Hood - When state of the art chip technology, musically driven firmware, and professionally engineered hardware design all come together in one electronic device, the result is a music sequencer with unparalleled specifications. Starting with a powerful, precise sequencing engine that has superb feel for the groove, add internal functions that automatically balance performance and smooth user interface operation, and finish with outstanding low power consumption placing minimal stress on power supplies even at maximum output, Circadian Rhythms has a design focused on the requirements of the most dedicated musicians and composers. Long time pros will immediately feel a machine made for their needs, while the newcomers can instantly dive into next level programming and performance.

Notes: Introducing the BD808, part of our new series of drum modules that brings analog percussion into the modular synth world, instantly turning your system into a self-contained music machine. Its small size, minimalist design, and modern production methods have allowed us to bring the world's most famous bass drum sound generator back at a very low cost. The real thing is here again.

The BD808 is the Roland TR-808's Bass Drum circuit adapted for use in Eurorack format and tuned to sound like a machine that comes fresh off the original 80's assembly line. The adaptation to modular format has allowed us to add some special features like independent Accent levels, a high-powered gain stage, dual-input pulse-shaper, and extended decay - all without compromising the signature sound of the TR-808.

A widely used technique with TR-808 machines is to run the drum sounds through outboard amplifiers to add gain and then pass the sound through just about anything to generate additional harmonics caused by clipping and distortion. In the BD808, we have already included this high-powered output gain stage capable of producing signals up to 20Vpp, extending from the original palette of sounds and allowing you to get an assorted array of harmonized bass drums ranging from sharp attacks to crushed tones using this simple yet effective technique! On the inputs, we have also designed a dual pulse-shaper circuit so you can trigger your BD808 with Trigger/Gate signals from step sequencers, clock dividers, or any other pulse/clock sources. This saves you the need to shape the pulses sent to the module and ensuring the same stable sound at its peak power, regardless of differences in your pulse source.

All these little, but unique, features make integrating this legendary sound generator into your modular easy, unleashing the power of real analog drums and making those speaker cones shake.

Notes: The Furthrrrr Generator has a main oscillator (carrier) with an extensive and fully voltage controllable wave multiplier and a modulation oscillator (modulator) that can cross-modulate the carrier. Each oscillator has hard and soft sync and also features an integrated tuner: if both LEDs are lit the VCO is at note A. Left LED is lit at note Ab and right LED at A#. Frequency potentiometers are ten-turn models and thus allow for easy tuning. Frequency range of the VCOs is 10Hz-10kHz (and much lower in modulator's LFO mode). Both VCOs feature 2 frequency CV inputs (1x with bipolar attenuator, 1x with 1V/octave), one FM input (jumper selectable between linear and exponential FM) as well as separate input for hard and soft sync. The voltage characteristic can be selected between 1V/octave and 1.2V/octave (Buchla norm).

The main oscillator (carrier) outputs the waveforms sine, saw, square and white noise. The two outputs marked with the magic eye are outputs of the "harmonic section" that generates very complex sounds by the wave multiplier and its parameters symmetry, order and Furthrrrr in the module's right-hand section. Symmetry lowers the level of even harmonics and amplifies the odd harmonics (this affects the pulse wave's width as well). Order adds saturation to the high order harmonics and resembles a low pass filter. Furthrrrr alters the level of harmonics set by the other parameters and produces very interesting, partly brute sounds with lots of harmonics by clipping and folding the wave. All three parameters can be voltage controlled. The carrier oscillator also has inputs for hard and soft sync, the sync-switch can synch directly to the modulator.

The modulation oscillator (modulator) has three wave forms with direct outputs: sine, saw and square. Using the internal modulation via the "mood section" the waveform is selected with a button; an additional staircase wave form is available here, but it can be overridden by inserting a signal into the external input socket. A switch activates the LFO mode.

The Mood section is responsible for the internal modulation of the carrier by the modulator. Switches determine the modulation destination(s) that can be activated simultaneously. These are the Furthrrrr parameter of the harmonic section, the amplitude and the frequency of the carrier oscillator. The "balanced" switch activates the ring modulation between both VCOs. intensity of modulation is controlled by the "mood index" potentiometer and the according CV input with bipolar attenuator.

Notes: The Stereo Triggered Sampler can record high quality stereo files, while simultaneously playing two different stereo files. A maximum of 600 samples can be loaded from the removable/swappable microSD card, in a variety of formats up to 96kHz/32-bit/stereo WAV. All sample parameters (1V/oct pitch, sample file selection, length, and start position) are CV controllable.

600 Samples:
A maximum of 600 samples can be loaded at once, arranged into banks of 10 samples each. Samples and banks can be re-arranged on the fly using the simple on-board Edit features. Newly recorded samples can be instantly played back and re-pitched, reversed, chopped up, etc... the result of which can even be bounced down and re-recorded to as a new sample! Sample files are limited to 4GB each, which is over 6 hours at 44k/16b/stereo.

Two Stereo Playback Channels:
Each playback channel has a knob and CV jack for Sample File selection, as well as a Start Position knob and CV jack for controlling where in the sample playback will begin. The Length knob and CV jack determine how much of the sample is played back: from tiny grains, to percussive hits, to longer loops... or just the entire file. These are powerful tools for re-arranging a sample, joining multiple samples, and creating dynamically re-sized loops within a larger sample. Combined with the Play Trigger jack and the 1V/oct jack, the STS can be two complete multi-timbral pitch-tracked stereo voices!
There's also a Reverse button and jack for backwards playback, and an End Out jack for synchronizing loops, or cascading sample playback with other events.

Looping and Sync:
Looping is easy: just hold the PLAY button down for two seconds to toggle loop or one-shot. The loop timing clock will output from the End Out jack. Or, send a clock into the Play Trig jack to sync the loop to external timing.

Stereo Recording:
Whether you patched 47 modules to create the ultimate percussive blast, or you want to capture your four hour ambient performance, recording high-quality .wav files on the STS is simple. Just hit the REC button or fire a trigger and a new stereo .wav file will be created on the SD card. Do as many takes as you need: the STS never deletes your files. Re-ordering or re-arranging samples into banks is easy, even without a computer.
You can even fill a bank with 10 different variations and immediately use them for playback.
By default the STS records at 44.1kHz/16-bit, with an option for 24-bit (a future update may increase the sample rate to 96kHz)

Easy sample loading:
Using a computer is completely optional with the STS, since samples can be recorded directly to the module and placed into the bank of your choosing. But for users with large existing sample banks, the intuitive automatic bank loading features make dragging and dropping your entire sample library a snap. You never have to rename your files again!

Notes: PERC features 256 percussion sounds with tight attacks and a bright harmonic spectrum. This collection is specifically focused on shorter percussive samples and includes material such as multi-layer drum & percussion hits, chopped & processed loops, synthesized FM strikes, mallet and bell tones, sampled drum machines, various toms and hand drums, obscure noise boxes, sampled old-school game chips and much more. PERC makes full use of ONE's snappy character.

All samples on the card are available for playback at 48k, 64k and 96k for maximum versatility in pitch control while maintaining latencies of as low as 0.25 ms.

Design by: Glitchmachines
Type: One Shot
Character: Percussive

Only compatible with the Tiptop Audio One Digital Audio Flux Eurorack Module.

Notes: TouellSkouarn Strakal Brulu is a handmade distortion and fuzz module. The great sound is due to the new-old-stock east-German germanium transistors.

Very characteristic for the module's sound if the feedback that is coupled to the feedback. The more fuzz, the more feedback - the Strakal Brulu 2 can get pretty nasty and it screams a lot at high fuzz settings and low input level. The fuzz amount can be voltage controlled, with an inverse attenuator. Input and output levels can also be set separately.

Notes: Terci Ruina combines three classic distortions in 4 hp. Distortions are reinterpreted in classic NE style and routed through each other for complete sonic annihilation of any sound. Patch in and out anywhere in the signal chain to pick the best sound for your purpose (because modular). Looking for a pretty distortion? This is probably not your module. Unapologetically gross and dirty.

Notes: The Spherical Wavetable Navigator (SWN) is a six-channel synthesiser that makes it easy to create slowly morphing drones, polyphonic melodies, evolving sequences, and rich textures.

The SWN features six wavetable oscillators with independent pitch, level, and waveform controls. Six LFOs (Low Frequency Oscillators) can be used as modulation sources and/or envelopes, making it easy to add dynamic motion to your patch. Each channel is a full voice and can be "played" using the top row of buttons, the internal LFOs, or note-change detection on the 1V/oct jacks. The SWN ships with 12 three-dimensional (spherical) wavetables and an easy interface which allows you to record and edit custom wavetables from live audio. Open-source software for Mac, Windows, and Linux called SphereEdit can be freely downloaded and allows you computer to create, edit, and convert .wav files into Spherical wavetables to transfer into the SWN with an audio cable.

New firmware available which adds extra features, visit https://4mscompany.com/p.php?p=820&c=5 for details.

Notes: Rossum Electro-Music Software Architect Bob Bliss (who also, as it happens, fathered E-mu's famed "EOS" Emulator Operating System) has created Panharmonium, a unique music and sound design tool that analyses the spectral content of any audio signal and uses that analysis to drive a bank of from 1 to 33 oscillators. Depending on various control settings, Panharmonium can accurately reproduce the input spectrum in real time or modify it in a multitude of wildly creative ways. All with an interface whose immediacy encourages performance and interaction.

Panharmonium input can be anything from a single oscillator to an entire mix (including vocals). From dense, swirling pads and drones that evolve with the input's changing spectrum, to clock-syncable spectral arpeggiation, to as-yet unnamed harmonic effects, Panharmonium opens up an entirely new world of sonic possibilities.

Additionally, Panharmonium can take a snapshot of an instantaneous spectrum and use that as a complex harmonic oscillator, which can then be modified and modulated by all of Panharmonium's other controls.

Panharmonium accomplishes its magic though a combination of functional submodules:

Spectral Analyser:

The Spectral Analyser provides tools for defining the analysis process.

- The Slice parameter sets the rate at which the incoming audio is transformed to spectral data. It can be set by the Slice and Multiplier controls, the Tap button, or by an external clock signal. Very short slice times result in real-time spectral data, while longer times can create rhythmic spectral patterns.
- The Centre Freq and Bandwidth controls (and associated CV inputs and attenuverters) control the range of frequencies to be analysed. The Bandwidth control allows the selection of narrow to wide pass bands on the left side of the pot and narrow to wide notches on the right side of the pot. The ability to sweep the frequency and modify the bandwidth under CV control opens up a wide range of sonic effects.
- The Freeze button lets you freeze the spectral integrator, sustaining the currently analysed spectrum.

Spectral Modifiers:

These controls allow you to creatively modify the analysed spectra.

- The Voice parameter lets you select from 1 to 33 oscillators to resynthesise the spectrum.
- The Blur parameter (and associated CV input) is a spectral lag processor that controls how quickly the spectrum can change.
- The Feedback control (and associated CV input) lets you route the re-synthesised audio back into the entire processing chain for subtle or dramatic feedback effects. At its max, the output becomes self-sustaining, even if the input is removed.

Oscillator Bank:

The Oscillator Bank resynthesises the analysed spectra.

- The Waveform parameter selects the oscillators' waveform. In addition to the usual sine, triangle, sawtooth and pulse waveforms, two special crossfading sine and sawtooth waveforms are included.
- The Freq control lets you tune the oscillators over a +/-7 semitone range. The frequency is further controlled by the 1V/Oct input and the FM input and attenuverter.
- The Octave control, not surprisingly, shifts the pitch of the output by octaves.
- The Glide parameter sets the amount of polyphonic glide (i.e., each oscillator has its own glide circuit).
- The Mix control (and associated CV input) sets the balance between the original input audio and the resynthesised audio.

Optional Functions:

A number of optional functions can be selected by using the Output Mode and Tap buttons.

- Holding the Output Mode button and adjusting the Slice control enables Drums Mode, which optimizes the spectral analysis for drums and other percussive inputs.
- Holding the Output Mode button and adjusting the Centre Freq control allows you to instead set the lower frequency of the analysis range.
- Holding the Output Mode button and adjusting the Freq control enables Spectral Warping. In contrast to conventional frequency adjustment, where the harmonic relationships between the spectral elements are preserved, Spectral Warping shifts the harmonic elements individually, producing a variety of clangourous, swarming textures.
- Holding the Tap button and adjusting the Freq control quantizes the resulting frequency adjustments to semitones.

Spectra Memories and Presets:

Panharmonium provides 12 user Spectra memories and 12 user Presets (in addition to 12 each factory memories).

- The Spectra memories let you store up to 12 frozen slices. When selected, a spectrum (up to 33 oscillators wide!) replaces any live input and can have its pitch controlled by the 1V/Oct input and FM controls.
- A Preset is a snapshot of all of the module settings, along with the value of any CVs present at the moment the preset is saved.

Panharmonium is 26HP wide and 25mm deep.
Power requirements (max): 140mA +12V, 30mA -12V. Reverse polarity protected.

Notes: The Z4000 NS is a snappy voltage-controlled analog envelope generator with a built-in CV processor for scaling, inverting, and voltage-controlled deviating of the envelope shape. The Z4000 generates an envelope made of the four classic segments: Attack, Decay, Sustain and Release, in which each segment can be manually set using knobs or dynamically set under voltage control.

Control knobs for the Attack, Decay, and Release segments are scaled. The first 0-50% of the knobs rotation is dedicated to high resolution adjustment in the millisecond range.

The output levels are fully adjustable with signals that can reach up to 10V in either polarity and can be mirrored into the opposite polarity or clipped using the voltage-controlled deviater-scaler. A bi-color LED indicates intermediate values in both polarities and their crossfade state.

The Attack slope switch allows selection of a logarithmic or exponential curve for the Attack segment. This subtle effect helps further the fine adjustment of the Attack segment slope. A Shoot button is provided to let you fire the envelope manually. The Z4000 also provides a retrigger input allowing you to create legato notes when using a classic keyboard interface.

Going down to nuts and bolts, the Z4000's smoothness and snappiness is made possible by a four segment active-charge discrete circuit which is an extended version of circuits found in classic two segment rise / fall transient generators.

Size: 8HP
Depth: 28mm
Power: +12V 34ma / -12V 18ma

Notes: Loquelic Iteritas Percido is an extension of the original Loquelic Iteritas. Like Loquelic Iteritas, it is a digital VCO with interpretations of three classic synthesis algorithms involving dual pitch control parameterized by four tone controls. LIP adds an envelope that can be shaped, modulated, and routed to pitches and tone controls, making it into a stand-alone voice.

Notes: Mini MIDI
Want to connect your modular system to USB MIDI equipment or computer-based DAWs? Simultaneously? We did too.

With over 20+ modules and three complete modular systems in our portfolio, you'd be forgiven for thinking we're a bunch of purists, roaming the studios of Berlin by night, looking for unsuspecting copies of Ableton Live and Cubase to infect with viruses.

But nothing could be further from the truth. We love analogue hardware, and we also love the power and creativity of DAWs. We love the power and creativity of DAWs, so we've long dreamed of a module to bridge the gap between our computer, modular system, and USB MIDI devices. So we made one.

It's small, and it's MIDI

Mini MIDI draws aesthetic inspiration from a runway model... or a drumstick... or the Taipei 101. Basically it's tall and thin. Nevertheless, this simple, space-saving format contains no less than seven connections: Pitch, Gate, CC, Start, Clock, USB Device, USB Host.

Pitch and Gate are self-explanatory, taking MIDI note information (pitch and note-on/off) from your DAW / keyboard / keytar / USB-whatever, and turning it into something your modular oscillators understand.

CC receives note velocity, aftertouch, or continuous controller information from USB and spits out modular-friendly CV, ready to command anything from filter cut-off to LFO rate.

The CC value to be converted is set using rear panel DIP switches, allowing multiple Mini MIDIs to respond to different CC values from the same DAW / instrument source. You can select from 13 different CC values (if you're superstitious then Mini MIDI is not for you).

The remaining three DIP settings access three additional modes: Note Velocity and Aftertouch modes convert those signals to CV, while Calibration allows precise setting of scale and pitch offset.

Start(stop) and Clock offer no surprises, but if you have a sequencer in your rack you aren't looking for surprises, just a way to trigger it and keep it in time from your DAW and other kit. If this is you, you won't be disappointed.

USB Device lets you connect... wait for it... a USB MIDI device! An obvious use is when you want to use your favourite, gig-friendly, USB controller on stage to control that cut-off, thus keeping your real-estate-guzzling modular rack out of the way (and out of reach of that beer you have perched on a cheap M-Audio controller).

USB Host is the heart of Mini MIDI, bridging the gap between your modular system and a MIDI host device, such as a DAW or hardware MIDI sequencer.

Channel X

We thought hard about MIDI channel assignment. DIP switches are wildly impractical, as you often need to change MIDI channels. A front panel selector would increase the size of a module that's designed to be squeezed into the far left of your rack. (Far left, BTW, because then you can use angled USB connectors and avoid thick cables trailing all over your rack... ). In the end we used 'first come, first served'.

On powering up, Mini MIDI sits patiently waiting for a MIDI signal. Whichever channel it detects first - from Host or Device - is the assigned channel (if your kit is dishing out ALL channels, Mini MIDI will pick the first one... which is 1). And this assignment applies to both USB MIDI connections.

Play nicely with others

Mini MIDI also works perfectly in conjunction with other Mini MIDIs (via multiple computer USB ports or USB hubs). They show up in your system with unique IDs, so each can be triggered by different MIDI channels and/or CC controllers. This can be used to send the same information to different modules/racks in your modular set-up, different information to the same module/rack, or any combination of these. And it can incorporate other USB devices.

Another insanely useful feature is the ability to play your modular set-up live, with a MIDI keyboard or controller, whilst simultaneously recording this information into a MIDI track in your DAW.

Some ultra-modular-types might complain that this is cheating, but they should remember that our grandparents insisted anything made with machines wasn't 'real' music. Chill out and enjoy the possibilities!

Size isn't everything (and other cliches)

Despite its modest appearance, diminutive size, and total lack of front panel controls, Mini MIDI is an exceptionally powerful, highly flexible, and immeasurably useful little module. We designed it to solve the kinds of problems we encountered when using similar modules, and, critically, the kinds of problems our users said they had with other such devices. Consequently, we've exceeded our initial expectations. We hope you feel the same!

Specifications:

DAC: 16 bit

Pitch Output (1V / Octave): -3 V to 7 V

Gate Output: 0 V / 10 V

MIDI CC Output: 0 V to 5 V

MIDI Start / Stop: Active High (5 V)

MIDI Clock: Rising edge (5 V)

USB MIDI Host Interface output current: up to 500 mA

3U Eurorack module, 4 HP wide, compatible with Skiff cases

Current Draw:

+12V: ca. 22mA + current consumption of a connected class compliant USB Device , USB current supply available up to 500mA
-12V: ca. 10mA
0 mA 5V
Installation depth:

30 mm deep

Notes: Seriously potent polyphonic voice built around 16 sine-based oscillators. Capable of a huge range of tones thanks to FM, phase distortion and wavefolding. Another cracker from a consistently reliable brand.

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

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

30 factory-programmed, user-writeable scales organized in three groups:
12TET: all notes quantized to equal temperament, repeating over octaves
Octave: unquantized notes, repeating over octaves
Free: unquantized notes, repeating over the interval between the lowest and highest note

16HP Eurorack format module
0.98" (25mm) maximum depth (including power cable)
10-pin to 16-pin Eurorack power header
Power consumption
+12V: 114mA maximum
-12V: 45mA maximum
+5V: 0mA (not used)
Audio outputs
Frequency range: 0Hz (DC) - 20kHz
Typical amplitude: 10Vpp
Maximum amplitude: 18.5Vpp
1V/oct inputs (Root and Pitch)
Voltage range: -2V to +6V (8 octave range)
Factory calibrated to 1.00V/oct
Per-jack user-calibration allows from 0.7V/oct to 1.3V/oct
CV inputs (other than 1V/oct)
Voltage range: -5V to +5V
Gate inputs
Trigger threshold: 2.5V
User memory (non-volatile)
Scale slots: 30
Shift feature settings
1V/oct calibration settings

Notes: Simple but effective four-channel module, allowing you to attenuate or offset CV or audio signals. Normalled 5V source on each channel allows you to generate a standalone CV signal without an input.

Supplier notes:

4TTEN (pronounced either ATTEN or FOUR-TEN) is a four channel attenuator and offset generator.
Use 4TTEN to attenuate any CV or audio signal by running through the ins and outs.
A +5V voltage source is normalled to each input, making it a standalone offset when there is no cable patched into an input.
Each channel is completely independent.
Ever-so-useful in live performance, we designed this module with 4 sliders for easy maneuverability, visual feedback, and enjoyable to play interface. Make your eurorack modular synthesizer system more playable with 4TTEN!
*** 4TTEN's PCB is 113mm (4.45") tall and may be a tight fit in some cases ***

Highlights

- 4 independent attenuators for Control Voltage and Audio signals
- Performance friendly sliders
- Can be used as 0 to +5V Offset
- Comfortable fader caps from the Performance Mixer
- Only 4 hp!

Specs:

Size: 4hp
Depth: 30mm(with cables)
Power: +5mA , -5mA
Virtually no drop on 1V/Oct signals.
VERTICAL PCB LENGTH: 113mm (4.45")
IMPEDANCE = (SOURCE + 100ohm ) / 100kohm
UNBUFFERED

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: The 1U Stereo Mixer is intended for pannable stereo output, but it is also suitable for both DC (Gates, Triggers and Control Voltage) & AC (audio) signals.

Specifications:
Current draw: +12: 13mA, -12: 9.2mA
Depth: 32mm
Width: 24HP
Please note: Synthrotek's 1U products do not fit in Vermona or Intellijel cases.

Notes: 6xMIX is a six channel audio (AC coupled ) mixer, channels arranged in three groups with separate outputs having led indicators. Each group can be switched to mix with the subsequent group, allowing for 2-2-2, 4-2, 6 mix configurations. The module can also be used to mix two stereo channels plus separate group of two mono channels. Perfect audio performance with the lowest noise and distortion amounts.

The inner knobs control the A inputs, while the outer knobs control the B inputs.

50 mA +12V
50 mA -12V
35 mm Depth
6 HP wide

Notes: 2xSAM is 4 HP Dual Stereo Attenuator-Mixer

Several 2xSAMs can be chained together or with other HN stereo modules via sockets on the back side.

2xSAM's total mix stereo output can be internally sent to the Isolator, PanMix Jr, 3xStereo Mixer, or can be received from OUT, PanMix, PanMix Jr, 3xStereo Mixer, or another 2xSAM.

If jumpers are not installed (placed on one pin only by default) the max gain is 1x. When the jumper is properly placed on both pins - the gain is 5x. There are four inputs thus four jumpers. Each jumper is relevant to its channel.

27 mA +12V
27 mA - 12V
35 mm Depth
4 HP wide

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

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

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

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

Notes: The Kontact MIC is a lo-fi theme park. It's a Eurorack microphone preamp with a piezo contact mic built into the panel.

The creative applications are endless: finger percussion/rubbing/scratching, guitar input (works surprisingly well with just a little lofi crunch), acoustic sources to CV, etc.

The PCB fibreglass has quite a nice rough texture - rubbing it with a finger or a plectrum creates quite a wide range of sounds. The back of the panel is plated to expand the surface area of the contact mic. The mic will also pick up all the physical sounds in your modular- patching, cables rustling, switches, fingers on knobs - without picking up airborne sounds i.e. the sound your modular is making. At very high sound levels will pick up vibrations from the speaker output and start to feedback.

The module will work with both DIYed contact mics made from inexpensive piezo transducers, off the shelf contact mics (often called Piezo Pickups) made for guitars and violins which you can pick up for ten bucks from Amazon or eBay or more bespoke mics like the popular Jez Riley French models (including hydrophones!) which are firmly aimed at Sound Designers.

It is an easy way to bring environmental noise and feedback into a modular system, inspired by the early days of electroacoustic music in Paris and Cologne, and by the contact microphone and phonograph cartridge experiments of John Cage, Gordon Mumma, Robert Ashley and Nicholas Collins.

Notes: Tiny little low-pass gate in Intellijel's compact 1U format. Great value approach to this west coast classic module, based on a vactrol for that natural, organic sound.

Supplier's Notes:

Drop this module (or a few of them) into your 1U row, patch in some sound sources, and then ping them with gates and CV to get some instantly pleasing results. So simple and fun!

Natural dynamics with the magic of vactrols.

In general, low pass gates (LPGs) control the amplitude and timbre of a signal by opening and closing a low pass filter. When the gate is closed, no frequencies are allowed to pass through (and no output is heard). As the gate begins to open, the lowest frequencies pass through to the output. As the gate opens further, the output grows louder and its high frequency content increases.

Traditional Low Pass Gates use vactrols to control the opening and closing of the filter. Encased within a vactrol is both a light source and a light detector. Applying a control voltage to the vactrol lights its internal LED i the brightness of which is measured by its detector. What makes vactrols particularly unique (and well-suited to musical applications) is their non-linear response to voltage - in particular, the way in which the internal LED slowly dims (rather than shutting off instantly) when the control voltage is removed. This sonic coupling of timbre and volume, along with the circuit's natural decay, makes the low pass gate particularly adept at producing tones associated with struck objects, like hand drums or marimbas. Indeed, low pass gates are the main ingredient of the so-called Buchla Bongo sound.

The Intellijel Passive Low Pass Gate 1U is a simple, vactrol based, 1-pole, passive low pass gate, which is controlled by an external CV input. Without positive control voltage, the gate is completely closed and none of the LPG's input signal is passed through to the output. Increasing amounts of positive CV open the gate i making the output signal both louder and brighter. At +5V, the gate is fully open and the input signal is passed through to the output.
This makes LPGs sound very different (and more acoustic) than the traditional complement of envelopes, VCFs and VCAs that are employed in most subtractive synthesizers. Exciting the vactrol (via the CV input) with a trigger, noise blast, or short envelope will result in a very natural sounding filtered envelope that's reminiscent of the sonic characterics of struck objects, which are allowed to decay naturally.

In addition, because this is a passive circuit (no power is applied to it), its sonic characteristics are somewhat dependent upon the audio signal you feed into it, making it a very natural and organic way to shape a signal's volume and tone.

Pairs very well with the intellijel Shifty module to derive polyphony out of a only a few HP of modules.

Width: 6HP
Depth: 19mm

Notes: Nicely thought out four-voice sample playback module from Parisian innovators Squarp. Load up a microSD card with samples (up to 2600 kits), then trigger and process. Neat.

** Firmware update- February 2024 ***

Thanks to a major rework of the OS, this upgrade includes an overall better sound quality and an improved latency.

Moreover, the effects Freeze and Bitcrusher have been redesigned, and the parameters Start and Sample Length are now exponential to facilitate the fine-editing of your samples.

Supplier's Notes:

Rample waves system

Eurorack 4-voice sample player & audio processor

Versatile sample machine

From percussive drum-machine kits to synth samples, breakbeats to sound FX, backing tracks to hour-long audio music, Rample can play up to 4 .wav files on independent audio outputs :

These samples are stored inside the provided SD card, and organized as kits, from A00 to Z99... allowing up to 2600 banks of 4 voices, with on-the-fly loading! The SD card is preloaded with tons of samples, and we made it very easy to import your own kits.

Thanks to the DC coupled audio outputs, it's also possible to play CV waveforms.

Effects rack

Each voice has its own "rack" of effects, and all audio effects can be enabled at the same time, allowing you to manipulate your samples in real time, from a gentle lowpass to massive destruction!

pitch - a great sounding pitch engine, based on a 6-pole interpolator, which ranges from -1 octave to +1 octave.

bits - two different bitcrushing algorithms, based on sample rate and resolution reduction. It produces distortion and warms the audio signal.

filter - a low resonance filter, DJ-style, cutting off the high frequencies or the low frequencies.

freeze - sample and loop a fraction of the played waveform, creating a glitching effect.

levels - decrease the gain or drive the signal.

It's also possible to edit 'advanced parameters' like the start point, sample length, attack/decay and run mode, and create mute groups without breaking a sweat.

Finally, thanks to the 4 CV inputs, any of the effects (or advanced parameters) can be assigned to create amazing modulations!

Multi-layer sampling

One of the key feature is the ability to "multi-sample" your kits, multiplying Rample's potential. Each voice supports up to 12 samples, can be played randomly or in a controlled fashion. It's a great way to add complexity and variations, to create organic/acoustic sounding drums, or simply to increase the number of samples per kit (up to 48).

As an example, Squarp are providing a multi-layered drum kit, with 12 different recordings of a kick, 12 different recordings of a snare, etc. Sequencing them randomly leads to a more natural drum playing.

Another kind of multi-layered acoustic drum kit is also provided, where each drum is recorded with 12 levels of velocity. Controlling the layer to be played leads to intricate, convoluted drums programming.

Of course, it's very easy to create your own multi-layered kit, and you can use this method to perform multiple synth chords, sound glitches, voices, breakbeats, ...

CV/Gate and Midi interface

Rample is designed to be the perfect rhythmic companion of your eurorack system thanks to its Gate (trig samples) and CV (modulate samples) connectivity.

You can also use it as a standalone midi machine, without using the CV/Gate connectivity: the midi in port allows you to trig & control all samples parameters + effects values at the same time. Each Rample comes with a 'stereo jack to midi DIN' and 'stereo jack to jack' adapters, easing the chaining of multiple modules in order to create an 8-voice, 12-voice, 16-voice (or more) midi drum machine!

SD card preloaded with 200+ kits from artists and sound designers, covering a large range of audio samples

Notes: Highly sought-after utility tool that always sells out quickly. Full colour display gives visualisation as an oscilloscope, spectral analyser, spectograph, tuner and more. Waveform and clock generator options too.

Supplier's Notes:
The Ultimate Eurorack Utility Module (and a whole lot more!)

The DATA is a digital platform for testing, measurement, and signal generation in Eurorack modular synthesis systems. It is a modular tool kit, with functions applicable to any system and style.

Use the DATA's scope to view the interactions between your control voltages and audio signals, allowing you to master your modules by understanding their voltage ranges, control shapes, and parameter responses. Use the DATA's dual waveform generator to dial in a precisely scaled LFO for CV control, or use the waveform's frequency "note mode" to effortlessly make dyads (two note chords). Use the DATA's clock program as a master clock or to divide or multiply an incoming clock signal, sending four different clock outs to gate modules directly or as control to sequencers.

The possibilities of the DATA are basically unlimited; with the included microSD you can update the DATA's firmware and we can continue to refine and create new programs.

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: Nicely creative sequencer module based around controlled randomness. Build patterns and then morph them in real time. Great for live performance as well as studio use.

Supplier notes:
The Eloquencer is a powerful and versatile eurorack sequencer that can be used both as a performance and a composition tool. It's designed to be intuitive, easy to use, and quick to edit. It has been built around the "controlled chance" concept. This means you can decide when and where there will be randomness and how much this randomness will affect your sequences. It features 8 tracks of CVs and Gates in a 16 step disposition, but with the ability to define larger bar counts or chaining patterns to build multiple song parts of 256 steps each.

INPUTS AND OUTPUTS
8 V/oct CV Output
8 Trigger / Gate Output
Reset Input
External Clock Input (configurable. i.e: can be used as a clock divider / multiplier)
Accent Output (configurable)
Clock Output (configurable. i.e: can be used as a clock divider / multiplier)
2 CV Input (assignable to different parameters)

Notes: EME (Eloquencer MIDI Expansion) is the perfect companion for the Eloquencer, adding capabilities to sync with MIDI devices, control most of the eloquencer parameters with MIDI interfaces, generating MIDI voices from the eloquencer tracks, and converting MIDI signals to the eurorack world.

Description:
MAIN FEATURES
IN / OUT
DIN-5 MIDI Input, DIN-5 MIDI Output, USB Host.

BUTTONS
4 freely assignable buttons. They can be assigned to:

Next/previous pattern
Next/previous part
Direct access to Pattern mode, Play parts, Duplicate, Project, Gate REC, CV Key REC, MIDI key REC, Free Play...
Save current project
Random 1 to 3 layers of selected track
Reset LFO of selected track
On/Off LFO of selected track
Freeze
Revert
Fill A to H or selected track
Mute A to H or selected track
DJ Nudge FWD/BCK fine/coarse

MIDI CLOCK
Eloquencer can receive 24ppqn sync from MIDI device from its DIN-5 MIDI Input, and can send 24ppqn MIDI clock through its DIN-5 MIDI out.
When working as 'internal' it will send the internal clock to the MIDI output.
When working as 'external' will send the eurorack incoming clock to the MIDI output transformed into 24ppqn.

MIDI OUT
The Eloquencer tracks can be independently assigned to:
- Voice events (note on/off, velocity, ch pressure...) For example Track A can be assigned to Channel 1 Note on/off and Track B can be assigned to Channel 1 Velocity, so track A gates and CV control Channel 1 notes and pitch, and track B controls Channel 1 Velocity.
- Control Change (CC)
- Program Change (PC)

The gate and CV output will work as usual when a MIDI OUTPUT is assigned, so voices can be doubled using the modular and an external synth.

There's a particular execution order for MIDI out events, so the first to be launched is the Program Change, followed by the CC and then the voice events. This way, we can launch program changes before the note on message is received allowing preset changes for each step.

MIDI IN
Both, the DIN-5 MIDI in and the USB can be used to change eloquencer parameters using controllers or to introduce notes in REC MODE using a keyboard.

There are 3 different groups of controls associated to MIDI channels:
- Channel : 8 MIDI channels to control parameters of specific tracks from A to H
- Global : 1 MIDI channel to control Global parameters.
- Focus: 1 MIDI channel to control the parameters of the currently selected track (track in focus). That means that if Track A is selected and we send CC 38, we will be shifting track A, but if we select track B and we send the same CC 38, we will be shifting track B.

When using the USB host input, the EME can send feedback information in case the controller that is being used has LEDs to be updated.

There is a big amount of eloquencer parameters that can be controlled using an external MIDI interface / controller. For example:

Non-destructive track parameters addition/subtraction (CV, CVP, CVR, GL GLP, R...)
Track length
Step mode / Step mode DIV / Step mode REP
Track shift
LFO on/off / Type / Length / amplitude.
Fill
Mute
Random
CV Gate link
Scale group and root
Tempo
DJ Nudge
Shuffle
Clock out
Play / Stop
Direct access to modes (Pattern, Project, Live REC...)
MIDI INTERFACE

A MIDI Channel can be assigned to an Eloquencer Track, so the gate and CV outputs will stop listening to what is sequenced and start listening all note on/off messages coming from the chosen MIDI channel.

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

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

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

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

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

Notes: Row Power is a clean, regulated, and protected power solution for Eurorack systems. Row Power 45 provides enough power for two to three typical Eurorack rows (typically up to about 312HP):
+12V @ 2.0A maximum, 1.5A recommended
-12V @ 1.4A maximum, 1.2A recommended
+5V @ 1.5A maximum, 1.2A recommended

Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying bus cables or the Bus Stick. For custom power systems, the Row Power 45 has a set of easily soldered holes for using large gauge wire or MTA156 connectors to connect to distribution bus boards.

Multiple Row Power modules can be powered from a single power brick by daisy-chaining with an inexpensive barrel cable. The Row Power 45 can also be daisy-chained to 4ms Company's Pod enclosures. Each power supply is independently regulated and protected for ultra-low cross-talk between rows/pods.

The Row Power 45 is compatible with the 4ms Row Power Shield. This device (sold separately) attaches to the back of the Row Power 45 and monitors the amount of current being drawn, as well as the voltages of the power rails. The information is sent over Bluetooth to be displayed on a phone or tablet.

Electrical and Mechanical Specifications

Module Size:
4 HP Eurorack format module

Power Output:
Maximum average load under normal conditions: +12V @ 2.0A, -12V @ 1.4A, +5V @ 1.5A
Maximum average load under any condition: +12V @ 1.5A, -12V @ 1.2A, +5V @ 1.2A
Powered by laptop-style DC power supply: 2.1mm barrel, positive center, 15V-20V.

Included with the Row Power 45:
16-to-16 pin power cable
2 M3 Knurlie screws

Notes: The QUANTIZER takes four different CV inputs and processes them in a way that the CV values "snap" to the exact values so that oscillators controlled by the outputs of the module play the notes of a selected musical scale. With an encoder one of 16 scales can be selected and is displayed in a text display,

There are 4 independent channels that are quantized to the same selected scale.

As an additional feature, the module provides a trigger signal for each channel on every change on the output CV.

Finally, with a switch the scale selection can be "frozen" so there is no accidental change possible.

There are 4 independent channels that are quantized to the same selected scale.

Module power consumption: 15 mA

Inputs
CV 1 - accept CV for channel 1 of the quantizer
CV 2 - accept CV for channel 2 of the quantizer
CV 3 - accept CV for channel 3 of the quantizer
CV 4 - accept CV for channel 4 of the quantizer
Outputs
CV 1 - Quantized CV from channel 1 of the quantizer
CV 2 - Quantized CV from channel 2 of the quantizer
CV 3 - Quantized CV from channel 3 of the quantizer
CV 4 - Quantized CV from channel 4 of the quantizer
TRIG 1 - Gate signal on change of CV from channel 1 of the quantizer
TRIG 2 - Gate signal on change of CV from channel 2 of the quantizer
TRIG 3 - Gate signal on change of CV from channel 3 of the quantizer
TRIG 4 - Gate signal on change of CV from channel 4 of the quantizer
MULT - unbuffered multiple, unconnected from the module's circuitry
B. CV - CV signal from MIDI
Please note:

The notation of the outputs is slightly different on the panel than indicated here. There are two rows of identical outputs, side by side. For each output-trigger there is an activity LED, indicating a change in quantized CV.

Controls
SCALE Knob - selects the current scale. 16 scales are available, the selected scale will be displayed in the small display to the right of this knob
LOCK Switch - prevents accidental changes of the selected scale when activated
OFFSET Knob - Select from up to 12 notes from the well-tempered scale as base-value, depending on the scale selected. All left would be equivalent to a key of C
Please note:

Scale selection directly takes place when the SCALE Knob is turned, clicking it has no specific effect.

Available SCALES, as indicated on the display, are as follows:

Minor (e.g. equivalent to A-B-C-D-E-F-G in ‘A minor’)
Major (e.g. equivalent to C-D-E-F-G-A-B in ‘C major’)
Dorian (e.g. equivalent to C-D-Eb-F-G-A-Bb in ‘C Dorian mode’)
Phrygian (e.g. equivalent to C-Db-Eb-F-G-Ab-Bb in ‘C Phrygian mode’)
Lydian (e.g. equivalent to C-D-E-F#-G-A-B in ‘C Lydian mode’ )
Mixolyd [Mixolydian] (e.g. equivalent to C-D-E-F-G-A-Bb in ‘C Mixolydian mode’ )
Locrian (e.g. equivalent to C-Db-Eb-F-Gb-Ab-Bb in ‘C Locrian mode’)
Gypsy (e.g. equivalent to C-D-Eb-F#-G-Ab-B in ‘C Hungarian minor scale’ )
Whole (equivalent to C-D-E-F#-G#-A# or B-Db-Eb-F-G-A as ‘Whole tone scales’)
Pent Min [Pentatonic Minor] (e.g. equivalent to C-Eb-F-G-Bb in ‘C Minor pentatonic’)
Pent Maj [Pentatonic Major] (e.g. equivalent to C-D-E-G-A in ‘C Major pentatonic’)
1-3-5 (e.g. equivalent to C-E-G in ‘C’)
1-3-4 (e.g. equivalent to C-E-F in ‘C’)
Fifth (e.g. equivalent to C-G in ‘C’)
Octave (e.g. equivalent to C in ‘C’)
Chromat (The 12 welltempered notes of the chromatic scale)

Notes: MMF is an analogue, multimode filter with a 12dB per octave slope. Its sonic character swings all the way from classic low pass to squelchy acid lines. Simultaneous outputs of low pass, high pass, and band pass filter types are provided allowing for many variations of the input signal. Whether you're looking for smooth and creamy, or resonant and wild, MMF can go there.

Notes: Play is a high-fidelity sample player with a full feature set.

Up to 32 samples can be loaded at a time and dynamically switched between using the file knob and associated CV input. Playback modes include one-shot, looping, or gated playback; all with extremely low latency. Transform your samples by pitching them up two octaves or down three octaves, all with a pitch knob that can be free running or quantized to semitones. The pitch CV input tracks volt per octave across its entire range and allows for musical sequencing of samples. Play ships with a pre-loaded SD card packed with loops, drum hits, and field recordings to get you up and running immediately.

Notes: By combining a mixer and four VCAs in a single module, Mix 3 manages to provide a unique combination of compact size and functionality in just 6 HP. High-end signal paths ensure extremely low noise and distortion, wide headroom and precise gain control, despite the small form factor.

Each of the three main channels has an exponential response, which is more natural for audio than linear, as it matches the human hearing. However, all signal paths are DC-coupled, so control voltage (CV) signals can be processed as well.

What truly sets Mix 3 apart from other compact mixing modules are the three CV inputs, providing voltage control over the signal levels. This even allows you to go beyond unity gain and reach up to +20 dB of amplification. Once a CV input is used, the corresponding channel knob becomes a CV attenuator.

When clipping, Mix 3 does so in a clean, symmetrical way. This yields a very pure overdriven sound, only containing odd harmonics, and allows the module to be used as a triple voltage controlled distortion.

Additional features include audio indicator LEDs, a fourth auxiliary input, voltage control over the output level and a line output jumper setting.

Notes: While modular synthesisers are most often used as stand-alone instruments, they also present exciting opportunities for processing external signals. Anything from an electric guitar to an effects send on a studio mixing desk can benefit from the unique sonic capabilities of even a modest Eurorack system.

However, patching in an external source usually requires an adapter cable and plenty of clean gain to bring the signal to Eurorack level. If the signal source is balanced, a balanced input is required as well to provide the best possible interference rejection.

Receive 2 (or RX2 for short) provides a convenient all-in-one solution. It offers two universal external inputs, which accept both balanced or single-ended signals via XLR or 6.35 mm jack connectors.

The circuit incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced receivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic discharge (ESD) protection, it’s rugged enough to survive the rigours of performing on the road.

The very clean integrated pre-amps feature variable gain, ranging from unity to +40 dB on each channel. As a result, Receive 2 can handle just about any signal source you may encounter, including electric instruments, piezoelectric pickups and many dynamic microphones.

Adjusting the gains is a breeze thanks to the dual peak-responding LED meters. A mix output is included as well, so external signals can be easily mixed directly in the module.

Notes: Simple but effective output module, converts stereo instrument-level signal to balanced XLR outs. Ideal for live use but just as good for avoiding unwanted hum in the studio.

Supplier's notes:
Whether it's in the studio or on a live stage, keeping audio interconnections free from unwanted hum and interference can be a challenge. Balanced lines are the proven solution to this problem.

Conventional balanced output solutions often rely on transformers providing galvanic isolation to mitigate the effects of ground loops. Unfortunately, these components are bulky, expensive and colour the sound (often unfavourably, especially in the low end).

Instead, Transmit 2 (or TX2 for short) takes a fully solid-state approach. Offering a stereo pair of XLR balanced outputs, it ensures that the sonic clarity of your carefully planned modular system is not lost in its interface to the outside world.

Engineered to provide massive headroom while retaining extremely low noise and distortion, Transmit 2's circuitry incorporates low-impedance design practices, radio-frequency (RF) filtering and premium balanced drivers to provide transformer-like interconnect performance in a compact and affordable module. And thanks to the electrostatic (ESD) and phantom power discharge protection, it's rugged enough to survive the rigours of performing on the road.

Adjusting the main output level is a breeze thanks to the dual peak-responding LED meters. A high-end headphone amplifier is included as well, controlled by a separate level knob. It can deliver the voltage and current required to power practically any headphones, regardless of the impedance or driver technology. This 3.5 mm stereo socket can function as an auxiliary stereo line output or even drive small passive speakers, making Transmit 2 an all-round flexible answer to all your output needs.

Notes: The Serge Dual Universal Slope Generator (DSG) is probably the most versatile module of a Serge Modular system, incorporating a wide range of functions for both CV and audio. Some functions for which one Slope Generator can be used: VC Transient Envelope Generator, VC LFO, VC Portamento device, Envelope Follower (Detector), VC Pulse Delay (Monostable), Sub-Harmonic Series Generator (Divider), Audio Oscillator with variable waveform symmetry (saw to triangle), Non-Linear Audio Processor (low-fidelity VCF).

From the catalog: "The Universal Slope Generators are unity gain voltage followers with voltage controllable slopes. The range of control is exponential, extremely wide, and the Rise and Fall times can be controlled independently. The range of the Slope Generator is from sub-sonic to high audio frequency. Trigger inputs and trigger outputs allows each section of this dual module to function as a transient (envelope) generator, pulse delay, or in a "cycling mode" (to produce an LFO or clock). Since the Rise and Fall times are voltage controllable, this adds another dimension to the above functions.

The DSG mk2 version has been optimized for audio performance and speed/precision. The top section covers a frequency range up to more than 10kHz. It also offers improved tracking and some temperature compensation.

Dimensions
26 HP
40 mm deep

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

Notes: Kermit is a 4-channel programmable supermodulator with morphing wavetable generator and internal modulation matrix. Four channels operate as LFOs, audio rate oscillators (with 1v/octave response on two channels), 1-shot envelopes, random voltage generators, or sample-and-holds, all responding to manual control, external control voltages, or synchronization to the module's master tap tempo clock. Designed for maximum patching power in small systems, Kermit carries an unmatched functionality-per-HP factor with an easily readable display that shows parameters in their real-world units.

The module has a 16-bit DAC to accurately render subtle changes of voltage at extremely low frequencies. The oscillator mode is best suited for bass frequencies, and the waveform "character" modes restrict the morph behavior or degenerate the audio to a minimum of 8 bits with limited horizontal resolution, like the Konami SCC chip used with the MSX computer. The tap tempo facility features an input jack and a manual button. The tempo is shown on the OLED display in BPM. The relevant units (hertz, seconds, volts, etc) or selected waveform of each channel are contextually shown on the display as the user programs the module.

List of operating modes per channel:

LFO (1 volt/octave)
LFO (with reset)
Tap tempo LFO
Audio oscillator
Audio oscillator (unison)
Code scan
1-shot envelope
Gated repeat envelope
Tap tempo envelope
Smooth random
Stepped random
Tap tempo stepped random
Sample-and-hold
Track-and-hold
Tap Tempo sample-and-hold

Three parameters on each channel can be modulated: frequency, amplitude, or waveform. Both external CV input and internal cross modulation are programmable with hotkeys. For example: assign the output of Channel B to morph the waveform of Channel A by holding the Channel B button while turning the Channel A Waveform knob. All channels have manual control of frequency (coarse and fine), phase, wave bank, waveform morph, and amplitude. Channels A and B have full controls, C and D have single knob controls with deep parameters accessible by hotkey combinations. Still deeper functions are accessible through the Mark III menu system.

Kermit has a microSD card slot for loading custom waveforms, like its big brother Piston Honda. The SD card accepts one .WAV file in WaveEdit format (free software editor) containing 64 waveforms, also compatible with several other Eurorack modules. When loaded into Kermit, the waveforms are organized into 8 banks of 8 waveforms each. Each oscillator can select any of the 8 banks, and the 8 constituent waves can be smoothly morphed from one to another.

The Mark III morphing preset manager is in full effect on Kermit. The discrete preset mode quickly and reliably recalls all parameters in response to triggers or CV, accessing the true power of the module as detailed, carefully programmed settings are effortlessly loaded and changed. The morphing mode causes delightfully unexpected variations of the basis preset.

Insert a master clock signal and you're ready to go. Kermit is a reliable provider of endless rhythmically coherent modulation voltages and a reasonably competent "voice module" providing most common synthesis functions on each channel with an internal modulation matrix.

Notes: Back in 2008, the original Z5000 was not only the world's first Eurorack DSP effects module but also the first Tiptop Audio module released. It brought voltage controlled digital effects to Eurorack for the first time and the Z5000 was eventually replaced by the Z-DSP open source platform. Now, years later with over a decade of experience developing audio effects for Eurorack signals we are introducing a totally new version of the Z5000: a compact stereo 8HP multi effect with voltage controlled parameters, VC analogue clock generator driving the DSP chip and 24 of our creme de la creme reverbs, delays, modulation, harmonization and pitch modulated effects. A number of programs in the Z5000 combine more than one effect, in series or parallel, that represent studio techniques from-the early days till modern times often leaning toward the more experimental side.

Notes: ZVERB is a collection of all new reverb algorithms developed by Tiptop ranging from typical reverbs to more complex effects that combine delay and pitch shifting with reverb. The effects are grouped by decades based on either the era an algorithm was introduced or the time when the effect was most popular. This variety of reverbs covers small to epic size spaces with the addition of shimmering, feedback tunnelled pitch shifting, tape delay drivers, gated reverbs and a lot more. Analog clocking of the DSP chip and CV over the parameters enables even more experimentation. This is a collection inspired by the best from the past right at your fingertips.

Notes: Module A-145-4 is a simple quad LFO (Low Frequency Oscillator). Not a very "exciting" module, just a bread-and-butter device and a simple demon for work. Virtually in every modular system several LFOs are required for modulation purposes. The module contains four simple LFOs with the waveforms triangle and rectangle. A dual colour LED (red = positive / yellow = negative output voltage) indicates the triangle output of each LFO. The frequency range can be chosen for each LFO individually by means of a jumper between about 50 Hz ... 0.04 Hz (about 20 seconds, jumper removed) and about 2Hz ... 0.002 (about 8 minutes, jumper installed).

The module can be treated as a slimmed version of the quad LFO A-143-3 as it has similar features available. 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 less than one third of the A-143-3. The module is primarily planned for applications where only limited space is available. The functional difference compared to the A-143-3 are the missing sawtooth outputs and frequency range switches.

Notes: Compact and simple four-input mixer module from Uncle Dieter. Linear pots make it suited to mixing CV signals but it can also handle audio. Mixed signal hard-wired to two sockets.

Supplier notes:
Module A-138n is a simple four channel mixer, which can be used with either control voltages or audio signals. Each of the four inputs has an attenuator available. The output is twice available (two sockets, hard-wired like a multiple).

HP : 4

Notes: Truly unique one from AJH, based on the sound of NASA's Apollo voice transmissions. Think outside the box and process drums and synths through this thing. Freaky. May or may not allow you to communicate with real astronauts.

Supplier's notes:
Here's a bit of fun for all fans of space missions from the previous century! This module is designed to re-create the ground to space and space to ground transissions from the Apollo era.

To be "Mission Control Houston" the Quindar PTT (push to talk) button adds a short 2,525Hz Qindar tone to the start of the transission, then at the end of the message the PTT button or switch is released and a short 2,475Hz Quindar tone is added to the audio. The bandwidth is slightly reduced in this mode.

For "Astronaut comms" we press the Capsule PTT switch, which allows us to add coloured noise, distortion, bandwidth reduction and either hum or LGM (Little green men space tone) noise to the audio signal. A deep space electret condenser mic is supplied and an be used with the MIC input.

Obviously the Lunar Module can also be used to add noise, hum, distortion, bandwidth reduction and LGM noise tone to any modular level audio too, and if the mic is left attached theremin like sounds can be added too with careful loudspeaker feedback.