シンセ・モジュール

Notes: The legendary Buchla 259 complex oscillator gets the officially licensed Eurorack treatment from TipTop Audio. One of the most versatile and characterful VCOs ever made, with endless cross-modulation options and wave shaping features. Iconic.

Supplier's Notes:
The 259t is the largest and most complex analogue oscillator from Don Buchla's legendary 200 modular synthesiser. The 259 originated the concept of the "Complex Oscillator" in the 1970s and has been reissued by Buchla and Tiptop Audio in Eurorack format. The module consists of two oscillators, called the Modulator and Principal, with a middle section that provides voltage control over the internal modulation paths between the two oscillators, resulting in highly complex timbres. Additionally, the principal oscillator passes through multiple unique voltage-controlled waveshapers and crossfaders for further signal processing. The module's pitch can be controlled with 1V/OCT or via its internal auto-tuner and ART control to create precisely pitched notes.

Notes: A typically clever approach to modulation from Make Noise, the MultiMod takes a control signal and modifies it into eight related outputs, adjustable by phase and timing. Hugely versatile.

Supplier's Notes:
With MultiMod...from one control signal, we create many.

In a modular synthesiser, it is easy to create complex results via complex means - patching an elaborate network of independent control signals, for example. This can be very powerful but also cumbersome to set up, and potentially difficult to control in a meaningful way. MultiMod represents a new approach: it takes a single control signal and copies it 8 times, not unlike a simple mult, except that it allows you to modify those copies by weighted adjustment of their relative phase and speed. The result is modulation that is related to the source, but not identical at each destination.

Phase sets the spacing of the signal copies in time, weighted by channel, with each progressive channel getting more out of phase from the original signal and from each other. Spread allows for varispeeding the copies by different amounts, with each getting progressively faster or slower than the original Signal. Time determines the range of time captured at the input and therefore also the depth of modulation across copies of the input signal when Phase and Spread are manipulated. MultiMod also includes Tempo, Hold, and Reset features, and a variety of Read Shapes for temporal rearrangement of input signals.

When the input is not patched, MultiMod generates an LFO that is copied eight times and manipulated in the same ways.

MultiMod is built with the latest DSP hardware which offers eight high resolution outputs, with signal input and output ranges approaching the upper limits of the analogue eurorack modular system. All I/O is capable of a 20V range at +/-10V, greatly exceeding the typical 0-5V CV input ranges on typical digital modules.

Specifications

Width: 10hp
Max depth (incl power cable): 39mm

Power:
195mA @+12V
10mA @-12V

Notes: The MCO MK II is a highly versatile digital VCO and voice module inspired by 90s/00s digital synths shrunk into just 6HP.

It offers a broad collection of unique, high-quality synth voices, each with extensive, customizable parameters. These parameters can be directly controlled or modulated through assignable internal and external sources. Certain per-voice parameters support audio-rate modulation, including FM, sync, and DSP. Each voice also supports up to four-voice chords, external-triggered envelopes, multiple LFOs, and dual audio outputs for comprehensive desktop like synth functionality.

Voices include a multi dimensional wavetable oscillator based on the original MCO, a complex additive synthesis engine, a multi mode 'JP' type digi-synth, a lush virtual analog implementation, a fully featured vocoder, a bass synth for both kicks and sub sonic tones and finally arebirth and porting of our discontinued SID GUTs chip voice.

Each voice includes factory presets as well as the ability to store and recall user presets. All state is preserved across power cycles.

The MCO is designed to be familiar, quick and easy to use with a high resolution colour display and a rich visual user interface.

A USB-C connection allows for easy firmware updates, user wavetables upload and device config backup and restore. Axon expander modules are also supported to increase CV control options.

Notes: Another iconic Buchla module gets the Eurorack reissue treatment courtesy of TipTop. The 242t is the brand's unique voltage-controlled clock and trigger module, generating pulses based on a 4x12 matrix.

Supplier's Notes:
The Buchla and Tiptop Audio 242t Programmable Pulser is a reissue of the time-event-based generator from the 1970s 200 series. At its center is the Pulser, a voltage-controlled clock oscillator with a wide frequency range, extending up to audio frequencies, numerous outputs, and start/stop controls. The Pulser drives a programmable matrix with three rows of up to 12 stages: (A), (B), and (C). Stages are activated using the X/Y coordinate controls, and the total number of stages can be set using the (n) row. Clock and Reset inputs allow the 242t to sync with other devices, while the Reset input can also be used to control the number of stages with external pulses.

Notes: Tiptop's reissues of iconic Buchla modules continue with the 285 frequency shifter. Edgy, twangy harmonic modulation with ring mod options and stereo operation via sum and difference outputs.

Supplier's Notes:
The 285t combines two sets of functions: the top section features a frequency shifter, while the lower section includes both balanced modulation and classic ring modulation, all with voltage control. The frequency shifter can shift incoming audio using either its internal oscillator or external audio. Both SUM and Difference outputs are available simultaneously for analogue stereo widening effects and more.

As Tiptop Audio continues its aural odyssey of preserving and transforming the hallmark engineering prowess of Don Buchla's namesake synthesizer modules, the 285t brings a constellation of blistering sonic-contouring tools to your Eurorack array. Like its predecessor, the Tiptop Audio Buchla 285t is a menagerie of modulation madness, offering variable degrees of ring, frequency, and amplitude styles of modulation. Plus, its dyad of modulation sub-modules operates independently, with dedicated audio and CV I/O for each, functionally giving you the sum of performance possibilities you'd get with two modules, all in one instrument. Suffice it to say: Sweetwater's synthesists commend Tiptop Audio on capturing the electric magic of Don Buchla's imaginative engineering while transposing it for the world of Eurorack to experience. For a constellation of timbral sculpting and summitting heretofore unknown peaks of daring synthesis exploration, the Tiptop Audio Buchla 285t Frequency Shifter module is your key. Discover what awaits at the fringes of Eurorack possibility!

Note: This module is not compatible with Buchla system voltages. CV signals require a distinct connectivity configurations. Please contact your Sweetwater Sales Engineer with any questions or concerns regarding compatibility or use in your Eurorack case.

Type: Frequency Shifter
Depth: 1.77" (45mm)
HP Size: 18HP
Power Usage: +12V/70mA, -12V/40mA
Power Supply: Requires Eurorack Case and Power Supply
Manufacturer Part Number: 285t

Notes: Updated Atlantix module is an even better synth voice than the original Atlantis. Based on the Roland SH-101 formula, it's a monster with dual VCOs, legendary filter and built-in envelope generator. All you need for iconic analogue sounds.

Supplier's Notes:
Atlantix

Dual Oscillator Subtractive Analogue Synth Voice

It's Massive

The Atlantix is a complete analogue synth voice. It's quick to dial in huge bass or lead sounds, and easy to push it into new sonic territory. Dual VCOs, Multimode VCF, VCA with Drive, and an ADSR envelope; all of the building blocks needed to expand or start making sound in your rack. With 32 patch points and a selection of routing switches, you can remix these blocks into something all your own.

Reimagining a Reimagined Classic

The Atlantix is the highly-anticipated successor to the Intellijel Atlantis which was originally inspired by the classic Roland SH-101. Despite the SH-101's seemingly limited architecture, it produces various creative and musically useful sounds that have inspired generations of artists and countless hits. The Atlantix is just as immediate for dialling in beautifully rich bass and lead sounds. The thoughtful design, numerous additional features, and flexible patching options open up a massive amount of new sonic territory to explore as well.

The Atlantix is an analogue, complete subtractive synthesizer voice condensed into a single 42HP module. It provides all the fundamental building blocks needed to make sounds in Eurorack: VCOs, VCF, VCA, S&H, Noise, and an Envelope.

Oscillators - Advanced TZFM and Flexible Mixer

The Atlantix uses two triangle core voltage controlled oscillators (VCO) which respond in a musically pleasing way to frequency modulation. The Atlantix primary VCO (VCO A) is capable of thru-zero frequency modulation and has a dedicated amplifier for controlling FM depth (FM INDEX). The modulation oscillator (VCO B) can be used as either an LFO or VCO. The highly flexible architecture allows you to route VCO B as a modulation source or stack it as a secondary VCO all by the flick of a switch or slider. VCO B also has a bonus "spike" waveform output which is a square wave with fixed HPF, similar to the Buchla Easel. Both oscillators track very precisely over eight or more octaves.

In the mixer section, you can adjust the balance of the primary oscillator's waveforms, sub-oscillator noise, and two auxiliary inputs that are normalled to additional VCO A waveforms or VCO B waveforms. The auxiliary inputs also allow you to patch other external signals into the mix.
The second Auxiliary input has a switch that allows you to route the source between the mixer sum or directly into the VCA (post-VCF). The latter is a way to pass an unfiltered fundamental signal to the final VCA stage and then blend it with filtered audio from the VCF. This draws inspiration from the architecture of the CS-80 where a sine wave is mixed with the filtered audio to make glassy tones with some added harmonics.

Multimode Filter - From Drips to Growls

The filter section (VCF) is a discrete cascaded 4-pole multimode filter with lowpass, bandpass, highpass, and phaser (multi-notch) modes. The filter can self-oscillate which produces a very clean sine wave that also tracks 1V/Oct. The VCF has three frequency modulation sources, two of which are normalled to the external pitch and envelope and have switches for polarity.

Add Atlx for dedicated outputs from each mode.

Envelope - A Classic ADSR

The envelope section is an analogue ADSR with three timing ranges: slow, medium, and fast. It can be gated externally or via a manual gate button located in the centre of the panel. The ADSR is routed through a VCA which can be used for level or velocity control.

Modulation - Random, Feedback, and Built-in Routing

Two eight-position rotary switches allow you to select from eight different modulation sources and route them to outputs MOD X and MOD Y. Each switch also has a polarity control and an option to level shift between unipolar and bipolar operation. MOD X is normalled to VCO A frequency modulation and MOD Y is normalled to VCF frequency modulation. The dedicated outputs allow for further creative modulation patching.

Four of the Input jacks have normal switches to change your patch without the need for cables.

The analogue Sample and Hold (S&H) circuit is normalled to the white noise source and can be clocked by VCO B, an external clock source, or via the gate input for per-note synced randomization.

Atlx - Expander w/ Ring Mod (Optional) ***Sold separately ***

The Atlx expander provides 16 additional jacks to the Atlantix, including: dedicated waveform outputs for A and B oscillators, filter outputs, and a ring modulator. Atlx adds many new possibilities for self-patching, advanced routing, and connections to other modules.

Specs + Downloads

Width: 42HP
Depth: 25mm
Power: 140mA @ +12V
138mA @ -12V

Notes: The hands-on control of hardware meets the versatility of software. Bridging the gap between Eurorack and VCV Rack, the MetaModule includes over 160 built-in modules plus access to over 200 third-party options.

Supplier's Notes:
The MetaModule puts real knobs and jacks on virtual software modules. Step back from the computer and make music with hardware, while keeping the flexibility and expandability of software.

The MetaModule comes with over 160 built-in modules from 4ms Company, Befaco, HetrickCV, NonlinearCircuits, and Scanner Darkly, plus clones of popular classics such as the Mutable Instruments eurorack modules, fun physical modeling algorithms, and lots of handy utilities.

All of the included modules are also available on the computer using the free program VCV Rack. Whether you make patches on VCV Rack and transfer them to the MetaModule, or if you just create patches directly on the MetaModule, there are plenty of creative modules to inspire new ways to make music.

MetaModule Plugins

If the 160+ built-in module aren't enough, you can load more modules as plugins. Already there are over 200 modules in third-party plugins from Bogaudio, Valley, ChowDSP, NANO Modular, and the list is growing. 4ms have an SDK available to make it easy for VCV Rack plugin developers to convert their plugin to a MetaModule plugin. 4ms' licensing terms are non-restrictive: developers are welcome to distribute their plugin in any way they wish, commercially or not.

Mapping Knobs and Jacks

The MetaModule has 12 knobs that can be mapped to virtual knobs. Each knob can be mapped to up eight virtual knobs, and each mapping can have a different range and offset. You also can save a group of mappings as a Knob Set and switch between Knob Sets with the encoder. You also can map the 8 inputs and 8 outputs to virtual module jacks. Also, the MetaModule is a USB MIDI host, so you also can map MIDI CC, note, gate, and other parameters to knobs and jacks.

Expanders

There are lots of ways to customize your MetaModule. A Wifi expander allows you to wirelessly transfer patches from your computer. Add eight more knobs with the Knob expander, or buttons with the Button expander. A CV/Audio expander adds more high-resolution inputs and outputs, and the Gate In/Out expander adds not only gate jacks but also TRS MIDI and I2C.

Under the Hood

There are six CV/Audio inputs, two gate inputs, and six CV/Audio outputs. The CV/Audio jacks are all 24-bit, 48kHz DC-coupled, -10V to +10V. A USB-C jack accepts MIDI devices and thumb drives. Patches and plugins can be loaded via a USB drive or microSD Card, and internal flash memory lets you save patches you always want to come back to.

The processor is more advanced than anything 4ms has used in the past, and is among the most powerful processors found in Eurorack. Startup time and latency are blazingly fast.

Modules

160 built-in modules
Over 200 3rd-party module plugins available so far, and the ecosystem is growing
Create patches using VCV Rack or directly on MetaModule

Patches

Patches are loaded from microSD Card, USB drive, or via the Wifi expander
Patches can be optionally saved onto internal flash memory
Create patches using VCV Rack or directly on MetaModule
Patches can be given a name and description

Mappings

Map each physical knob to up to 8 virtual knobs
Set range and offset for each mapping, including inverted control
Knob mappings are grouped into Knob Sets, and changing Knob Sets can be done quickly without menu-diving
Map physical jacks to virtual jacks, seamlessly making splits/mults
Add or edit modules, cables, and mappings in real-time while the patch is playing
Create alias names for mappings like "Kick Drum Level"

Interface

Simple, intuitive graphical interface lets you zoom in on details, or zoom out to get a big picture
Patch View displays the patch as faceplates and cables, with knobs, buttons, and lights animating in real-time
Knob Set View simplifies the display, showing only the mapped knobs for the current Knob Set
Module View shows just one module and lists the names of each jack, knob, and control legibly
Mapping View lets you adjust details of a knob mapping
Adjust styles and visual preferences to your liking
Save, rename, duplicate, and delete patches
Firmware updater and plugin loader read from microSD Card or USB drive

Hardware

12 Knobs
8 CV/Audio outputs, 24-bit 48kHz, -10V to +10V, DC-coupled
6 CV/Audio inputs, 24-bit 48kHz, -10V to +10V, DC-coupled
2 Gate inputs
USB-C jack: MIDI Host or MSC (External drive) Host
microSD Card slot
Internal Flash RAM for additional patch storage
Dual-core 800MHz Cortex-A7 plus Cortex-M4 co-processor
512MB DDR3 533MHz RAM
Bare-metal operation for fast startup and low latency

26hp

Notes: The brilliant Perkons drum machine comes to Eurorack. A single hybrid drum voice with digital sound engine and analogue filter/overdrive, the Perkons Voice is flexible and supremely powerful.

Supplier's Notes:
Erica Synths Perkons Voice is a eurorack incarnation of the percussion voices from the PERKONS HD-01 Drum machine. Like on the drum machine, the module has hybrid architecture, featuring a digital sound engine followed by an analogue multimode filter and overdrive. Users can select among 13 sound generation algorithms and save up to 99 presets that can be recalled easily. Tune and Patch CV inputs are configurable for various CV settings and are tuned to 1V/oct. Module also features a 4-voice poly overlap mode and samples on the "Rompler" engine can be easily replaced.

Specifications:

Audio output: 10Vptp
CV levels configurable: -5V - +5V
Power consumption: +59mA, -30mA
Module width: 14HP
Module depth: 35mm

Notes: A spin-off from the brilliantly experimental Strega synth, the Bruxa module offers a different type of 'Time/Filter Experiment' designed to warp and twist sounds from other modules. Excellent creative stuff.

Supplier's Notes:
Check Make Noise's website for content and pictures!

The Bruxa music synthesiser module is an audio alchemical experiment. Spill your sound into time, and let it decay through the filters to hear the results.

Bruxa is a collaboration between Make Noise and Alessandro Cortini. Inspired by Cortini's music and sonic experimentations, Bruxa embodies the seen and unseen, the sign and magic, the alchemy of sound. It is a new evolution of Tony and Alessandro's original prototype circuits which eventually became the Strega's Time/Filter Experiment. It is a multi-tap delay line with over a dozen unique feedback paths and multiple filters within those feedback paths aligned to allow for accumulation of noise, saturation and signal degradation.

While Strega is a complete synthesiser in a tabletop form factor, Bruxa is a Eurorack module designed to be used as one part of a Eurorack modular synthesiser. You will discover a number of differences in layout, signals, and sound. Living inside the Eurorack modular system, Bruxa encourages you to patch your own sound and modulation sources, yielding results surprisingly distinct from Strega.

Echoverb signal processor which shares origins with Strega
Well tuned to work nicely in a Eurorack modular system
All analogue dry signal path blended with digital/ analogue hybrid signal processor
Analog CV inputs with wide range capable of audio rate modulation
Time control with massive, smoothly variable range
Linear FM input with attenuator allows for fluttering of Time
Absorb and Filter controls dramatically shape the echo tone and reflections
New unique CV outputs for use in self-patching or mutual patching with other modules
Pairs well with DPO, STO, MATHS, Prss Pnt, modDemix and more!

Specs:

Width: 18hp
Max Depth (incl. power cable): 48mm

Power:
140mA @ +12V
90mA @ -12V

Notes: Meet Stardust, a cosmic tape looper.

The foundation of Stardust is a stereo looper with all the essential controls to record and manipulate sound, while supporting click-less looping transitions, an ultra-low noise floor, and high-fidelity audio hardware. However, getting the perfect loop is only half of the equation, Stardust also focuses on the texture and vibe of your recordings. Dial in a classic tape machine style warmth with wow & flutter/tape hiss controls, or take Stardust to new horizons with DSP effects. And, much like the tape-machines it takes it's inspiration from, Stardust can splice and rearrange its loops at the twist of a knob.

With an impressive set of front panel controls, the ability to save, recall, or export recordings, load samples via an included USB flash drive, and a host of configurable settings via our web editor Narwhal, Stardust is a comprehensive looper device.

Power Consumption: +12V=201mA, -12V=13mA, +5V=0mA

Notes: A visit to the Hainbach Studio Complex two years ago, led to a collaboration that would result in what is perhaps Joranalogue's finest design yet. United by a common passion for vintage test gear, the Joranalogue team joined forces with artist and YouTube sensation Hainbach.

Collide 4 builds upon on the lock-in amplifier concept, and brings it into the Eurorack world. These atomic age physics research instruments are known for their raw power when used in musical applications. Soon, any synthesist can experience this for themselves, at a fraction of the size and weight of a vintage unit, and with full voltage control.

The result is a wholly new kind of synth voice and audio processor, unlike any other. It's a perfect union of Hainbach's extensive experience in exploring the deepest musical realms contained within vintage test equipment, and profound knowledge of audio design and production.

'Quadrature spectral computer' is how you could describe this new kind of musical generator and processor. The sound? Quite simply: it's smashing!

Specs

Modern, fully analogue re-imagining of the lock-in amplifier concept, expanded to new heights.
Pingable variable bandwidth filter with self-oscillation capability.
Pre- and post-filter gain stages, for a total of up to 130 dB of amplification!
Through-zero sine/cosine quadrature oscillator.
Hilbert transform network for use as a frequency shifter.
Dual ring modulators with output lowpass filters.
Extensive output section, including magnitude and phase analogue computing outputs.
Unique X/Y quadrature topology, ideal for stereo use.
Handsome (and useful) signal level/overload LED indicator.
CV control over everything, with temperature compensation and excellent volt/octave pitch tracking.
20 HP, 30 mm deep. Over 600 components, yet a fraction of the weight and size of a vintage Model 124A lock-in amplifier unit.

Notes: Designed for Make Noise's New Universal Synthesizer System but compatible with all Eurorack modules, the Jumbled is a 6-in/6-out VCA-based signal router, designed to manipulate and reimagine control voltage signals.

Supplier's Notes:
The Jumbler music synthesiser module is a six by six channel analogue signal combiner and distributor for the New Universal Synthesizer System or any Eurorack modular synthesiser. Jumble is one of the N.U.S.S. concepts where the routings of a patch could be re-configured, or jumbled, instantly via voltage control to produce variations on a theme.

Jumbler gives you powerful two-parameter access to the rearrangement of both origins and destinations for up to six modular signals. One to six inputs are routed to one to six outputs, in an order determined by the Rotate control, and combination determined by the Radiate control. Unlike a simple switch module, Jumbler's analogue VCA-based design is specially geared for smooth transitions and hybrid signals.

Jumbler is a great module for hybrid control voltage mashing, complex waveform mixing, on-the-fly effects re-routing, gate and clock re-combinations and more. Some folks have said it is like patching a stack of 6 RxMx circuits.

Width: 10hp
Max Depth (incl. power cable): 43 mm

Power:
178mA@ +12V
92mA @ -12V

Notes: A rock-solid all-rounder of a VCO, the Cycle 5 is a triangle-core oscillator with morphable wave shapes as well as conventional sine, triangle, saw and pulse outputs. Switchable octaves and 5th transposition make the module even more user friendly.

Supplier's Notes:
A small Eurorack oscillator that packs a punch: that's the best way to summarise Cycle 5.

At its heart lies a refined high-stability triangle core voltage controlled oscillator (VCO), with performance matching or exceeding that of much bigger and costly oscillator modules.

Instead of a coarse frequency knob, a 7-position octave switch is provided. This in combination with a perfect fifth transposition switch and factory pitch tuning, makes Cycle 5 an exceptionally straightforward and musical VCO to use: simply centre the fine tune knob, and the module will be instantly tuned to reference C.

Meanwhile, its dual precision volt per octave inputs add a great deal of versatility. For example, one could be used for pitch sequencing and the other as a generic exponential FM input, or both sequenced together for transposition effectsithe dual inputs serving as a built-in precision adder.

Sporting all the classic waveforms, ranging from sine wave, triangle, saw and square/saw, as well as a hard sync input and low frequency oscillator (LFO) mode, Cycle 5 makes for a real workhorse VCO. The novel trigonometric waveshaper results in a very clean sine wave, ideal for sub bass duty.

Cycle 5's highlight however, is its vari-wave feature. By adjusting the vari-wave knob, the waveform on the matching output will smoothly morph from sine, to triangle, saw, square and finally a very narrow pulse. The vari-wave parameter can be CV controlled, up to audio frequencies for some intense timbres.

Equally at home as a modest modulation companion to big VCOs, as being in the spotlight in miniature or polyphonic systems, Cycle 5 might just be the most multi-talented tiny analogue oscillator yet.

6 HP | +12: 75 mA, -12: 70 mA

Notes: Part of TipTop's exceptional series of Eurorack-format Buchla modules, the 264t provides four sample-and-hold circuits, plus a logic circuit designed to control polyphonic patches. Deceptively simple but surprisingly creative, like most Buchla modules.

Supplier's Notes:
Four independent sample-and-hold circuits, plus a specialized logic circuit for expediently implementing polyphonic patches.

Sample-and-hold's are essentially one-cell analog memories. They are useful for "remembering" the instantaneous value of a control voltage (a detected envelope, for example), for generating equally spaced steps from a constant slope input (as from a 281t envelope generator), and for converting any continuously changing voltage (a random voltage, for instance) into a series of discrete values.

The 264's sample-and-hold circuits have two operating modes: sample and track. In the sample mode, the value of the input is sampled and applied to the output whenever a pulse is received. The output remains at this value until the next pulse arrives. The track mode diers in that an input is applied to the output for the duration of the pulse. The output tracks the input until the end of the pulse and remains at a constant value until the next pulse.

To use the 264t as four independent channels set the separate/common switch to separate. A single CV can be set to all four channels by setting the operate/common to common and plug CV in the the back jack on the with right side.

The Model 264t includes a polyphonic adaptor, which performs the logic necessary to implement four-voice polyphony. Facilities are incorporated for fine tuning and f.m. modulating the oscillators; light emitters display the adaptor's operation.

Specifications:

Size: 18 HP - Depth: 45mm
Power: +12V 60mA / -12V 30mA

Notes: The MetaModule Wi-Fi Expander lets you connect to your MetaModule wirelessly using a web browser.

Quickly transfer patches you created on the computer and play them on your MetaModule without swapping disks or USB drives.

4 HP
Power consumption: +12V max 50mA. -12V: none. -5V: none.

Notes: Tiptop bring the iconic low-pass gate to their range of Buchla reissues. The 292t offers four channels which can be mixed or treated individually, with adjustable modes for low-pass filtering, VCA or the classic low-pass gate combo.

Supplier's Notes:
The 292t is a reissue of Don Buchla's low-pass gate from the 1970s, adapted for the Eurorack modular format. The module consists of four independent low-pass gates (LPGs) and retains the natural, percussive sounds of the original, all of which can be manipulated in real time using control voltages. The 292t allows you to mix up to four sounds from their individual outputs or through a summed output, functioning as a mixdown. Each channel can operate in one of three modes: a low-pass filter with a variable cutoff, a VCA with controllable gain, or a combination of both, producing Buchla's classic low-pass gate effect.

Notes: Excellent value here. Analogue filterbanks tend to be pricy affairs but Erica's Resonant FB gives you all that creative control of dynamic equalisation with the convenience of digital control.

Supplier's Notes:
The Graphic Resonant Filterbank (FB) is a ten-band analogue filterbank with digital control over each bands' boost or cut. Each band can be controlled individually via CV or manually, while complex control configurations turn the filterbank into an unconventional multimode filter and even an instrument in its own right when played with various resonance settings. The Expander module (works exclusively with the Graphic Resonant Filterbank and is available separately) provides hands-on adjustment of boost and cut for all bands.

Specifications:

Audio signal amplitude: 10Vptp
Bandpass filter frequencies: 29Hz,61Hz,115Hz,218Hz,411Hz,777Hz, 1,5kHz, 2,8kHz, 5,2kHz,11kHz +-10%
CV input amplitude (configurable): -10V - +10V
Number of presets: 128
Panel width: 20HP
Module depth: 30mm
Power consumption (with EXP): 138(145)mA@+12V,50mA@-12V

Notes: Versatile Sinevibes software power in Eurorack form, the Radiant offers six powerful algorithms: dub delay, pole phaser, chord wrapper, feedback shifter, distortion and re-trigger. Filter, morph between presets and add optional reverb to all algorithms.

Supplier's Notes:
The Radiant, developed in collaboration with Sinevibes, is a powerful and highly creative multi-effect processor designed to bring unique and dynamic sound-shaping capabilities to modular synthesis setups.

Multi-Effect Processor with Six Selectable Core Algorithms

Radiant offers a versatile collection of six distinct core algorithms, designed to be both familiar and experimental:

Dub Delay

Pole Phaser

Chord Wrapper

Feedback Shifter

Distortion

Re-Trigger

These algorithms contribute to a wide range of sonic possibilitiesifrom ambient soundscapes and subtle modulations to complex, evolving textures and otherworldly effects.

Morphing Between Presets

One of Radiant's standout features is its ability to morph between presets. This allows for seamless transitions between different effect states, creating evolving and dynamic sounds. The morphing feature makes it ideal for live performances, as users can shift smoothly between various sonic textures.

Three-Band Filter

Radiant includes an onboard three-band filter that lets users shape their sound by adjusting the low, mid, and high frequencies. This is particularly useful for fine-tuning the effects or isolating specific frequency ranges for more controlled sound sculpting.

Reverb and Sound Reverse

In addition to the core algorithms, Radiant provides a built-in reverb, adding space and depth to the sound. The sound reverse function allows for experimental sound manipulation by reversing the audio signal, creating eerie, backward effects that can be synced to the external clock.

Preset System and Save Function

Radiant features a straightforward preset system that allows users to save and recall different effect configurations across 3 available slots. These presets can be morphed in real-time, offering expanded creative possibilities.

User-Friendly Interface

Despite its complex capabilities, Radiant is designed with a simple and intuitive user interface. The module offers easy-to-use controls, allowing for quick adjustments and real-time tweaking of effects. This makes it accessible for both experienced modular users and those new to modular synthesis, providing a powerful yet approachable tool for creative sound design.

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

Supplier's Notes:
Time to get away with murder

From the plugin that redefined distortions forever

111 different distortions and shapers in one single 14hp module

Full stereo

Advanced performer modes

Back on Eurorack

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

Wiggle. Listen. Drool.

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

It's alive

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

Specifications:

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

Audio

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

Controls

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

Memory

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

USB Port

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

Notes: The Stereo I/O 1U is an all-in-one audio input/output module designed to bridge the gap between your Eurorack system and line-level devices. Whether you want to process external audio with your modules, monitor your patch with headphones, or connect your system to mixers or interfaces with line level - Stereo I/O 1U has got you covered.

Audio I/O allows you to effectively interface your Eurorack modular system to the balanced line-level world (+4 dBu). You can send and return to rack mount/desktop fx units, patch to external line-level instruments like synths and drum machines, interface to a DAW and much more.

The rear-mounted 3-pin CHAIN IN connector allows you to sum (in parallel) other audio sources to go from Eurorack level to the BAL LINE OUTPUTS. This could be from modules like the Mixup 3U, Xfade 1U, Stereo Mix 1U, and XY I/O 1U. You could also use this to connect with the 3-pin headers on the Palette and 7U cases audio i/o boards.

The rear-mounted 3-pin CHAIN OUT connector allows you to directly connect the level-shifted BAL LINE IN to the inputs of other compatible devices such as the Mixup 3U, Outs 3U, Stereo Mix 1U, XY IO 1U, and Headphones v2 1U. You could also connect the to the TRS jacks of the Palette and 7U cases audio i/o boards.

Dual Balanced ins and outs for the studio or the road. Interface your rack with the balanced line level world; send and return to pedals or desktop FX units; patch in and out of your DAW, external synths, drum machines and other line-level instruments.

A space-friendly, feature-rich, highly flexible solution for all your stereo line level input and output needs. Includes a dedicated headphone jack/volume and a clever cue bus for monitoring signals outside of the main output or to add a 2nd source to the main outputs.

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

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

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

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

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

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

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

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

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

Dimensions
8 HP
25 mm deep

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

Notes: The MetaModule Audio Expander (MetaAIO) adds an additional 6 CV/Audio inputs and 8 CV/Audio outputs to your MetaModule patches, via a ribbon cable connected to the main MetaModule. The MetaAIO provides the same high-quality as the MetaModule's Audio/CV jacks (24-bit, 48kHz default, up to 96kHz).

Notes: Serious versatility from AJH here. Based on the circuits from the Oberheim Matrix 12, the Matrix VCF offers a whopping 16 different fully analogue filter modes, each with two different resonance models. All bases covered.

Supplier's Notes:
Presenting the new AJHSynth Matrix VCF - this may well be the most versatile Eurorack VCF ever.

This amazing multimode filter and VCA offers sixteen different filter types, and two different resonance models on each, totalling an incredible thirty two assorted resonant filters to choose from. AJH Synth have also included manual and CV control of filter type selection, along with 16 LED's that give a clear visual indication of which filter type is currently selected.

The filter core circuitry is based on that of the rare and highly sought after Oberheim Matrix 12 synthesiser, and of course has an all analogue signal path. The Matrix 12 VCF originally offered fifteen filter types, however AJH Synth have expanded this to 16 with the addition of AP4, a full four pole all pass phaser mode.

AJH Synth have added a unique P-Vox resonance distortion and overdrive circuit that changes the character of the resonance completely, and can force all of the filter modes into self oscillation. This effectively doubles the filter variants and hugely broadens what is already a very impressive sound pallet.

Other features include an inbuilt VCA with Input and Output Level controls, a Peak level LED, CV control of resonance, and of course the legendary AJHSynth build quality.

The Matrix VCF in depth

After two years of development AJH Synth have finally released what they consider to be the most versatile Eurorack VCF & VCA ever. Like many other AJHSynth modules it uses the very best vintage analogue circuitry as the starting point for the design, and in this case, the filter was chosen from the rare and very desirable Oberheim Matrix 12 synthesiser. AJH Synth expanded this from the original fifteen filter compliment to sixteen distinct filter types by adding in a really useful four pole phaser!

So, behind the compact 14hp front panel lies sixteen distinct filter types, including all of the favourites: Low Pass filters with a choice of one, two, three or four poles, Band Pass filtering with two or four poles, High Pass filtering with one, two or three pole options, along with Notch filtering and four complex, combination filter types. Finally, a four stage phaser with two types of emphasis that can be forced into tuneful self-oscillation!

However, this is far from the end of the story. AJH Synth decided to use their design expertise to add in some crazy resonance distortion circuitry, that could be switched on from the front panel. This was inspired by the filter from the Soviet Polivoks synthesiser, but again the implementation used here is considerably changed, improved, and best of all this can be applied to all filter types! This completely changes the filter character when engaged, and it forces all of the filters into self-oscillation at higher resonance settings. Better still, the oscillation waveforms are more harmonically rich than the usual sine waves - everything from gloriously fat to screaming and angry! Best of all, this takes the number of different filters up to a massive thirty two variations!

AJH Synth put a lot of thought into the ergonomics and how to select the individual filter type. Filter type can be changed either with the front panel Mode knob, or by using a control voltage patched to the MODE CV input. The selected filter mode is displayed by the LED next to the filter in use. This is also very helpful when using a step sequencer to change filter mode as it gives a real time display of the filter chosen as you take the step CV voltage up or down, while setting up each individual step.

Lastly, AJH Synth have also included a VCA hard-wired to the output - simply patch an envelope or an LFO to the VCA input, connect a VCO to the audio input and you have a synth voice (with a choice from 32 different filters!) using only three modules!

Thirty two Eurorack VCF's and a VCA would most certainly take up a lot of rack space - AJH Synth have got all of this into 14hp and managed to have a really finger-friendly user interface, without it feeling cramped.


Sixteen distinct filter modes to choose from

Here's a list of the different filter modes that are available:
1 - Four Pole Band Pass
2 - Three Pole High Pass combined with One Pole Low Pass
3 - Three Pole All Pass combined with One Pole Low Pass
4 - Two Pole Notch combined with One Pole Low Pass
5 - Two Pole Low Pass
6 - Four Pole All Pass (Phaser)
7 - Four Pole Low Pass
8 - Two Pole Band Pass
9 - Two Pole High Pass combined with One Pole Low Pass
10 - Three Pole High Pass
11 - Three Pole All Pass
12 - Two Pole Notch
13 - One Pole Low Pass
14 - Two Pole High Pass
15 - Three Pole Low Pass
16 - One Pole High Pass

All of the above filter types can be further altered by switching in P-Vox mode, this doubles the list up to thirty two different filter variants!

P-VOX MODE

Transforming the resonant character of every filter type

This magical switch completely transforms the resonance of the filter core by overdriving it in a similar fashion to the filter from the Soviet Polivoks synthesiser, which was renowned for it's powerful, aggressive character.
In common with the Oberheim Matrix 12 VCF, some of the sixteen filter types will not normally go into self-oscillation, however when you switch on P-Vox mode all sixteen filter types can be forced into self-oscillation at higher resonance settings. But that isn't the only change, the self-oscillation waveform is not the usual sine waveform, it is a rather more interesting and harmonically rich waveform that varies according to the filter type chosen - generally Low Pass modes produce the nearest to regular sine waves, whereas other filter types can produce very much more complex waveforms as can be seen in the diagrams below. It does not require any audio input for this, it can be a stand alone oscillator. Most of the filter types will track 1V/Oct reasonably well over a three to five octave range, so it can be used as a VCO with a few interesting waveshapes!

Of course, P-Vox mode isn't just useful for self-oscillation, it adds lots of character to any audio signal as P-Vox resonance is switched in.

Module Width: 14hp
Module Depth: 29mm (Including power lead)
Current Usage: 56mA Positive, 36mA Negative

Notes: Dive into the world of subtle tone modulation with the revolutionary 2HP Eurorack compatible Slew Limiter. This compact but powerful module is the secret weapon in your synth setup to create smooth transitions between your sounds, giving you the opportunity to expand your musical expression in a unique way.

With its slim design of only 2HP, the Slew Limiter fits seamlessly into any Eurorack system without taking up valuable space.

Create smooth transitions between notes or modulate CV signals to create organic, vibrant effects such as portamento/glide, or complex modulated patches.

Adjustable rise and fall times give you complete control over the speed of signal changes, from instant jumps to smooth, slow transitions. Versatile uses: Whether for smoothing control voltages, creating legato effects for monophonic melodies or for creative sound design - this slew limiter is a true all-rounder.

Thanks to its clean layout and simple controls, you can make the settings you want instantly, making it ideal for live performances and studio sessions.

CV control via rise/fall

A unique feature is the ability to control rise and fall times via external CV signals, allowing you to dynamically react to your performance or patch.

Shape Control

The Shape slider allows you to fine-tune transitions over a wide area. Whether it's a slow exponential increase, linear transitions, or a subtle adjustment through the logarithmic characteristic, it's all at the service of the music

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

Supplier's Notes:
The Best Eurorack Performance FX Module

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

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

This is the perfect performance effect module for you.

Designed for Performance by Performers

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

The Solution for Transitions in Eurorack

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

Effect Scenes Breakdown

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

Space

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

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

Riser

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

DJ filter

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

Loop

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

Delay

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

Gater-roller

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

Technical specifications

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

Power consumption:

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

Notes: Vintage analogue delay meets modular versatility. Lush bucket-brigade sound with quad taps, stereo outputs, CV control of most parameters and a clock sync input to create tempo-aligned effects. Lovely.

Supplier's Notes:
The Morphor Echo merges the lush, classic warmth of analogue sound with modern, flexible control options, delivering a versatile stereo delay module for Eurorack. Taking up 20 HP in your rack, this syncable delay with 100% analogue audio path, features four 4096-stage Bucket Brigade Devices (BBDs) with individual tap outputs and a mix output, creating complex, rich, and textured delay effects with a delay range from 10 ms to 2040 ms. The Echo offers three distinct panning modes - Ping-Pong, Traverse, and Chaos - each with adjustable spread for stereo imaging.

The module supports inverted feedback and offers an external feedback input for additional routing options. Delay time is controlled through a tap tempo button, CV input, or clock sync input, with both quantized and continuous adjustments available. Additional features include CV control for dry/wet mix, feedback, and spread, a phase inversion toggle, tempo output, and a clock sync input that accepts both 1 and 24 PPQN. Whether you need rhythmic precision or organic, evolving delays, the Morphor Echo is designed to meet the demands of creative sound design.

Specifications

Panel width: 20 HP
Panel height: 3 U
Module depth: 33 mm
Dimensions: 128.5 x 101.6 x 33 mm
Mass: 245 g
Power Socket: 16-pin
Current draw:
12 V: 155 or 205 mA
-12 V: 120 or 120 mA
+5 V: 50 or 0 mA

Notes: The mmMidi is a simple & compact MIDI interface for your Eurorack synthesiser. It translates two independent channels of MIDI note, velocity and gate information to corresponding control voltage signals via either a classic MIDI DIN type connection or as a driverless USB MIDI device.

The mmMidi also converts MIDI Clock to analogue x24 fixed clock and run outputs (i.e DIN Sync). The optional mmT expander provides a third MIDI channel of 8 key mapped gate outputs.

Requiring minimal configuration and a pain free set up, the mmMidi makes it easy to sync Pam's clock to your DAW, control multiple synth voices, and trigger drum or sample modules with the optional mmT expander. The new USB-C connection makes it easy to drive your modular not just from your computer but also via your tablet, phone or any USB MIDI Host.

(Note: New 2025 mkII version adds USB-C functionality.)

Technical Specifications

Power: +12V 50mA / -12V 0mA
Size: 4HP
Depth: 38mm
MIDI response latency: 200-400 uSec
Resolution: Factory calibrated 12 bit 0-8V CV outputs. +5V gates

Notes: For anyone who has ever struggled with finding their way around a Eurorack synthesiser on a dark stage or a dimly lit studio, Dim 2 presents an illuminating experience. In just 4 HP, it provides a complete solution to upgrade your modular system with a pair of dimmable console lights.

The high-efficiency PWM dimmers run at high frequency, ensuring flicker-free and noise-free operation. Additionally, extensive line filtering keeps your Eurorack power supply happy and clean.

Not limited to just manual control, both dimmers also feature control voltage (CV) inputs, turning the connected lamps from simple light sources to voltage controlled audio-visual spectacles.

While the use of the included BNC LED lamps is recommended in order to keep power consumption low, halogen lamps may be used as well. Provided your power supply is beefy enough, up to 6 W of power may be drawn from each output. This even makes it possible to drive 12 V LED strips, truly making your patches shine bright.

4 HP | +12: 150 mA, -12: 5 mA | JORD2

Notes: The Morphor Sequencer - Quad Gate/CV is a versatile tool for both live Eurorack performances and songwriting. This module can be configured as a 2-, 3-, or 4-track sequencer, depending on the selected output configuration. With flexible track configurations and intuitive real-time step editing, this sequencer offers a handy approach to sequencing in modular systems being only 4 HP wide.

Whether you're controlling gates, CVs, or a combination of both, this module adapts to your creative needs with ease. Key features include up to 4 independent tracks, each capable of holding up to 16 pages containing up to 16 steps. Users can configure tracks as gate, CV, or combined gate/CV tracks, and even set up triad chords. The module supports customizable step lengths, glide times, individual track playback orders and reset behaviors making it ideal for creative sequences.

This module can operate as a standalone unit using its internal clock or be easily synchronized with an external clock source for integrated use within a larger system. The clock and reset jacks can function as both inputs or outputs, allowing flexible configuration to match your setup.

For expanded setups, multiple Morphor Sequencer modules can be daisy-chained via the bus connection on the back, ensuring that clock and reset signals are shared seamlessly across all connected modules. This makes it easy to sync multiple sequencers for complex, multi-track performances or compositions.

Specifications

Panel width: 22 HP
Panel height: 1 U
Module depth: 33 mm
Dimensions: 39.65 x 111.4 x 33 mm
Mass: 56 g
Power Socket: 16-pin

Current draw:
12 V: 95 mA
-12 V: 11 mA
+5 V: 123 mA

Notes: Introducing the HATS909, part of TipTop's new series of drum modules that brings those classic percussion sounds into the modular synth world, instantly turning your system into a self-contained music machine.

The HATS909 is the TR-909's original Closed and Open Hi-Hats circuits adapted for use in Eurorack modular synthesizer format and was designed to sound like a machine coming fresh off the assembly line back in the 80's. Improving on the original, TipTop have added some great new features that expand the sound palette that can be produced with this small, powerful module.

The original TR-909 circuit is made with a combination of low-fi sound samples that pass through a series of analogue elements to provide envelope and filtering to the source sound. The HATS909 module allows for manual and voltage control of the sample's tuning, which provides anything from crushed hats and short ticks to the original sound and anything between. Additional controls allow you to send a voltage control signal to either the tune input or the internal VCA for modulation with external control signals and, using a modulation switch, add AM or FM synthesis in the audio range from external oscillators, other drum sounds, or just about any other sound source. Lastly, HATS909 also offers a switch that allows you to tap directly into the raw output of the module for a unique sound source that can used throughout your system.

Just like the other drums in this series, the HATS909 high-powered output gain stage allows you to further harmonize the sound through distortion and clipping. On each gate input, Tiptop have designed a dual pulse-shaper circuit so you can trigger your HATS909 with trigger/gate signals from step sequencers, clock dividers, or any other pulse/clock sources.

TR-909 is a Trademark of Roland Corp Japan

Size: 8HP
Depth: 36mm
Power: +12V 33ma / -12V 22ma

Notes: Full synth voice with MIDI connection!

The voice is inspired by the classic West Coast synthesis approach.

Five oscillators from the popular Verbos Foundation oscillator are used. The oscillator has controls such as timbre and richness to shape the sound. With Timbre, the waveform can be faded from sine to sawtooth. The voice also has a spread control that can be controlled via CV. Another nice feature is the Auto-Tune function.

All parameters can be controlled via MIDI CC, which is great for sequencing different parameters.

There are two AD envelopes built in, which can also be cycled and generate frequencies up to 500hz.

The module can be used as a standalone unit with the Verbos Blackbox or as a standard Eurorack module.

Power consumption: +30mA at +12V and -10mA at -12V
Depth: 22mm
42 HP

Notes: The perfect pairing of a virtual analogue kick drum and side chain compressor. Designed as a single, easy-to-control module, Kickain revolutionizes your kick drum workflow by managing low-frequency artifacts and transients. The result? A cleaner, tighter mastering-standard mix featuring a truly powerful kick drum.

Spectral Compression

Kickain offers two spectral compressor modes that intelligently EQ the mix to fit around the triggered drum sound, adjusting continuously thousands of times a second. This optimizes the kick's loudness without intrusive 'pumping,' ensuring tracks sound tighter and richer in the low end.

Reverb

A 24-bit stereo drum room simulator, linked to the decay envelope, provides ambient reflections or explosive bass drops.

Notes: This is Befaco's new collaboration with Robin Vincent aka Molten Music Technology. A Stereo bypass module to gate control the send of your signals to your favorite effect!

Molten bypass features a hard/soft bypass control, to hard cut the return of your effect or allow the long tails of your reverb to stay after you bypass the effect. Also a gate/latch control to use either triggers or gates for control and a gain control for the returned signal.

Specs

Current needs: +12V: 33mA, -12: 26mA, 5v:0
Width: 4 HP
Depth: 42mm (including power connector)
Designed, kits prepared and modules assembled in Barcelona.

Notes: Super Sawtor is the module designed to produce unison like waveforms from the incoming signal. The best results are achieved using sawtooth, triangle or sine waveforms as an input signal. Unison spread has been tuned to give almost the same type of harmonics smearing as the famous Roland JP80X0 Supersaw oscillator. Thus feeding the Super Sawtor with a sawtooth waveform will result in a typical Supersaw output.

Though having some common features with sawtooth animators, Super Sawtor gives that vivid tension of the Supersaw waveform, which is different to imitation of the multiple oscillators sound most sawtooth animators capable of doing. The main difference is in the approach used: sawtooth animators tend to recreate continuously moving phase shift of the slightly detuned / drifting oscillators; super Sawtor in its turn creates additional pitched shifted harmonics to the input signal, which gives a different sonic character compared to sawtooth animators.

It is also should be mentioned that Super Sawtor is a completely analogue circuit free of aliasing.

No external modulation sources are required for proper operation of the module. However the user can add changes and modulation to the manually set "Spread" amount by using "Cv" input and adjusting "Cv" knob to the desired degree.

Specifications:
Input level: -5v... + 5v (can also accept inputs ranging from [-2.5v... +2.5v] To [-15v...+15v] Using onboard trimmers)
Output level: averages around -5v ... + 5v
Output impedance: 1 kohm
Module depth: 3 cm or 1,5"
Power consumption: +85 /-85 ma at +/-15 VDC through dotcom standard 6 pin mta-100 connector for dotcom format
+45 /-45 ma at +/-15 VDC through MOTM standard 4 pin mta-156 connector
+45 /-45 ma at +/-12 VDC through euro standard 10 pin connector
4HP

Notes: Bartender is the centerpiece of the mixer system. Four stereo channels, with two stereo aux send and two stereo returns. Each channel can be used in a mono mode where both channels are mixed. If you want to do eight channels of mono, you can put the channels in stereo mode (I know it feels backwards) and then use the pan control to control the crossfade between each channel, and then take the mono output. There is a built in cueing system so you can monitor channels in your headphones and control the blend with the main output. You can expand a Bartender with both a Barback and/or another Bartender. When connecting two Bartenders, the main level control on the 'expander' Bartender acts as a group control.

Notes: Module A-124-2 is the slim version of the Wasp filter module A-124.

The main difference compared to the A-124 are the small controls for Mix and Input Level because for lack of space. And the lowpass or highpass signal is available at a separate socket. A jumper is used to determine if lowpass or highpass appears at the socket.

All other features are the same as the A-124.

Dimensions:
4 HP
20 mm deep

Notes: MMM VCF (M**g Multi Mode Voltage Controlled Filter) is a dual VCF having common controls for both parts. Thus, it can be used as a stereo filter, or patched with different combinations of the available inputs/outputs. And all this functionality is packed in the compact 8 hp wide module.

MMM VCF has the famous transistor ladder core introduced by Bob Moog, but also features the added Band Pass and High Pass modes, not available in the original design. Those extra modes greatly widen the possible spectral modification of the input sound.

The module was carefully designed to have vanishingly small noise and bleed.

Specifications

FREQ: 20 Hz - 22 kHz - manual frequency range
RES: 35 Hz - 22 kHz - self oscillation range
FM: 0 - 7,5 V will modulate the whole hearing range at max settings
LP: 24 db/oct Low Pass output
BP: 12 db/oct Band Pass output
HP: 12 db/oct High Pass output
Output impedance: 1 kOhm
Module depth: 4 cm
Width: 8 HP
Power consumption: +42 mA / -40 mA at +/-12 Vdc

Notes: This Expander module provides hands-on adjustment over all bands' boost and cut without the need to select bands via pushbuttons on the Graphic Resonant Filterbank module. This makes sound design with the Graphic Resonant Filterbank much easier.

NB! The Expander works exclusively with the Graphic Resonant Filterbank!

Notes: Peak performance auto-tuning thru-zero VCO

Revolutionary, literally instant auto-tuning to the nearest C, G or A notes
Pitch knob lock - go on hard performance without the risk of accidentally break the tune
MIDI IN and MIDI THRU with selectable A or B TRS-MIDI standard
Thru-zero linear FM with CV-controlled FM index with internal modulator creates compact 2-operator FM voice
Sine/fold output features famous westcoast Furthrrrr Generator folder
Odd/even output has a pre-patched -1/-2/-3 octaves sub-oscillator and a noise for essential east coast monosynth voice

Power consumption:
65 mA +12V
40 mA -12V
0 mA 5V

Dimensions:
6 HP
30 mm deep

Notes: The WT-QUAD-LFO module consists of four individual, digital, wavetable based low frequency oscillators (LFO) with an easy and intuitive featuring a 1.8" OLED color display. The module can be updated easily by inserting a flash drive with the firmware files in the USB port on the front panel.

The oscillators and their respective controls, inputs and outputs are organized in four channels. The frequency of each oscillator can be linearly or exponentially (1V/Oct.) controlled through the voltage applied to the corresponding CV input.

Each LFO channel can output one of the predefined waveforms (including sawtooth, ramp, square, sine, triangle), morph between two different waveforms or generate a random waveform. It can be externally reset through the sync input.

Each trigger output can be set to output a specific phase of the corresponding waveform.

The module offers cross frequency modulation (FM) and internal sync between LFO channels. It features also phase distortion and phase spreading of the outputs, including a classical quadrature mode (90- phase spread). Frequency relationships between the four LFOs can also be set.

Hardware

4x CV inputs -5 V to +5 V
4x Sync inputs 0 V to 5 V, active low or active high
4x Clock inputs 0 V to 5 V, active low or active high
4x LFO outputs -5 V to +5 V
4x Trigger outputs 0 V to 10 V, active low or active high
1.8" OLED Display with 160 x 128 pixel
4x push encoder
USB port for firmware update
Size: 14HP
WT-QUAD LFO - Features list:

Wavetable based, 4 channel LFO
Default waveforms: SAW, SQUARE, SINE TRIANGLE
Random waveform generation
Custom wavetables can be loaded using USB flash drive
LFO output: offset and attenuation programmable
LFO Frequency range from 0,0032 Hz to 4 kHz
Frequency free (Hz) or quantized (note)
Presets can be selected through CV input
LFO channel can be internally synced and cross modulated
Single shot modus

Notes: Emulate the nostalgic sounds of old audio equipment with the 2hp Lo-Fi. Finding inspiration in quirks and happy accidents found in audio devices of the past, Lo-Fi can take any sound and give it the magic of tasteful degradation.

Lo-Fi carries two degradation modes: Analog and Digital. In the analogue mode, control the amount of wow and flutter for anything from subtle to dynamic pitch fluctuations, tickle the sonic spectrum with ASMR hiss and crackles, and warm up the coldest sounds with tape compression and saturation. In digital mode, dial in BitCrush amount, sample-rate reduction, and the wildest distortion in 2hp to cover your sound in digital crunch, or emulate blown out speakers.

With CV control over each function, and an ultra-crisp audio pass through, take your patch from hi-fi to lo-fi at a moment's notice. Get reel with the 2hp Lo-Fi!

Tech Specs: Width: 2HP, Depth: 45mm, Power Consumption: +12V=82mA -12V=4ma +5V=0mA

Notes: Typically creative stuff from Frap Tools, the Bagai offers analogue sample and hold, but crushing and down sampling, but its combination of six interlinked, CV-controlled sections is capable of much more.

Supplier's Notes:
bagai / ba'ga?i / s.m. [modenese dialect, from a late Latin bagagium 'baggage', formed after the late Latin baga, deriving presumably from the Anglo-Saxon bag (see ancient French bague, Provencal bagua, 'bundle'), whose root may be traced down to the Indo-European *pac, 'to tie,' from which also 'package,' 'pact'] - 'thing,' 'thingamabob.' A term used when the actual name of a thing or a person does not come to mind.

A module that is at the same time a clock burst, S&H, audio bitcrush, or fluctuating random voltage generator is indeed a bit elusive to describe in a single word. Even if one tries, some aspects will always be missing.

Why bother, then? Let's just call it "that thingamabob," or better, "that bagai."


Bagai is an analogue sample and hold, bitcrusher, and downsampler for Eurorack systems, also capable of generating clock bursts, fluctuating random voltages, and coloured noise.

It consists of six highly intertwined sections:

A clock with straight and random outputs (yellow)

An analogue noise generator with variable colour (grey)

A bipolar fluctuating random voltage generator (white) with variable rate

A sample and hold the circuit (orange) with selectable time scale, slow for modulation, or fast for audio sampling up to 48 kHz.

An 8-bit quantized version of the orange S&H circuit with variable bit depth (red)

A clock burst section (green).

By default, it outputs bipolar random voltages and triggers. The voltages are fluctuating, stepped, and quantized with selectable bit depth. The clocks are straight, randomized, or "burst."

Once you start patching, you can use it as a S&H, audio downsampler, and bitcrusher, with a sample rate of 48 kHz.

All its major parameters are voltage controllable.

It belongs to the same family as Sapel, with the following differences.

Sample and Hold with an 8-Bit Quantiser

Bagai features two stepped S&H circuits with open input (semi-normalled by default to an analogue noise source).

The quantized one has a LSB selector that defines its bit depth, from 1 to 8 bits.
Random Triggers & Clock Bursts

Besides the well-known "main," "more than," and "less than" modes, Bagai also features a clock burst circuit that creates super fast and unpredictable streams of gates that you can combine with the main clock or to any other trigger you want.

Voltage-Controllable Bitcrusher

When used with audio signals, the 8-bit quantized S&H becomes a warm bitcrusher effect with voltage-controllable bit depth!

Dynamic Downsampler

Bagai's internal clock can switch to an audio rate mode going up to 34 kHz. Patching audio signals into the S&H input will transform Bagai into an analog audio downsampler.

Open Signal Path

Lots of semi-normalled connections allow you to use Bagai in infinite ways: cross-patching has never been this fun.

Start and Stop Controls

You can control both the main clock and the clock bursts via external gates. The main clock also features a button to manually hold it.

Analogue Noise

At Bagai's core is a thermal noise generator that feeds the S&H circuit, creating random voltage streams. The noise output features a knob that changes its colour, emphasizing the high or low frequencies.

Fluctuating random voltages and Global Rate of Change

The feature that was so loved on Sapel, now bipolar and with extended range!

Clock generators: 1
Clock range: ~0.05-75 Hz / ~0.025-34 kHz
Fluctuating random voltage circuits: 1
Fluctuating random voltage type: Bipolar (extended range)
Quantized random voltage circuits: 1 Bipolar
Quantization approach: Fixed source amplitude, variable bit depth (1-8 bit)
Unquantized S&H circuits: 1
Unquantized S&H type: Bipolar
S&H source: Built in Thermal noise or any external signal
Random clocks: 1 section with Simultaneous More than, less than, and burst
Probability distribution: On the fluctuating random voltage
Burst Section: 1
Noise Sources: With tone control
Noise Generators: 1 built in thermal noise

Specifications:

Size: 12 HP
Depth: 38 mm

Current draw: 190 mA @ +12 V / 90 mA @ -12 V
Recommended warmup time: 30 min
CV input impedance: >90 KO
Clock input impedance: >100 KO (on positive pulses), ~30 KO (clamping negative pulses)
Built-in clock frequency (1): ~TBA- >70 Hz
Clock output (period): ~2 ms
Clock output (amplitude): ~10 V
Sampling glitch: filtered
Noise output level: 10 dBU RMS
Noise output tolerance: +/-3 dB

Notes: ST.FONT is a stereo liquid filter that takes the beloved core of our FONT module and expands it into a powerful stereo filtering tool.

With a dual filter core (one for each channel), it offers a massive liquid sound with smooth resonance, adding warmth and depth to any audio signal.

Independent filter cores for left and right channels with Low Pass, Band Pass, and High Pass modes, plus seamless crossfading between filter outputs.

Built-in VCA with soft clipping for rich sound shaping, plus CV control.

Switch between Mild for traditional resonance or Wild for extreme distortion and aggressive filtering.

Dedicated FREQ Span, RES Span, and MODE Span knobs allow you to create a wide, immersive stereo field by adjusting the spread of parameters across both channels.

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

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

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

Notes: Great value dual function generator here. Create envelopes, slew signals, shape modulation and generate LFOs. All with built-in VCAs for each channel. A proper multi-function utility module.

Supplier's Notes:
Delta-V is a fully analogue dual-channel function generator, featuring a dedicated VCA and LFO cycle switch for each channel. It packs a great deal of functionality in only 10HP, and will surely find use in almost every patch.

Generate envelopes, slew gates and signals, or run LFOs with precise control over attack and decay times. Using the SHAPE knob, Delta-v can create a wide range of envelopes, from very snappy exponential curves for percussion to logarithmic thumps for bass lines.

If VCA's input is unpatched, the module outputs a regular voltage envelope. When an audio signal is patched into the VCA input, the output signal becomes the audio signal amplified by the envelope.

Sending other envelopes or an LFO to VCA input lets you modulate those modulators, quickly creating complex control voltages that go beyond the usual attack-decay envelope.

Combine this with the SUM output, which sums the two channels, and the attenuverters, which can quickly attenuate or invert the signal, and you have a whole array of signal processing capabilities.

The TRIGGER input fires a Attack-Decay envelope, while the SLEW input will affect the rate of change of the signal.

The trigger for channel 1 and 2 can be linked together, so you can fire two envelopes with one patch cable.

Each channel has an End of Cycle output, (EOC) this outputs a short trigger at the end of each envelope cycle.

The output voltage ranges from -10 to +10 volts, set with handy output attenuverters.

The CYCLE switch starts looping the envelope, creating LFO's that go up to audio rate, and that can also be used as an interesting sound source.

There are many ways to utilise Delta-V.

Challenge yourself to explore new, unconventional territories!

Width: 10HP
Depth: 27MM
Power +12V, 70 MA
Power -12V, 70 MA
Power 5V, 0 MA

Notes: Inspired by 'fill' effects found on old-school drum machines, the DeFeel module is unique approach to manipulating sequences, designed to 'degenerate the monotony' of rhythmic patterns, creating variations in real time.

Supplier's Notes:
With DeFeel, Enjoy Electronics have redesigned and applied the Fill concept to make it usable in the world of modular synthesisers.

This device is designed to break the chain between the sequencer and everything that comes after it, allowing you to intervene at the right time and create unique variations.

A modular device that's not going to generate anything, but is created to degenerate the monotony.

DeFeel isn't about complex button presses or cryptic menus. Here, creativity reigns supreme. Design your rhythmic patterns with an intuitive touch. Simple lines and vectors come to life on the multitouch display, allowing you to experiment and craft unique sequences with remarkable ease.

DeFeel, offers musicians and performers a powerful and versatile tool to enrich their performances and compositions. With its intuitive programming, sleek design, and innovative translucent panel, DeFeel stands out as a unique device poised to revolutionize the way modular synthesizers are used and perceived.

Notes: A typically well thought-out approach to matrix mixing from ADDAC, the 814 is a stereo, expandable 6x6 design with separate control and in/out modules. Suitable for line/synth level audio or CV.

Supplier's Notes:
Introducing ADDAC's take on matrix mixers, a 6x6 stereo matrix easily expandable to larger configurations.

Matrix mixers may need some time to get used to, but they are very much self-explanatory, each knob controls the volume of a matrix point routing the respective input to the desired output. The flexibility of a matrix mixer is far superior to a standard mixer, the possibility to route any input to any single or multiple outputs allow for very complex chains, combining parallel and series processing while easily reconfigurable without any extra patching.

All Inputs Left channels are normalled to the Right Inputs.

Blank areas on the left and bottom edges of the panel allow for the user to write all the inputs and outputs sources that each channel is connected to.

Different coloured knobs for faster visual recalling: Black for A,C,E Outputs Dark Red for B,D,F Outputs Cream knobs for potential feedback diagonal: 1A, 2B, 3C, 4D, 5E, 6F.

DC coupled circuitry, can be used to mix both audio or cv signals.

Jumpers on the back of both modules allow the user to set each channel independently to Line or Synth Level, making it easier to integrate with external sources, sound processors or guitar pedals.

Internal connections

The control and input modules are connected via a large 34 wire ribbon cable, only the control module needs to be connected to the Busboard.
Extra IDC sockets are used for connecting larger configurations like 12x12 or 18x18.
Other configurations are also possible: 6x12, 12x6, 12x12, etc...
Up to 12x12 all ribbon cables are provided, for larger matrixes custom ones will be necessary, contact us directly if planning to go BIG.

Potentiometers

Although ADDAC System are using Thonk's Tall Trimmer Topper for Knobs all potentiometers used have metal shaft and are not plastic trimmer potentiometers.

Tech Specs: 25HP + 8HP (33HP total, 4.5cm deep, 140mA +12V, 140mA -12V

Notes: Mixer & CV/clock-controlled Switcher

Focused versatility seems an oxymoron when describing the features that led to the design of the Mixwitch.

With only a pinch of mixing, inverting and controlled switching, Klavis Electronics brew up a plethora of combinations and uses.

This is voltage processing magic!

The Mixwitch design comes from a frustration with attenuvertors (bipolar attenuators-inverters) whose off (neutral) position is difficult to retrieve, especially in live situations.

Klavis went for a digitally-controlled analogue path where polarity inversion would be at the touch of a button. So, the usefulness of attenuating/inverting can be realized by turning the pot down, swiftly pressing the inversion button and reopening the level. The zero level is where you expect it, with the pot full down.

Once a clean polarity control was established, a mute function was added, offering the benefit of pre-adjusted pot settings ready to be activated at will.

The next step was to bring something extra, useful and creative. There are plenty of analogue switches controlled by a clock; but arbitrarily selecting an input with a voltage is less known. Having both control capabilities combined with Klavis' specific mixer features creates a unique fusion: welcome to the Mixwitch!

Dimensions
8 HP
25 mm deep

Current Draw
39 mA +12V
24 mA -12V
0 mA 5V

Notes: Aphelion packs a stereo distortion and low/high pass filter into a compact 8HP design, making it ideal for live performance setups. It features three unique stereo distortions in parallel with a continuous crossfade between them, controlled with the character knob or a cv input.

The first circuit is an overdrive that adds a lot of warmth and fattens up the sound without becoming too harsh.
The second one is a saturating wavefolder, that can add interesting extra harmonics depending on the waveform of the material.
The last distortion is inspired by the classic RAT guitar pedal. It adds an aggressive feel and grit to the sound.

A mix knob lets you blend the dry input signal with the distorted signal, before it hits the filter. Setting it fully dry bypasses the distortion effect.

If you need even more dirt, there's a handy +12dB gain switch, to really drive the inputs into overdrive. If you want to keep your low-end undistorted, you can switch on the Low-cut filter.

The non-resonant. This filter is also overdriven, adding some warm distortion and extra harmonics to the stereo filter combines a low pass and high pass stage, and uses an IC based on the classic SSM2040original signal, and limiting the output level. The cutoff knob has no effect in the centre, turning CCW creates a low pass and CW a high pass effect. It's possible to control the low and high pass filter cores independently using CV.

The filter bypass switch can be used for instant reintroduction of all frequencies into the mix upon release-a great tool for live performers.

Lastly the level knob can be used to attenuate the output.

Power: +12v - 100mA, -12v 80mA

Notes: The CP909 is the TR-909's analogue clap sound generator in Eurorack format. This is yet another low-cost analogue drum generator from a legendary drum machine in your modular synthesizer, expanding your Tiptop Audio modular drum machine even further.

The CP909 is an exact reproduction of the original analogue circuit and with the addition of just one extra knob, "trashing" the frequency of the internal noise generator, Tiptop have added greatly to the spectrum of sounds that can be generated. All that without compromising the signature sound of the TR-909.

The CP909 clap effect is made by a special triple-saw envelope generator that controls the gain of a VCA. The sound source feeding into the VCA is made by a quasi-random logic- based noise generator. Some might call it "digital noise", though this term might be misleading in today's world of microcontrollers and sound samples. What really makes the noise generator is a ring of logic gates, so primitive, so 80s, and so much the sound of the 909 Clap!

The CP909 includes a high-powered output gain stage capable of producing hot signals. On the inputs, Tiptop have designed a pulse-shaper circuit so you can trigger the CP909 with trigger/gate signals from step sequencers, clocks, dividers, or any other pulse/clock sources. This eliminates the need to shape pulses sent to the module and ensures the same stable sound at peak power, regardless of your pulse source. Based on the architecture of the 909, the Accent input is versatile and able to take in both CV and Gate signals for continuously changing dynamics. All these unique features make integrating this legendary sound generator into your modular synth easy, unleashing the power of real analogue drums.

TR-909 is a Trademark of Roland Corp Japan

Size: 4HP
Depth: 36mm
Power: +12V 6ma / -12V 10ma