Frap Tools

Notes: The 333 is a summing and distribution module for Eurorack modular systems.

It is composed of three identical sections, the red, yellow and green, each of those featuring three inputs summing amplifier with three independently buffered outputs.

Derived directly from the CGM creative mixer series, the sum section is DC coupled, allowing the sum of control voltages as well as audio signals.

With an extremely low tolerance in both sum and output sections, it is suitable also for summing quantized voltages like the ones coming out from the quantized outputs of the SAPEL.

In case CVs or audio signals are particularly hot, the 6dB attenuator might be helpful to reduce exactly by 50% the incoming signals.

Red and yellow output are also normalled to the 1st jack socket of the yellow and green input: in this way this module can also work as a 1 to 9 buffered multiple.

Notes: The 411 is a quadruple linear VCA, mixer, and multiple for audio and CV.

It consists of four linear VCAs with semi-normalled inputs and CV inputs, -6 dB attenuation switches, a mixed output, and an unpatched output.

The 411's architecture allows to use it in many ways, for example:

Processing four signals independently;
Modulating one signal with four CVS and sending it to four different destinations;
Mixing up to four signals and modulating them with the same CV;
Mixing two audio signals and modulating them with a modulated CV...

Key Features

Four DC-Coupled Linear VCAs

The 411 has four linear VCAs perfect for modulating audio signals and control voltages.

Semi-Normalled Signal and Control Inputs

The signal inputs and the CV inputs have cascaded semi-normalled connections. Every signal patched to an input also feeds the following ones, allowing for infinite combinations of sources and modulations.

Mixed and Unpatched Outputs

The 411 features an All output and an Unpatched output, just like the popular 321 module. The All output mixes the four sections, while the Unpatched only those whose local output is not going anywhere.

-6 dB Switches

The switches halve the CV input, allowing the 411 to work with both 0-5 and 0-10 voltages.

Open by Default

The VCAs are designed so that they stay open even if nothing is patched to the inputs.

Specifications:

Size: 6 HP
Depth: 38 mm

Current draw: 35 mA @ +12 V / 25 mA @ -12 V
Recommended warmup time: 30 min
Audio Input impedance: > 45 KO
CV Input Impedance: > 40 KO
Output impedance: ~ 100 O
Global CV offset per section: -20 to 20 mV
Frequency response: DC to 30 KHz
Harmonic distortion (THD+N): < 0.1%

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: One of the most exciting oscillator modules we've seen in a long time, taking a unique approach to a complex VCO. Based around two thru-zero triangle core oscillators with a wealth of timbre shaping options.

Supplier notes:
Brenso is Frap Tools' primary analog source of articulated waveforms whose degree of entanglement can be precisely set by the musician.

Its concept developed from a reflection on the very meaning of the word 'complex,' which comes from the Latin verb plector, literally meaning 'to braid', or 'to weave.' The purpose of Brenso is to update the usual approach to 'complex oscillator' by offering many threads to be woven together, rather than a pre-defined plait of controls and waveforms: this to improve clarity, manageability and offer more sonic options to the artist.

Brenso consists of three sections: two for sound generation (yellow and green), and one for sound processing (white and red).

The generation sections allow control over the two triangle-core oscillators, which can be modulated from external sources and can modulate each other's frequency too. The frequency modulation can be any combination of exponential and/or linear through zero.

The processing section is composed of a waveshaping section (white) and a last stage of amplitude modulation (red): the first provides further degrees of modulation using two parallel wave-shapers and includes PWM, blends these two with a mixer and everything is passed into a wave folder with symmetry control and a dedicated clock input with shapeable nonlinear behavior.

The result of this is passed into an amplitude modulation section (red) which can be unbalanced (AM) or balanced (RM).

The white section modulations inputs are semi-normalled by a timbre bus, which is semi-normalled to the green sine wave.

Every oscillator has a button that locks its coarse frequency to the current value. From this moment on, every twist of the 'Coarse' knob will be ineffective (but The Fine knob is still available, from small adjustments).

BRENSO's oscillators are exceptionally stable and provide rich harmonic content. This happens thanks to the two thru-zero triangle cores, which guarantee the most playable behavior and the best response to audio-rate modulation.

You won't need to find a sweet spot because BRENSO is calibrated to sound 'as expected' in any setting.

Many controls allow for complex and detailed FM sound shaping. It is possible to set the amount of exponential and linear thru-zero FM independently per each oscillator and control their amount of 'deviation' through two separate knobs or CV inputs.

(The green oscillator can also work at sub-audio rate, and can therefore become a super complex LFO.)

BRENSO's 'complex' signal path is expanded on the front panel and grouped in four 'modulation buses': two for modulating frequencies, one for modulating timbre and one for AM and RM.

The green oscillator is always the semi-normalled modulator, but any other source can be used.

The timbre modulation section has been designed from scratch and offers a versatile blend of two wavefolders, a waveshaper, and a PWM circuit.

A dedicated VCA controls the global amount of modulation to be sent to each modulation section, but the semi-normalization can be broken anytime.

An analog circuit was designed from scratch that, when excited by an external trig, opens the wavefolder above its maximum level and then closes it down with a non-linear slope, whose length can be manually regulated.

This solution can generate percussive tones with a very organic decay.

HP : 30

Notes: The Falistri is a fully analogue multi-purpose movement manager designed to generate and edit voltages to easily accomplish any patch.

The module can be divided into two big parts: in the upper two-thirds of the panel take place two specular function generators, while the lower third is composed of a dual cascaded frequency divider, a linear slew limiter, and a four-quadrant multiplier.

Key features:

Two Function Generators: Envelopes, LFOs, Oscillators
Adjust the Shape Without Changing the Time
Exclusive Shapes per Stage
Trig Buttons: Play Those Envelopes!
Three Play Modes (Voltage-Selectable)
Interacting Functions: Quadrature Mode
All the Outputs, Everywhere
Cascaded Frequency Dividers
Four-Quadrant Multiplier
Linear Slew Limiter

Size 18 HP
Depth 38 mm

Current draw
170 mA @ +12 V
170 mA @ -12 V

Notes: ***B-STOCK: Box damaged, product in perfect working order***


The Falistri is a fully analogue multi-purpose movement manager designed to generate and edit voltages to easily accomplish any patch.

The module can be divided into two big parts: in the upper two-thirds of the panel take place two specular function generators, while the lower third is composed of a dual cascaded frequency divider, a linear slew limiter, and a four-quadrant multiplier.

Key features:

Two Function Generators: Envelopes, LFOs, Oscillators
Adjust the Shape Without Changing the Time
Exclusive Shapes per Stage
Trig Buttons: Play Those Envelopes!
Three Play Modes (Voltage-Selectable)
Interacting Functions: Quadrature Mode
All the Outputs, Everywhere
Cascaded Frequency Dividers
Four-Quadrant Multiplier
Linear Slew Limiter

Size 18 HP
Depth 38 mm

Current draw
170 mA @ +12 V
170 mA @ -12 V

Notes: The current G module is an updated version of the now-discontinued 2016 G. Its functions are the same as the old one, but it features significant design upgrades that improve its usability: the selectors for the group output's behavior are now on the front panel, and the knob is now 12 mm in diameter, like the new SC and QSC.

The G (Group) is a stereo module that blends the signals coming from the channels linked to it (up to eight) and manages their signal routing.

The G "puts into practice" all the information defined by the channels' controls: volume, effect send volume, stereo panning.

It consists of three sections: the amplitude controls (white) and the two effect sends and returns (yellow and green).

A switch lets you define the group outputs' behavior: it can be either the sum of all the channels and their effect return or just the wet signal.

The first option is great for smaller setups, where you can use the group as your system's output without a master module.

Should you have a master, the second option allows for more advanced effects parallel processing or multitrack recording.

As of today, the Group is the only module that does not require power, as a Channel powers it through its IDC cable.

Ships with a 1-group-to-2-channels Link System.

Notes: The insert module allows you to connect stereo effects to your CGM setup, either by inserting them between two points of the internal summing bus or by placing them in parallel, as in a rudimentary stereo send-and-return.

It consists of two couples of outputs and inputs with dedicated gain switches. The first O/I stereo couple is the insert circuit, while the second is the parallel circuit.

The Insert module can be used:

between a group and a master;
between a group and a group;
between a channel and a group;
between a channel and a channel;
between a channel and a master (without a group).
The Insert module ships with two Insert cables compatible with every member of the CGM family, including the discontinued ones.

Flexible placement

The insert can effortlessly sit between every CGM module. Use it between a group and a master as an end-of-chain bus, or between two series of channels of the same group to create a channel subgroup with independent solo-in-place controls.

Stereo insert circuit

This circuit overrides the internal summing bus and allows you to route whatever sum goes into the insert module through your favourite stereo effects.

Stereo parallel circuit

A second out-in circuit remains parallel to the main one, excellent for adding stereo ambiance effects to the main sum.

Gain switches

The outputs and inputs provide three degrees of attenuation and matching amplification to scale the signal to most of the audio equipment out there.

Specifications:

Size: 6 HP
Depth: 38 mm
Current draw: 35 mA @ +12 V / 35 mA @ -12 V

Recommended warmup time: 30 min
Audio input impedance: > 30 KO (mono)
Audio output impedance: =100 O
Maximum output level before clipping: = 17 dBu
Frequency response: 0.01 to 40 KHz
Harmonic distortion: < 0.3 %

Notes: USTA is a 4×4 tracks sequencer for voltages and gates with variable stage duration, designed to quickly see and edit multiple voltage relationships in real time.

Variable stage duration means that every single stage duration can be individually set in relation to the clock, instead of being constrained to a one-to-one ratio (i.e. one stage per every clock impulse).

4×4 tracks means that every stage can store and generate up to four separate voltages (two CVs and two gates), and that up to four independent stage sequences can be arranged into as many different tracks.

Its architecture is based on an array of 16 'Stages' which form a 'Pattern'; 16 patterns form a 'Track', and four tracks form a 'Project'. Within each track, each stage can provide two gates and two CVs, and a wide set of options is available to define and modify the value of each output ('Layers') and the way it is played ('Colours').

Every Stage is related to a dedicated stepped encoder for quick and intuitive editing, and all the 16 encoders are arranged in an oval layout with a circular playhead. Every encoder is surrounded by a ring of 16 LEDs and a RGB led, to provide a visual feedback of the current setting of that step basing on the layer you are working on (like raw CV, quantized CV, length, gate...) and the way it should play depending on the RGB colour.